25 signature standards from this Oscar- Tony- and Emmy-winning superstar all transcribed exactly as sung in their original keys! Includes: And All That Jazz - Cabaret - City Lights - Liza with a Z - Losing My Mind - Maybe This Time - Me and My Baby - Mein Herr - My Own Best Friend - Theme from New York New York - Nowadays - Ring Them Bells - Stepping Out - Taking a Chance on Love - and more plus a foreword by Michael Feinstein!

16 Vocalizzi Per Voce Acuta-Gathered in a unique volume all the vocalises previously published in two anthologies by Ricordi in the Thirties. - All the 16 vocalises of each volume (low voice medium voice high voice) have been composed by very important composers of theNineteenth century like Alfano Malipiero Respighi Casella Pizzetti. - With piano accompaniment for each vocalise.

Peu à peu créé off-Broadway au Théâtre La Société York, mettant en vedette Liz Larsen, Christiane Noll, et Darrin Baker, sous la direction d'Annette Jolles. Après la production York, un enregistrement casting original a été libéré, le spectacle a été autorisé et publié par Samuel française, et il est effectué à travers le monde. Avec la musique de Brad Ross et les paroles par Ellen Greenfield et Hal Hackady, chansons du spectacle sont devenus des classiques parmi les chanteurs de comédies musicales pour les auditions, récitals et spectacles. Brad Ross et Alfred Music sont fiers de vous présenter ce petit première By Little folio sélections vocales. / Voix Et Piano

Craig Hella Johnson Choral Series-Singer/songwriter Eliza Gilkyson wrote “Requiem” as a song of grief following the Asian tsunami in December 2004 and the song found a renewed audience after Hurricane Katrina devastated the Gulf Coast region. Thissetting by Conspirare conductor Craig Hella Johnson has been long anticipated by choral groups around the world and is powerful in its emotional impact. Duration: ca. 4:10. Recorded by Conspirare – Craig Hella Johnson conductor

Description The most important religious songs of the past 250 years appear in this collection, a treasury of sacred songs known and loved by singers and listeners at home, in church, and in concert. This compilation includes settings of Ave Maria, Ave Verum Corpus and Panis Angelicus. Songlist Agnus Dei [Bizet, Georges] And God Shall Wipe Away All Tears (The Light Of The World) [Sullivan, Arthur] Ave Maria [Bach, Johann Sebastian] [Gounod, Charles] Ave Maria [Franck, Cesar] Ave Maria Op.52 No.6 [Schubert, Franz] Ave Verum Corpus [Chausson, Ernest] Ave Verum Corpus K.618 [Mozart, Wolfgang Amadeus] Cantique De Jean Racine [Faure, Gabriel] Contentment [Mozart, Wolfgang Amadeus] En Priere [Faure, Gabriel] Hosanna [Granier, Jules] Jerusalem [Parry, Hubert] Jesu, Joy Of Man's Desiring (Cantata BWV 147) Kol Nidre La Procession [Franck, Cesar] Le Crucifix [Faure, Jean-Baptiste] Le Sommeil De L'enfant Jesus [Busser, Henri] Litany For All Souls' Day [Schubert, Franz] My Heart Ever Faithful [Bach, Johann Sebastian] Nazareth [Gounod, Charles] No Candle Was There And No Fire [Lehman, Liza] Noel [Holmes, Augusta] O Divine Redeemer [Gounod, Charles] O For The Wings Of A Dove [Mendelssohn, Felix] O Holy Night (Cantique de Noel) [Adam, Adolphe] Panis Angelicus [Charpentier, Marc Antoine] Panis Angelicus [Franck, Cesar] Pie Jesu (Requiem) [Faure, Gabriel] Pieta, Signore [Stradella, Alessandro] Preghiera [Rossini, Gioacchino] Ring Out, Wild Bells [Gounod, Charles] Sleeping Christ Child [Wolf, Hugo] Tantum Ergo [Franck, Cesar] Tantum Ergo [Vierne, Louis] The Heavens Declare [Beethoven, Ludwig Van] The Holy City [Adams, Stephen] The Lost Chord [Sullivan, Arthur] The Palms [Faure, Jean-baptiste] The Virgin's Slumber-song [Reger, Max] There Is A Green Hill Far Away [Gounod, Charles] To Thee, My God [Beethoven, Ludwig Van]

Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

This edition of The North Sea Ground is dedicated to the memory of Gordon Cumming the former secretary of the Oxford and Cambridge Musical Club whose interest in Moeran prompted the intervention that rescued the manuscript from possible destruction and ensured its preservation.Editorial NotesThe text written by Moeran in his manuscript shows some differences when compared with the poem as it was published in Punch magazine. Most of these are minor alterations in punctuation and word capitalization. In each case the Punch source has been used for the performing edition.The main textual variation is Moeran’s omission of the fifthverse of the poem. There is no way to change this in the musical setting so for completion the verse is included in brackets in the poem text. There is one difference in the set words: the third line of verse 6 (fifth set verse) has the word sweep in the original where Moeran’s manuscript has keep. This edition replaces Moeran’s word with sweep as this is both poetically consistent and true to the original verse.Throughout the original poem many words are apostrophized: for example lyin’ for lying an’ for and goin’ for going. This usage is consistent throughout the poem with the exception of the last line of the final verse where the word lying evokes a heightened poignancy. Moeran’s text is inconsistent and apparently random. Again the usage in the poem has been followed for this performing edition.The musical transcription is true to Moeran’s manuscript with the exception of the addition of a number of rests that were (presumably accidentally) omitted. Some of the more extreme range notes have also been rendered more readable by the use of octave-shift notation. The ties in the piano in bars 31 and the end of 59 are editorial.AcknowledgementsI am indebted to John Talbot former Chairman of the British Music Society for assistance in the preparation of this performing edition and I would like to

Edizione tradizionale rilegata in tela e oro. Par VERDI GIUSEPPE. The hidden sadness and frustration of living as a moral outcast, the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish, the destruction of all hope in an unrealistic love affair. . . this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music, transforming her individual fate into a universal representation of human suffering. His compassion for her, however, met with bigoted censure: the bourgeois public, scandalized by the presence of a kept woman as a character on the stage, gave the opera an icy reception at its premiere in Venice (Teatro La Fenice, 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year, when La traviata was revived for another production in Venice (Teatro San Benedetto), did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves./ Répertoire / Chant et Piano

Das Veilchen-The elegant playful endlessly creative pen of Mozart wrote this short song on 8 June 1785 in Vienna. The three-verse poem by Goethe had already been set to music by at least four composers before Mozart was inspired to write.While the poem has three equal stanzas the song has three distinct moods relating to the words. They tell the sad tale of a violet symbolizing a young man who loves a young shepherdess. The shepherdess carelessly tramplesthe violet who manages to die happily for love. Mozart himself added a final sympathetic line of text. The range is not demanding and there are useful notes in this edition on ornamentation making this a charming addition toa younger singer’s repertoire as well as to an experienced singer’s collection.

We do not know very much about Handel's compositions on poems by Barthold Heinrich Brockes. We can only date their composition to approximately 1724-1727. The autograph does not shed any light on the titles nor the sequence of theworks. It does not even give the instrumentation. Thus there are several alternatives for the solo instrument that imitates the vocal part - although violin, flute or oboe are the most likely. Henle's practical edition not onlycontains additional parts for the solo instrument and the bassbut also a realization of the figured bass in the score by the editor Ullrich Scheideler.
1. Künft'ger Zeiten eitler Kummer E flat major HWV 202
2. Das zitternde Glänzen der spielenden Wellen E flat major HWV 203
3. Süßer Blumen Ambraflocken g minor HWV 204
4. Süße Stille, sanfte Quelle F major HWV 205
5. Singe, Seele, Gott zum Preise a minor HWV 206
6. Meine Seele hört im Sehen B flat major HWV 207
7. Die ihr aus dunklen Grüften B flat major HWV 208
8. In den angenehmen Büschen d minor HWV 209
9. Flammende Rose, Zierde der Erde A major HWV 210
/ Partitions classique / Vocale - chorale / Voix solo - piano / HENLE VERLAG