Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Eleanor Steber, Rita Beatie. For soprano voice and piano. Format: Vocal/piano book. With vocal melody, italian text (english translations included), introductory text, individual opera overview, piano accompaniment and performance notes. Classical period. 80 pages. 9x12 inches.

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902S

From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S).

UPC: 680160690589. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

By Virgil Thomson (1896-1989). For Soprano, Piano. Classical. Piano/Vocal Score. Standard notation. 7 pages

By Donald Martino (1931-2005). For Soprano Clarinet, Bass Clarinet, Contrabass Clarinet, Chamber Orchestra. This edition: Study Score. Contemporary Classical. Contemporary Classical. Conservatory. Sheet Music. Published by Dantalian, Inc.

Soprano Saxophone & Piano

SKU: SS.50012070

Composed by Antony Garlick. Chamber Music. Score & Parts. Published by Seesaw Music Corp (SS.50012070).

Opera in tre atti. By George Frideric Handel. Edited by Burrows, Donald. For 2 Soprano solo, 1 Mezzo-Soprano solo, 1 Alto solo, 2 Tenor solo, 1 Bass solo, SATB Chorus, Flute I, II, Recorder I, II, Oboe I, II, Bassoon I, II, Horn I, II, Trumpet I, II, Violin I-III, Viola, Bassi (Cello, Contrabass, Lute, Harpsichord). (SATB). This edition: Complete Edition; Urtext Edition. Hallische Handel-Ausgabe, Serie II Band 32. Piano Reduction/Vocal Score. 235 pages. Published by Baerenreiter Verlag (German import).

(HWV 57). By George Frideric Handel (1685-1759). Edited by Hans Dieter Clausen. Arranged by Andreas Koehs. For Soprano voice solo, Alto voice solo, Tenor voice solo, Bass voice solo, Mixed choir (SATB), Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Violin (2), Viola, Bassi (Violoncello, Contrabass, Bassoon, Bass lute, Harpsichord, Organ). This edition: Urtext. Oratorio. Vocal score. Language: English, Text language: German/English. 432 pages. Published by Baerenreiter Verlag

The Original Edition. Composed by Heitor Villa- Lobos (1887-1959). Max Eschig. Classical. Softcover. Editions Max Eschig #DF16635. Published by Editions Max Eschig

Voice and piano

SKU: BR.EB-8882

Repertoire Collection. Composed by Peter Anton Ling. Edited by Peter Anton Ling. Voice; Softbound. Edition Breitkopf.

If only we'd had something like that ... an album for practice, a guide for professional singers as well as for opera enthusiasts.(Franz Mazura, Patron Bass)

Aria; Opera; Classical; Late-romantic. Piano/Vocal Score. 144 pages. Breitkopf and Haertel #EB 8882. Published by Breitkopf and Haertel (BR.EB-8882).

ISBN 9790004184721. 9 x 12 inches. German / English.

The OperAria repertoire anthology was much applauded when it came on stage with three baritone volumes in 2015. The successful baritone debut was followed in 2017/18 by the appearance of the four soprano volumes, also conquering hearts in no time. Now, another performance: The curtain rises on the bass volumes, the foundation of the vocal family for heavier, darker voices, though nevertheless brilliant and full of radiance. The protagonists have such well-known names as Bartolo, Don Basilio, Colline, Don Pasquale, Falstaff, Figaro, Kecal, Osmin, Sarastro. Other heroes less often in the limelight, such as Dulcamara, Sancho Pansa, Phanuel, and Sir Morosus, can certainly also count on much applause. It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre.(Peter Anton Ling)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. 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 ariasinformation 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 viewwith phonetic assistant and text assistantaria 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

If only we'd had something like that ... an album for practice, a guide for professional singers as well as for opera enthusiasts. (Franz Mazura, Patron Bass).

Voice and piano

SKU: BR.EB-8880

Repertoire Collection. Composed by Peter Anton Ling. Edited by Peter Anton Ling. Voice; Softbound. Edition Breitkopf.

If only we'd had something like that ... an album for practice, a guide for professional singers as well as for opera enthusiasts.(Franz Mazura, Patron Bass)

Aria; Opera; Classical; Late-romantic. Piano/Vocal Score. 156 pages. Breitkopf and Haertel #EB 8880. Published by Breitkopf and Haertel (BR.EB-8880).

ISBN 9790004184707. 9 x 12 inches. German / English.

The OperAria repertoire anthology was much applauded when it came on stage with three baritone volumes in 2015. The successful baritone debut was followed in 2017/18 by the appearance of the four soprano volumes, also conquering hearts in no time. Now, another performance: The curtain rises on the bass volumes, the foundation of the vocal family for heavier, darker voices, though nevertheless brilliant and full of radiance. The protagonists have such well-known names as Bartolo, Don Basilio, Colline, Don Pasquale, Falstaff, Figaro, Kecal, Osmin, Sarastro. Other heroes less often in the limelight, such as Dulcamara, Sancho Pansa, Phanuel, and Sir Morosus, can certainly also count on much applause. It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre.(Peter Anton Ling)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. 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 ariasinformation 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 viewwith phonetic assistant and text assistantaria 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

If only we'd had something like that ... an album for practice, a guide for professional singers as well as for opera enthusiasts. (Franz Mazura, Patron Bass).

Soprano and Piano. By Various. Arranged by Kurt Adler. Vocal Collection. Size 7.5x10.7 inches. 336 pages. Published by G. Schirmer, Inc.