Par FENTON GEORGE / CHAMBERLAIN SIMON. Mrs Henderson Presents is the West End musical based on the 2005 film, featuring music by the great George Fenton and Simon Chamberlain, about London's Windmill Theatre and Laura Henderson. These Vocal selections feature a selection of songs from the musical, arranged for Vocal line with Piano Accompaniment, complete with full lyrics and chord symbols. Featuring 15 selected songs from the hit musical, the wonderfully witty lyrics and catchy melodies are perfect for lovers of musical theatre. Set in London in the late '30s, the musical centres on the Mrs Henderson's 'Revudeville' shows that features nude females in statuesque poses, in order to circumvent censorship laws. With such a unique story and setting, it's unsurprising that the songs are this much fun to play and sing. If you're looking for a new West End musical that's arranged for Vocals with Piano Accompaniment, learn to play Mrs Henderson presents. This special songbook also features colour photography and an introduction by both composers. / Niveau : Intermédiaire / Recueil / Chant et Piano

Rien de mieux que cette partition pour découvrir le fabuleux instrument de musique qu'est le piano. Vous pourrez ainsi jouer sur cet instrument créé au début du XVIIIème siècle à Florence par Bartolomeo Cristofori Clavier Bien Tempere/Livre1 Volume C/Piano-Presentation Strophique de Bach Johann Sebastian/Bitsch. Cette partition qui est éditée par les éditions Leduc fait partie de la catégorie de la musique Classique Si vous le souhaitez, cette partition de musique qui est pour Piano peut être chez vous dans quelques jours. / Piano / Partition

La partition Suites Pour Violoncelle Seul Vol.2/Suite N03/Suite N04-Presentation Strophique a été composée pour Violoncelle. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Violoncelle / Partition

Rien de mieux que cette partition pour découvrir le fabuleux instrument de musique qu'est le piano. Vous pourrez ainsi jouer sur cet instrument créé au début du XVIIIème siècle à Florence par Bartolomeo Cristofori Clavier Bien Tempere/Livre1 Volume F/Piano-Presentation Strophique de Bach Johann Sebastian/Bitsch. Cette partition qui est éditée par les éditions Leduc fait partie de la catégorie de la musique Classique Si vous le souhaitez, cette partition de musique qui est pour Piano peut être chez vous dans quelques jours. / Piano / Partition

Rien de mieux que cette partition pour découvrir le fabuleux instrument de musique qu'est le piano. Vous pourrez ainsi jouer sur cet instrument créé au début du XVIIIème siècle à Florence par Bartolomeo Cristofori Clavier Bien Tempere/Livre1 Volume D/Piano-Presentation Strophique de Bach Johann Sebastian/Bitsch. Cette partition qui est éditée par les éditions Leduc fait partie de la catégorie de la musique Classique Si vous le souhaitez, cette partition de musique qui est pour Piano peut être chez vous dans quelques jours. / Piano / Partition

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

Par WAR CHILD. One child dies every three minutes because of armed conflict. War Child believes children should never be affected by war. Full stop. Released in September 2005, the War Child Help: A Day In The Life album has helped to raise generous funds and vital awareness for the need to protect and save children in areas devastated by warfare. The album instantly became one of the fastest selling downloads on the web, and boasts 22 exclusive songs by the finest contemporary rock acts including Radiohead, Kaiser Chiefs, Hard-Fi and many more. Ten years since the original War Child album project, and the organisation continues to grow and thrive - this celebratory folio presents every song from the album in Piano, Voice and Guitar arrangements. / Niveau : Assez Facile / Recueil / Piano, Chant et Guitare

La référence GB5542 de l'éditeur Billaudot dont l'auteur célèbre est Artaud Pierre-Yves, qui a pour titre FLUTES AU PRESENT - TRAITE DES TECHNIQUES CONTEMPORAINES, a été écrite et composée pour Diverses Formations. Cette partition musicale appartient à la catégorie Pédagogie. / Etudes / Partition

LE DERNIER PRESENT d'Alexis HKPartitions guitare (Tablatures et grilles guitare) et chant (mélodie et paroles)Photos et préface d'Alexis HKL'artiste parisien soigne, depuis 1997, autant ses textes de (ra)conteur d'histoires que sa musique bariolée d'influences diverses (rock, balkans, hip-hop, reggae, latin, java...), en toute quiétude. Si l'excellente chanson, 'C'que t'es belle', le plaça dans la lumière, le précédent opus 'Les Affranchis' l'a fortement mis sur devant de la scène (où il excelle par ailleurs).Toute cette nouvelle reconnaissance ne l'empêche cependant pas de faire sérieusement le mariole avec Renan Luce et Benoit Doremus lors de la tournée 'Seuls à trois', ou en compagnie de Liz Cherhal, Juliette, Jehan, Laurent Deschamps ou Loïc Lantoine avec 'Ronchonchon et compagnie'. / Piano/Vocal/Guitare (PVG)

Par CARTER SYDNEY. 17 songs with piano or guitar accompaniment. CONTENTS All alone and all together (D - B); Bell of creation (A - C); Better take a book to bed (C - C) Bitter was the night (C - E flat); Down below (B flat - E flat); Feeling sad and lonely (C - B) Friday morning (C sharp - E); Good literature (B - B); I want to have a little bomb like you (C - C) Lord of the Dance (D - D); Middle-aged, middle-class, mediocre (G - C) Mixed up old man (D - D); My last cigarette (C - E); Never can tell (A - D); Present tense (B - B); The Rat race (B - B); Silver in the stubble (B - D)/ Recueil / Voix et Piano ou Guitare

Par ZUBEL AGATA. The musical axis of the opera Bildbeschreibung consists of the relations between the soloistically treated instruments, the parts of which are based on the realisation by the performers of layers of sound ? understood not just as the exploration of their own instrument, but above all the presentation or representation in sound of the text. Each of the parts forges an area of ?pictorial description?, so it is designed to lead the listener to ask what came before and how this came about. The multiplicity and ambiguity of such speculation gives us an open catalogue of representa-tions. As it is open, it is impossible to indicate the number of associations that would be appropriate ? too few or too many. Quite simply, the greater whole perceived from the perspective of a single soloist or through the prism of a single aria entitles us to highlight the idea of Bildbeschreibung in the same way that we can begin to see or analyse any picture, starting with a single detail, motif or figure. So such an aria is not an excerpt like the hits from the history of classical opera. It is a lens that ? as occurs throughout the opera Bildbeschreibung ? focusses attention on a selected detail, and the soloists themselves, without the comfort of showing themselves against the background of the whole event, are tempted from the outset to divine the origins of Bildbeschreibung. / Date parution : 2022-12-12/ Répertoire / Trompette

Par SPARKE PHILIP. Philip Sparke was so inspired and moved by his first visit to New York, that he had to capture the moment in one of his compositions. At first a general picture of New York is presented as all the sights and sounds are taken it. Eventually the composer finds himself in Manhattan. Walking along a street, music can be heard wafting from one of the jazz-clubs. This musical representation of personal impressions creates an extremely memorable work. Philip Sparke was so inspired and moved by his first visit to New York, that he had to capture the moment in one of his compositions. At first a general picture of New York is presented as all the sights and sounds are taken it. Eventually the composer finds himself in Manhattan. Walking along a street, music can be heard wafting from one of the jazz-clubs. This musical representation of personal impressions creates an extremely memorable work. / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie