Daedalus Remembers is the third part in a trilogy called 3 for Icarus. Daedalus was Icarus' father and a famous craftsman. He once forged a magic sword for Peleus which had a property of making its owner victorious inbattle and he also created the labyrinth of King Minos of Crete in which the Minotaur (half bull half man) was imprisoned. The second part of the trilogy is entitled Minotaur Games after Troy games a kind of labyrinthine danceinvolving cords (Ariadne’s thread?).At one point in the myth Daedalus and Icarus are also imprisoned in the labyrinth. They escape by means of wings which Daedalus has made from feathers and wax. Sadly despite his father’swarnings Icarus flies too close to the sun in a fit of hubris and the wings melt causing him to plunge to his death. Daedalus alights safely on a beach in Sardinia and after he has collected his thoughts remembers his son’sfall and scenes from his own past life. Have the gods paid him back for the death of his nephew Talos whom Daedalus killed in a fit of jealousy by pushing him off the top of a temple in the Acropolis? Daedalus rants and sorrows dark memories nag persistently.Daedalus Remembers is scored for solo cello with flugelhorn two horns percussion cimbalom harp three violas four cellos and two double-basses.

Key stages: 1 to 3.The scene is deep in the ocean with a cast of spectacular characters including the Great White Shark his Godson Hammerhead Dolly the Dolphin Fish of every shape and size and tiny Barnacles hitching rides on a mighty Blue Whale.The list of parts is flexible to accommodate the number of available performers with fairly evenly distributed lines. There are approximately 30 acting/singing parts plus choruses of Sea Creatures and Humans.This Pupil's Script includes the lyrics for the songs performance notes and the script for the play.You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.

Ottone HWV 15; Opera in three acts.Version of the first performance 1723.Handel completed his opera ?Ottone? in August 1722 but the first performance did not take place until January 1723 in the Haymarket Theatre London; the composer had waited so long for the famous soprano Francesca Cuzzoni who he had in mind for the role of Teofane.?Ottone? was an immediate success from the beginning not only for its top-class cast but also because of its formal and musical structure. It received numerous revivals until 1733.Stylistically ?Ottone? follows in the Neapolitan operatradition with emotionally charged arias as the principal vehicles of expression whilst the plot is carried forward in the secco recitatives.The dramatic action is interpreted and intensified through the choice of arias and keys.The Vocal score is based on volume II/12 of the ?Halle Handel Edition? (BA 4077) which contains the complete critical musical text of the opera for the first time.- First critical edition based on the Urtext of the Halle Handel Edition.- Additional numbers from later performances included in the appendix.- Foreword (Ger/Eng).- Full score (BA4077) & Vocal score (BA4077-90) available for sale.- Performance material (BA4077-72) available for hire.

Oratorio in three acts-Composed in 1748 Handel?s oratorio on the wise and righteous King Solomon is one of the most lavish works he created in this genre.He attached special importance to the choir: rarely does Handel?s music have such extended choral numbers ranging from homophonic settings to choruses of jubilation in eight contrapuntal parts.This Urtext Edition Vocal Score is based on the ?Halle Handel Edition? volume BA 10709 and features a bilingual foreword (Ger/Eng).

Vocal Selections-Vocal Selections. 13 vocal selections from the bawdy Broadway musical: The Aggie Song · The Bus from Amarillo · Doatsy Mae · Girl You're a Woman · Good Old Girl · Hard Candy Christmas · The Sidestep · Texas Has a Whorehouse in It · Watch Dog Theme · and more. Includes a special section of full-color photos from the production!

Par SOMARE ELENA. Elena Somaré, multimedia artist, is one of the most rare whistling artists on the international scene. She has performed in many prestigious theatres and concert halls around the world, bringing the art of whistling to the highest level of interpretation and freeing it from the prejudice that confined it to pure virtuostic performance. In this method the basic techniques of whistling are explained and combined with breathing exercises, embellishments, rhythmics exercises and some useful examples to start interpreting the whistled music in a personal way./ Méthode / Sifflement

Umfassend: Mit über 250 Liedern aus allen Bereichen setzt dieses Buch neue Maßstäbe für den Unterricht in der Grundschule. Ein stattliches Audio-Paket mit sechs CDs rundet das Angebot ab.Vielseitig: Ob traditionelles oder aktuelles Kinderlied, ob Pop, Folk(lore), Rap oder Kanon - zuverlässig und vielseitig bildet dieses Liederbuch alle relevanten Genres ab. Eine übersichtliche Kapitelstruktur führt durch das Schuljahr und stellt für alle denkbaren Themen und Anlässe ein reichhaltiges Angebot bereit.Weiterführend: Mit zahlreichen Zusatzinformationen, Begleitarrangements und Bewegungsanleitungen bietet dieses Liederbuch viele Anregungen für die kreative Umsetzung im Unterricht.Fächerübergreifend: Ein besonderer Pluspunkt dieses vollkommen neu konzipierten Liederbuches sind die fächerübergreifenden Angebote, mit einem reichhaltigen Fundus an praxiserprobten Ideen.Aufbauend: Ein weiteres Novum sind die ?Wissenspfade', mit denen sich kindgerecht und praxisnah Musikwissen erarbeiten lässt. Als zusätzliche Option finden sich zahlreiche Stimmbildungsübungen. / Voix

Par AUBER DANIEL FRANCOIS ESPRIT. Professeur de littérature au Collège Ahuntsic (Montréal), Louis Bilodeau a effectué un stage au CNRS sur le livret d'opéra français du XIXe siècle et participé à de nombreuses émissions sur les ondes de Radio-Canada. Il consacre principalement ses recherches aux rapports entre le répertoire lyrique, la littérature et la danse. Il a notamment collaboré au Dictionnaire de la musique en France au XIXe siècle, sous la direction de Joël-Marie Fauquet (Fayard, 2003). Né en 1947, Gérard Condé a étudié au Conservatoire de Nancy puis, à Paris, auprès d'un disciple de Schoenberg : Max Deutsch. Parallèlement à la composition et à la critique musicale, son activité musicographique s'est portée notamment sur Berlioz, Gounod, Massenet et leurs contemporains ainsi que sur Weber, Wagner, Schoenberg et Berg. Maître de conférences à l'Université Stendhal de Grenoble, Didier van Moere y enseigne les rapports entre la littérature et la musique. Auteur d'une monographie sur Karol Szymanowski (Fayard, 2008), il consacre l'essentiel de ses recherches à la musique polonaise, mais aussi à l'opéra, notamment français, sujet sur lequel il a publié de nombreux articles. Il exerce aussi une activité de critique et de producteur d'émissions de radio. Isabelle Moindrot est Professeur d'Histoire du théâtre à l'Université Paris 8. Ses recherches portent sur la dramaturgie lyrique, la mise en scène d'opéra et le spectaculaire théâtral. Elle a publié notamment L'Opéra seria ou le règne des castratsLe Spectaculaire dans les arts de la scène du Romantisme à la Belle Epoque (CNRS-Editions, 2006). (Fayard, 1993), Herbert Schneider est professeur émérite de l'université de la Sarre. Il est éditeur en chef des Musikwissenschaftliche Publikationen (35 vol.) et des oeuvres complètes de Lully (avec J. de La Gorce), et membre du comité de rédaction de l'édition Rameau. Il a publié notamment sur la musique française et les relations musicales entre la France et l'Allemagne. Cécile Vanderpelen-Diagre enseigne l'histoire à l'Université libre de Bruxelles. Elle est spécialisée dans l'histoire des institutions culturelles et des pratiques culturelles des élites. Elle est l'auteure de l'ouvrage Le théâtre royal du Parc. Histoire d'un lieu de sociabilité bruxellois (de 1782 à nos jours), préface de Jean-Claude Yon, Bruxelles, Editions de l'Université de Bruxelles, 2008. Historien, Jean-Claude Yon est maître de conférences habilité à l'Université de Versailles Saint-Quentin. Directeur adjoint du Centre d'Histoire culturelle des sociétés contemporaines, il est spécialiste du théâtre dramatique et lyrique du XIXe siècle. Biographe de Scribe et d'Offenbach, il vient de publier un ouvrage collectif sur Les Spectacles sous le Second Empire (Armand Colin, 2010)./ Livre / Voix

Die fünfteilig konzipierte Reihe „stellt ausgewählte Werke für die verschiedenen Amtshandlungen in Kirchengemeinden bereit. Häufig gewünschte Stücke werden mit weniger bekannter Musik verbunden. Alle Stücke mögen über die Amtshandlungen hinaus für Gottesdienst und Konzerte verwendet werden. Die Sammlung ist stilistisch sehr vielseitig und praxisnah. Für jeden Geschmack und Schwierigkeitsgrad ist ein reichhaltiges Angebot an Musikstücken vorhanden. Sehr empfehlenswert!“ (Musik und Kirche 4/2000). Heft 1 (CV 2. 076) enthält geistliche Werke für Singstimme und Orgel, Heft 2 (CV 2. 077) Choralbearbeitungen für Singstimme und Orgel oder einstimmigen Chor/Gemeinde und Orgel. Dasdritte Heft ist für Singstimme und Soloinstrument mit Orgelbegleitung konzipiert./ Répertoire / Voix

High Voice Compiled by Joan Frey Boytim-Sacred Solos For All Ages for High Voice compiled by Joan Frey Boytim. Boytim who compiled the widely-used series The First Book of Solos is the most respected name in publications for the developing singer. She brings her expertise and vast knowledge of vocal literature into the sacred genre with these collections which present traditional sacred solos for classical Voice and Piano. Ranging from classics by Bach and Mozart to early 20th century favorites and rarities the 43 songs - some long out of print - span from easy to more challenging but all are within the realm of a reasonable classical solo for a church service.

The Vocal Library Low Voice-The Vocal Library Low Voice. Concert arrangements for voice and piano in an art song style of 35 great folksongs from the American heritage. These interesting and expressive settings are appropriate for collegiate recitals or advanced high school singers as contest solos. The songs range from comic to sad from rowdy to inspirational and there are selections appropriate for women and men singers. The collection is primarily comprised of secular folksongs with a few sacred American folk tunes. The same songs appear transposed in the editions for High Voice and Low Voice. There are three bonus duets included. Includes fresh arrangements of Amazing Grace Black Is theColor of My True Love's Hair The Cruel War Is Raging How Can I Keep from Singing? I Gave My Love a Cherry Johnny Has Gone for a Soldier Shenandoah Soldier Soldier Will You Marry Me The Streets of Laredo Wayfaring Stranger Wondrous Love and more.

A Beginner's Guide Featuring Step-By-Step Lessons with Audio Video and Popular Songs!-The First 15 Lessons series provides a step-by-step lesson plan for the absolute beginner complete with audio tracks video lessons and real songs! Designed for self-teaching or for use with an instructor you'll build a solid foundation as you work through each lesson learning the basics of singing and music reading while practicing the many exercises concepts and song excerpts within. Each book in the series features must-know instruction so you can start performing right away with a free online metronome! The voice book features lessons on: full-body singing breathing finding your voice vocal warmups the vocal break caring for your voice diction musicliteracy building skills working on a song dealing with nerves and more. Includes vocal lines from 12 songs: At Last ? Cups (When I'm Gone) ? Danny Boy ? Georgia on My Mind ? Give My Regards to Broadway ? Hallelujah ? Hard Times Come Again No More ? Homeward Bound ? I Ain't Got Nobody (And Nobody Cares for Me) ? Scarborough Fair ? The Skye Boat Song ? You Raise Me Up.