National anthems are an integral part of official receptions and play an important role at major events such as the Olympic Games or World Championships. Most anthems date from the 18-20th centuries and are often an essential part of the political and cultural development of a country, e.g. on its way to independence or democracy.

At the same time, the anthem conveys a sense of community and is a means to express identification with one's home country. / [Hymnes Nationaux] / Musiques du monde / Partition / Broché /

The works of composer Herbert Howells have long been staples of Anglican church services worldwide, with a number of his compositions hailed as some of the finest of the 20th century. This Collection Of Songs For Voice And Piano is a perfect opportunity to further explore more of Howells' sublime works.These songs are indicative of Herbert Howells' incomparable talent, expressing his unique ability to create entire landscapes and worlds through sound and music. Furthermore, the Herbert Howells sheet music is a joy to perform for musicians of all levels, whether professional, amateur or a beginner, there is something for everyone in the Collection Of Songs. The musicality of these expertly-composed pieces is simply a joy to hear, and audiences will continue to be impressed by the inventiveness and technique of each song. / Voix Et Piano

Arrangements faciles de 50 chansons par des artistes chrétiens! / Piano / 288 pages / Partition

Par FENTON GEORGE / CHAMBERLAIN SIMON. Mrs Henderson Presents is the West End musical based on the 2005 film, featuring music by the great George Fenton and Simon Chamberlain, about London's Windmill Theatre and Laura Henderson. These Vocal selections feature a selection of songs from the musical, arranged for Vocal line with Piano Accompaniment, complete with full lyrics and chord symbols. Featuring 15 selected songs from the hit musical, the wonderfully witty lyrics and catchy melodies are perfect for lovers of musical theatre. Set in London in the late '30s, the musical centres on the Mrs Henderson's 'Revudeville' shows that features nude females in statuesque poses, in order to circumvent censorship laws. With such a unique story and setting, it's unsurprising that the songs are this much fun to play and sing. If you're looking for a new West End musical that's arranged for Vocals with Piano Accompaniment, learn to play Mrs Henderson presents. This special songbook also features colour photography and an introduction by both composers. / Niveau : Intermédiaire / Recueil / Chant et Piano

Holiday Fun With Mickey Mouse And His Friends-Deck the halls and wish everyone a ?Merry Christmas? with Mickey and his friends this holiday season! Sing AND play-along with twelve favorite Christmas carols in festive arrangements for unison voices (with optionalharmony) and piano. Add parts for classroom percussion and Orff instruments for a special touch. Vocal and instrumental parts are featured in the Singer books and quality-produced recordings on the separate CD feature each songwith and without singers. Available separately: Piano/Vocal Collection Singer Edition 10-Pak and Performance/Accompaniment CD. For all ages.

This collection of Vocalises contains 45 vocal exercises devised by innovative teacher Gabriel Fauré. When Gabriel Fauré was appointed Director of the Paris Conservatoire in 1905 one of his most pressing concerns – and first achievements – was a complete reform of the teaching of singing. He was determined to introduce mandatory study of art song along with 'exercises developing vocal suppleness articulation and voice placement and production which are the basis of singing teaching'. To this end between 1906 and 1916 he composed a substantial body of accompanied vocalises for use in theConservatoire’s sight-singing examinations. For a century these vocalises – all but one now held in the Archives nationales de France in Paris – have lain unknown to the musical world at large. Their first publication here marks a major event for the vocal teaching repertoire (as well as some entrancing music); a marvellous resource of skilfully devised vocal exercises ranging from elementary to advanced virtuoso level all from one of history’s greatest song composers.

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

A colorful mixture of traditional English folk songs and ballads as well as the history of many of the songs. Many English folk songs are quite familiar in America. Hundreds of them came along with the earliest settlers in the17th century; others with the Redocoats in the 18th century; still others with the sailors and fisherman of the 19th century; and finally the doughboys and G.I.'s of two world wars have brought over the 20th century'scontribution. The book includes melody line lyrics historical information and guitar chords.