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Piano, Voice
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Dichterliebe Op. 48 (SCHUMANN ROBERT)
Piano, Voice
[Sheet music]
Barenreiter
Par SCHUMANN ROBERT. Robert Schumann once described his lieder as a ”mirror im...
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Par SCHUMANN ROBERT. Robert Schumann once described his lieder as a ”mirror image of his self”. This applies particularly to his compositions from Heinrich Heine's 'Buch der Lieder”. What began as a lyrical intermezzo, then developed into 'Dichterliebe”, a work with which Schumann identified the ardour of his love for Clara Wieck. This work still presents an enigma to performers- how Schumann interpretes Heine's irony in his music is often discussed. But one thing is certain: with 'Dichterliebe” the composer created what is perhaps the best-loved and one of the most tightly-woven lieder cycles of the Romantic period. This new edition presents the work based on the first edition. It takes Schumann's autograph score into consideration, an autograph score where there have recently been discussions as to whether it should be presented as an independent alternative version. The four lieder omitted by Schumann from the printed edition are included in the appendix. - High-quality Urtext edition of this well-known song cycle - Appendix includes four lieder by Schumann which he did not include in the original cycle - Comprehensive foreword and critical commentary (Ger/Eng)/ Répertoire / Chant et Piano
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Trovatore (VERDI GIUSEPPE)
Piano, Voice
Ricordi
Vocal Score / Softcover. Par VERDI GIUSEPPE. In a letter of 2 January 1851, Verd...
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Vocal Score / Softcover. Par VERDI GIUSEPPE. In a letter of 2 January 1851, Verdi suggested for the first time Antonio Garcia Gutierrez play El Trovador as a possible subject for his new Opera: 'It seems to me very beautiful, imaginative, and full of strong situations'. Once he had settled on the subject, the composer immediately began looking for a theater in which to produce the Opera and after protracted negotiations he decided to stage Il Trovatore in Rome. The premiere occurred on 19 January 1853 at the Teatro Apollo and was an enormous success. The appreciation of the new work increased from performance to performance. The third performance was the last the composer was contractuallyobliged to attend: at the end of the evening the audience presented Verdi with two laurel wreaths. Verdi 's account of the performances, contained in a letter to his friend Clarina Maffei, was eloquent: 'They say that this Opera is too sad and that there are too many deaths. But ultimetley in life everything is death! What exists?. . . ' Notwithstanding Verdi 's pessimism, Il Trovatore circulated rapidly. In fact, no other Opera of Verdi except 'Ernani' enjoyed such instant and widespread success./ Répertoire / Chant et Piano
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Oratoria on words of the bible (Vocal score) (HENSEL FANNY)
Piano, Voice
[Sheet music]
Furore Verlag
Par HENSEL FANNY. ?This oratorio is the third of three church works composed in ...
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Par HENSEL FANNY. ?This oratorio is the third of three church works composed in rapid succession on 1831; its scoring is more abundant than that of the cantatas composed prior to it: there are five- to eight-part choruses and the orchestra is expanded to include three trombones. Once again Fanny Hensel-Mendelssohn looks back in musical history, this time to the pre-Baroque era, and adds a new dimension to her own compositional language by doing so. At times modal harmonies create an ?archaic? atmosphere for the biblical texts. Performance material available on hire. ? / Date parution : 2023-05-06/ Répertoire / Chant et Piano
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Alceste (GLUCK CHRISTOPH WILLIBALD)
Piano, Voice
[Sheet music]
Barenreiter
Vienna Version - 1767. Par GLUCK CHRISTOPH WILLIBALD. With the premiere of Gluck...
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Vienna Version - 1767. Par GLUCK CHRISTOPH WILLIBALD. With the premiere of Gluck's 'Alceste”, the 'Burgtheater” Vienna reopened its doors, concluding a period of moarning that had been decreed following the death of Archduchess Maria Josepha. Calzabigi's inspiration for the libretto, which, despite including an element of wonder, focuses entirely on death and the afterworld, most likely stemmed from the death of Empress Maria Theresia's husband. In Euripides' 'Alkestis”, the librettist might have recognized a sufferer akin to the imperial widow, who was highly regarded by her people. Following in the Greek tragedy tradition, Gluck once more sought to emphasize the unity of the work as a whole and the interplay of all elements involved, including costumes and stage design. He placed great importance on integrating the chorus into the happenings on stage. Bärenreiter now presents a newly engraved vocal score which has been meticulously revised, corrected and adapted to meet current Bärenreiter standards. / Date parution : 2019-11-21/ Répertoire / Chant et Piano
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Gaston Couté par Michel Desproges
Français
Piano, Voice
[Sheet music]
Fortin
Longtemps après François Villon, l'?uvre de ce rebelle, pétrie d'humanité, e...
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Longtemps après François Villon, l'?uvre de ce rebelle, pétrie d'humanité, enraciné dans la vie, annonce celle de Georges Brassens.
Et ses vers nous parviennent encore, un siècle après, ` coupants comme des lames de faulx `,
Après avoir mis en musique des ?uvres de Villon, du Bellay, Rimbaud, et surtout Baudelaire, Michel Desproges, qui interprétait depuis déjà longtemps Couté, a voulu enrichir ce répertoire avec de nouvelles mélodies, plus actuelles, qui soulignent à merveille les accents poignants des poésies de Gaston Couté. / Partitions /
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Jakob Lenz (RIHM WOLFGANG)
Piano, Voice
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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Mélodies Choisies (Book/Download Card)
Français
Piano, Voice
[Sheet music + Audio access]
Leduc, Alphonse
Exceptional singer Reynaldo Hahn (1875-1947) owes his early successes to the 'so...
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Exceptional singer Reynaldo Hahn (1875-1947) owes his early successes to the 'songs for voice and piano? genre, whose raison d'être he defines in his journal as follows: 'To highlight a poem, word for word but without uniformity - to emphasize its meaning without distorting it - to shine light upon one idea, obscure another and present it all in vocal, sung form - to produce a sharp, precise sensation by touching a heartstring or evoking an image - all in a well-structured and tastefully written piece?. Enhanced by an audio version attached as a download card, this anthology of songs should dispel a good many misconceptions. This is no salon miniature: L'Heure exquise radiates an infinite tenderness, exalted by the high vocal cadences of Ô Bien-Aimée! and C'est l'heure exquise, which surely wrought tears from the author of the verses, Verlaine. Tyndaris, the jewel of Heures latines, clears a crystal-clear space given over to the delights of slumber and of love. Like D'une prison and Cygnes, these songs do more than wet the eyes: they grip the heart. / Voix Et Piano
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Le Willis (PUCCINI GIACOMO)
Piano, Voice
Ricordi
Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIAC...
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Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number – pages that were later removed, in order to make space for the new material produced for Le Villi– are also proposed as the principal text.Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor proves that the vocal material produced for the first performance of Willis was not copied from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano
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Les Plaideurs De Jean Racine En Do Majeur (WOLFF FELICIEN)
Français
Piano, Voice
-
Intermediate/advanced
Delatour France
Réduction Piano-Chant. Par WOLFF FELICIEN. Le Conservatoire (à l'époque encor...
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Réduction Piano-Chant. Par WOLFF FELICIEN. Le Conservatoire (à l'époque encore municipal) où je venais d'entrer comme professeur de piano et de solfège, devenait national sous la direction de E. P. Stekel. Celui-ci, qui connaissait mes titres de Premier Prix d'Ecriture Musicale (Fugue), de Premier Prix d'orgue et improvisation du CNSM de Paris, fit changer ma nomination et je devins professeur en ces matières. E. P. Stekel m'encouragea à reprendre la composition. Ainsi naquirent ma Symphonie concertante pour trompette solo et orchestre et ma Symphonie Jonas pour cordes seules, toutes deux exécutées sous diverses directions. Paul Dukas, dont j'avais fréquenté la classe de composition, nous recommandait pour la préparation au concours de Rome (concours qui n'existe plus aujourd'hui, c'était un concours de théâtre musical) de choisir nos sujets dans les pièces des grands classiques français. Aussi l'idée me vint de m'inspirer de la comédie de Racine Les Plaideurs et d'illustrer certaines scènes - préludées par une Ouverture et Allegro fugato - reliées entre elles par des interludes instrumentaux ou choraux et se terminant par un choeur d'envergure sur les paroles de conclusion de la pièce : 'Allons nous divertir à voir d'autres procès'. / Niveau : Assez Difficile / Contemporain / Date parution : 2004-05-01/ Répertoire / Chant et Piano
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TANGO CANCION (HIGH VOICE)
Piano, Voice
[Sheet music]
Peters
Par . This collection of Argentinean tangos for voice and piano offers a cross-s...
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Par . This collection of Argentinean tangos for voice and piano offers a cross-section of tango across the ages, from the beginnings, through the Gardel era, the golden age and Tango nuevo (of Piazzolla and others), right up to contemporary compositions ? creating a perfect tango concert program. Whether used within a song recital, as encores, or as music for dance events, the repertoire in Tango canción is completely versatile and suitable for singers from all backgrounds. Arranged by the Argentinean composer, pianist and tango expert Juan María Solare, these songs retain an authentic tango sound while making the vocal and piano writing approachable by all ? especially those who are not familiar with the repertoire. Additional information and performance tips help performers achieve the passion of tango. A cross-section of Argentinean tangos from the beginnings up to the present day Easier and intermediate-level pieces, with practical piano accompaniments Includes introductions to the songs, translations of the lyrics and a guide to pronunciation Ideal as a complete concert programme. / Date parution : 2022-11-12/ Recueil / Chant et Piano
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Catone In Utica
Piano, Voice
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
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The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Catone In Utica
Piano, Voice
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
(+)
The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Vivaldi A. - Orlando Furioso - Chant-piano
Français
Piano, Voice
Editions Buissonnieres
L'œuvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire su...
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L'œuvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notament les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une œuvre colossale, préservée en grande partie par la Bibliothèque de Turin : plus de 450 compositions manuscrites, en grande partie autographes. Orlando furioso, drame héroïco-magique représenté au Teatro S. Angelo de Venise à l'automne 1727, prend place à l'exacte mi-temps de la carrière lyrique de Vivaldi. Quatorze années plus tôt, au mois de mai 1713, le Prete Rosso présentait à Vicence son premier opéra connu, Ottone in villa. Quatorze années plus tard, il s'éteignait dans l'oubli après avoir vainement tenté de faire représenter à Vienne son ultime opéra, L'Oracolo in Messenia. Grâce au travail remarquable du librettiste, Grazio Braccioli, qui a su conserver de l'œuvre originale d'Arioste son essence poétique et sa dimension humaniste, Vivaldi y fait éclater le schéma conventionnel du dramma per musica, explorant les formes musicales les plus variées, bousculant la hiérarchie classique des personnages et superposant les actions dramatiques, toutes conduites avec une remarquable efficacité. Près de trois siècles après sa création, l'on demeure confondu face à l'extraordinaire richesse musicale et dramatique de l'œuvre, pièce éblouissante où se mêlent toutes les formes existantes du théâtre chanté. La reconstitution de l'opéra a nécessité un important travail préparatoire sur le manuscrit turinois, particulièrement complexe, mêlant des feuillets soigneusement calligraphiés à des feuillets griffonnés à la hâte et comportant de multiples insertions, fragments ou retranchements, ainsi qu'une numérotation irrégulière des scènes. Jacques Manet en a enfin réalisé une version pour clavier très attendue par les chanteurs, mettant ainsi à la portée du plus grand nombre une œuvre dans sa version complète, telle qu'elle fut conçue en 1727 par Vivaldi. Réduction chant et clavier : format A4, 286 pages, sur papier ivoire - Arrangement pour clavier : Jacques Manet - Présentation : Frédéric Delaméa - Traduction en anglais : Elizabeth Szostak-Clerc
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DONIZETTI GAETANO - LUCIA DI LAMMERMOOR - VOIX and PIANO
Piano, Voice
Ricordi
Lucia di Lammermoor de Gaetano Donizetti, ecrit sur un livret de Salvadore Camma...
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Lucia di Lammermoor de Gaetano Donizetti, ecrit sur un livret de Salvadore Cammarano, a ete cree au Teatro di San Carlo de Naples le 26 septembre 1835. Il est reste au repertoire sans interruption comme l'un des operas les plus populaires de Donizetti tout au long de son existence de pres de 200 ans. L'edition propose comme texte principal une version de l'opera qui, en majeure partie, est aussi fidele que possible a celle donnee lors de la premiere a Naples. L'edition critique retablit les tonalites originales, conservant ainsi la conception harmonique globale de Donizetti, mais aborde les transpositions qui sont entrees plus tard dans la tradition d'interpretation et d'edition de l'opera. Nous presentons ici la reduction pour voix et piano. / Partitions classique / Vocale - chorale / Voix solo - piano / RICORDI
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Songs Of Christmas - Voice And Piano
Piano, Voice
47 favourite songs Instrument : Voice and Piano Type : song book Nombre de Page...
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47 favourite songs Instrument : Voice and Piano Type : song book Nombre de Pages : 100 Six outstanding collections of favourite songs (Songs of England, Songs of Ireland, Songs of Scotland, Songs of Wales, Songs of Christmas, Songs of the Americans). All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the classroom, or even as concert item! An international collection, including Stille Nacht, Fum! Fum! Fum!, Mary Had a Baby and O Tannenbaum The edition is part of the ABRSM syllabus (grades 1, 2 and 3). Content : As Joseph was a-Walking - Come and Adore Him - En Balén tocan a fuego - En nombre del Cielo - Es steht ein'Lind'im Himmelreich - Gabriel's Message - Go Tell it on the Mountain - Huachitorito - I Wonder as I Wander - Il est né le divin Enfant! - No Room was there for Mary - O Sleep My Pretty Baby - O Tannenbaum - Rise Up Shepherd - Rocky Rocky Road - Stille Nacht! heilige Nacht! - The Carnal and the Crane - The Yodlers' Carol - Un flambeau Jeanette Isabella! - Up Good Christian Folk - Wassail Song - Zither Carol - A la ru-ru-ru - A Yuletide Feast - All Poor Men and Humble - Carol of the Drum - Célébrons la Naissance - Christmas in Rome - De tierra lejana venimos - Earth's Joy - Es wird schon gleich dunkel - Fum Fum Fum! - Heer Jezus heeft een Hofken - Huron Indian Carol - Infant Holy Infant Lowly - Jesi is Crying - Joseph lieber Joseph mein - Lippai steh auf vom Schlaf - Lullaby for baby Jesus - Mary had a Baby - Quelle est cette odeur agréable - Sans Day Carol - The Cuckoo Carol - The Gower Wassail - The Holly Tree - The Praise of Christmas - The Virgin Mary had a Baby Boy
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Songs Of The Americas - Voice And Piano
Piano, Voice
Boosey and Hawkes
48 Favourite Songs Instrument : voice and piano Type : song book Nombre de Page...
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48 Favourite Songs Instrument : voice and piano Type : song book Nombre de Pages : 110 Six outstanding collections of favourite songs. All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the clasroom, or even as concert items! Songs of the Americas is a collection from north, central and south America and the West Indies including Li'l Liza Jane, Land of the Silver Birch, Banana Boat Song, Deep River and Yankee Doodle. The edition is part of the ABRSM syllabus (grades 1 and 3). Content : A Life on the Ocean Wave - Deep River - Dona Dona - Jamaica Farewell - La Cucaracha - Land of the Silver Birch - Mango Walk - My Old Kentucky Home - Old Folks at Home - One More River - The Erie Canal - The Gypsey Davey - The Wreck of Sloop John B - Water Come a Me Eye - Angelico - Banana Boat Song - Carmen Carmela - Clementine - Dixie - Donkey Riding - Drill ye tarriers - Farewell My Own True Love, - Jeannie with the Light Brown Hair - Jennie Jenkins - John Brown's Body - Li'l Liza Jane - Linstead Market - Marching through Georgia - My Grandfather's Clock - No Other Moon - Nobody Knows the Trouble I've Seen - Patrick on the Railroad - Pay Me My Money Down - Riddles - Sambalele - Santy Anno - Shenandoah - Simple Gifts - Steal Away - Swing Low sweet Chariot - The Greenland Whale Fishery - The Old Man Who Lived in the Wood - The Shanty-Boys in the Pine - The Streets of Laredo - The Yellow Rose of Texas - Tortilla Vendor - When Johnny Comes Marching Home - Yankee Doodle
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Le Villi (PUCCINI GIACOMO)
Piano, Voice
Ricordi
Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIAC...
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Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020.The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike.The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor demonstrates that the vocal material realized for the first performance of Willis was not derived from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano
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La Fida ninfa, opéra, réduction chant et clavier (VIVALDI ANTONIO) (VIVALDI ANTONIO)
Français
Piano, Voice
[Sheet music]
Editions Buissonnieres
Par VIVALDI ANTONIO. L'?uvre lyrique de Vivaldi reste paradoxalement méconnue :...
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Par VIVALDI ANTONIO. L'?uvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notamment les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une ?uvre colossale, préservée en grande partie à la bibliothèque de Turin : plus de 450 compositions manuscrites, pour la majorité autographes. Créé à Vérone en janvier 1732, pour l?inauguration du Teatro Filarmonico,cet opéra est tombé dans l?oubli, malgré la beauté et la virtuosité des arias. La redécouverte du manuscrit, conservé à la bibliothèque de Turin, a permis d?en faire une édition complète, inédite, en 2004. Le matériel d'orchestre, 'urtext', a été préparé à partir de ce manuscrit. Il a été revisé par Jean-Christophe Spinosi, directeur musical de l'ensemble Matheus, et Laurence Paugam (premier violon de l'ensemble) et enregistré par cet ensemble en 2008. Le matériel d'orchestre de l'opéra La fida ninfa est disponible en location et en réduction clavier (consulter le site des Editions Buissonnières), ainsi que les airs, individuellement. / Date parution : 2013-05-02/ Répertoire / Chant et Clavier
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Des Knaben Wunderhorn And The Ru (MAHLER GUSTAV)
Piano, Voice
[Sheet music]
Dover Publications
Par MAHLER GUSTAV. Des Knaben Wunderhorn was an assemblage of folksongs and folk...
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Par MAHLER GUSTAV. Des Knaben Wunderhorn was an assemblage of folksongs and folksong-style poems collected and adapted in 1805 and 1808 by poets to reflect their concept of German folk poetry. In 1887, Mahler discovered the musical potential of this collection and over the next 14 years it provided him with most of his song texts. In addition to Mahler's 23 songs on Wunderhorn texts this compilation contains his settings of five poems by Friedrich Ruckert./ Répertoire / Chant et Piano
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Showkits #2: Henry (WEDGWOOD PAM / GREGORY F)
Piano, Voice
[Sheet music]
-
Easy
Faber Music Limited
Par WEDGWOOD PAM / GREGORY F.. Showkits is a brand new concept in classroom proj...
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Par WEDGWOOD PAM / GREGORY F.. Showkits is a brand new concept in classroom project work. This pack has been designed for teachers to use and develop according to their own strengths and interests. It can be used in a variety of ways: History Topic - based around the life and times of Henry VIII. All the activity suggestions are closely related to the National Curriculum, and draw ideas from all areas of the timetable. Drama/English Project - use the outline plot provided to encourage the class to write or improvise and perform their own script. Music Project - use the songs provided, the musical activities and the story as pointers to a themed approach to a series of music lessons. School Production - for those with ambition, use the story-line as a basis for a script, and create a mini-musical with drama, dancing and singing, tailored exactly to your own resources. Suitable for the National Curriculum Key Stages 2-3. / Niveau : Facile / Recueil / Chant et Piano
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Junior Jazz Beginning Steps To Singing Jazz 2-Part Book.1
Piano, Voice
-
Intermediate
Hal Leonard
C'est ce que vous attendiez! Présentez vos jeunes chanteurs à l'essentiel du j...
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C'est ce que vous attendiez! Présentez vos jeunes chanteurs à l'essentiel du jazz vocal avec trois chansons originales illustrant un concept de jazz en particulier. Avec des notes éducatrice inclus, c'est une excellente introduction à une forme d'art américaine originale. Chansons comprennent: Blues, Blues, Blues, Riff Ville- inflexions. Disponible: 2-Partie, ShowTrax CD. Grades 3-8. / Chant Et Piano
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The Resurrection of Christ (NICHOLS RICHARD)
Piano, Voice
[Sheet music]
Hal Leonard
Par NICHOLS RICHARD. As each verse begins with the concept of Christ's death, ea...
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Par NICHOLS RICHARD. As each verse begins with the concept of Christ's death, each chorus erupts with joy as we celebrate the resurrection of Christ. A triumphant and stately accompaniment creates the landscape for the unfolding story of the gospel of Christ. / Date parution : 2022-07-28/ Répertoire / Chant et Piano
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