Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Ce volume présente probablement la plus belle et l'opéra pour enfants plus populaire qui a jamais été écrit, dans un arrangement facile pour piano, avec tous les extraits étant dans la clé originale respectif. Parmi les sept opéras composés par Humperdinck, ' Hänse / Piano

50 ?uvres incontournables, arrangées simplement, de Bach, Brahms, Haendel, Tchaïkovski et bien d\'autres pour violoncelle ! Le recueil comprend l\'accompagnement au piano et une partie détachable pour violoncelle. Parmi les titres proposés : La valse du Danube bleu (Johann Strauss II) - Canon en Ré (Johann Pachelbel) - Dona Nobis Pacem (traditionnel) - Evening Prayer (Engelbert Humperdinck) - Jupiter Chorale (Gustav Holsts) - Ode à la joie (Ludwig van Beethoven) - Pomp and Circumstance (Edward Elgar) - Sheep May Safely Graze (J.. S. Bach) - Le Lac des Cygnes (Thème) (Pyotr Il\'yich Tchaikovsky) - To a Wild Rose (Edward MacDowell) - et bien d\'autres encore. / Partitions variété - pop - rock / Variété internationale / Cordes / HAL LEONARD

Oper In 3 Akten. Par RHEINBERGER JOSEF GABRIEL. Rheinberger was inspired to compose his first opera by the great cycle of aquarelles entitled “Von den Sieben Raben” by the painter Moritz von Schwind [1804–1871], with whom he was acquainted. The libretto by Franz Bonn [1830–1904] follows in its essentials the story depicted in these pictures, rather than the Grimm fairytale of the same name. The work had its successful world première, conducted by the composer, on 23 May 1869 at the Königliche Hof- und Nationaltheater in Munich. After the second performance in Munich, on the 8 September 1869, a reviewer wrote in the Augsburger Allgemeine Zeitung: “The composer was able to express the enchantment of the story, itshigh-spirited simplicity and deep feeling, with great skill, and the lyrical passages of the opera provide the most positive proof of Rheinberger’s talent. ” Possibly Engelbert Humperdinck, who was a pupil of Rheinberger in Munich from 1877 until 1879, was inspired by Die sieben Raben to compose his fairy tale opera Hänsel und Gretel [1893], which helped this genre to achieve great success. / Opéra-opérette / Répertoire / Solistes SSATBB et Orchestre

Arr. Robert Van Beringen. Par HUMPERDINCK ENGELBERT. This beautiful long flowing melody comes from Humperdinck’s famous opera Hansel and Gretel (1893). In addition to being a delightful concert work it is also a useful as a tone study for practicing playing in a legato style. / Niveau : 2 / Musique pour célébration / Répertoire / Fanfare

Par HUMPERDINCK ENGELBERT. Avec son conte de Hansel et Gretel conte fantastique, Humperdinck combinée à la simplicité de la chanson folklorique allemande avec la sophistication de la technique de l'opéra wagnérien de créer une oeuvre qui a été un favori avec les jeunes et les moins jeunes depuis sa première représentation en 1893. Cette partition vocale dispose d'une réduction pour piano de la partition orchestrale, et une traduction en anglais du livret./ Répertoire / Opéra et Piano

Par HUMPERDINCK ENGELBERT. A fairytale opera in three acts. One of the most beloved works in the operatic repertoire, first produced in Welmar during Christmas 1893, it remains an operatic rarity./ Répertoire / Choeurs d'Opéra

A-Dur. Par HUMPERDINCK ENGELBERT / BOHME FRANZ MAGNUS. Langue : Allemand/ Répertoire / Choeur TTBB

Par HUMPERDINCK ENGELBERT. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Langue : Allemand/ Répertoire / Choeur SATB

Additional books to complement the tutor for adults and young people Play the Piano! Levels 1 & 2, are now available providing specially arranged favourite pieces in keeping with the technical level attained by the end of each course book. Whilst still under Mike's guiding hand, here is the chance for players to explore and enjoy more beautiful music in a variety of styles, confident that the technical levels are within their capabilities. Includes popular classics by Purcell, Handel, Bach, Mozart, Grieg, Humperdinck, Schumann, Chopin, Rimsky-Korsakov, Brahms, Elgar and more. Also included are traditional folksong favourites along with selections of Jazzy, Latin and Ragtime pieces by Scott Joplin, Mike Cornick and Duke Ellington. • Easy arrangements of favourite pieces in a variety of musical styles • Pieces for any easy-level pianist seeking to broaden their repertoire and ideal for those who have completed the tutor PLAY THE PIANO! Level 1 - for more music to play and enjoy • Helpful advice is provided with each piece and, in some cases, suggestions for further listening • FREE DOWNLOADS of play-along versions and/or demonstration performances of some pieces are available from: www.universaledition.com/pianorepertoire1/ Recueil / Piano

La prière du soir ' Abends will ich schlafen gehen ' est certainement un des morceaux les plus belles et émouvant dans l'opéra de conte de fée de Humperdinck ' Hansel et Gretel '. L'organiste britannique Edwin H. Lemare (1865-1934), qui était célèbre pour ses improvisations et des transcriptions a écrit un arrangement de ce travail sous le titre de ' Angel Scene '. Suit de près la partition originale et en sélectionnant habilement s'arrête, il a créé une version qui encore aujourd'hui, ne manque pas d'avoir l'effet désiré sur l'auditoire. / Orgue