Par SILVERMAN JERRY. Une vaste collection de chansons chéris de la mer, les rivières, les lacs et les canaux de capturer la romance, aventure, batailles et essais de folk maritime du monde sur. Ecrite pour voix et piano et cordes de guitare. / Niveau : Débutant à Intermédiaire / Folk - Songbooks / Recueil / Chant et Piano

Par . “Una voce poco profonda”: Curtain up for Trouser Roles and Heroines Whether the voice is lyric light or heavy, whether it can master coloratura, perhaps even has dramatic potential – in the OperAria mezzo-soprano and alto volumes, singers with a deeper voice and a special talent for the trouser role through to the heroine find everything they need for their performance. Throbbing of the heart? Yes, that’s simply part of the game! Feeling nervous? No, because actually nothing can go wrong with OperAria. The best vocal coach for auditions and current theatre practice. Only the voice needs to do its bit. Toi, toi, toi! “Our goal is to give the user a modern-day, systematically structured vocal coach who satisfies the demands of present-day theater practice. At long last a consistent repertoire and a well-ordered conflation of respective audition arias for all vocal genres.” (Peter Anton Ling and Marina Sandel, editors) OperAria – repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera’s plot an evaluation from the singer’s point of view with “phonetic assistant” and “text assistant” aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2022-11-04/ Recueil / Chant et Piano

Little Voices Christmas brings together five fun festive songs specially selected and arranged in two parts for young groups and choirs. The included CD contains compete vocal and Piano versions plus Piano-only accompaniments to each song. Each themed book in the Little Voices series contains five songs that make a perfect introduction to part-singing for beginner groups. 'No frills, good quality music appropriately arranged for young choirs, this songbook delivers exactly what is promised. It also represents excellent value for money.' - Sarah Shaw, Music Teacher Magazine / Chant Et Piano

Part of the popular 'Top Ten' series, this collection contains ten carefully selected pieces in the jazz style.There is such variety within the genre we call 'jazz' it seems almost impossible to do it justice in just ten songs, but we've given it our best shot. We've unforgettable standards, like Duke Ellington's 'Take The A Train', and 'Fly Me To The Moon' as popularised by Frank Sinatra - elegant tunes from the 1930s, such as 'The Way You Look Tonight' and 'The Very Thought Of You' - classic numbers from the late 50s and early 60s, 'So What' and 'Cantaloupe Island' - and we make no apology for stretching the jazz definition to accommodate the gorgeous 'Girl From Ipanema'!Some of the pieces are arranged for Piano and Voice - others are purely instrumental, but every one possesses that special something that has earned it a place in our collection, and indeed in the heads and hearts of countless jazz lovers around the world.Each piece in The Top Ten Jazz Songs To Play On Piano is accompanied by interesting background notes to give you that extra bit of insight. / Piano

Little Voices Showtunes brings together five fun songs from stand-out musicals, all specially selected and arranged in two parts (SS) for young groups and choirs. The included CD contains complete Vocal and Piano versions plus Piano-only accompaniments to each song. Each themed book in the Little Voices series contains five songs that make a perfect introduction to part-singing for beginner groups. / Chant Et Piano

Schumann's song cycle 'Frauenliebe und Leben?, on poems by Adelbert von Chamisso, deals with the trauma of a woman who loses the man who was her first love and the guiding light of her life. Schumann himself completed what is perhaps his most unified song cycle in blissful anticipation of his union with Clara Wieck.This new edition presents the work on the basis of the first print, using Schumann's autograph for purposes of consultation. The alternative readings in the autograph vocal part also give singers valuable tips for a nuanced delivery of the words.- Original edition for medium voice- Comprehensive bilingual foreword (Ger/Eng) and Critical Commentary (Ger)- The song texts are printed separately and include English translations taken from Richard Stokes' publication 'The Book of Lieder?ContentsI. Seit ich ihn gesehenII. Er, der Herrlichste von allenIII. Ich kann's nicht fassen, nicht glaubenIV. Du Ring an meinem FingerV. Helft mir, ihr SchwesternVI. Süßer Freund, du blickestVII. An meinem Herzen, an meiner BrustVIII. Nun hast du mir den ersten Schmerz getan / Voix Et Piano

Compilation. Treize transcriptions pour piano. Les partitions sont graduées en niveaux de difficultés (de 1 à 9) / Rép Français / Recueil / Chant et Piano

The five-volume ABRSM Songbook series offers singers and teachers an unrivalled choice of repertoire that will provide the bedrock for many years of vocal study. The series features over 100 art songs from Grades 15 of ABRSM's Singing syllabus and CDs of piano accompaniments to all the art songs as well as recordings of the text to every song. / Voix

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

Piano solo / Elisa (Gainsbourg); Santiano (Aufray); Armstrong (Nougaro); Le petit âne gris (Aufray); Les Champs-Elysées (Dassin); Le lion est mort ce soir; Les copains d'abord (brassens); Le lundi au soleil (François); En l'an 2001 (Bachelet); L'eau vive (Béart); La tarentelle (Duteil); Mélissa (Clerc); Couleur café (Gainsbourg) / Format : 22 x 32 cm / Nb de Pages : 36 / Niveau : Assez facile, Moyen facile / Langue : Français