Une collection de pare-chocs de 68 chansons de la chanteuse qui a fractionné 45 de ses 47 ans de carrière. Garland atteint des vedettes internationales comme actrice dans des rôles musicales et dramatiques, comme un artiste et sur la scène de concert. Respecté pour sa polyvalence, elle a reçu un Oscar juvéniles, a remporté un Golden Globe Award, a reçu le prix de DeMille de Cecil b. pour son travail dans des films, ainsi que Grammy Awards et un Tony Award. Egalement inclus dans cet album souvenir sont des photographies noir et blanc de films, de crédits de film et une filmographie complète et discographie./ Recueil / Piano, Chant et Guitare

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

L'édition de livres et CD 2 de la collection la plus complète des sélections de Broadway jamais organisée spécifiquement pour le chanteur. Chacun des cinq volumes de la série contient des chansons importants choisis parce qu'ils sont appAvailableriate fpr chaque voix. Toutes les sélections sont sous leur forme authentique, original et de la musique vocale originale. Les chansons dans Musical Theatre anthologie du chanteur, écrit par des compositeurs tels notés comme Kurt Weill, Richard Rodgers, Stephen Sondheim et Jerome Kern, sont des chefs-d'oeuvre vocales idéales pour les auditions, pratiquer ou effectuant des chanteurs./ Recueil / Ténor 1

Avec plus de 180 #1 hit chansons dans le monde entier, Berry Gordy, le légendaire label Motown Records forgé les carrières des superstars tels que Diana Ross et the Supremes, Smokey Robinson et les Miracles, le Four Tops, Stevie Wonder et les tentations. Célébrer le 50e anniversaire, cette fonctionnalité de compilation comprennent le son de la signature des étoiles qui a enregistré dans les bureaux de Detroit, appelés ' Hitsville U.S.A. ' The 100 hits : Ain't trop fier À Beg - Baby Love - Dancing In The Street - Endless Love - pour une fois dans ma vie - I Can't Help Me (tarte de sucre, miel Bunch) - J'ai entendu il grâce à la vigne - Let's Get It On - My Girl - signéScellés, livré, je suis Yours - trois fois A Lady - You Can't Hurry Love et beaucoup plus./ Recueil / Piano, Chant et Guitare

Pour la première fois ! 200 de hits des Beatles disposées en format livre faux, mettant en vedette les cadres de corde de guitare et de paroles / Chant Et Guitare

Young Women'S Edition. Par DIVERS AUTEURS / ARR.LOUISE LERCH. These popular publications are compiled especially for the tastes and abilities of the talented teenage singer/actor. Songs span from classic stage musicals, to 'the golden age of Hollywood,? to the stage and cinema of the 1980s and '90s. Indispensible for teaching young singers, these book/CD packs also include notes on each selection./ Recueil / Chant

Par GRIFFIN MICHAEL. Bumblebee! Rounds and Warm-ups for Choirs is more than just a wonderful collection of 130 choir exercises including 50 rounds. Michael Griffin, who has taught and consulted throughout the world, shares timeless wisdom to help you get your choir into shape. 'Will prove useful for almost everyone” -Rhinegold Music Teacher Magazine. 'This is a great resource to add to one's library of rehearsal tricks.' - Anacrusis, ACCC, Canada 'Bumblebee contains excellent new ideas and extensions on some of those well-known warm-ups that we all love to use. Backed by clear explanations of the purpose of each, it is a must have, particularly for less experienced choral directors.” - S Turner, PLC, Sydney. 'Vocal physiology, singing pedagogy, and effective vocal examples to practise are excellently combined in Bumble Bee, making it a kind of 'one stop shop' for singing teachers and choir conductors. The vocal work is fun with music examples ranging in difficulty, catering for a variety of vocal contexts. The rounds are invaluable in themselves, offering participants many opportunities to make beautiful music. I even use some of these vocal exercises with my tertiary drama students, as they encourage vocal health and illustrate how the vocal mechanism works. I would highly recommend this resource to anyone who cares about voices and loves to sing well!” - S. Chapman, QLD 'This is really good stuff for all kinds of vocal groups, choirs, conductors. Bravo!!' - Harrie Spronken, Netherlands. 'This is the thinking person's guide to training a choir! Love it.' - Margaret May, Australia. 'It's great to have some fresh warm-ups to add to the repertory. Being short and repetitive by their nature, we need lots of different ones and most of these are new to my choir. The tips for actions and techniques etc. are really useful, and the advice at the back of the book has made me review some of my strategies.' - Philip Duffy, UK./ Méthode / Choeur