Compositeur(S): Amine Behktaoui. Par PSY 4 DE LA RIME. Auteur: SAÏD M'ROUMBABA, KASSIMOU DJAE and ILIASSA ISSILAME/ Feuillet / Chant et Piano

Par STYNE JULE / SONDHEIM S.. Gypsy est basé sur les mémoires de Gypsy Rose Lee, l'artiste célèbre strip-tease et se concentre sur son combat avec sa mère, Mama Rose, dont le nom est devenu synonyme de la ' mère arrivistes ' ultime. Il contient de nombreuses chansons qui devint populaires normes, y compris 'Small World', 'Du tout Coming Up Roses', ' Vous aurez jamais Get Away from Me, ' et ' Let Me Entertain You './ Recueil / Chant

For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Dames (42nd Street) * Radames' Letter (Elton John and Tim Rice's 'Aida') * The Gypsy in Me Anything Goes (1988 Revival)) * Ballad of Booth (Part III) (Assassins) * What Am I Doin'? (Closer Than Ever) * Broadway Baby (Dames At Sea) * Blah, Blah, Blah (Delicious) * When the Earth Stopped Turning (Elegies) * You Gotta Die Sometime (Falsettos) * I Want to Make Magic (Fame: The Musical) * Sandy (Grease) * Donna (Hair) * Different (Honk!) * The Phone Call (Lucky Stiff) * Knowing Me, Knowing You (Mamma Mia) * To Each His Dulcinea (Man of La Mancha) * Larger Than Life (My Favorite Year) * I'm Falling in Love with Someone (Naughty Marrietta) * And They're Off (A New Brain) * Stouthearted Men (The New Moon) * Lucky to Be Me (On the Town) * A New Town Is a Blue Town (The Pajama Game) * Extraordinary (Pippin) * There's a Boat Dat's Leavin' Soon for New York (Porgy / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Par HERBERT VICTOR. Né en Irlande et musicalement formé en Allemagne, Victor Herbert (1859-1924) était en Amérique du premier grand compositeur pour le théâtre musical. Le créateur de plus de 40 opérettes, Herbert a produit une série d'oeuvres de scène populaires et durables, y compris Babes in Toyland et Naughty Marietta. Ce trésor de favoris mélodieux, repris directement des éditions rares, comprend 37 hits bien-aimés d'opérettes Herbert. Les sélections comprennent rues de New York, Moonbeams, Ah! Sweet Mystery of Life, Tramp! Tramp! Tramp!, Italien, rue Song, Toyland, Gypsy Love Song, et bien d'autres. Egalement présenté quatre pièces pour piano populaires - Mars de l'Jouets, al fresco, Dague de danse, et Badinage - plus quelques rares anciennes couvertures de partitions./ Répertoire / Chant et Piano

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

Par SONDHEIM STEPHEN. Toute personne peut Whistle est définie dans une ville imaginaire qui a fait faillite, il se concentre sur la maire tough, impopulaire, Cora Hoover Hooper, qui, déterminés à sauver de la ruine financière, avec ses affidés politiques crée une attraction touristique par feindre un miracle - eaux curatives débiter d'une roche dans la ville de carrés. Ils trouveront contesté par les sceptiques Fay Apple, une infirmière à la sanitarium local, qui a l'intention d'utiliser ses patients à réfuter la réclamation. Sur le devant de la scène vient j. Bowden Hapgood, un patient confondu avec un psychiatre, qui divise la ville en deux groupes, la saine et le loony, mais refuse de divulguer qui est qui. Point de l'histoire est que ' normale ' est un euphémisme pour la maîtrise de soi, de conformité et d'ordre, et son moral est que le vrai miracle simplement est plein de vie. Après plusieurs révisions, le spectacle ouvert à Broadway en avril 1964, où elle est fermée après neuf représentations, incapables de surmonter les examens généralement négatives, qu'elle avait reçu. Bien qu'il.../ Recueil / Chant et Piano

Jean Marc Piat transcibes the CD Borboreo (Jeréz de la Frontera in gypsy language). / Guitare Classique