The Hunger Games: Catching Fire - Music From The Motion Picture Soundtrack (PVG) contains a dozen songs from the second installment of the Hunger Games trilogy, released in 2013, arranged for Piano, Vocal and Guitar.The Hunger Games: Catching Fire - Music From The Motion Picture Soundtrack (PVG) features the Grammy-nominated lead song Atlas by Coldplay, plus Silouettes, We Remain, Who We Are, Everybody Wants to Rule the World, Mirror and more. / Piano/Vocal/Guitare (PVG)

The American composer William Schuman (1910-1992) wrote works in virtually every musical genre, each mirroring his strong personality in their sharply defined sense of structure, line, and dynamism. This short wordless composition for women's chorus and piano dates from 1942 and was written for the Sarah Lawrence Chorus. / Choeur SSAA

Himmelfahrtsoratorium. Par BACH JOHANN SEBASTIAN. Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 [Ascension Oratorio]. Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ’s ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, 2 Flûtes

Himmelfahrtsoratorium. Par BACH JOHANN SEBASTIAN. Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 [Ascension Oratorio]. Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ’s ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, 2 Flûtes

Par SCHUMANN ROBERT. Robert Schumann once described his lieder as a ”mirror image of his self”. This applies particularly to his compositions from Heinrich Heine's 'Buch der Lieder”. What began as a lyrical intermezzo, then developed into 'Dichterliebe”, a work with which Schumann identified the ardour of his love for Clara Wieck. This work still presents an enigma to performers- how Schumann interpretes Heine's irony in his music is often discussed. But one thing is certain: with 'Dichterliebe” the composer created what is perhaps the best-loved and one of the most tightly-woven lieder cycles of the Romantic period. This new edition presents the work based on the first edition. It takes Schumann's autograph score into consideration, an autograph score where there have recently been discussions as to whether it should be presented as an independent alternative version. The four lieder omitted by Schumann from the printed edition are included in the appendix. - High-quality Urtext edition of this well-known song cycle - Appendix includes four lieder by Schumann which he did not include in the original cycle - Comprehensive foreword and critical commentary (Ger/Eng)/ Répertoire / Chant et Piano

Himmelfahrtsoratorium. Par BACH JOHANN SEBASTIAN. Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 (Ascension Oratorio). Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ’s ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, 2 Flûtes

Himmelfahrtsoratorium. Par BACH JOHANN SEBASTIAN. Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 [Ascension Oratorio]. Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ’s ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, 2 Flûtes

Salieri, Antonio Prima la musica e poi le parole Divertimento teatrale in one act Details Edition no.: BA 8811-90 ISMN: 9790006542826 Editor: Betzwieser, Thomas / La Salvia, Adrian Arranger: Müller, Karl-Heinz / Schellevis, Hans Language(s) of work: German, Italian Language(s) of text: German, English Product format: Piano reduction, Urtext edition Comments: Replaces BA 7698-90 Binding: Paperback Pages / Format: XVI, 199 S. - 27,0 x 19,0 cm A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. The Italian court singers and musicians performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima la musica e poi le parole was performed by a German Singspiel ensemble. This charming opera satire belongs to the genre of ?metamelodrama? in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the writer, composer and prima donna, appear as characters on the stage and are presented in a humorous mirror image. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. By reflecting on the musical-dramatic style of that time and discussing whether ?the word? or ?the music? should take priority, this masterpiece is considered to be a forerunner to Richard Strauss?s Capriccio. This new edition of the score is published as part of OPERA ? Spectrum of European Music Theatre in Separate Editions. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into the newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti?s Giulio Sabino have also been incorporated. - Urtext edition based on the historical-critical hybrid edition OPERA-Spectrum of European Music Theatre in Separate Editions edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).- Original Italian libretto with singable German translation- Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodrama and intertextuality- Includes an extensive appendix to the quotations taken from Giuseppe Sarti?s Giulio Sabino- Idiomatic piano reduction

Par PART ARVO. 'In principio' takes its words from the Gospel of John 1:1-14 and puts them into a five-movement form. This work, as in all of Pärt's music, is governed by a strict formal design, with the clarity of the musical structure corresponding to that of the Latin text. The first movement (vv. 1-5) and the fifth (v. 14) are limited to two opposing formal elements: a static, syllabically articulated A-minor chord, and its timbral and tonal opposite, a fanfare-like figure that expands with each new section, growing in loudness and returning to its beginning after traversing all twelve keys. The second movement (vv. 6-8), devoted to John the Baptist, is conceived as a powerfully moving single-voice monody. The central third movement (vv. 9-11) is not only the longest but the one whose message Pärt specially emphasised by repeating the words three times - something he had never done before in his vocal music. He evidently did so to send a signal directly to each and every one of us. The fourth movement (vv. 12-13) seems to begin ex nihilo, growing slowly but with an ineluctable pulse in a mighty procession. The fifth movement (v. 14) constitutes, in combination with the first, the formal and expressive frame of the composition, albeit in mirror reflection. If the chorus in the first movement statically pulsates while the orchestra proceeds dynamically through the circle of keys, these roles are reversed in the fifth movement. Thus, the expanding thrust given to the orchestra in the opening movement is now focused entirely on the text of the chorus. (Wolfgang Sander, translation by J. Bradford Robinson)/ Répertoire / Chœur Mixte [SATB] et Orchestre

Himmelfahrtsoratorium. Par BACH JOHANN SEBASTIAN. Besides the Weihnachtsoratorium BVW 248, Bach composed an additional work for the feast days of the church year 1734/35: The Himmelfahrtsoratorium BWV 11 [Ascension Oratorio]. Although in its dimensions and character the oratorio is akin to his cantatas, it occupies a special position as a result of the epic text on which it is based; the text includes a biblical story. In particular, the festive atmosphere and instrumentation of the opening and closing choruses mirror the triumphant joy of Christ’s ascension. This is a new edition in the Stuttgart Bach Editions series, edited by Ulrich Leisinger./ Répertoire / Solistes SATB, Choeur SATB, 3 Trompettes, 2 Flûtes

All 13 songs from the second studio album release by this Las Vegas-based rock band which reached number one in the UK Albums chart.Imagine Dragons are in tour in the UK and Europe throughout October and November 2015. / Piano/Vocal/Guitare (PVG)

Par HORAN NIALL. This debut solo effort from One Direction's Niall Horan debuted at the top of the Billboard® 200 album charts. Our Piano/Vocal/Guitar folio includes 13 songs from the album: 'Fire Away', 'Flicker', 'Mirrors', 'On My Own', 'On the Loose', 'Paper Houses', 'Seeing Blind', 'Since We're Alone', 'Slow Hands', 'This Town', 'The Tide', 'Too Much to Ask' and 'You and Me'./ Recueil / Piano, Chant et Guitare

A Further Handbook For Singing. Par HUNT PETER. VoiceWorks 2 est une deuxième collection de 66 chansons inspirées fabuleux y compris le matériel d'étirer des groupes plus confiant. Tout aussi pratique et accessible que VoiceWorks 1. Lively et simple des idées pour Key Stage 3 (Scottish niveaux D et E) Idéal pour des chorales de jeunes, groupes scolaires, des chorales de jeunes du comté, et des chorales de tous âges et de l'expérience 66 chansons, de l'unisson à l'harmonie simple en quatre parties Vaste gamme de répertoire et des styles du monde entier Chansons pour l'échauffement, l'utilisation de répétition, et le répertoire de concert La plupart des chansons non accompagnés, ou avec des accompagnements simples pour le clavier ou la guitare Une leçon complète ou un plan de répétition pour chaque chanson Vocal échauffements et des conseils généraux inclus Double CD contient performances ainsi que du matériel de soutien Pages photocopiables ' / Niveau : Débutant / Recueil / Chant