One of the best of the new generation of singer-songwriters, Brandi Carlile plays a unique blend of alt-rock and country-folk music. This songbook features all 35 songs from her three studio albums, Brandi Carlile,The Story, and Give Up the Ghost. All songs in this must-have collection are arranged as Brandi recorded them. Titles: Again Today * Before It Breaks * Cannonball * Caroline * Closer to You * Downpour * Dreams * Dying Day * Fall Apart Again * Follow * Gone * Happy * Have You Ever * I Will * If There Was No You * In My Own Eyes * Josephine * Late Morning Lullaby * Looking Out * Losing Heart * My Song * Oh Dear * Pride and Joy * Shadow on the Wall * Sixty Years On * Someday Never Comes * The Story * That Year * Throw It All Away * Touching the Ground * Tragedy * Turpentine * Until I Die * Wasted * What Can I Say. / Miscellaneous, Scores, Songbooks / Recueil / Guitare

Arrangeur: David Rosenthal. Par JOEL BILLY. All 9 songs from the iconic 1978 album by the Piano Man, arranged for piano, voice and guitar by David Rosenthal, Billy's keyboardist and Music Director. He has combined the piano parts and vocal melodies into playable arrangements while transcribing those classic piano parts that are integral to each song. Guitar chord frames are also included. Includes black and white photos and a foreword by Rosenthal. Includes: Big Shot - 52nd Street - Half a Mile Away - Honesty - My Life - Rosalinda's Eyes - Stiletto - Until the Night - Zanzibar./ Recueil / Piano, Chant et Guitare

Par METALLICA. The matching folio to the long-awaited, hard-hitting new album - with the double guitar onslaught of Hetfield and Hammett - features 14 songs, including: 2 x 4 * Ain't My Bitch * Until It Sleeps * The Outlaw Torn * Wasting My Hate* plus biography, photos, and full-color fold-out. / Rép International / Tablatures / Guitare Tablatures

Jake joins the band at school to play clarinet. He continually refuses to play the clarinet correctly as demanded by his band director and private music teacher. Jake is stubborn. All Jake wants to do is play the clarinet his own way until he receives a mysterious letter in the mail from the Clarinet Wizard. The Wizard warns Jake that if he doesn't play his clarinet correctly and folllow his teacher's instructions, his clarinet will shrink until he is unable to play it anymore. Jake discovers the secret to keeping his clarinet from shrinking by changing his attitude. Jake begins to follow his teacher's instruction and become really good on the clarinet. (Recommended for ages4-9) Jake joins the band at school to play clarinet. He continually refuses to play the clarinet correctly as demanded by his band director and private music teacher. Jake is stubborn. All Jake wants to do is play the clarinet his own way until he receives a mysterious letter in the mail from the Clarinet Wizard. The Wizard warns Jake that if he doesn't play his clarinet correctly and folllow his teacher's instructions, his clarinet will shrink until he is unable to play it anymore. Jake discovers the secret to keeping his clarinet from shrinking by changing his attitude. Jake begins to follow his teacher's instruction and become really good on the clarinet. (Recommended for ages4-9)/ Méthode / Clarinette

Par SPARKE PHILIP. MASQUERADE was commissioned by Stadtmusik Willisau from Switzerland (Reto Güdel, conductor) to celebrate their 175th anniversary in 2003 and first performed by them in November that year. 1. OvertureThe first movement opens with a fanfare-like figure, featuring the brass, before the main them is introduced over staccato chords. After a short, syncopated interlude a legato theme is introduced in the tenor register and material is developed until the music slows temporarily. The opening theme returns and the ‘tenor’ tune is taken up by the whole band until the opening fanfare returns to close the movement. 2. ElegyThe slow movement opens intensely with a bare two-part theme, whichleads to a passionate chorale-style melody. A second theme is introduced and leads to a climax, a return of the chorale theme and a pianissimo repeat which again leads to a full-band climax. The two-part theme returns quietly to create a peaceful close. 3 InterludeA short movement which changes the mood to introduce:- 4 FinaleThree violent chords preface a lively syncopated opening theme. The trumpets introduce a second idea, which is treated fugally, and this in turn leads to the main melodic idea of the movement, over staccato chords. A contrasting subject is then introduced in the middle of the band, followed by echoes of the first movement fanfare. The opening theme returns and material is revisited until the opening fanfare returns in full to end the work triumphantly. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band ou Harmonie

Ablution
Adam's Apple
Affirmation
Air Mail Special
Alfie's Theme
All Alone (Left Alone)
(All Of A Sudden) My Heart Sings
Alto Itis
Another Star
April Skies
Are You Havin' Any Fun?
Ask Me Now
At The Mambo Inn
Avalon
Azure
Ba-Lue Bolivar Ba-Lues-Are (Bolivar Blues)
Baby, It's Cold Outside
Bags And Trane
Bags' Groove
Bali Ha'i
A Ballad
Baltimore Oriole
Barbados
Barbara
Basin Street Blues
Be-Bop
Better Leave It Alone
Beyond The Sea
Big P
Bill's Hit Tune
Billie's Blues (I Love My Man)
Billie's Bounce (Bill's Bounce)
Bird Feathers
Birdland
Birk's Works
The Birth Of The Blues
Black And Tan Fantasy
Blame It On My Youth
Bloomdido
Blow Mr. Dexter
Blue 'N Boogie
Blue Serge
Blue Seven
Blue Silver
Blue Skies
Blues By Five
Blues For Wood
Blues In The Closet
Blues March
Bohemia After Dark
Booker's Waltz
Bouncing With Bud
Brian's Song
Bright Boy
Brilliant Corners
Budo
Bunko
Buster Rides Again
Bye Bye Blackbird
C-Jam Blues
Candy
Cantelope Island
Caravan
Cast Your Fate To The Wind
Chameleon
The Champ
Chasin' The Trane
Cheesecake
Circle
Close Your Eyes
Cold Duck Time
Come Rain Or Come Shine
Comin' Home Baby
The Cooker
Cool Blues
The Core
Cousin Mary
Crazeology
Crepuscule
Criss Cross
Crosscurrent
Dance Of The Infidels
Dat Dere
Day By Day
Dewey Square
Dexter Rides Again
Didn't We
Dinah
Dindi
Do I Love You Because You're Beautiful?
Do Nothin' Till You Hear From Me
Do You Know What It Means To Miss New Orleans
Don't Explain
Down For Double
Doxy
The Drive
Duff
Early Autumn
Eclypso
Einbahnstrasse
Elora
Emancipation Blues
Epilogue
Estate
Everything I Have Is Yours
Eye Of The Hurricane
Ezz-thetic
Farmer's Trust
Feels So Good
Fever
52nd Street Theme
Filthy McNasty
First Trip
Five Brothers
Five Spot After Dark
A Flower Is A Lovesome Thing
Fly Me To The Moon (In Other Words)
Flying Home
The Folks Who Live On The Hill
Four Brothers
Fox Hunt
Freight Trane
Frenesí
The Frim Fram Sauce
Funky
Georgia On My Mind
Get Me To The Church On Time
Get Out Of Town
Gettin' It Togetha
The Gift! (Recado Bossa Nova)
Girl Talk
Gravy Waltz
Gregory Is Here
Grooveyard
Hackensack
Hallucinations
Happy Little Sunbeam
Havona
Head And Shoulders
Hi Beck
Hi-Fly
Ho-Ba-La-La
Hocus-Pocus
Holy Land
Honeysuckle Rose
Horace Scope
The Hucklebuck
Hummin'
Humpty Dumpty
I Believe In You
I Don't Stand A Ghost Of A Chance With You
I Get Along Without You Very Well (Except Sometimes)
I Have Dreamed
I Hear A Rhapsody
I Remember Bird
I Remember You
I Thought About You
I Will Wait For You
I Wish I Didn't Love You So
I'll Know
I'm A Fool To Want You
I'm Confessin' (That I Love You)
I'm Just A Lucky So And So
I'm Putting All My Eggs In One Basket
I've Found A New Baby (I Found A New Baby)
I've Told Ev'ry Little Star
Ice Cream Konitz
Idol Gossip
If I Loved You
If I Should Lose You
If I Were A Bell
Imagination
In Case You Haven't Heard
In Pursuit Of The 27th Man
In The Still Of The Night
In Walked Bud
Indiana (Back Home Again In Indiana)
Infant Eyes
Island Birdie
It Could Happen To You
It Might As Well Be Spring
It Will Have To Do Until The Real Thing Comes Along (Until The Real Thing Comes Along)
It's A Blue World
It's All Right With Me
It's Only A Paper Moon
It's So Peaceful In The Country
Jackie
Jeannine
Jingles
Jitterbug Waltz
The Jody Grind
Joyce's Samba
Jump, Jive An' Wail
Jumpin' With Symphony Sid
June Is Bustin' Out All Over
Just A Few
Just A Settin' And A Rockin'
Just In Time
Just The Way You Are
Kary's Trance
Katrina Ballerina
The Kicker
Kids Are Pretty People
Killer Joe
Lady Day
Lakes
Last Night When We Were Young
The Last Time I Saw Paris
Leila
Lennie's Pennies
Let's Cool One
Let's Fall In Love
Let's Get Lost
Like Sonny (Simple Like)
Like Young
Limbo
Little Chicago Fire
Little Rootie Tootie
Little Sunflower
Locomotion
Lone Jack
Lonely Dreams
Look For The Silver Lining
Lotus Blossom
Love Is Just Around The Corner
Love, Look Away
Love Vibrations
A Lovely Way To Spend An Evening
Lover
Lover Man (Oh, Where Can You Be?)
Make Someone Happy
Manteca
Memories Of You
Menina Flor
Mercy, Mercy, Mercy
Miles Ahead
Minor Mishap
Minor Mood
Theme From Mr. Broadway
Mr. Magic
Moanin'
Monk's Mood
Monk's Shop
Moon Rays
Moon River
Moonglow
Moose The Mooche
More Than You Know
Morning Dance
Moten Swing
Move
My Attorney Bernie
My Little Suede Shoes
My Old Flame
Nature Boy
The Nearness Of You
Night Song
No Moe
No Splice
North Atlantic Run
Now See How You Are
Now's The Time
Nutville
Off Minor
Oh, What A Beautiful Mornin'
Old Devil Moon
On The Sunny Side Of The Street
One By One
One Foot In The Gutter
One Morning In May
Our Language Of Love
Out Back Of The Barn
Oye Como Va
Pannonica
Parisian Thoroughfare
Peel Me A Grape
Pennies From Heaven
People Will Say We're In Love
Perdido
Petite Fleur
Petits Machins
Phase Dance
Picadillo (a la Puente)
Pick Yourself Up
Polka Dots And Moonbeams
Portrait of Jennie
Prisoner Of Love
Pursuance
Question

Mendelssohn Bartholdy: Symphony No. 4 in A major 'Italian' (Version 1833) Urtext based on the Leipzig Mendelssohn Complete Edition (Series I Vol. 6) by Thomas Schmidt-Beste To all extents and purposes, Germany is the land of artists, wrote Felix Mendelssohn Bartholdy in 1831 while on his travels in Italy; but Italy, he added, is the land of art. Indeed, everywhere he went in Italy, the 22-year-old composer found impulses for his symphony (I have to save the work until I have seen Naples). But although the country fired his inspiration (It will be the merriest piece that I have ever written), he did not actually write the Italian Symphony there. This did not occur until early 1833, when Mendelssohn obtained a commission from London, where he then conducted the first performance in May 1833. Begun the following year, his revision of the piece remained fragmentary, and the composer no longer performed the work himself. The familiar London version thus represents the only closed form of the work which the composer presented to the public. This is the version of the Italian Symphony that is now appearing in the Breitkopf Urtext collection as a pre-print from the Complete Edition.

Par MURAIL TRISTAN. Instead of considering the Piano as a percussion instrument (hammers hitting strings) Territoires De l'Oubli emphasises a different idiomatic characteristic of the instrument: a group of strings whose vibration is caused by sympathetic resonance or by direct action of the hammers. This is why the sustain pedal is depressed from the beginning until the very end of the piece: the work is written for the resonances, not for the attacks, which are considered as an inevitable but secondary phenomenon. Instead of considering the Piano as a percussion instrument (hammers hitting strings) Territoires De l'Oubli emphasises a different idiomatic characteristic of the instrument: a group of strings whose vibration is caused by sympathetic resonance or by direct action of the hammers. This is why the sustain pedal is depressed from the beginning until the very end of the piece: the work is written for the resonances, not for the attacks, which are considered as an inevitable but secondary phenomenon./ Répertoire / Piano

Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to us in two main versions, such as ?Dardanus? (1739, 1744), ?Platée? (1745, 1749) and ?Zoroastre? (1749, 1756), none fell into oblivion for as long a period as ?Castor et Pollux?. After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist ?Gentil-Bernard? to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux. The main plot remains very similar to the one of 1737, aside from the fact that the sisters Télaïre and Phébé no longer are in love - the one with Castor the other with Pollux - but rather both with Castor which is the reason why Phébé is jealous of Télaïre. Already at the beginning of the first act Pollux relinquishes his love of Télaïre to the benefit of Castor. Castor, however, is killed by Linceus and finds himself in Hades. Pollux commits to saving his brother, sacrifices his immortality and declares his willingness to take Castor?s place in Hades so that his brother and Télaïre may be reunited. Jupiter, moved by this sacrifice, frees Pollux and bestows the couple immortality by giving them a place in the zodiac. Following the editorial principles of the ?Opera omnia Rameau? (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of ?Castor et Pollux?, the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum. This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged. / Date parution : 2023-06-16/ Répertoire / Chant et Piano

Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn’s setting of Psalm 98 was written in a few weeks to satisfy a commission in his new position as general music director of Prussia and was premiered by the Berlin Cathedral Choir on 1 January 1844. As he neither released the work forpublication nor produced a vocal score, his psalm setting did not appear in print until after his death. For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions, which tend to treat theautograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The piano reduction is based on the first printed edition, published by F. Kistner and Evers & Co. in 1851. - Urtext edition of Mendelssohn’s last orchestral psalm - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Words underlaid in both German and English - Piano reduction based on the first printed edition Features of the Barenreiter Urtext edition of Mendelssohn ’s setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) : Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) Words underlaid in both German and English Piano reduction based on the first printed edition Full score, performance material (BA9076) and vocal score (BA9076-90) available for sale Mendelssohn composed his setting of Psalm 98 (Singet Dem Herrn / Sing To The Lord) in the space of just a few weeks to satisfy a commission in his new position as general musicdirector of Prussia. The work was premiered by the Berlin Cathedral Choir on 1 January 1844. As Mendelssohn neither released the work for publication nor produced a vocal score, his psalm setting did not appear in print until after his death. For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way, it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The Piano reduction is based on the first printed edition, which was published by F. Kistner and Evers & Co. in 1851./ Répertoire / Solistes, Choeur Mixte et Orchestre

for piano. Par ROTA NINO. This little waltz was not discovered until recently. The manuscript was passed from the dedicatee ('dedica: alla gentile Signora Giovanna Albano Sottomano per omaggio cordiale di Nino Rota Bari 12/7/1945') to her heirs and has remained in their possession ever since. This is why it has not been included in Rota's catalogue of works until now. Thus, it is all the more delightful that we can now publish this lively piano work for the first time and in doing so, add another piece to Rota's popular compositions for piano./ Répertoire / Piano

A fairy tale in music freely after Wilhelm Hauff. Par NUTZENBERGER THOMAS. This is the bizarre and fantastic story of the boy Jacob who is transformed into a dwarf with a huge nose by an mysterious fairy. He spends seven years in the fairy’s palace, and during this time becomes a marvellous cook. The years go by as in a dream, and he does not imagine that he is in truth in the body of a loathsome dwarf. When he sees his parents again, they do not recognize him. He is mocked and rejected by everyone. But Jakob is not disheartened! He has to protect himself and survive setbacks and tests until at the end of the story he regains his true form.Zwerg Nase, based on the fairy tale of the same name by Wilhelm Hauff, is a story which gives courage and hope. It is a story which tells of self-confidence and friendship. There are the animals in the fairy’s palace, who stand alongside Zwerg Nase, and above all his girlfriend the goose Mimi who is herself an enchanted maiden and is saved from the oven by Zwerg Nase. Mimi knows which magic herb can give him back his true form. And everything turns out well in the end.The text and music convey the magical content of the fairy tale in a playful, yet convincing way. The libretto is catchy in its verse and rhyme, comic ideas alternate with touching and atmospheric passages.Classic and contemporary elements mix together in the setting, oriental borrowings stand alongside rhythmic pieces such as boogie-woogie, tango, and waltz. Written for chorus and solo voices, the Singspiel is suitable for children and young people from 6 to 14 years. It is about an hour in length.This is the bizarre and fantastic story of the boy Jacob who is transformed into a dwarf with a huge nose by an mysterious fairy. He spends seven years in the fairy’s palace, and during this time becomes a marvellous cook. The years go by as in a dream, and he does not imagine that he is in truth in the body of a loathsome dwarf. When he sees his parents again, they do not recognize him. He is mocked and rejected by everyone. But Jakob is not disheartened! He has to protect himself and survive setbacks and tests until at the end of the story he regains his true form.Zwerg Nase, based on the fairy tale of the same name by Wilhelm Hauff, is a story which gives courage and hope. It is a story which tells of self-confidence and friendship. There are the animals in the fairy’s palace, who stand alongside Zwerg Nase, and above all his girlfriend the goose Mimi who is herself an enchanted maiden and is saved from the oven by Zwerg Nase. Mimi knows which magic herb can give him back his true form. And everything turns out well in the end.The text and music convey the magical content of the fairy tale in a playful, yet convincing way. The libretto is catchy in its verse and rhyme, comic ideas alternate with touching and atmospheric passages.Classic and contemporary elements mix together in the setting, oriental borrowings stand alongside rhythmic pieces such as boogie-woogie, tango, and waltz. Written for chorus and solo voices, the Singspiel is suitable for children and young people from 6 to 14 years. It is about an hour in length.A piano version is also available (Carus 12.448/03). The choral score is identical for both versions. / Date parution : 2022-10-12/ Répertoire / Choeur d'Enfants (1-3 Voix) et Orchestre