17 Choruses for mixed voices from Handel's sacred works. Selected with introductory notes by Brian Kay. Rarely brought together, these diverse choruses demonstrate the enduring vitality of Handel's writing. / Chant Et Piano

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

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

Ed. Critica di Helen M. Greenwald - riduzione per canto e pianoforte-Attila Verdi?s ninth opera and the second of five that he composed for Venice?s Teatro La Fenice had its premiere on 17 March 1846. Verdi was inspired to compose an opera on the subject of Attila by two rather unusual sources Attila König der Hunnen a curious play by a now-forgotten German playwright Friedrich Ludwig Zacharias Werner and Madame de Staël?s discussion of it in her magisterial work on Germany De l?Allemagne. This present reduction is based on the critical edition of the full score that - published in 2012 - is the first complete published version of the full orchestral score and the product of the study of numerous manuscript sources: the autographsources (now kept at the British Library in London at the Library of Congress in Washington D.C. and at the ?Museo del Teatro alla Scala? in Milan) manuscript sources (those kept at Teatro La Fenice in Venice and at Teatro San Carlo in Naple) andthe first piano vocal scores.

Opera Completa per canto e pianoforte - Edizione tradizionale - Testo cantato in Italiano-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.

In this interplanetary musical by Debbie Campbell strange but gentle visitors from outer space (the Bumblesnouts) come to Earth to save our planet from self-destruction. The Earthlings are persuaded to change their ways and make the world a better place. This entertaining and lively musical for unison voices and piano aims to stimulate children to think about the world we inhabit and the importance of caring about our environment. Any number of children can take part in this show as Bumblesnouts Punks Hunters Gangsters Animals and Trees. This complete Vocal Score includes nine songs plus an overture along with useful suggestions for staging andwhimsical illustrations by Richard Oke.Published in association with the World Wide Fund for Nature: performances of this work will benefit the WWF.You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.

More Than Hymns is a new two-volume collection of anthems for mixed voice choirs featuring extended arrangements of existing hymn tunes, together with original anthem-style settings of the texts of several well known hymns. Of the sixteen works in this first volume, six are published here for the first time, including new arrangements by composers of today: Malcolm Archer, Rogers Covey-Crump, John Joubert, Barry Rose and Gavin Williams. The texts cover many seasons of the church's year - Advent, Epiphany, Passiontide, Easter, Ascension, as well as celebratory occasions such as festival services and weddings. / Chant Et Piano

Arranged For Piano and Vocal-40 Classic songs dances and arias arranged for piano and voice in original Italian text. Includes Carnival Of Venice O Sole Mio Tarantella.

Originally for Piano and String Quartet and later provided with piano accompaniment by the composer. Newly edited with an introduction by Michael Pilkington. CONTENTSThe Aspens (C - E)The Far Country (C sharp - E)Golden Friends (E flat - E flat)Is my team ploughing? (A - E flat)Loveliest of trees (D flat - F)March (C - F)Reveille (E - F)Twice a week (E - F)Recorded by Graham Trew on Meridian CD6 84815 and by Adrian Thompson on Hyperion CDA663852Set for the Associated Board FRSM examination.