Instrument : voice and piano Nombre de Pages : 64 Das Volkslied Europas in mehr als 500 echten und typischen Beispielen, großenteils zum ersten Mal im Originaltext mit deutscher Übertragung veröffentlicht. Sämtliche Lieder mit unterlegtem Klaviersatz und eingehenden Anmerkungen zur Entstehungszeit, stilistischen Herkunft und zur strukturellen Eigenart. Content : Fandango - Malaguena - La Cana - Bolero - Nana - Cancion de cuna - Alalá - La Virgen de Cobadonga - Dime, artillerito, donte vas? - Passacalle o marcha-alborada - Cancao do Figueiral - A moda gallega - Lo mal de l'amor - Cansó de sega - Cansó ploma de perdíu - Los estudiants de Tolosa - La filadora - Lo mestre - La criada del hostal - La nina desenvuelta - Desengany - Aves, frutas y viento - Layeta - Villancico-Baile de Nadal - Cansó de Nadal - Presents al nino Jesús - Ay au pena ren andia - Ainhara - Izar ederra - Chorinuo kaiolan - Argizagi ederra - Adios, ene maitia - Chorietan buruzagi - Errefusa

In earlier days Grammy-nominated Pianist David Lanz was also a singer songwriter. However the combination of his strengths as a Pianist and composer led him into the instrumental genre that he is most well known for.?Now with the stunning voice and artistry of composer and lyricist Kristin Amarie ? says Lanz ?I have again found my lyrical path and the perfect collaborator to bring that to life.? This folio includes all 13 songs from Lanz

La partition Giner Bruno : Charlie. Voix Piano. de Giner Bruno a été composée pour Musique de chambre et plus particulièrement pour Quintette. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Dhalmann. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique.' La vision première de l'oeuvre est sonore, fugace, violente et définitive. Et puis... et puis vient le temps de l'écriture...une errance chargée d'encre et de papier, tentative d'écrire dans sa propre langue ce qu'on ne sait pas encore écrire 'Né en 1960 à Perpignan, Bruno Giner commence ses études musicales à Toulouse, puis dans sa ville natale et à Barcelone. A Paris, il suit régulièrement les cours de Pierre Boulez au Collège de France et travaille la composition (électroacoustique et instrumentale) successivement avec Luis de Pablo, Ivo Malec et Brian Ferneyhough.Aujourd'hui, ses oeuvres sont jouées dans de nombreux festivals français et internationaux, et sont interprétées par différents ensembles de musique contemporaine (Aleph, Sic, Fa, L'instant donné, Grame, Nomos, Motus, Intercontemporain, Quatuor Arditti, Klangheimlich, Frullato, Xasax, Ars Nova Nürnberg, Ixtla, Slowind). ' Ce n'est pas la moindre qualité de la musique de Bruno Giner que de nous permettre de mesurer l'étendue de nos préjugés (enfin, je parle pour moi), a écrit Bertrand Dubedout. Restons à l'écoute. Ce compositeur, dont la réflexion et la démarche se nourrissent aussi bien de Boulez ou Ferneyhough, que de Schaeffer ou de Malec, et qu'une insatiable curiosité conduit aussi bien chez Schumann ou Machaut que chez les Pygmées, nous réserve encore bien des surprises, nous mijote bien des émerveillements 'Son catalogue comporte des pièces pour solistes, des partitions de musique de chambre, de la musique vocale, orchestrale, des oeuvres pour l'apprentissage, etc. Sa musique révèle un caractère charnel, parfois virtuose, une énergie canalisée par la formalisation d'une écriture rigoureuse qui n'empêche pas un travail plus empirique sur la morphologie et la matière sonore.En 1998, Bruno Giner reçoit le Prix Hervé Dugardin décerné par la SACEM pour l'ensemble de son oeuvre.Parmi ses dernières compositions, citons Paraphrase sur ' Guernica ' de Paul Dessau pour clarinette, violoncelle, piano et percussions (2003), TCP 17 pour harpe, guitare et mandoline (2005), Clameurs, concertino pour deux percussions et ensemble à vents (2006), Charlie opéra de chambre d'après Matin brun de Franck Pavloff (2007), Extra pour huit violoncelles (2007-2008), Quatuor #3 pour quatuor à cordes et percussion (2008). Parallèlement à ses activités compositionnelles, Bruno Giner a régulièrement collaboré à différentes revues musicales, encyclopédies ou labels discographiques (The New Grove, La Lettre du Musicien, Les cahiers du CIREM, Musica falsa, Motus, etc). Par ailleurs, il signe trois livres : Musique contemporaine : le second vingtième siècle (Editions Durand, 2000), Toute la musique ? (Editions Autrement Junior, 2003), De Weimar à Térézine 1933-1945 : l'épuration musicale (Editions Van de Velde, 2006). / Quintette

Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617 and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments respectively a flute and a pair of oboes whereas the instrumentation of the first is confined to strings disposed in a single coro although a solo violin is employed in three movements. RV 617 preserved in a non-autograph source in Brno belongs to Vivaldi?s first period of sacred music composition at the Pietà (1713-1717) while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores prepared by Antonio Frigé are closely based on those of the Critical Editions by Michael Talbot published in 1998 1990 and 1994.

Twenty Romances Instrumentation : high Voice and Piano Description : The edition is part of the ABRSM singing exam syllabus (grades 7,8). Contenu : At the Window Op6 No1 - Can it be day? Op47 No6 - Lullaby in the Storm Op54 No1 - Nightingale Op6 No4 - Spring Op54 No9 - The Cuckoo Op54 No8 - At the Ball Op38 No3 - Cradle Song Op16 No1 - Had I only Known Op47 No1 - Last Night Op6 No1 - Serenade Op63 No6 - So soon forgotten - The bride's lament Op47 No7 - The Fearful Moment Op28 No6 - Twas in the early Spring Op38 No2 - Why? Op28 No3 Nombre de pages : 116 Langue : Russian - English Format : New Edition portrait

Part of the popular ‘Top Ten’ series this collection contains ten carefully selected pieces in the jazz style. There is such variety within the genre we call 'jazz' it seems almost impossible to do itjustice in just ten songs but we've given it our best shot. We've unforgettable standards like Duke Ellington's 'Take The A Train' and 'Fly Me To The Moon' as popularised by Frank Sinatra; elegant tunes fromthe 1930s such as 'The Way You Look Tonight' and 'The Very Thought Of You'; classic numbers from the late 50s and early 60s 'So What' and 'Cantaloupe Island' - and we make no apology forstretching the jazz definition to accommodate the gorgeous 'Girl From Ipanema'! Some of the pieces are arranged for Piano and Voice; others are purely instrumental but every one possesses that special somethingthat has earned it a place in our collection and indeed in the heads and hearts of countless jazz lovers around the world. Each piece in The Top Ten Jazz Songs To Play On Piano is accompanied byinteresting background notes to give you that extra bit of insight.

Piano-Conductor's Score-The Vocal/Piano-conductor's score for the Broadway standard about the adventures of a girl who wanted to be loved. Based on a screenplay by the legendary director Federico Fellini adapted from his film Nights Of Cabiria.The show has been dazzling audiences since the premiere in New York 1966 and a revival in 1986 saw the show receive four Tony awards. The more recent revival in 2005 with Christina Applegate was nominated for several Tonyawards. A dance-hall hostess searches for her ideal love with a string of troublesome results!This Piano score contains full details of instrumentation and also serves as a complete vocal score.

Midnight Faith is an eclectic collection of both original vocal and instrumental music all threaded together by the common (and sometimes subtle) theme of nighttime. In this project not only does Heather Sorenson incorporate her signature singer-songwriter style of writing she also explores different genres including folk jazz original classical and modern Christian music. This music book is the companion product to the newly released album and it includes a fully realized Piano accompaniment and vocal score. From upbeat to reflective Midnight Faith contains selections suitable for recitals concerts and churchservices.Songs include: 'Travel Light; Let Me Walk You Home'; 'Now I Lay Me Down to Sleep'; 'Nightlights'; 'Midnight Faith'; 'Things We Remember'; 'Raise Your Hands'; 'I Have Loved the Stars Too Fondly'; 'Be Still My Soul'; 'Day Is Dying in the West'.

The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano

One of the most enduring songwriters of all time the music of Cole Porter has been transcribed for countless instruments over the years. It's impossible to imagine the world of Jazz without such sophisticated standards as Love For Sale and Night And Day whilst modern film television and advertising is overflowing with reworkings of Ev'ry Time We Say Goodbye You Do Something To Me and I Get A Kick Out Of You.Now it's your turn! Twenty Porter classics have been cleverly arranged for the early Piano player in accessible and easy versions. The complete songs are presented with full lyrics chord symbols and helpful suggested fingering. Thisis your chance to add the timeless music of Cole Porter to your repertoire at an early stage and experience the wonderful benefits of mastering these true favourites.