For anyone who loves to sing the great old songs, knows the melodies, but has trouble remembering some or all of the words, help is at hand in this extremely useful and unique compendium of popular song lyrics. Included are the complete lyrics for 500 well-known songs from many sources: folk songs, hymns and spirituals, nursery songs and children's play songs, patriotic and military songs, popular songs (many from Tin Pan Alley and Broadway shows), and many more. All the old favorites are here: After You've Gone, Beautiful Dreamer, Camptown Races, Danny Boy, Frankie and Johnny, Greensleeves, Home on the Range, I Love You Truly, John Henry, Kumbayah, Little Brown Jug, Molly Malone, Nobody Knows, Oh Susanna, Peg o' My Heart, Red River Valley, Shenandoah, Till We Meet Again, and hundreds more. Carefully researched, attractively printed, and sturdily bound, 500 Best-Loved Song Lyrics is the perfect companion for parties, sing-alongs, family get-togethers ? anywhere people gather to sing and enjoy the great songs of yesteryear.

Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

Broadway Singer's Edition-Songs in the Broadway Singer's Edition include the vocal line and lyrics paired with faithful reductions of the orchestral accompaniments. The songs are presented in their original keys with piano accompaniments carefully crafted for playability. The audio tracks included in the price of the book are performances of these piano accompaniments. Includes 9 songs: Big Blonde and Beautiful · Good Morning Baltimore · I Can Hear the Bells · I Know Where I've Been · It Takes Two · Run and Tell That · Timeless to Me · Welcome to the '60s · You Can't Stop the Beat.

This fantastic new edition features 18 beloved songs and a special color section of photos from the original Broadway production the motion picture and the television movie! Also includes the story of Annie andbiographies of composers Martin Charnin and Charles Strouse. Songs are in piano/vocal format: Annie ? Easy Street ? I Don't Need Anything but You ? I Think I'm Gonna Like It Here ? It's the Hard-Knock Life? Let's Go to the Movies ? Little Girls ? Maybe ? A New Deal for Christmas ? N.Y.C. ? Sandy (Dumb Dog) ? Sign! ? Something Was Missing ? Tomorrow ? We Got Annie ? We'd Like toThank You Herbert Hoover ? You Won't Be an Orphan for Long ? You're Never Fully Dressed Without a Smile.

A unique collection that celebrates one of the most distinctive voices in American songwriting. Thirty-five memorable hits:1914 (Suite from 'Avalon')A Fool in Love (from 'Meet the Parents')A New Day (Suite) (from 'Pleasantville')Ballad of the Three Amigos (from 'Three Amigos!')Blue Shadows (from 'Three Amigos!')Crazy 'Bout My Baby (from 'Meet the Fockers')Dexter's Tune (from 'Awakenings')Forever (from 'Ally McBeal')Happy Ending (from the Music/Theater Piece 'Randy Newman's Faust ')He Gives Us All His Love (from 'Cold Turkey')Heaven Is My Home (from 'Michael')I Love to See You Smile (from 'Parenthood')I Will GoSailing No More (from 'Toy Story')If I Didn't Have You (from 'Monsters Inc.')It Was Beautiful (from the Music/Theater Piece 'Randy Newman's Faust ')It's a Jungle Out There (from 'Monk')Laugh and Be Happy (from 'Cats Don't Dance')Make Up Your Mind (from 'The Paper')My Life Is Good (from the Music/Theater Piece 'The Education of Randy Newman')My Name Is James (from 'James and the Giant Peach')One More Hour (from 'Ragtime')Sandman's Coming (from 'Cop Rock' and the Music/Theater Piece 'Randy Newman's Faust ')She Chose Me (from 'Cop Rock')Strange Things (from 'Toy Story')Stupid Little Songs (from the Music/Theater Piece 'The Education of Randy Newman')That'll Do (from 'Babe: Pig in the City')The NaturalThe Time of Your Life (from 'A Bug's Life')When She Loved Me (from Walt Disney's 'Toy Story 2')You Can't Keep a Good Man Down (from the Music/Theater Piece 'Randy Newman's Faust ')You've Got a Friend in Me (from 'Toy Story')

The Piano is unquestionably a timeless instrument that has never and will never go out of fashion in popular music. The beauty of the keys when married with the right singer or songwriter has the power to create truly momentousmusic and Songs Of The Piano Stars with its 24 hit songs from the past and present will let you learn to play a selection of perfect Piano-led tunes. Drawing from the wealth of popular tunesfrom the past sixty years that have included a pretty Piano part or two Songs Of The Piano Stars presents a massive range of artists and their songs that are well-loved and will remain so for years to come.From The Beatles and Carole King to Alicia Keys and the Ben Folds Five the variety on offer here is testament to the persistence of the Piano in popular music.  From beautiful ballads like All OfMe by John Legend Don't Explain by Nina Simone and Imagine by John Lennon to huge pop hits like Carly Simon's You're So Vain and Elton John's classic Tiny Dancer these songs arranged forPiano and Voice with full lyrics and Guitar chord boxes will allow you to learn and perform them accurately and beautifully. There are some old classics included such as the legendary Tom Waits' Come On Up To TheHouse and Randy Newman's I Love To See You Smile and these are put alongside newer tunes like Brave by Sara Bareilles and Vanessa Carlton's A Thousand Miles. Thesesongs have been expertly-selected and engraved to reflect the most-requested songs by Piano singer-songwriters from over the years. With the success of the electric Guitar and the advent of rock music the Piano-led performerfaded away somewhat but the underlying love of composers and songwriters of creating music at the Piano never subsided. This Piano sheet music songbook features the greatest songwriters who have always championed the indomitable

Vocal Selections - Souvenir Edition-This souvenir folio features full-color photos from the stunning production as well as piano/vocal arrangements of 9 songs including: All I Ask of You • Angel of Music • Masquerade • The Music of the Night • The Phantom of the Opera • The Point of No Return • Prima Donna • Think of Me • Wishing You Were Somehow Here Again.

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