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Felix Mendelssohn Bartholdy: O For The Wings Of A Dove: 2-Part Choir: Vocal Work
Choral 2-part
2-part, Piano
[Sheet music]
-
Intermediate
Edwin Ashdown
Mendelssohn wrote the Christian anthem Hear My Prayer in Germany in 1844 and pre...
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Mendelssohn wrote the Christian anthem Hear My Prayer in Germany in 1844 and premiered it the next year in London. William Bartholomew wrote the English lyrics as well as collaborating with the composer on his oratorioElijah.Wings of a Dove the second part of Hear My Prayer is frequently performed as a separate work and was made famous in the UK through a 1927 recording. The work was originally written for SATB Chorus and Organ or Orchestra and is here rendered for two Voices with Piano transposed from G to F to meet the requirements of amateur singers.
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Männersachen - Male Voices
Choral 2-part
TB
Bosworth
Five songs from German jazz musician Roger Cicero's critically acclaimed album M...
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Five songs from German jazz musician Roger Cicero's critically acclaimed album Männersachen have been arranged here for Male Voices (Tenor, Baritone, Bass with Piano Accompaniment) by Carsten Gerlitz. The bestselling album sees Cicero sing big band music in the Rat Pack style with German lyrics, truly an exciting prospect!The arrangements in this choral songbook are full of life, with tracks alternating between close-harmonies and a more traditional lead vocal with backing. The variety makes each track stand alone, while all five songs are a joy to sing from start to finish. The songs included are Frauen regier'n die Welt, Kein Mann für eine Frau, Schön dass du ba biest, Wenn sie dich fragt and Zieh die Schuh aus.On the accompanying CD are backing tracks and demonstration tracks, allowing you to hear how the songs should sound as well as sing with a professional accompaniment. / Voix D'Hommes Et Piano
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3 Quartets op. 41 (SCHUMANN ROBERT)
String Quartet: 2 violins, viola, cello
Schott
for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is ...
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for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almost everything canonically and never discover the imitating voices until afterward, very often in inversions, inverted rhythms.' The new urtext edition is based on the text of the Schumann Complete Edition./ Répertoire / Quatuor à Cordes
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Hector Berlioz: Les Nuits D'Ete: High Voice: Vocal Score
High voice, Piano
[Vocal Score]
Barenreiter
op. 7 Hol. 81B / Six Melodies-Original version. BA 5784-90: Vocal score (origina...
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op. 7 Hol. 81B / Six Melodies-Original version. BA 5784-90: Vocal score (original keys with alternatives of 2) and 3) in higher keys). 1: Villanelle A major (mezzo-soprano or tenor voice). 2: Le spectre de la rose B major (contralto voice; alternative provided in D major for high voice). 3: Sur les lagunes F minor (baritone or contralto or soprano voice; alternative provided in G minor for high voice). 4: Absence F sharp minor (mezzo-soprano or tenor voice). 5: Au cimetière D major (tenor voice). 6: L’îsle inconnue D major (tenor voice). Full scores and parts available for hire contain both versions of2) and 3) enabling the complete song cycle to be performed in concert by a single vocalist.
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Sämtliche Lieder I Band 1 (SIMON KLAUS)
Piano, Voice
Schott
Frühe Lieder I (1910/1911) - Erstausgabe. Par SIMON KLAUS. All songs and lieder...
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Frühe Lieder I (1910/1911) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano
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Sämtliche Lieder II Band 2 (SIMON KLAUS)
Piano, Voice
Schott
Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and liede...
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Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano
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Messe Op. 36 (2 Choeurs 2 Orgues) (WIDOR CHARLES-MARIE)
2 Barytons, SATB, Orgue Acc (Duet)
[Sheet music]
Hamelle
Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op....
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Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices, while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections, the entire work has been transposed one half step lower ‘ to avoid the awkward key of F sharp major'. These sections are: 1. Kyrie (Moderato & F# minor) 2. Gloria (Vivace & Lento, D major 3. Sanctus (Con brio, A major) 4. Benedictus ( Piú lento, A major) 5. Agnus Dei (Moderato, F# major) This really delicate and emotive Mass, Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music, he wrote various different compositions, including 10 symphonies for Organ, some Operas, and some Piano Concerti./ Répertoire / 2 Barytons, SATB, Orgue Acc (Duet)
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F Roy Bennett F. Roy Bennett: The Wind Sings On The Mountain: Unison Voices:
Choral Unison
Unison/2-part, Piano
[Sheet music]
Edwin Ashdown
The Wind Sings On The Mountain is a song for Unison Voices with Piano accompanim...
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The Wind Sings On The Mountain is a song for Unison Voices with Piano accompaniment. It features on the Syllabus for the ABRSM 'Initial' Choral Singing Award.F. Roy Bennett was a respected musiceducator and author of the 20th century who wrote many books of music theory and history that are highly prized by primary and secondary school music teachers. As a composer he was a gifted writer of words and music for schoolchoirs.
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Das Weihnachtsliederbuch Für Alt Und Jung
Voice, Guitar
Schott
70 beliebte traditionelle und moderne Weihnachtslieder mit Noten, Texten und Akk...
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70 beliebte traditionelle und moderne Weihnachtslieder mit Noten, Texten und Akkorden - ganz einfach zu begleiten mit der Gitarre. Viele Lieder können schon mit 2 oder 3 Akkorden gespielt werden. Für Stücke mit Barré-Griffen gibt es eine Kapodaster-Version mit offenen Akkorden. Schwer zu singende Pop Christmas-Songs sind in zwei Stimmlagen arrangiert.Weitere Highlights:- Übersichtliches Layout- Praktische Stay-Open-Bindung- Handliches Liederbuchformat- Alle Akkorde mit Griffbildern- Begleitmuster für alle LiederAus dem Inhalt: Last Christmas - Rockin' Around The Christmas Tree - Jingle Bell Rock - Stille Nacht - O du fröhliche - und viele mehr!Auch für Gesang und Ukulele erschienen. / Voix Et Guitare
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Operaria Sopran 2
Soprano voice
[Sheet music + CD]
Breitkopf & Härtel
lyric. The OperAria repertoire collection for all voice genres that was successf...
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lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Lyrique
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John Rutter: For The Beauty Of The Earth: 2-Part Choir: Vocal Score
Choral 2-part
[Vocal Score]
Oxford University Press
Written by John Rutter with text by F.S. Pierpoint this is a joyful and celebr...
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Written by John Rutter with text by F.S. Pierpoint this is a joyful and celebratory choral song arranged for upper voices with Piano accompaniment.
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Barbe Aurelie - La Foret Fantastique Vol.2 - Duos Et Trios Pour Harpes
Français
2 Harps (duet)
Billaudot
The fantastic forest, a book in two illustrated books, offers 10 educational pie...
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The fantastic forest, a book in two illustrated books, offers 10 educational pieces for semi-collective courses. They are written for 2 or 3 undergraduate harpist students. These pieces use the sound resources of the instrument and its modes of play (xylo sounds, pinches, fingernails, slipped, whistled sounds, zincing ...) and also call on the voice (poem, spoken voice, sung). Each collection offers a piece of graphic writing, which will give great freedom to students, they will be already improvisers and creators of their own music. The themes in these pieces are inspired by nature and animals - real or imaginary - universal themes that every child experiences through his experience. Each piece is readable, attractive and meaningful so that everyone can take ownership. Students and teachers can give free rein to their imagination to propose stagings during public performances. 7. The Fairy Line 8. The twin camels 9. The horse and the unicorn 10. The explorers
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Prevert / Kosma - D'autres Chansons Vol.2
Piano, Voice
Enoch et Cie
Chanson L'Orgue de Barbarie Le Cancre La Fête Le Concert n'a pas été réussi ...
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Chanson L'Orgue de Barbarie Le Cancre La Fête Le Concert n'a pas été réussi (Compagnons des Mauvais jours) A la Belle Etoile Fille d'Acier Un Beau Matin Fable Les Oiseaux du Souci Chanson de l'Oiseleur Et la Fête Continue Presque Le Désespoir est assis sur un banc Cet Amour Le Miroir Brisé Les Bruits de la Nuit Epiphanie Immense et Rouge On Frappe Le Bonheur des Uns Chasse à l'Enfant Barbara Les Feuilles Mortes La Belle Saison
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28 Italian Songs And Arias Medium Low Voice 2 Cd
Low voice, Piano
[Sheet music + CD]
Schirmer
La plupart des enseignants de la voix et des chanteurs préfèrent toujours la p...
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La plupart des enseignants de la voix et des chanteurs préfèrent toujours la pianistique, merveilleusement gratifiante arrangements de ce matériau italien début faite par Alessandro Parisotti dans les années 1880. Cette nouvelle édition, nouvellement fait des recherches et gravé, comprend l'original Schirmer 24 'plus quatre chansons supplémentaires : Sento nel core (a. Scarlatti), O leggiadri occhi belli (anonyme), Intorno all'idol mio (Cesti), Delizie contente, che l'Alma beate (Cavalli). Avec IPA, mot pour mot traductions et des informations historiques sur chaque chanson et compositeur. Le CD comprend des accompagnements piano et enregistré les leçons de la prononciation. / Chant Et Piano
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28 Italian Songs And Arias Medium High Voice 2 Cd
High voice, Piano
[Sheet music + CD]
Hal Leonard
La plupart des enseignants de la voix et des chanteurs préfèrent toujours la p...
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La plupart des enseignants de la voix et des chanteurs préfèrent toujours la pianistique, merveilleusement gratifiante arrangements de ce matériau italien début faite par Alessandro Parisotti dans les années 1880. Cette nouvelle édition, nouvellement fait des recherches et gravé, comprend l'original Schirmer 24 'plus quatre chansons supplémentaires : Sento nel core (a. Scarlatti), O leggiadri occhi belli (anonyme), Intorno all'idol mio (Cesti), Delizie contente, che l'Alma beate (Cavalli). Avec IPA, mot pour mot traductions et des informations historiques sur chaque chanson et compositeur. Le CD comprend des accompagnements piano et enregistré des leçons de prononciation / Chant Et Piano / Partition + Cd
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Moi, J'Me Rince La Dalle (BABAULT F)
Piano, Voice
[Sheet music]
Enoch et Cie
Par BABAULT F.. / Feuillet / Chant et Piano
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Kiss Of The Spider Woman - Piano-Vocal (EBB F)
Piano, Voice
[Sheet music]
Hal Leonard
Par EBB F. / KANDER J.. John Kander et Fred Ebb s musical, basé sur le Manuel P...
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Par EBB F. / KANDER J.. John Kander et Fred Ebb s musical, basé sur le Manuel Puig roman El Beso de la Mujer Araña./ Recueil / Chant
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John Rutter: The Lord Bless You And Keep You (in F major): 2-Part Choir: Vocal
Choral 2-part
[Vocal Score]
Oxford University Press
A slow gentle and solemn meditation anthem by John Rutter arranged for the upp...
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A slow gentle and solemn meditation anthem by John Rutter arranged for the upper voices and suitable for younger choral groups. This expressive choral work is based on passage from Numbers 6:24. As sung at the wedding of Meghan Markle to Prince Harry in May 2018.
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Arthur Seymour Sullivan: The Long Day Closes: Upper Voices: Vocal Score
Choral 2-part
SA, Piano
[Sheet music]
Edwin Ashdown
Arranged by Henry Geehl for SA chorus and piano accompaniment. Words by Henry F....
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Arranged by Henry Geehl for SA chorus and piano accompaniment. Words by Henry F. Chorley.
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Three Carols For Christ's Nativity: Unison Voices: Vocal Score
Choral Unison
Unison/2-part, Piano
[Sheet music]
Edwin Ashdown
Unison Songs No.87. Words and music by F Roy Bennett. Duration c. 5 mins.
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Jakob Lenz (RIHM WOLFGANG)
Piano, Voice
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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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
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Hector Berlioz: Les nuits d'été for solo voice and orchestra: Medium Voice:
Medium voice, Piano
[Sheet music]
Barenreiter
op. 7 Hol. 81B / Six Songs-Hector Berlioz: Les nuits d'Ete for Solo Voice & Orch...
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op. 7 Hol. 81B / Six Songs-Hector Berlioz: Les nuits d'Ete for Solo Voice & Orchestra Op.7 Hol.81B . Version for medium voice. BA 5786-90: Vocal score voice & piano Berlioz composed these songs in 1840–41 between the composition of Roméo et Juliette and La damnation de Faust. The poems were taken from a collection entitled La comédie de la mort by Théophlie Gautier published in 1838. The songs were for mezzo-soprano or tenor with piano accompaniment and were published as a cycle under the title Les nuits d’été in 1841. The second and fourth songs Le spectre de la rose and Absence were performed a few times at that period and Absence was sung twice in February 1843 by Marie Recio on Berlioz’s first tour of Germany. For Marie who later became his second wife Berlioz at once orchestrated the song for mezzo-soprano and small orchestra. A dozen years later Berlioz orchestrated the remaining five songs of the cycle which appeared in its orchestral form in 1856. Two of these songs Le spectre de la rose and Sur les lagunes were now transposed to a lower key so that the cycle was no longer within the compass of a single voice. 1: Villanelle F major 2: Le spectre de la rose B major 3: Sur les lagunes F minor 4: Absence E-flat major 5: Au cimetière B-flat major 6: L’îsle inconnue D major Urtext of the New Berlioz Edition Full scores and parts available for hire (BA5786-72) English & German translations of the song texts printed sepatarely
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40 DUETS FOR THE BEGINNING CLARINETIST (CRASBORN-MOOREN PAULA) (CRASBORN-MOOREN PAULA)
2 Clarinets (duet)
[Sheet music]
-
Easy
Par CRASBORN-MOOREN PAULA. This book is perfect for beginning clarinetists to le...
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Par CRASBORN-MOOREN PAULA. This book is perfect for beginning clarinetists to learn to play together from the first lessons. The duets add to the students playing pleasure and motivation: for children they have appealing titles, expressing the musical character of the duets,and catchy tunes in keys C, F and G major. The duets gradually increase in difficulty in rhythm and in technique, starting with five tones in one octave in the first voice (C-D-E-F-G), expanding to tones in multiple octaves. The second voice can beplayed by a more advanced student or the teacher, The book has been extensively tested in practice and gets enthusiastic responses from students. / Date parution : 2023-05-06/ Recueil / 2 Clarinettes
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Vaccai N. - Metodo Pratico - Voix Moyenne + Cd
Medium Voice
Peters
Manca sollecita più dell' usato [Schützt man die Flamme nicht] C-Dur -für Sin...
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Manca sollecita più dell' usato [Schützt man die Flamme nicht] C-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 1: Die Tonleiter) Semplicetta tortorella [Armes Täubchen, laß dich warnen] F-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 1: Terzensprünge) Lascia il lido, e il mare infido [Wieder stößt vom Land der Schiffer] G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 2: Quartensprünge) Avvezzo a vivere senza conforto [Liegt auch mein Schiff am Wehr, sicher geborgen] D-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 2: Quintensprünge) Bella prova è d' alma forte [Das ist wahre Seelengröße] B-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 3: Sextensprünge) Fra l' ombre un lampo solo [Der Schiffer dankt dem Blitzstrahl] C-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 4: Septimensprünge) Quell' onda che ruina [Die Wellen, die am Morgen ...] C-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 4: Oktavensprünge) Delira dubbiosa [Wir jauchzen vor Freude] F-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 5: Halbtöne) Nel contrasto amor s' accende [Nichts kann Liebe widerstehen] G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 6: Synkopen) Come il candore d' intatta neve [Nichts ist auf Erden reiner und keuscher] G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 7: Vorübung zu Läufen) Senza l' amabile Dio di Citera [Ohne den freundlichen Gott von Kythera G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 8: Der Vorhalt von oben und unten) Benchè di senso privo [Und fehlt dem Baum auch Sprache] E-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 8: Der kurze Vorschlag) La gioja verace, per farsi palese [Das Wort ist es nimmer, das Freude verkündet] A-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 9: Vorübung für den Mord L' augelletto in lacci stretto [Warum singt im Bau'r der Vogel] F-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 9: Der Mordent auf verschiedene Arten) Quando accende un nobil petto [Folgt das Verlangen dem Herzenstriebe] Es-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 10: Vorübung für den Doppelschlag) Più non si trovano tra mille amanti [Trau nicht dem Liebesschwur] Es-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 10: Der Doppelschlag) Se povero il ruscello [Des Bächleins klare Welle] F-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 11: Vorübung für den Triller) Siam navi all' onde algenti [Wie Schiffe sind wir] C-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 12: Läufe) Vorrei spiegar l' affanno [Möcht all mein Leid erzählen] a-Moll -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 13: Das Portamento der Stimme) O placido il mare lusinghi la sponda [Ob ruhig das Meer mit den Ufern liebkose] G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 13: Die andere Art des Po La patria è un tutto di cui siam parti [Vom Vaterlande sind wir nur Teile] C-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 14: Das Rezitativ) Alla stagion de' fiori [Frühling ist wieder kommen] G-Dur -für Singstimme und Klavier - Ausgabe für mittlere Stimme- (Metodo pratico - Lektion 15: Rekapitulation)
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Cyril Scott: Why So Pale And Wan Op55 No.2 Voice/Piano (Key-f): Voice: Vocal
Piano, Voice
[Sheet music]
Novello & Co Ltd.
Why So Pale And Wan Op55 No.2 Voice/Piano (Key-f)
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Henry Purcell: Songs Book 2: Voice: Vocal Album
Piano, Voice
Stainer and Bell
Henry Purcell's Songs Book 2 have been edited by Maureen Lehane and Peter Wishar...
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Henry Purcell's Songs Book 2 have been edited by Maureen Lehane and Peter Wishart and contain:Ah how sweet it is to love (E - F)Dido's lament (C - G)The fatal hour comes on apace (C sharp - F)From rosy bow'rs (C sharp - F sharp)Hark how all things with one sound rejoice (D - F)Set for the Associated Board Guildhall School and Trinity College examinations.
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Musik Zu Kasualien, Heft 1
Voice solo
[Sheet music]
Carus Verlag
Die fünfteilig konzipierte Reihe „stellt ausgewählte Werke für die verschie...
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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
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