Baritone Book/2-CDs Pack-For aspiring and professional singers who love Broadway Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys authentically transcribed from their original vocal scores. Perfect for study and equally suitable for the most important auditions and performances each volume is dedicated to a specific vocal range and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano Mezzo-Soprano/Alto Tenor and Baritone/Bass. Authoritative historical and contextual commentary audition tips and 16-barcut suggestions for each song make it the most useful and relevant song library of its kind. Titles include: Everything Old Is New Again (The Boy from Oz) · She's My Love (Carnival) · Those Were the Good Old Days! (Damn Yankees) · A Jug of Wine (The Day Before Spring) · Anyone Would Love You (Destry Rides Again) · All of My Life (Do Re Mi) · After Today (Dr. Doolittle) · Gigi (Gigi) · Store-Bought Suit (The Golden Apple) · The Best Things in Life Are Free (Good News) · Where Do I Go? (Hair) · I Love My Wife (I Do! I Do!) · It's a Well Known Fact (I Do! I Do!) · No More (Into the Woods) · They Go Wild Simply Wild Over Me (Irene) · Progress Is the Root of All Evil (Lil' Abner) · Love Who You Love (A Man of No Importance) · Marriage Proposal (March of the Falsettos) · Me and My Girl (Me and My Girl) · Reviewing the Situation (Oliver!) · I Talk to the Trees (Paint Your Wagon) · Isn't It a Pity? (Pardon My English) · No One Has Ever Loved Me (Passion) · I'm Back in Circulation (Redhead) · Love's a Bond (Saturday Night) · Bless Your Beautiful Hide (Seven Brides for Seven Brothers) · I Don't Remember Christmas (Starting Here Starting Now) · Once in a Lifetime (Stop The World I Want to Get Off) · The Barber and His Wife (Sweeney Todd) · The Mansion (Two Gentlemen of Verona) · If I Were the King of the Forest (The Wizard of Oz) · A Quiet Girl (Wonderful Town).

Sixteen songs and seven arias for high voice and Piano composed over a fifteen-year period from 1989 to 2004 with texts in English French German and translations from German Portuguese and Russian. Texts from theBible Shakespeare Mozart Rimbaud Fernando Pessoa and Paul Celan and by living writers Roger Pulvers Kevin Power Victoria Hardie and Michael Hastings. While the original text-free version of Life's Chaos appeared aspart of the musical accompaniment to Dziga Vertov's Man With A Movie Camera there are songs from three of his film scores: The Cook the Thief His Wife and Her Lover Prospero's Books and The Diary OfAnne Frank and from four song cycles: L'Orgie Parisienne Six Celan Songs Cycle of Disquietude and Acts Of Beauty. There are arias from two stage operas Facing Goya and Man and Boy:Dada and a TV opera Letters Riddles and Writs.

With this ample collection of ballads and songs you can immerse yourself in the rich tradition and heritage of American folk music. Discover the diversity spontaneity free-flowing melody and sheer invention of scores of songs sung by cowboys and convicts lumberjacks hobos miners plantation slaves mountaineers soldiers and many others.Musicians musicologists folklorists singers - anyone interested in American fok music - will welcome this treasury of timeless song gathered in one handy inexpensive volume.

Film scores are such an integral part of any contemporary movie. This original work is the film score you need to accompany your own personally imagined movie. In just over four minutes, you'll be able to escape to your own script. Filled with dramatic themes and emotional melodies with a grand conclusion, you're free to explore your own imagination. The moods span from brooding and reflective to intense and exciting! (4:45) / Orchestre D'Harmonie

David Raksin was active in the music business for so many decades that he was thought by many to be the Grandfather of film music. Raksin created notable scores for films such as Forever Amber and The Bad and the Beautiful though he is best known for the soundtrack to Laura where the lead character is always represented by the same theme an ?idée fixe?. This haunting melody gets under your skin and stays there. It is totally suited to the plot where the investigating detective is haunted by the subject of his investigations. Here is a chance to feature your flugel soloist in this jazz ballad which has been given the ?Freeh treatment?.

Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice 3 May 2008'This music was composed during my DAAD residency in Berlinin October ? November 2007. If I were to describe it in one sentence I would say that it is based on the idea of 'two things seen/heard as one'.'a2 (a due) is a well-known term to musicians; it is often found in orchestralscores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family the literal implementation of the term a2 as a'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly this never happens in this work; in fact the opposite is true: regardless of how itappears on paper (i.e. on one or two staves) the music for each instrument is constantly based on two layers.'This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates.However this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracingthe wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border death-strip killing and escape to freedom had aparticularly evocative resonance especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There there was a nameless road whose destination the authorities did notwant you to know but the locals called it the 'death-road'.'In no way programmatic in this context the extra-musical dimension of the principal idea is very much part of the piece. Here the musical and extra-musical