Par POULENC FRANCIS. Mains agitees aux Grimaces nouees (No. 7 from Chansons et Melodies)/ Répertoire / Voix Moyenne et Piano

15 Vocal Masterworks from the Baroque Era Through the Twenty-First Century-This superb vocal collection features 15 of the world???s best-loved arias from the Baroque era through the 21st Century presented with comprehensive historical information accurate translations IPA pronunciation guides and performance suggestions designed to enhance and educate developing vocalists. Available in Medium High and Medium Low editions with optional piano accompaniment CDs. Songs include: Domine Deus (Vivaldi) Gioite al canto mio (Peri) I Attempt from Love???s Sickness (Purcell) I Got Plenty O??? Nuttin??? (Gershwin) La donna ? mobile (Verdi) Non siate ritrosi (Mozart) O mio babbino caro (Puccini) O Rest in the Lord (Mendelssohn) Ombra mai f?(Handel) Sheep May Safely Graze (Bach) Sorry Her Lot (Gilbert and Sullivan) Time To Say Goodbye (Sartori) Voi che sapete (Mozart) Where???er You Walk (Handel) and You Raise Me Up (L?vland)

Voix Moyennes Et Piano-Recueil-Gabriel Pierné (1863-1937) was a French composer conductor and organist. Despite being predominantly remembered as a conductor his Trois Chansons De Métiers remains a recognised piece in the Vocal repertoire. Pierné studied at the Paris Conservatoire before taking up the position of chief conductor for the concert series Concerts Colonne in 1910. He remained in the post until 1933 and during this time he notably conducted the world premiere of Igor Stravinsky's The Firebird. Pierné composed for a variety of instruments. Trois Chansons DeMétiers is arranged for two vocal groups and contains many characteristics typical of the French style such as lyrical melodies a significant amount performance directions flourishes of semiquavers chromaticism and many changes in dynamics. Trois Chansons De Métiers 1) The Tailor 2) The Shoemakers and 3) The Rope Maker is a varied piece essential to the repertoire of aspiring choristers.

Mittlere Stimme / Medium Voice-Based on the New Schubert Edition.Newly engraved clearly presented musical layout.Foreword by Walther Dürr on the history and genesis of the work as well as an explanation of the sources for each individual lied (Eng/Ger).Includes English translations of lieder texts by Richard Wigmore.The lieder in this sixth volume were composed during the period between autumn 1814 and spring 1815. With Nachtgesang (D 119) and Trost in Tränen (D120) Schubert turns to the Strophenlied in its stricter sense for the first time. He develops an interest in this form parallel to his first involvement with Goethe.Schubert during this periodan assistant teacher at his father?s school orientated himself towards the so-called Berliner Liederschule particularly the songs of Johann Friedrich Reichardt. By the beginning of the year 1815 he drew his inspiration mainly from the texts of Theodor Körner; however he regularly still produced settings for the poetry of Goethe and Schiller.Also available:High Voice & Piano BA 9106Low Voice & Piano BA 9146

Volume Viii - Songs 1928-1930-The Peter Warlock Critical Edition series represents a treasure trove of English song.This the eighth volume focuses upon songs for the Medium Voice from the period 1928-1930. The songs of Peter Warlock are inspiring and intriguing pieces that rank him with the greatest English composers of all time. This is truly a superb collection of some of the best of his work painstakingly and meticulously edited by Michael Pilkington. This revised Critical Edition is an accurate faithful and exhaustive volume that maintains Warlock’s original keys and intentions. With fifteen songs each featuring an in-depth commentary this is a tremendousacquisition for any enthusiasts of English song.

Volume Vii - Songs 1927-1928-The Peter Warlock Critical Edition series represents a treasure trove of English song.This the seventh volume focuses upon songs for the Medium Voice from the period 1927-1928. The songs of Peter Warlock are inspiring and intriguing pieces that rank him with the greatest English composers of all time. This is truly a superb collection of some of the best of his work painstakingly and meticulously edited by Michael Pilkington. This revised Critical Edition is an accurate faithful and exhaustive volume that maintains Warlock’s original keys and intentions. With twelve songs each featuring an in-depth commentary this is a tremendous acquisitionfor any enthusiasts of English song.

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. In the mid-1920s the young composer found a collection of prayers set to music among his maternal grandfather’s papers. Something clicked and from then on Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928 two years after publishing theDances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that several instrumental adaptations were soon created published under the title Chant hébraïque (for violin and piano: AL17 713; for cello and piano: AL 17196). Divided into three sections this wordless melody opens with a “sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows in which a “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance refusing to yield to resignation when fleeing Mussolini’s anti-Semitic laws he decided to emigrate in 1939 to the United States a land of refuge to which he would remain faithful until his death some thirty years later.

Voix Moyennes Et Piano-Recueil. Par PIERNE. Gabriel Pierne (1863-1937) was a French composer, conductor and organist. Despite being predominantly remembered as a conductor, his Trois Chansons De Metiers remains a recognised piece in the Vocal repertoire. Pierne studied at the Paris Conservatoire before taking up the position of chief conductor for the concert series, Concerts Colonne in 1910. He remained in the post until 1933, and during this time, he notably conducted the world premiere of Igor Stravinsky's The Firebird. Pierne composed for a variety of instruments. Trois Chansons DeMetiers is arranged for two vocal groups and contains many characteristics typical of the French style, such as lyrical melodies, a significant amount performance directions, flourishes of semiquavers, chromaticism and many changes in dynamics. Trois Chansons De Metiers, 1) The Tailor, 2) The Shoemakers, and 3) The Rope Maker, is a varied piece, essential to the repertoire of aspiring choristers./ Répertoire / Voix Moyennes et Piano

Voix Moyenne Et Piano-Recueil-Poulenc's five songs  Poèmes De Ronsard were composed in 1925 during the post-war euphoria. The cycle is essential to aspiring advanced vocalists of the French art song. Francis Poulenc (1899-1963) was a highly prolific composer and remains popular to this day. Poèmes De Ronsard was composed towards the beginning of the composer's career based on poems by prolific French poet Pierre de Ronsard. Poèmes De Ronsard is made up of five songs which alternate between lively and slow tempos; 1) Attributes 2) The Tomb 3) Ballet 4) Ionly have the Bones and 5) On his page. As a song cycle with much variation Poulenc's Poèmes De Ronsard is an exciting addition to the Vocal repertoire.

1.Modestes Vacances; 2.Les 2 Hôtels; 3.Le Boulanger; 4.La Maison inachevée; 5.Monsieur le Curé; 6.Les 3 Peupliers; 7.Paresse; 8.Les Conscrits; 9.Le Château; 10.L'Horizon; 11.Le Pêcheur; 12.Le Ruisseau; 13.La Petite Bergère; 14.Les Champignons; 15.Le Retour

Par FAURE GABRIEL. 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./ Répertoire / Voix Moyenne et Piano

The songs of A Garland for de la Mare are vintage Howells in their refinement harmonic subtleties and dreamlike quality. And although the cover says that there are ten songs in this set the songbook comprises thirteen songs including two versions of Before Dawn.Herbert Howells is a giant of 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. He was a sensitive composer for Voice and among the very best of his songs are these settings of verses by Walter de la Mare a personal friend. Howells had frequently discussed the publication of A Garden for de la Mare with Christopher Palmer (author of the major study ofthe composer’s life) but Palmer died prior to publication and Michael Pilkington saw the project through to completion.

Ce volume 3A 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. Pour plus de facilité, des traductions françaises sont aussi proposées pour trois lieder (un peu remaniées, elles datent du 19e siècle). Mais, sous cette apparente facilité, les morceaux choisis sont, pour la plupart, d'un mouvement assez lent, et donc, plus difficiles à lier et à animer. Ils aideront le jeune chanteur à extérioriser sa sensibilité musicale et poétique. On ne saurait trop recommander aux professeurs de commencer la formation vocale des élèves par des morceaux de tessiture moyenne, comme ceux des Plaisirs du chant avant d'aborder les recueils spécifiques pour soprano, mezzo, ténor ou baryton, dans un deuxième temps. La première pièce L'Amour de moy qui date du 15e siècle est donnée ici avec un accompagnement au piano, composé spécialement pour ce recueil, mais il est tout à fait possible de la chanter à voix seule, comme elle est notée dans le manuscrit de Bayeux. C'est même un excellent exercice. Jusqu'à la fin du 18e siècle, les ornements et variations n'étaient pas écrits dans les partitions, 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 l'élève pourra s'inspirer des ornements et variations très simples proposés dans le CD par les deux chanteurs. Toutes les pièces de ce recueil peuvent être interprétées par des voix féminines ou masculines, sans distinction. Pour le CD, j'ai demandé la collaboration d'une soprano et d'un ténor dans le seul but de varier la couleur à l'écoute du disque. Ces deux artistes ont chanté avec une grande économie de moyens pour que l'exemple ne soit pas trop lyrique et n'incite pas les jeunes chanteurs à dépenser une énergie inutile et néfaste. L'accompagnement, enregistré au piano seul, aidera à la mise en place du morceau avant le travail avec l'accompagnateur. Pour les exercices préliminaires à l'étude d'un morceau, on peut s'inspirer des exercices pour les débuts qui figurent dans mon ouvrage Le Professeur de chant : un luthier qui construit une voix (référence: VV375 ) paru aux éditions Van de Velde. L'expérience prouve que toutes les pièces du recueil sont adoptées avec plaisir par les étudiants et suscitent des progrès sur le plan vocal et musical. Jacqueline Bonnardot Contenu : Anonyme du 15e siècle : L'amour de moy - Flies B. : Berceuse (attribuée à Mozart) - Glück C.W. : On s'étonnerait moins (Armide) - Haendel G.F. : He Shall Feed His Flock (Le Messie) - Legrenzi Ciampi V. : Nina (Tre Cicisbei ridicoli) - Massenet J. : Le sais-tu ? - Monteverdi C. : Maledetto sia l'aspetto - Moulinié E. : Paisible et ténébreuse nuit - Scarlatti A. : Cara e Dolce Libertà - Schumann R. : La Coccinelle - Les Perce-neige - Traditionnel anglais : Willow Willow Compositeur/Auteur : BONNARDOT Jacqueline Discipline/Instrument : voix moyenne et piano Collection : Bonnardot Jacqueline Support : Partition + CD Style/Genre : classique Date de parution : août-08 Nombre de pages : 30