This artist-approved piano/vocal transcription book features 8 songs from Folds' 2015 album, plus exclusive online access to six all-new studio recordings of Ben Folds alone at the piano, recorded specifically for this songbook! These recordings aren't available anywhere else! Songs: Capable of Anything - F10-D-A - I'm Not the Man - Long Way to Go - Not a Fan - Phone in a Pool - So There - Yes Man. Also includes notes from Folds about the transcriptions and his performance technique. / Chant Et Piano

Zack's Zoo is due to open, but he refuses to open the gates to the public until all the animals have passed their Standard Animal Tests. The animals, meanwhile, are behaving in far from 'standard' ways - and some of them are downright wacky! Joe Public and his friends are tired of waiting for the zoo to open, so they stage a protest. Zack decides to let the 'Publics' in to prove the animals aren't ready to be seen. Most of the animals fail their 'SATs' but Joe and his friends love their quirkiness and think this is the best zoo ever! Joe suggests renaming it 'The Zany Zoo' so that people will know what to expect. Once Zack sees his creatures in a new light, he stops trying to standardise them. He even apologises for not appreciating their individuality, and declares: 'The Zany Zoo is opening right now!' Witty and colourful, The Zany Zoo is the perfect end of year show as it offers such an array of unforgettable cameo parts for a large cast./ Recueil / Chant et Piano

Waltz Song Musetta de La Bohème. Comprend 3 versions: haute voix (E - clé d'origine), la voix moyenne (D), et la voix basse (B). Introduction, notes de performance et le guide phonétique par Gordon Stewart. Traductions d'introduction et les paroles en français, allemand et italien.Un classique du répertoire lyrique et une pièce d'audition favori pour les jeunes chanteurs, cette aria nécessite l'utilisation de rubato élégant, bonne gamme inférieure et supérieure transparente. Une partie de la série 'Opera Arias Audition', qui est conçu pour répondre aux besoins des jeunes chanteurs et propose des airs d'audition populaires dans plusieurs touches en une seule publication. / Voix Et Piano

The Really Easy Piano: Rihanna songbook contains 15 of Rihanna 's best known hits, all arranged for beginner Piano. Songs include hits such as Te Amo, Umbrella, Take A Bow and many more. Take A Bow was Rihanna 's third number one album on the Billboard Top 100. This song was included in Rihanna 's set lists for her 4 arena tours between 2008-2013. Watch Take A Bow here: This songbook also includes the lyrics so you can sing along as you play, or use them simply to help you follow the music. / Voix Et Piano

Gabriel Fauré's Chanson De Mélisande for Soprano and Orchestra. Reduction for Voice and Piano. 'An enchanted dream' ' poet Charles Van Leberghe's words give us an idea of the audience's enthusiasm at the Prince of Wales Theatre in Piccadilly on June 21st, 1898, when the first English language performance of Symbolist play Pelléas et Mélisande by Maurice Maeterlinck was performed, with incidental music by Gabriel Fauré. The composer had tasked his favourite student, Charles Koechlin, with orchestrating the score. The London theatre's small number of musicians suited the apprentice musician's ideals of clarity and transparency. It was 1936 before Koechlin returned to La Chanson de Mélisande, this time to create a version with orchestra, published the following year as a Piano-Vocal score. Using autograph manuscripts, Roger Nichols and Otfrid Nies have created a new edition of the Piano-Vocal reduction that includes the text of the melody in English, French and German. The score contains the 1898 and 1936 variations, as well as an informative preface by Otfrid Nies.

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

Bedrich Smetana (1824?1884) only began to devote himself intensively to the project of an original opera in Czech at the age of 38. The libretto of ?The Bartered Bride?, the second of Smetana?s nine operas, was written for Smetana by the poet and journalist Karel Sabina. The subject chosen for the comic opera was the story of a pair of lovers in the countryside whose relationship is disapproved of by their parents. It is set during the festival at a village church anniversary.

The final form of the work, which soon came to be regarded as a national opera, was preceded by a relatively difficult genesis.

The opera was written between 1863 and 1865 and was premiered on 30 May 1866 at the Provisional Theatre in Prague, where the composer?s last version of the work was also performed in 1870.

This vocal score contains the musical text of the critical edition of Smetana?s own vocal score.

The newly-set edition contains both Czech and German vocal texts; the German singing translation is by Kurt Honolka.

The newly-set and revised performance material for the entire opera, based on the critical edition by Frantisek Bartos, is available on hire. / [La Fiancée vendue] / Classique / Partition /

Par FORTNER WOLFGANG. In his later years Fortner wrote a number of compositions for specific, usually private, occasions, most to texts by major German poets. These songs from his estate are here published as a collection for the first time. The dedications are very personal and intimate, in keeping with the private realm of the compositions. The transparent, delicate piano writing, reminiscent of some of Webern’s setting, is indicative of Fortner’s commanding mature style - economical yet relaxed and mellow./ Répertoire / Chant et Piano