Cette formidable collection de grandes sélections pour les jeunes chanteurs existe depuis quelques années. Il n'y a maintenant une nouvelle édition avec un CD de compagnon d'accompagnements. N'importe qui avec un lecteur de CD peut avoir un accompagnateur professionnel n'importe quand ils veulent ! Chansons comprennent : The Ballad of Davy Crockett, Bibbidi-Bobbidi-Boo (The Magic Song), sur le bon navire Lollipop, caoutchouc Duckie, A Spoonful of Sugar, Supercalifragilisticexpialidocious, Zip-A-Dee-Doo-Dah et plus encore. / Voix / 80 pages / Partition + Cd

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

British IslesInstrument : high voice and pianoNombre de Pages : 28Content : Come you not from Newcastle - O Waly, Waly - The Foggy Foggy Dew - Sweet Polly Oliver - The Miller of Dee - The Ploughboy - There's None to Soothe

230 folk songs and spirituals, religious and secular, arranged for piano and voice. From joyous gospel to deeply felt blues, this wonderful collection contains vintage songs sung and played through the years by black Americans - at work, in church and for pure entertainment. Included are spirituals, blues, work songs and a variety of social and dance songs. This is an indispensable treasury of music for singers, musicians and all readers seeking a comprehensive sourcebook of black American folk music. It will be equally welcomed at parties, family get-togethers, sing-alongs, church events and other gatherings where people want to play and sing these classic folk songs thatare an integral part of American musical history./ Recueil / Chant et Piano

Cette autorité, collection nouvellement révisé comprend 70 mélodies arrangées pour piano et voix par le blues grande WC Handy. Comprend 'The Blues', 'hésitant Joe Turner Blues', 'Deep River Blues', 'Basin Street Blues', et des dizaines de classiques d'autres. Des notes détaillées sur chaque chanson offrir des détails fascinants de fond.Vaste texte par le critique musical abbé Niles en revue le développement du blues, Introduction 1990 décrit l'histoire la publication du livre, et une nouvelle introduction par un expert de premier plan sur les profils de WC Handy de la vie et de travail du Père des Blues. Huit exemples frappants de Miguel Covarrubias complètent la collection. / Voix Et Piano

Part of the popular 'Top Ten' series, this collection contains ten carefully selected pieces in the jazz style.There is such variety within the genre we call 'jazz' it seems almost impossible to do it justice in just ten songs, but we've given it our best shot. We've unforgettable standards, like Duke Ellington's 'Take The A Train', and 'Fly Me To The Moon' as popularised by Frank Sinatra - elegant tunes from the 1930s, such as 'The Way You Look Tonight' and 'The Very Thought Of You' - classic numbers from the late 50s and early 60s, 'So What' and 'Cantaloupe Island' - and we make no apology for stretching the jazz definition to accommodate the gorgeous 'Girl From Ipanema'!Some of the pieces are arranged for Piano and Voice - others are purely instrumental, but every one possesses that special something that has earned it a place in our collection, and indeed in the heads and hearts of countless jazz lovers around the world.Each piece in The Top Ten Jazz Songs To Play On Piano is accompanied by interesting background notes to give you that extra bit of insight. / Piano

48 Favourite SongsInstrument : voice and pianoType : song bookNombre de Pages : 110Six outstanding collections of favourite songs. 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 clasroom, or even as concert items!Songs of the Americas is a collection from north, central and south America and the West Indies including Li'l Liza Jane, Land of the Silver Birch, Banana Boat Song, Deep River and Yankee Doodle.The edition is part of the ABRSM syllabus (grades 1 and 3).Content : A Life on the Ocean Wave - Deep River - Dona Dona - Jamaica Farewell - La Cucaracha - Land of the Silver Birch - Mango Walk - My Old Kentucky Home - Old Folks at Home - One More River - The Erie Canal - The Gypsey Davey - The Wreck of Sloop John B - Water Come a Me Eye - Angelico - Banana Boat Song - Carmen Carmela - Clementine - Dixie - Donkey Riding - Drill ye tarriers - Farewell My Own True Love, - Jeannie with the Light Brown Hair - Jennie Jenkins - John Brown's Body - Li'l Liza Jane - Linstead Market - Marching through Georgia - My Grandfather's Clock - No Other Moon - Nobody Knows the Trouble I've Seen - Patrick on the Railroad - Pay Me My Money Down - Riddles - Sambalele - Santy Anno - Shenandoah - Simple Gifts - Steal Away - Swing Low sweet Chariot - The Greenland Whale Fishery - The Old Man Who Lived in the Wood - The Shanty-Boys in the Pine - The Streets of Laredo - The Yellow Rose of Texas - Tortilla Vendor - When Johnny Comes Marching Home - Yankee Doodle

There is something for everyone in this collection of Isabelle Aboulker's most beautiful melodies: the passionate vocalises of Je t'aime, composed for the fiery Patricia Petitbon, sit alongside limpid fables by La Fontaine (The Crow and the Fox, The Lion in Old Age and more), while the unnerving eeriness of the merchant of souls in Au Marché de Saint-Paul contrasts with the light humour of the Savoir-vivre cycle, and the melancholy accents of Lettre d'amour make way for the irresistible charm of L'Inconstante. Isabelle's prosodic clarity and voluptuous focus on the evocative power of words speak of a deep attachment to the legacy of French song composers. In turn impetuous or melancholy, this thrilling music knows how to aim straight for the heart. Au marché Saint-Paul, j'irai ' I Am Off to the Market Day Chanson de la côte ' Song of the Coast Cheeky Little Tunes from Flaubert's Dictionary of Received Ideas Cher Pierre que je ne reverrai plus ici' ' Dear Pierre, Whom I Shall not See Here Again' Escale à Rio ' Stopover in Rio Je t'aime ' I love you L'Archet ' The Bow L'Inconstante ' The Inconstant One La Cigale et la fourmi ' The Grasshopper and the Ant La Femme noyée ' The Drowned Wife La Jeune Veuve ' The Young Widow La Princesse au petit pois ' The Princess and the Pea Le Corbeau et le renard ' The Crow and the Fox Le Lièvre et les grenouilles ' The Hare and the Frogs Le Lion devenu vieux ' The Lion in Old Age Le Loup et l'agneau ' The Wolf and the Lamb Le Loup et le chien ' The Wolf and the Dog Les Animaux malades de la peste ' The Plague-Stricken Animals Lettre d'amour ' Love-Letter Petites mélodies impertinentes, extraits du 'Dictionnaire des idées reçues' de Flaubert ' Savoir vivre et usages mondains ' Guide to Fine Etiquette and Wordly Manners Tenir ' Holding