Volume II features another new song 'Real Love ' plus: The Fool on the Hill * Hello Goodbye * Help! * I Am the Walrus * Lady Madonna * Lucy in the Sky with Diamonds * Norwegian Wood (This Bird Has Flown) * Penny Lane *Strawberry Fields Forever * Ticket to Ride * Yesterday * and more. Includes many photos.

15 arie con schede tecnico-interpretative | 15 arias with technical and performing notes. Par . Dans cette édition anniversaire, Maria Callas Forever reconstitue les rôles les plus marquants de Callas et ses interprétations personnelles sur la base des enregistrements disponibles et de l'accès à des archives personnelles. Chaque aria est accompagnée d'une série de commentaires se rapportant à un enregistrement spécifique, qu'il ait été réalisé dans un studio d'enregistrement, lors d'une représentation d'opéra ou dans une salle de concert. Les indications concernant les tempi, les dynamiques, les articulations, le phrasé, les portamenti et les marques de respiration se réfèrent toutes à des enregistrements et à des interprétations spécifiques de Maria Callas, mais ne figurent pas nécessairement dans la partition originale. Collection indispensable pour les fans de Callas, les pédagogues du chant et les musiciens professionnels, Maria Callas Forever est une historiographie de 'La Divina' autant qu'une histoire du bel canto. / Date parution : 2024-01-06/ Recueil / Chant et Piano

Par SWIFT TAYLOR. This collection features 30 of Taylor's best from her entire career arranged so even beginners can sound good! Each song is arranged with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. / Date parution : 2023-07-31/ Recueil / Chant et Piano

Par FFRENCH Alexis. Alexis Ffrench isn\'t afraid of fusing his music with weighty issues. For years, the pioneering pianist has used his music to highlight mental health, discuss diversity and challenge the classical world to be more inclusive. Truth is his most powerful and political to date, and also his most optimistic. I imagined what the world would look like if everybody had the opportunity to ask themselves the questions \'who am I'\' and \'what is my purpose in the world'\' and what we, as a human race, could create and change together. Featuring Alexis\' signature piano and orchestra sound, alongside rare collaborations including the searingly soulful \'One Look\' with his friend Leona Lewis, Truth captures Alexis\' hopes for the future and his belief that change is already upon us. Created in close collaboration with the composer, this exclusive folio presents all the pieces from Truth. The transcriptions are presented in Solo Piano format, with one Piano and Vocal score, and are preceded by a specially written preface from Alexis. / Date parution : 2022-07-20/ Recueil / 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

?Sing your country sing your land!? Such was the advice of Déodat de Séverac to the young Joseph Canteloube de Malaret (1879-1957) when the latter shared his dismay at the petty squabbles taking over the Parisian music scene in the Belle-Epoque. Although Canteloube had started collecting folk songs from his native Cantal in 1895 he only began the harmonisation of Baïlero in 1923 thus inaugurating the first of the five Chants d?Auvergne series that would bring him fame. Renowned baritone François Le Roux chose to begin his anthology with a famous shepherd song recorded near Vic-sur-Cère(in the Haute Auvergne) in which the baïles (shepherds in pasture commons) call to each other from hilltops soaring their vocals across rivers valleys and hills. Singers who wish to immerse themselves in one of the ten melodies that compose this tender picturesque musical landscape can use the Piano accompaniment audio file accessible through a download card. Contents: Baïlèro (Shepherd Songs from the Cantal) ? Bourrées: N?aï pas iéu de mîo (Loved by no woman) and Lo Calhé (The Quail) ? L?Antouèno (The Antoine) ? Lou Boussu (The Hunchback) ? Lo Fiolaire (The Spinner) ? Là-haut sur le rocher ? Uno jionto Postouro (The Pretty Shepherdess) ? Pour l?enfant (Lullaby from Auvergne)

37 Favourite SongsInstrument : Voice and PianoType : song bookNombre de Pages : 88Six outstanding collections of favourite songs (Songs of England, Songs of Ireland, Songs of Scotland, Songs of Wales, Songs of Christmas, Songs of the Americans). All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the classroom, or even as concert items!Includes Danny Boy, Cockles and Mussels and Down by the Salley Gardens.The edition is part of the ABRSM singing exam syllabus (grade 1,2,3).Content : Believe Me - Come Back to Erin - I Will Walk with My Love - I'll Take You Home Again, Kathleen - Kathleen Mavoumeen - Kelly the Pirate - The Gypsy Rover - The Lover's Curse - The Meeting of the Waters - The Minstrel Boy - The Rose of Tralee - The Spinning Wheel - The Young May Moon - As I Was Going Along the Road - Avenging and Bright - Cockles and Mussels - Danny Boy - Down by the Salley Gardens - Here Come the Navvies - Hey Ho, the Moming Dew - I Know Where I'm Goin' - If AII Those Endearing Young Charms - Kitty of Coleraine - Lullaby - Oft, in the Stilly Night - The Boys of Kilkenny - The Dear Little Shamrock - The Flight of the Earls - The Garden Where the Praties Grow - The Harp That Once Thro' Tara's Halls - The Irish Emigrant - The Last Rose of Summer - The Mallow Fling - The Praties They Grow Small - The Star of the County Down - The Wearin' o' the Green - Tramping Song - Trottin' to the Fair