This show has guts! proclaimed Richard Zoglin of Time magazine about this 2012 revival, which won the Off-Broadway Alliance Award for Best Musical Revival. It features music by Michael Gore, lyrics by Dean Pitchford, and book by Lawrence D. Cohen (based on the novel by Stephen King). Our folio features 18 songs from that revival, including: Alma Mater · And Eve Was Weak · Carrie · Carrie (Reprise) · Do Me a Favor · Dreamer in Disguise · Epilogue · Evening Prayers · I Remember How Those Boys Could Dance · In · A Night We'll Never Forget · Once You See · Open Your Heart · Unsuspecting Hearts · When There's No One · Why Not Me? · The World According to Chris · You Shine. / Piano/Vocal/Guitare (PVG)

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

Rachmaninoff composed his collection of 13 songs op. 34 in 1912, but it was only three years later that he added a little closing piece without any text: the Vocalise, which soon outshone the other songs in terms of popularity and renown. Since its first performance in 1916 this expressive, melancholy piece has circulated in countless arrangements by others. Rachmaninoff himself made an arrangement for orchestra and voice, as well as one for orchestra alone. Our Urtext edition contains the original version for high voice and piano, and is based on the autograph sources in the Glinka Museum in Moscow. A particular highlight is the separate vocal part that not only serves singers well but also all those instrumentalists who wish to play this wonderful piece using the original solo part. / Voix Et Piano

Vocal score based on the critical edition of the orchestral score edited by Paolo Fabbri, 2 volumes. Donizetti's Anna Bolena premiered at Milano's Teatro Carcano during Carnival season 1830-31 is considered the composer's first major success in serious opera, which brought him to the attention of all Europe. In terms of production, in Italy he was an anomaly, in that he remained actively involved in the evolution of his works and the performances of them, and went on making modifications to those works. Written expressly for the interpretative and vocal talents of great singers like Giuditta Pasta and Giovan Battista Rubini, the historically-based 'lyrical tragedy? by librettist Felice Romani is a classic of Lombard Romanticism. The present reduction for voice and piano derives from the critical edition of the score, recently published in this catalog: is based on the autograph score, (housed in the Ricordi Archives in Milan), on the libretto for the premiere, on the first vocal scores printed editions (Lucca and Ricordi in Milan and Marquerie Frères in Paris) and additional manuscript scores with autograph additional notes (housed in Naples and Rome). This edition presents for the first time all the music composed by Donizetti, in particular the sections crossed out or replaced either immediately before or after the first performances. There is also a synthetic reconstruction of the birth of Anna Bolena, with a description of sources and a selection of the Critical Notes from the full score edition. / Voix Et Piano

Fr. Those intéressé à la musique française ont souvent eu raison d'être reconnaissants à Roger Nichols - ses écrits sur Debussy, Ravel, Messiaen et Poulenc sont indispensables à l'amant de la musique. Nichols tourne maintenant ses attentions à la mélodie, où il est sa mission d'encourager les chanteurs à explorer au-delà les chemins de l'Union de la chanson française. Dans ces deux anthologies, il n'ignore pas les chefs de oeuvres de compositeurs de la stature de Fauré et Duparc, mais eux définit aux côtés de musique - presque impossible de trouver ailleurs imprimée - par des personnalités comme Reber, Viardot, Massé et Paladilhe sous-estimé. Même les plus célèbres chansons sont souvent pas facilement trouver dans les éditions pratiques, qui rend cette sélection un point de départ idéal pour l'exploration plus large. Dans chacun de ces volumes les chansons apparaissent dans l'ordre chronologique de la naissance du compositeur, leurs, mais Nichols arrive d'une certaine manière un line-up de la musique qui semble délicieusement arbitraire en même temps aussi soigneusement conçu pour enrichir la compréhension de tout le monde... / Voix Et Piano

Fr. Those intéressé à la musique française ont souvent eu raison d'être reconnaissants à Roger Nichols - ses écrits sur Debussy, Ravel, Messiaen et Poulenc sont indispensables à l'amant de la musique. Nichols tourne maintenant ses attentions à la mélodie, où il est sa mission d'encourager les chanteurs à explorer au-delà les chemins de l'Union de la chanson française. Dans ces deux anthologies, il n'ignore pas les chefs de oeuvres de compositeurs de la stature de Fauré et Duparc, mais eux définit aux côtés de musique - presque impossible de trouver ailleurs imprimée - par des personnalités comme Reber, Viardot, Massé et Paladilhe sous-estimé. Même les plus célèbres chansons sont souvent pas facilement trouver dans les éditions pratiques, qui rend cette sélection un point de départ idéal pour l'exploration plus large. Dans chacun de ces volumes les chansons apparaissent dans l'ordre chronologique de la naissance du compositeur, leurs, mais Nichols arrive d'une certaine manière un line-up de la musique qui semble délicieusement arbitraire en même temps aussi soigneusement conçu pour enrichir la compréhension de tout le monde... / Voix Et Piano

Par . This collection of Argentinean tangos for voice and piano offers a cross-section of tango across the ages, from the beginnings, through the Gardel era, the golden age and Tango nuevo (of Piazzolla and others), right up to contemporary compositions ? creating a perfect tango concert program. Whether used within a song recital, as encores, or as music for dance events, the repertoire in Tango canción is completely versatile and suitable for singers from all backgrounds. Arranged by the Argentinean composer, pianist and tango expert Juan María Solare, these songs retain an authentic tango sound while making the vocal and piano writing approachable by all ? especially those who are not familiar with the repertoire. Additional information and performance tips help performers achieve the passion of tango. A cross-section of Argentinean tangos from the beginnings up to the present day Easier and intermediate-level pieces, with practical piano accompaniments Includes introductions to the songs, translations of the lyrics and a guide to pronunciation Ideal as a complete concert programme. / Date parution : 2022-11-12/ Recueil / Chant et Piano