This flexible collection offers a wealth of excellent material for singing in rounds. All of the standard rounds are represented, including many by master composers as well as anonymous ones. The book is divided into three main sections: rounds with texts, rounds without texts and selected rounds in score format. In addition to a complete alphabetical index, there are separate listings of rounds with sacred texts, rounds with secular texts, rounds about animals, rounds about bells, Christmas rounds, rounds in foreign languages, lullabies, rounds about music, rounds about nature, rounds about singing and street cries. There's even an additional listing of rounds in two parts, three parts, four, five and six parts. This is one collection no music library should be without! From the Kodály Choral Concept. Includes index based on song content and teaching concepts. / Choeur Mixte

Il s'agit de la première édition critique jamais complète de chansons de Henri Duparc. Edité par Roger Nichols, la musique élégamment présentée est pris en charge par un commentaire critique complet qui illumine comme jamais auparavant les stades compositionnelles de ces belles chansons. Une autorité sur la musique française de réputation internationale Roger Nichols rend cette édition essentiel pour tous les chanteurs qui exécutent, étudient ou enseignent ces mélodies. ' Cette nouvelle édition de Peters de chansons de Duparc est précieuse. Dans magnifique catalogue beau, clair, il contient non seulement beaucoup d'informations utiles, mais aussi un guide de prononciation pour les français et le meilleur de tous, traductions, quelque chose de la jeune chanteuse ou les étudiants trouveront inestimable. Je ne pouvais pas recommander il ly élevé plus. ' Dame Janet Baker / Voix Et Piano

As a continuation of the new Urtext edition of the Schubert lieder, Walther Dürr has now edited volume five for high, medium and low voices. Volumes 1 to 4 of this edition contain mainly lieder which Schubert himself saw into print (in his own choice and order) and in the fourth volume works from the last two years of his life are included. The lieder in volume 5 onwards are strictly presented in the order of Deutsch's Thematic Catalogue which means that in principle they are arranged chronologically. The lieder in volume five were composed in the years 1811 to 1814. The first - 'Hagars Klage' (D 5), dated 30 March 1811 - is also his first complete surviving song. The first eleven lieder are evidence of his early studies (1811-1813/14). During this period Schubert immersed himself in Johann Rudolf Zumsteeg's ballads and lieder and wrote Italian arias during his composition lessons with Antonio Salieri. He also composed a single strophic song ('Klaglied', D 23), which - the only one of these songs - was published shortly after his death in November 1830 as op. 131, 3. His apprentice work, as it were, was the major ballade 'Der Taucher' (D 77) which was composed between 1813 and roughly the beginning of 1815. Probably not by chance, his first complete opera ('Des Teufels Lustschloss', D 84) was written at the same time. He also set fourteen poems by Friedrich von Matthisson exploring the principle of the strophic lied. - Excellent new engraving based on the 'New Schubert Edition'- Foreword by Walther Dürr discussing the history the works' composition and transmission, together with a list of sources for each song (Ger/Eng)- English translation of the song texts by Richard WigmoreContents:Hagars Klage, D 5 / Leichenfantasie, D 7 /Der Vatermörder, D 10 / Klaglied, op. post. 131, 3 - D 23 / Misero pargoletto, D 42 (high voice only) / Totengräberlied, D 44 / Die Schatten, D 50 / Verklärung, D 59 / Pensa che questo istante, D 76 (medium and low voice only) /Der Taucher, D 77 / Son fra l'onde, D 78 (high voice only) /Adelaide, D 95 / Trost. An Elisa, D 97 /Erinnerungen, D 98 / Andenken, D 99 /Geisternähe, D 100 / Erinnerung, D 101 /Die Betende, D 102 / Die Befreier Europas in Paris, D 104 /Lied aus der Ferne, D 107 (1st version) / Lied aus der Ferne, D 107 (2nd version) / Der Abend, D 108 / Lied der Liebe, D 109 /Romanze, D 114 (1st version) / Romanze, D 114 (2nd version) /An Laura (als sie Klopstocks Auferstehungslied sang), D 115 / Der Geistertanz, D 116 /Appendix (lower transpositions of the songs only in high ranges):Die Schatten, D 50 / Adelaide, D 95 / Voix Moyenne(s)

Par POULENC FRANCIS. Calligrammes is a set of seven melodies by Francis Poulenc based on poems by Guillaume Appolinaire. The overall piece lasts 10 and a half minutes and the book includes the score for Voice and Piano. Each work is dedicated to a different person and has its own story: I. L'Espionne / The Spy & 1'32 II. Mutation / Mutation & 0‘ 40 III. Vers le Sud / Toward the South & 1'40 IV. Il pleut / It's raining & 1' V. La grâce exilee / Grace in exil & 0'28 VI. Aussi bien que lescigales / As well as crickets & 1'40 VII. Voyage / Travel & 2'20 Each piece can be work on its own or the whole book can be played at once. Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas ('Dialogues des Carmelites'), ballets ('The does') as well as some Orchestral works./ Répertoire / Voix Moyenne et Piano

For Medium Voice. Par SCHUBERT FRANZ. Do you know our performing edition of Schubert Lieder? 13 volumes containing the complete Lieder for solo voice and piano in editions for high, medium and low voice are planned. Nine of these volumes have already been published and provide the basis for this special sampler at a very special price. “A Taste of Schubert” presents one to three pieces from each volume to create a cross-section of Schubert’s complete lieder oeuvre. Lieder from his famous cycles are included as well as “Sehnsucht”, of which he wrote several settings. / Niveau : Moyen / Répertoire / Voix Moyenne et Piano

54 LiederContent : BEFORE AND AFTER SUMMER: Childhood among the Ferns - Before and after Summer - The Self-unseeing - Overlooking the River - Channel Firing - In the Mind's Eye - The Too Short Time - Epeisodia - Amabel - He Abjures LoveEARTH AND AIR AND RAIN: Summer Schemes - When I set out for Lyonnesse - Waiting for Both - The Phantom - So I have fared - Rollicum-Rorum - To Lizbie - The Clock of the Years - In a Churchyard - Proud SongstersI SAID TO LOVE:I need not go - At Middle-Field Gate in February - Two Lips - In five-score - Summers - For Life I had never cared greatly - I said to Love LET US GARLANDS BRING: Come away, come away, death - Who is Sylvia' - Fear no more the heat o' the sun - O Mistress Mine - It was a lover and his lassLOVE'S LABOUR'S LOST:Songs for Heims and Ver (Song for Moth) - Riddle Song - False ColcolinelOH FAIR TO SEE:I say I'll seek her - Oh fair to see - As I lay in the early sun - Only the wanderer - To Joy - Harvest - Since we lovedTILL EARTH OUTWEARS: Let me enjoy the earth - In years defaced - The Market-Girl - I look into my glass - It never looks like summer - At a lunar Eclipse - Life Laughs OnwardTO A POET:To a Poet a Thousand Years Hence - On Parent Knees - Intrada - The Birthnight - June on Castle Hill - Ode on the rejection of St. Cecelia

Includes the cycles Briefly It Enters (High Voice edition only), I Will Breathe a Mountain, Let Evening Come (High Voice edition only), Three Donald Hall Songs, Tillinghast Duo, individual songs, and selections from Songs of Innocence and of Experience (Medium/Low Voice edition only). With notes on the songs and composer comments. Includes several first editions and first-time transpositions.There are different songlists for the High Voice and Medium/Low Voice editions. / Voix Moyennes

'When Gabriel Fauré was appointed Director of the Paris Conservatoire in 1905, one of his most pressing concerns - and first achievements - was a complete reform of the teaching of singing. He was determined to introduce mandatory study of art song, along with 'exercises developing vocal suppleness, articulation, and voice placement and production, which are the basis of singing teaching'. To this end, between 1906 and 1916 he composed a substantial body of accompanied vocalises for use in the Conservatoire's sight-singing examinations. For a century these vocalises - all but one now held in the Archives nationales de France in Paris - have lain unknown to the musical world at large. Their first publication here marks a major event for the vocal teaching repertoire (as well as some entrancing music)- a marvellous resource of skilfully devised vocal exercises ranging from elementary to advanced virtuoso level, all from one of history's greatest song composers.'- Roy Howat / Voix Et Piano

Description Twenty-Four Italian Songs And Arias Of The 17th And 18th Centuries - Medium Low Voice (Book/CD) A standard in teaching literature, now available with both accompaniment cassette or CD. Songlist Alma Del Core (La Constanza In Amor Vince L'Inganno) [Caldara, Antonio] Amarilli, Mia Bella [Caccini, Giulio] Caro Mio Ben [Giordani, Tommaso] Che Fiero Costume [Legrenzi, Giovanni] Come Raggio Di Sol [Caldara, Antonio] Danza, Danza, Fanciulla Gentile [Durante, Francesco] Gia Il Sole Dal Gange [Scarlatti, Alessandro] Lasciatemi Morire (Adriane's Lament) [Monteverdi, Claudio] Le Violette [Scarlatti, Alessandro] Nel Cor Piu Non Mi Sento (L'Amor Contrastato) [Paisiello, Giovanni] Nina [Pergolesi, Giovanni Battista] Nina [Pergolesi, Giovanni] Non Posso Disperar [De Luca, S.] O Cessate Di Piagarmi [Scarlatti, Alessandro] O Del Mio Dolce Ardor (Paride Ed Elena) [Gluck, Christoph Willibald] Per La Gloria D'adorarvi [Bononcini, Giovanni] Pieta, Signore [Stradella, Alessandro] Pur Dicesti, O Bocca Bella [Lotti, Antonio] Se Florindo E Fedele [Scarlatti, Alessandro] Se Tu M'ami, Se Sospiri [Pergolesi, Giovanni] Sebben, Crudele [Caldara, Antonio] Tu Lo Sai [Torelli, Giuseppe] Vergin, Tutto Amor [Durante, Francesco] Vittoria, Mio Core! [Carissimi, Giacomo]

Par GOUNOD CHARLES. Gounod, comme Berlioz à la même époque, eut le grand mérite d'avoir donné à la mélodie un relief qu'elle n'avait pas eu jusque là en France. C'est avec lui que naît véritablement la mélodie française qui se substitue peu à peu à la romance, plus simple et d'un accompagnement moins raffiné. Gounod, en particulier dans ses premières oeuvres, choisit de beaux textes et calque avec un grand talent sa mélodie sur le 'chant' du langage français, en respectant le rythme établi par le poète. Nous avons voulu présenter une anthologie des mélodies qui nous ont semblé les mieux adaptées au goût d'aujourd'hui. Les Editions Henry Lemoine, qui furent à l'époque l'un des principaux éditeurs de Charles Gounod, souhaitent ainsi contribuer à faire aimer ces oeuvres au même titre que celles de compositeurs plus souvent interprétés et qui doivent peut-être quelque chose à Gounod... Jacqueline Bonnardot / classique / Répertoire / Voix Moyenne et Piano