This is a new edition of a collection of standards of Italian music, with transcriptions for Piano, Voice and Guitar. This volume contains 30 tracks (6 more than the previous edition), including I'll go with you, O 'Sole Mio, Volare (Volare), Caruso, Libiam It 'Pleased Goblets, Va' pensiero, the Woman is mobile, Una furtiva lagrima, Arrivederci Roma, Casta diva, Core 'ngrato, And the stars were shining, Funiculi Funicula, Glory, Mother, Navy, morning, O' land of the sun or OR 'surdato nammurato, talk about love Mariu', Quando Quando Quando, Rome nun is stupid tonight, One fine day, Vissi d'arte, Ciribiribin, first, Brothers of Italy, Saint Lucia, Come back toSorrento and A love so great./ Recueil / Chant et Piano

Most voice teachers and singers still prefer the pianistic, wonderfully gratifying editions made by Alessandro Parisotti (1853-1913) of early Italian arias. This newly researched edition, with updated composer attributions, features new, clean music engravings. The collection includes the original contents of 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries plus four additional Parisotti editions. Also includes international phonetic alphabet for each song text, word for word translations for study, historical introduction for each aria, and a preface on Parisotti and his approach to this music. This compilation includes the High, Medium High, Medium, Medium Low, and Low editions in one book, perfect for teacher reference. / Voix Et Piano

Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020.The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike.The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor demonstrates that the vocal material realized for the first performance of Willis was not derived from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano

Par PURCELL HENRY. Henry Purcell's only Opera proper, Dido and Aeneas is a magnificent example of English Baroque music, with lively dances and passionate aria sections that demonstrate Purcell's masterful compositional and choral writing skill. Based on a libretto by Nahum Tate it was first performed in 1689, comprises three acts and lasts about an hour. Filled with dramatic lyricism with a wide range of musical and emotional content, it is a monumental Baroque composition considered to be one of England's foremost operatic works. Dido and Aeneas contains all the elements for a successful opera including a shipwreck, sorcery, love and lost love and death. This is the Vocal and Full Operatic Score, edited by Margaret Laurie and Thurston Dart. With its interesting and imaginative realization and authentic editorial process this is an excellent edition that features some performing choices and variants and also includes the reconstructed prologue. / Niveau : Difficile / Rép Classique / 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

Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition. / Niveau : Intermédiaire / Répertoire / Chant et Piano

This collection contains 12 classic songs from teen roles in Broadway shows. Access to online Piano accompaniment tracks is included, along with Playback+ software for changing tempo and pitch.Contents include: Astonishing (Little Women), Good Morning Baltimore (Hairspray), Home (Beauty and the Beast), I Speak Six Languages (The 25th Annual Putnam County Spelling Bee), The Lamest Place in the World (13), Mama Who Bore Me (Spring Awakening), One Perfect Moment (Bring It On), Part of Your World (The Little Mermaid), Pulled (The Addams Family), Some Things Are Meant to Be (Little Women), There Are Worse Things I Could Do (Grease) and What It Means to Be a Friend (13). / Voix

Author'S Edition. Par SONDHEIM STEPHEN. This new Author's Edition includes, for the first time, all of the Company songs from the 1970 original Broadway production, and the songs cut from the show, with the original Stephen Sondheim piano/vocal arrangements revised by the author for this edition, and with his commentary. Contains 17 songs in all./ Recueil / Chant et Piano

Edward Elgar's The Dream Of Gerontius is a splendid oratorio for Mezzo-soprano, Tenor and Bass with Chorus and Orchestra. It is based on the epic poem, The Dream of Gerontius by John Henry Newman written in 1865. The original vocal score of Gerontius was actually printed before Elgar's had even finalised or completed his final orchestration and as such it was printed without many of the markings that were added in the later full score. This new edition brings vocal and full scores into agreement for the first time having been authentically and effectively edited by Hywel Davies and Bruce Wood, and also includes helpful notes on the background to the work as well as an outline of the editorial procedure and list of sources. This New Novello Choral Edition of the Vocal score with Piano reduction of the orchestral materialincludes a detailed foreword listing history, sources and editorial proceedure. / Chant Et Piano

Dvorak's Stabat Mater is his first setting of a religious text, which was begun in 1876. The work received its first performance in 1880 in Prague. This new edition edited by Michael Pilkington follows the layout of the previous Novello edition for ease of compatibility. Vocal score with piano accompaniment. Text in Latin. Scored for Soprano, Alto, Tenor, and Bass Soloists, SATB and Orchestra. Orchestral material available on hire from publisher. / Chant Et Piano

Manon Lescaut is the fi rst volume of the series 'The operas of Giacomo Puccini? - Critical Edition - in collaboration with Archivio storico Ricordi and Fondazione Simonetta Puccini. It makes available the three main versions of the opera that have survived in various sources: an 1893 version, with the original Act I finale, the fi rst version of Manon's Act IV aria, and the uncut version of the fi nal duet in Act IV- a 'midcareer? version imagined by Puccini in the fi rst decade of the new century, when he sanctioned the almost complete omission of Manon's Act IV aria- and fi nally the last version that Puccini lived to approve, with Manon's aria restored, albeit with a revised literary text. The volume is introduced by a preface to the Puccini Critical Edition, an historical introduction, a detailed description of the opera's many sources and a lengthy critical commentary which discusses numerous problematic details in the musical text. / Voix Et Piano

Broadway Presents! Teens' Musical Theatre Anthology: Male Edition is a delightful collection of musical theatre songs from a variety of shows that span decades of theatre history. Using the original vocal scores, the songs have been selected and adapted with the ranges and skills of teen singers in mind. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make this the most useful and relevant collection of its kind. CD includes accompaniment tracks. Titles: All That's Known (from Awakening) * Chim Chim Cher-ee (Mary Poppins) * Corner of the Sky (Pippin) * Evenin' Star (110 in the Shade) * Giants in the Sky (Into the Woods) * Grow for Me (Little Shop of Horrors) * Heart (Damn Yankees) * I Can't Be Bothered Now (Crazy for You) * I Chose Right (Baby) * I Could Write a Book (Pal Joey) * I'd Rather Be Sailing (A New Brain) * I'm Calm (A Funny Thing Happened on the Way to the Forum) * I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * If I Only Had a Brain (The Wizard of Oz) * It's No Problem (Reprise) (High Fidelity) * Johanna (Johanna) * Ladies' Choice (Hairspray: the Movie) * Larther Than Life (My Favorite Year) * Left Behind (Spring Awakening) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Now I've Seen You (Honk!) * On the Street Where You LIve (May Fair Lady) * Singin' in the Rain (Singin' in the Rain) Slide Some Oil to Me (The Wiz) * Some Girls (Once on This Island) * The Streets of Dublin (A Man of No Importance) * They Can't Take That Away From Me (Crazy for You) * They Were You (Solo Version) (The Fantasticks) * What Do I Need with Love (Thoroughly Modern Millie) * What Would I Do If I Could Feel? (The Wiz) * When I'm Not Near the / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano