Baritone. This volume contains French operatic arias for baritone from works that opera reformer Christoph Willibald Gluck was commissioned to compose for the Paris Opéra: ?Iphigénie en Aulide? (1774) | ?Cythère assiégée? (1775) | ?Alceste? (1776) | ?Armide? (1777) | ?Iphigénie en Tauride? (1779). The informative text sections contain a Foreword (Fr/Eng), a brief account of the dramatic context and a literal English translation of each aria. About the series: Christoph Willibald Gluck: French Operatic Arias. For the first time all the arias from Christoph Willibald Gluck?s French operas are being published in arrangements for voice and piano. This series, a coproduction with the Centre de musique baroque de Versailles (CMBV), presents this collection according to voice register in four volumes. With their wealth of arias and informative texts, these volumes offer a rich treasure-trove from works by this major 18th-century opera composer for use in voice lessons, auditions and recitals.

Volume 4-Including some of Ernest John Moeran’s most attractive and characteristic pieces this is the fourth collection in the Centenary Edition series of solo songs by the great Anglo-Celtic composer. The pieces in this collection are all written for Baritone voice with Piano. Moeran wrote sixty original songs for solo voice and piano and Volume four features 16 glorious pieces including the settings of texts by James Joyce Robert Bridges Shakespeare and W.B. Yeats plus shanties ballads and dances.

The composer Rudolf Kelterborn about his work: ?I call the ten compositions for baritone and piano ?DUOS? because the voice and instrument parts are treated musically with absolute equality and indeed often go their own independent ways. Two duos (?Alles Gold? and ?Gegenlicht in den Bergen?) come from the ?Ensemble-Book I? for baritone and 14 instruments with texts by Erika Burkart (1990).

The 10 duos do not form a complete cycle that can be heard only as an entire work.

Smaller groups can be put together and presented according to text-related or musical aspects. The texts are by authors who have continued to inspire me for years.? / [10 Duos Pour Baryton et Piano] / Classique / Partition / Agrafé /

The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs.Unique song lists are provided in the books for each vocal range including this volume for Baritone/Bass.Newly edited and engraved with Vocal line and Piano accompaniment the two Baritone/Bass volumes from theMusical Theatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic and modern musicals such as: Cabaret The Lion King Hairspray SouthPacific and Les Miserables.

The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs.Unique song lists are provided in the books for each vocal range including this volume for Baritone/Bass.Newly edited and engraved with Vocal line and Piano accompaniment the two Baritone/Bass volumes from theMusical Theatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic and modern musicals such as: Cabaret The Lion King Hairspray SouthPacific and Les Miserables.

Baritone Voice And Piano Performing Score-Composed in 2012 the two pieces in Sadie Harrison’s Heartoutbursts! take their inspiration from traditional English folk.'...in the folk-song there is to be found the complete history of a people recorded by the race itself through the heartoutbursts of its healthiest output. It is a history compiled with deeper feeling and more understanding than can be found among the dates and data of thegreatest historian...'(Percy Grainger 1922)In 1905 Joseph Taylor won a Lincolnshire folksong competition with his rendition of Brigg Fair a song he had learnt from a gypsy. Australian composer Percy Graingersubsequently published a setting in his Lincolnshire Posy with Delius using the tune in his rhapsody Brigg Fair. Both composers sought to vivify the tradition of English folksong celebrating not only the ancient tunes and words but also the qualities of particular folksingers like Joseph Taylor.Harrison’s own Australian Heartoutbursts! follow unashamedly in the Grainger tradition with echoes of the original folktunes underpinning both songs Brigg Fair and The Seeds of Love. Although different in character both texts use similar images as analogies for the joys and despairing associated with love - the lark and violet symbolize youth the lily as virginity the red rose as true love and the willow representing falsehood and abandonment.

Five Shakespeare Songs Opus 15-A highly attractive cycle of Shakespeare texts dealing with love and the passing of time as set for Voice and Piano by one of the finest British composers of vocal music of his time Gerald Finzi.This work was composed from 1929 to 1042. The first performance was given on 12 October 1942 at the National Gallery London by Robert Irwin (baritone) and Howard Ferguson (piano).

Baritone-Operatic AriasBased on the Opera Omnia Rameau (OOR) This edition contains the great monologues arias and ariettas that Rameau wrote for basse-taille (the 18th-century equivalent of today’s baritone). The volume which contains a historical Introduction in German and English is based on the critical edition of the works Opera omnia Rameau (OOR). A short description of the dramatic situation and an English translation of the vocal text precede each number. The volume contains the baritone arias for the main characters from the following operas: Anacréon (Anacréon)Castor et Pollux (Pollux)Dardanus (Anténor)Les Fêtes de Polymnie (Zimès)Hippolyte et Aricie (Thésée)Les Indes galantes (Bellone Huascar Adario)Naïs (Tirésie)La Naissance d’Osiris (le grand Prêtre)Nélée et Myrthis (Nélée)Les Paladins (Orcan Anselme)La Princesse de Navarre (un Français)Les Surprises de l’amour (Anacréon Astole)Le Temple de la Gloire (l’Envie)Zoroastre (Abramane)

Originally for Baritone voice and orchestra this version features a piano reduction of the orchetral score.

10 Lieder-Ten songs for Baritone Voice and Piano with music by Gerald Finzi and words by Thomas Hardy. This collections is a wonderful combination featuring texts by one of the most typically English poets set to music by one of characteristically English composers from the first half of the 20th century.

Schubert?s operas contain a wealth of magnificent music. This anthology of opera arias for baritone with piano accompaniment presents a delightful selection from Des Teufels Lustschloss D 84 Adrast D 137 Die Freunde von Salamanka D 326 Alfonso und Estrella D 732 and Fierabras D 796. An enclosed violoncello part for the aria ?Wo find ich nur den Ort mein Haupt zur Ruh zu legen? (Alfonso und Estrella) makes it possible to perform this piece in a chamber music setting.Urtext edition based on the New Schubert EditionTrilingual texts (Ger/Eng/Fr) with an informative Foreword notes on the arias? dramatic context and literal translations of the aria textsinto English and FrenchIdiomatic playable piano part

Baritone or Bass Voice-The world's most trusted source for great theatre literature for singing actors. The online audio includes Piano accompaniments. The book features authentic editions of each song in the original keys. The songs have been carefully chosen for each voice type and are culled from a wide selection of classic and contemporary shows.

Composer's Notes:Heavenly Things is my fourteenth song-cycle but the first with piano accompaniment. I mention this because when I was asked to write this piece my first reaction was ‘what can I make of amedium that seems to me quintessentially 19th century’ and I was doubtful that I could produce anything that I would be happy with. Then I went to hear Christopher Maltman and Malcolm Martineau and was so impressed by the magicand intensity of their performance that I saw a ‘way in’ to what at first had seemed a problem. The choice of poems was obviously going to be crucial and I chose the Donne Holy Sonnets because of the dramatic possibilities theyoffer and the huge range of emotion that they encompass. In these settings the piano is always more than a mere accompaniment it tends either to be in dialogue with the voice or to have its own musical agenda which the voicereacts to in an independent but parallel way. Geoffrey Burgon