Composed in 1949 Jean Langlais' (1907-1991) Three Prayers op. 65 for Medium Voice and Organ – republished here in their complete version – can also be performed by a Choir in unison and accompanied by the Harmonium or Piano. While Marcel Dupré's training allowed Langlais to acquire brilliant virtuosity as an organist it was never an end in itself: for the composer the key word was simplicity. Testaments to a strong faith the Three Prayers reveal a sense of concision and a search for purity not incompatible with the sonic refinement of an intense expressiveness. TheAve verum which highlights the real presence of Christ during the Eucharist radiates a serene clarity. The Ave maris Stella alternates exaltation and appeasement  ('Break the chains of guilt bring light to the blind'). The first two pieces use the French translation of the Latin liturgical text while the third – Tantum ergo – offers the two versions in alternation. The entire cycle expresses the fulfilment that is found in simplicity.

Modern Norwegian composer Rolf Wallin's Drei Gedichte'arranged for the mezzo soprano voice and piano. These three poems were written between 1900 and 1908 and they are very different in terms of form subject matter and atmosphere. Liebes-Lied is about a strong but painful love Buddha in der Glorie a description of religious ecstasy quite unusual in the works of Rilke and Sluss-stück about death which existsin the midst of us in the middle of life.

transcription de d. tchesnokov pour soprano et piano-Three love songs op. 96 (13') transcription de d. tchesnokov pour soprano et piano. Par Bacri aux éditions Leduc. Partition / Livre de chansons pour Piano et voix

Songs II for High Voice and PianoFollowing the publication of Dvorák’s early set of love songs “Cypresses” (BA9569) all his other songs with piano accompaniment are now appearing in Urtext editions.“Songs II” includes the mature works from Dvorák’s late period. Besides the well-known cycle “Love Songs” and the less well-known cycle “Three Modern Greek Songs” the volume also contains some entirely unknown and previously unpublished pieces: “Lullaby” and the posthumously published “Song from The Smith of Lešetín” completedby Josef Suk.The songs are presented in chronological order in volumes for high and low voice. Each volume contains the vocal text underlaid in three languages (Cz/Eng/Ger). For the most part the translations have been taken from the first edition.- Second volume of the new five-volume Urtext edition of the complete songs- First Urtext edition with detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor- Some songs appear for the first time in print- Vocal texts in three languages (Cz/Eng/Ger)

Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. 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. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano

Trois Chansons by Kurt Weill is a set of three French songs for Voice and Piano. The lyrics have been written by Maurice Magre and Roger Fernay and the general level of difficulty is medium. The first piece Complainte de la Seine (Complains of the Seine) is three page long and its lyrics are about what lies at the bottom of the river. The second song Je ne t’aime pas (I don’t love you) is a man telling someone that he doesn’t love her that everything is fine and that he is fine if she is happy. The third piece Youkali is a highly rhythmic tango-habanera in fourpages which depicts the island of Youkali. Kurt Weill (1900-1950) is a German composer who developed operas and some works for the concert hall.

Par WEILL KURT. Trois Chansons by Kurt Weill is a set of three French songs for Voice and Piano. The lyrics have been written by Maurice Magre and Roger Fernay and the general level of difficulty is medium. The first piece, Complainte de la Seine (Complains of the Seine), is three page long and its lyrics are about what lies at the bottom of the river. The second song, Je ne t'aime pas (I don't love you), is a man telling someone that he doesn't love her, that everything is fine and that he is fine if she is happy. The third piece, Youkali is a highly rhythmic tango-habanera in fourpages, which depicts the island of Youkali. Kurt Weill (1900-1950) is a German composer who developed operas and some works for the concert hall./ Répertoire / Chant et Piano

Ed. Critica F. Della Seta - Riduzione per canto e pianoforte ? softcover 2 volumi-I Puritani is the last work of Vincenzo Bellini: composed in nine months from April 1834 to January 1835 (a gestation unusually long for that time) was performed for the first time in Paris Théâtre Italien 24 January 1835. During this period the dramatic structure suffered radical transformations: initially structured in two acts the work was divided into three acts just before the premiere but on the eve of the first performance and immediately after that theexcessive length of the title imposed the cut of three pieces and other minor sections. Simultaneously with the release for Paris Bellini prepared a version designed for a planned exhibition for Naples at Teatro S. Carlo whose protagonist had to beMaria Malibran and in which the part of Riccardo had to be supported by a tenor. The exhibition did not take place as the score came late in Naples: the Neapolitan version was rediscovered and performed only in the eighties of the twentieth century.The new Critical Edition is based on the autograph on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work three of which contain autographinterventions (these sources are now kept at the Biblioteca Comunale in Palermo at the Museo Civico Belliniano in Catania at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This Edition presents for the first time all the music composed by Bellini it restores the sections deleted before or after the first performance in Paris and returns the modified sections of the Naples version; it consists of three-score volumes- introduced by a detailed reconstruction of the historical context - and of a ?Apparati? volume with a description of the Sources and the Critical Commentary to the musical text.