Collection of Romances-New edition of four songs by Russian composer Alexander Borodin. The songs were first published by Rob. Forberg. Includes original Russian text French singing text from the period and translations to English and German. Available for high voice (three songs in original key) and low/middle voice (two songs in original key). New engraving.

Seven Songs For Medium Voice-Madeleine Dring (1923-1977) was an English composer and actress. She studied Violin Voice and Composition at the Royal College of Music where her teachers included Ralph Vaughan Williams Herbert Howells and Gordon Jacob. Her Vocal works were collected and posthumously published by Thames in the 1990s. Seven Songs for Medium Voice was published in 1993 as Dring Volume 4. It is a wonderful collection of songs with various compositional dates all scored for Medium Voice and Piano accompaniment.

12 Masterwork Solos for Recitals Concerts and ContestsCompiled and ed. Patrick M. LiebergenThis superb anthology is the perfect collection for voice students and instructors alike. It features a thoughtful and diverse selection of vocal masterworks from the Renaissance era through the Romantic era appropriate for any performance venue. Includes historical information for each selection plus pronunciation guides and translations as needed.

Elgar bridged the nineteenth and twentieth century with his fine compositions. This composition is arranged for medium voice and piano.

Three Songs arranged for Medium Voice and piano.Polish text.Words by Juliusz Slowacki and Julian Tuwim. / Voix Moyenne Et Piano

11 folk songs arranged as concert solos for medium or low voices. From Amamzing Grace to Scarborough Fair this heart-warming collection perfectly captures the pastoral atmosphere of rural life and is an ideal source for recitals concerts and contests. The specially produced CD of Piano backing tracks ensures that you are never short of accompaniment!

Being such a prolific composer particularly for Vocal and Piano works Gabriel Fauré's music is always addressed with high expectations. His Le Chanson D'Éve for Voice and Piano accompaniment is no exception. Fauré (1845-1924) began receiving high quality musical instruction from age 10 at the Niedermeyer School. He eventually became a piano pupil of Camille Saint-Saëns. Fauré's career saw him succeed Théodore Dubois as organist at the Church of Madeleine in Paris and become professor of composition at the Paris Conservatoire all the while composing sublime works. His song cycle Le ChansonD'Éve was composed between 1906 - 1910. As Fauré's longest song cycle Le Chanson D'Éve is made up of ten melodies based on poetry by Charles Van Lerberghe. With Fauré's music remaining hugely popular to this day Le Chanson D'Éve is a favourite for the vocal repertoire.

It could be argued that Geoffrey Bush's most characteristic music is for voices: stage-works choral pieces and solo songs. With a natural affinity for a wide range of texts (from Chaucer to Stevie Smith via Jonson Wilde and Virginia Woolf) - his music always serves to embellish and illuminate the given word.

Par BONNARDOT JACQUELINE. Ce volume 3B des Plaisirs du chant est, comme les précédents, destiné aux jeunes chanteurs, ainsi qu'aux cours de formation musicale. Les morceaux sont présentés dans une tessiture 'moyenne'. Dans un but pédagogique, les morceaux choisis sont pour la plupart écrits dans un mouvement assez lent, et donc, plus difficiles à lier et à animer. Des petits chefs-d'oeuvre comme Die Lotosblume, Das Verlassene Mägdelein, Romance, Lungi da te, Canciôn de Cuna, demandent de la part de l'interprète une grande sensibilité musicale et des nuances subtiles. Leur exécution exige une grande attention. Pour les trois premiers numéros, précisons que jusqu'à la fin du 18e siècle, les ornements et variations n'étaient pas écrits, mais laissés à l'imagination des chanteurs (ces 'embellissements' pouvaient changer d'un concert à l'autre). Nous avons un peu perdu ce sens de l'improvisation mais les étudiants pourront s'inspirer des ornements et variations très simples proposés dans le CD par les deux chanteurs. Pour La Rondinella de Charles Gounod, nous avons choisi le texte italien, paru à Londres en 1865, plutôt que le texte français L'Ame d'un ange sur un poème de Th. de Banville. Toutes les pièces de ce recueil peuvent être chantées par des voix féminines ou masculines (sauf Das Verlassene Mädgdelein de Wolf qui se prête davantage à une voix de soprano). L'air de Fortunio peut être chanté par toutes les voix pour le travail, mais dans une situation d'examen, il est plus adapté à une voix masculine. Autrement, les textes musicaux et poétiques conviennent à toutes les voix, même la berceuse de Montsalvage. Pour le CD, j'ai demandé la collaboration d'une soprano et d'un ténor dans le seul but de varier les couleurs à l'écoute du disque. Les deux artistes ont chanté avec une grande économie de moyens pour que l'écoute du CD n'incite pas les jeunes chanteurs à 'forcer'. L'accompagnement enregistré du piano seul aidera à la mise en place du morceau avant le travail avec l'accompagnateur. Pour la préparation à l'étude d'un morceau, on pourra s'inspirer des exercices ciblés et classés qui se trouvent dans le livre Le Professeur de chant: un luthier qui construit une voix (référence: VV375) paru aux Editions Van de Velde. L' expérience prouve que tous ces morceaux sont travaillés avec un grand plaisir par les étudiants et sont source de progrès. Jacqueline Bonnardot. / classique / Répertoire / Voix Moyenne et Piano

Arranged for Medium-Low Voice with Piano accompaniment. Most of the arias in this collection were written in the 1600s and 1700s by composers who were intent on expressing their feelings and entertaining their listeners. They wrote for the present and didn't write many instructions for their performers as they would always be present when their music was performed. However the success of their music transcended their lifetimes and over the years editions have become nothing like their original forms. This edition seeks to return to the composers' original intentions and produce an authoritative and faithful re-production of their works.Includes an accompanying CDof professionally recorded backing tracks.

von Joseph Freiherrn von Eichendorff-Original edition for medium voice.Bilingual Foreword (Ger/Eng) and Critical Commentary (Ger).The song texts are printed separately and include English translations taken from Richard Stokesâ?? publication The Book of Lieder.Schumannâ??s Liederkreis after poems by Joseph von Eichendorff comprises settings of twelve texts with the common motif of being far from home. This new edition presents the work in its definitive form published in the second edition of 1850 while taking into account Schumannâ??s autograph manuscript and other relevant sources. The detailed Foreword brings out the special nature of this cycle. Alternativereadings from the autograph offer valuable suggestions for a nuanced performance.Already published:Robert SchumannDichterliebe Op.48 BA 7851Liederkreis by Heinrich Heine Op.24 BA 7852Frauenliebe und Leben Op.42 BA 7854

After Schubert?s death in 1828 his brother Ferdinand passed on thirteen songs based on texts by Ludwig Rellstab and Heinrich Heine to the publisher Haslinger. Schubert had only composed them shortly before his death in August 1828. During his lifetime Schubert actually wanted to publish the two groups of Lieder separately. However the Heine and Rellstab songs are indeed closely related. Haslinger added a fourteenth Lied ?Die Taubenpost? based on a text by Johann Gabriel Seidl which Schubert had composed at the same time as ?Der Hirt auf dem Felsen? (D 965) one month before his death but which in no way bears any relation to the Rellstab and Heine Lieder. Thiscollection was published posthumously by Haslinger early in May 1829 and it was named Schwanengesang traditionally the term given to an artist?s last work before his death. This collection is here presented in an authoritative Barenreiter Urtext Edition for Medium Voice.Based on the Urtext of the ?New Schubert Edition?Foreword by Walther Dürr about the genesis and history of the works and the available sources for each individual Lied (Ger/Eng)English translations of the Lied texts by Richard Wigmore