Santorella Publications est fier de présenter 101 Popular Songs for Clarinet. Après d'innombrables demandes que nous avons tout rassemblé sous un même toit. Il a été depuis des décennies en laiton ou joueur roseau pouvaient trouver tant de chansons reconnaissables de genres variés en une seule collection.Egalement disponible en touches accueillir pour Trompette, Flute, Alto Sax and Trombone à la fois en solo et en duo formes.101 Popular Songs comprend une variété de classiques bien connus originales, classiques de mariage, hymnes sacrés, chants patriotiques, des standards de jazz et chants de Noël. Chaque édition comprend trois (3) Accompagnement Piano CD - avec plus de 100 titres dont des duos classiques et jazz. Chaque joueur de cor aura une occasion unique de jouer avec les plus grands musiciens de studio à Los Angeles. Chaque édition est orientée vers un instrument particulier dans les sections Duets Classique and Jazz, qui est enregistré dans un mode de 'Music Minus One'. / Clarinette

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These 'living' trees said to be the work of benign spirits were brought into people's houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song 'O Tannenbaum' the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Cantata for Mezzosoprano and Orchestra. Par THEODORAKIS MIKIS. Sung texts are in Greek; English, German and French translations are included. A good friend of mine, the poet lacovos Kambanellis, was a prisoner in Mauthausen during World War II. At the beginning of the sixties, he wrote his memories of this time under the title of 'Mauthausen'. In 1965, he also wrote four poems on the subject and gave me the opportunity to set them to music. I did this with much pleasure, firstly, because I liked the poetry of the texts, and secondly, because I myself was detained in Italian and German prisons during the Nazi occupation, but mainly because this composition gives us the chance to remind the younger generation of history, of events that must never be forgotten. First and foremost, of course, the Mauthausen Cantata is addressed to all those who suffered under Fascism and fought against it. We must keep the Nazi crimes continually in our minds, because that is the only guarantee and the only way to assure that they are not repeated. And we can see every day that the ghost of Fascism is far from being laid. It seldom shows its real face, but Fascist cultures and mentalities exist all over the world. For us, who had to live through this time of horror, the most important task is to protect our children against this peril. (Mikis Theodorakis, 1999)/ Répertoire / Mezzo-Soprano et Orchestre

Aribert Reimann's idea to arrange the lieder of Franz Liszt for baritone and string quartet goes back to his collaboration with Dietrich Fischer-Dieskau, recording some of these lieder for the German broadcasting company formerly known as Sender Freies Berlin (SFB). Since then, Reimann has continued to be fascinated by Liszt's thrilling harmony and unconventional treatment of the voice. Here, he has compiled a cycle containing seven lieder from Liszt's middle and late periods, arranged so that each song is the logical continuation of its predecessor. Liszt's fundamental harmony has been retained, but the registers have been altered to such an extent that they appear in a completely new light. / Baryton Et Quatuor A Cordes

The American composer and pianist Edward MacDowell (1860 1908) is rather unknown in Europe although he had his artistic roots there for he was trained as a pianist in Paris Stuttgart Wiesbaden and Frankfurt. After returning to his home country he worked as a teacher while also being the director of the Boston Symphony Orchestra for eight years. During his studies in Germany the musician already began to compose songs (with German texts) still in the European tradition. From 1886 he used English lyricism as a basis and preferred a sparing yet expressive accompaniment of the piano. In his last songs he placed special emphasis on the declamatory aspect of the text and expandedthe harmonic range of his tonal language. Of his 42 solo songs the present volume contains six titles from three of his song collections: Composed or printed for the first time between 1890 and 1898 these songs are a representative selection from MacDowell's important middle creative period and without doubt a valuable addition to the song repertoire.

German folksongs in new and old arrangements for three-part choir (Soprano, Alto, Baritone). Par . This new collection contains 48 of the most popular German-language folksongs, arranged for three-part choir (Soprano, Alto, Baritone). Covering a wide variety of styles, it combines a selection of pieces from earlier Edition Peters anthologies with several new arrangements by leading exponents of German choral writing (Jutta Michel-Becher, Ludwig Böhme, Uli Führe, Uwe Henkhaus, Felicitas Kuckuck, Alwin M. Schronen, Sylke Zimpel) ? with a focus on singability and richness of sound. 48 popular German-language folksongs, arranged for three-part choir (Soprano, Alto, Baritone) A wide variety of pieces selected from earlier anthologies, together with new arrangements by Germany?s leading choral composers Mostly easy to intermediate arrangements, suitable for amateur choirs Edited by choral expert Jochen Stankewitz / Date parution : 2022-05-31/ Recueil / Choeur SAB

Sixteen songs and seven arias for high voice and Piano composed over a fifteen-year period from 1989 to 2004 with texts in English French German and translations from German Portuguese and Russian. Texts from theBible Shakespeare Mozart Rimbaud Fernando Pessoa and Paul Celan and by living writers Roger Pulvers Kevin Power Victoria Hardie and Michael Hastings. While the original text-free version of Life's Chaos appeared aspart of the musical accompaniment to Dziga Vertov's Man With A Movie Camera there are songs from three of his film scores: The Cook the Thief His Wife and Her Lover Prospero's Books and The Diary OfAnne Frank and from four song cycles: L'Orgie Parisienne Six Celan Songs Cycle of Disquietude and Acts Of Beauty. There are arias from two stage operas Facing Goya and Man and Boy:Dada and a TV opera Letters Riddles and Writs.

from Schmelli's Hymnal for Voice and Guitar BWV 439-507. Johann Sebastian Bach?s arrangements of the ?69 Sacred Songs? from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bach?s contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the ?69 Sacred Songs? offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar.Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bach?s figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes online access to PDFs of the ?Scores in their Original Keys,? and stand-alone ?Guitar Accompaniment,? and ?Bass Parts".

from Footprints in the Sand-Uses: Palm Sunday Scripture: Zechariah 9:9 - John 12:12-15 - Matthew 21:5 The triumphal entry is announced with all of its pomp and regality in this re-tooling of a time-honored hymn tune typically associated with Easter. Perfectly at home in its new clothing this theme epitomizes jubilation and praise. Fanfare-like episodes connect sturdy a cappella sections and fully orchestrated crescendos bringing the whole song to dizzying heights.

Finest single-volume edition includes authoritative scores of The Seasons, Op. 37; Album for the Young, Op. 39; 10 Characteristic Pieces, Op. 72; Dumka, Op. 59; Valse sentimentale, Op. 51, No. 6; 4 Pieces, Op. 40; Theme and Variations, Op. 19, No. 6; plus 5 early pieces. Content : Five early pieces Romance (Op. 5) Valse-scherzo ? Waltz-scherzo (Op. 7) Capriccio (Op. 8) Polka de salon (Op. 9, No. 2) Nocturne (Op. 10, No. 1) Thème original et variations ? Original theme and variations (Op. 19, No. 6) From Twelve Pieces (Op. 40) No. 2 Chanson triste ? Sad song 6. Chant sans paroles ? Song without words 9. Valse ? Waltz 10. Danse russe ? Russian dance Valse sentimentale ? Sentimental waltz (Op. 51, No. 6) Doumka (Scène rustique russe) ? Dumka (Russian village scene) (Op. 59) From Eighteen Characteristic Pieces (Op. 72) No. 1 Impromptu 2. Berceuse ? Lullaby 3. Tendres reproches ? Gentle reproaches 4. Danse caractéristique ? Characteristic dance 8. Dialogue 9. Un poco di Schumann ? A bit of Schumann 12. L'espiègle ? The rascal 13. Echo rustique ? Countryside echo 15. Un poco di Chopin ? A bit of Chopin 16. Valse à cinq temps ? Waltz in five-beat time Album for the Young (after Schumann) (Op. 39) [Restored to Tchaikovsky's original sequence] Note No. 1. Prière de matin ? Morning prayer 2. Le matin en hiver ? Winter morning 3. Maman ? Mama 4. Le petit cavalier ? The little horseman 5. Marches des soldats de bois ? Marches of the wooden soldiers 6. La nouvelle poupée ? The new doll 7. La poupée malade ? The sick doll 8. Enterrement de la poupée ? The doll's burial 9. Valse ? Waltz 10. Polka 11. Mazurka 12. Chanson russe ? Russian song 13. Le paysan prélude ? The peasant plays an introduction 14. Chanson populaire (Kamarinskaya) ? Folk Song 15. Chanson intalienne ? Italian song 16. Mélodie antique française ? Old French melody 17. Chanson allemande ? German song 18. Chanson napolitaine ? Neapolitan song 19. Conte de la vieille bonne ? The old maid-servant's tale 20. La sorciére (Baba-Yaga) ? The witch 21. Douce rêverie ? Sweet reverie 22. Chant de l'alouette ?Song of the lark 23. A l'église ? In church 24. L'orgue de barbarie ? The hurdy-gurdy The Seasons (Op. 37bis) Note and epigraphs 1. Janvier: Au coin du feu ? January By the fireside 2. Février: Carnaval ? February: Carnival 3. Mars: Chant de l'alouette ? March Song of the lark 4. Avril: Perce-neige ? April: Snowdrop 5. Mai: Les nuits de mai ? May: May nights [White nights] 6. Juin: Barcarolle ? June: Barcar 7. Juillet: Chant du faucheur ? July: The reaper's song 8. Août: La moisson ? August: The harvest 9. Septembre: La chasse ? September: The hunt 10. Octobre: Chant d'automne ? October: Autumn song 11. Novembre: En troïka ? November: In the troika 12. Decembre: Noël ? December: Christmas

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.