This volume contains all 53 songs set to the work of the German poet Eduard Morike. Reproduced from the 2nd revised Heckel edition. Includes a new literal prose translation of the lyrics and glossary of German musical terms.

This fantastic new edition features 18 beloved songs and a special color section of photos from the original Broadway production the motion picture and the television movie! Also includes the story of Annie andbiographies of composers Martin Charnin and Charles Strouse. Songs are in piano/vocal format: Annie ? Easy Street ? I Don't Need Anything but You ? I Think I'm Gonna Like It Here ? It's the Hard-Knock Life? Let's Go to the Movies ? Little Girls ? Maybe ? A New Deal for Christmas ? N.Y.C. ? Sandy (Dumb Dog) ? Sign! ? Something Was Missing ? Tomorrow ? We Got Annie ? We'd Like toThank You Herbert Hoover ? You Won't Be an Orphan for Long ? You're Never Fully Dressed Without a Smile.

15 empowering songs, including: Imagine, Lean on Me, One Call Away, Over the Rainbow, Times Like These and more! All songs are presented for piano, vocal and guitar with full lyrics and guitar chord diagrams.

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-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's 'Aida') * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My Eng / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

2013 Revival-19 selections from the recent Broadway revival of the hit Wildhorn/Bricusse musical are featured in this collection including the popular songs ?Someone like You? and ?This Is the Moment ? plus: Alive!? Bring on the Men ? Confrontation ? Facade ? In His Eyes ? Letting Go ? Murder ? A New Life ? Once upon a Dream ? The Way Back ? and more.

Par KREISLER GEORG. Georg Kreisler was a voice of warning, both severe and understanding, who saw his non-homelike chances in music and language and used them to show his fellow human beings manifold opportunities of feeling and thinking. The first edition of Lieder und Chansons compiles all of Kreisler's marvellously wicked works in several anthologies for voice and piano. Organized by topics like 'Home and Homelessness', 'Surreal and Philosophical', 'Love, Eroticism and Sex', this edition provides easy access to his oeuvre. Vol. 5 completes the themes of 'Daily life and coping with it', 'Men and Women' and 'Politics and Law and Order' from Vol. 1 with songs like Was tut man, um zu sein, Der Bluntschli, Kreuzworträtsel, Der zweitälteste Frauenberuf or Ihr wisst gar nichts./ Recueil / Chant et Piano

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

The updated colour edition of this best-selling Christmas title. Here's a feel-good assortment of music stories recipes and poems that perfectly captures the traditional spirit of Christmas and the season of goodwill.Includes:Magical stories from the likes of Dickens and Hans Christian AndersonRecipes of good cheer and Christmas dishes with a differenceYuletide poems by Tennyson Hardy Shakespeare and muchmore.All seasonal songs and carols are arranged for piano and voice there is enough here to occupy any Christmas time for children and adults of all ages!

Was Bedeutet Die Bewegung... a Mendelssohn song cycle for Baritone and Strings was premiered in 2012 by the renowned Baritone Matthias Goerne. This is no workaday transcription: in addition to skilfully arranging seven Mendelssohn songs for Strings and Voice Rasch has created a number of striking interludes to link the songs together. These interludes written in Rasch’s own post-Romantic voice and containing modern techniques including glissandi and snap-pizzicati add a whole new dimension to the 25-minute cycle startlingly revealing its dark undercurrents and psychologies.