Par GREENBERG STEVE. This treasury of part songs and sacred music for one to six voices will delight all lovers of medieval and Renaissance music. Containing a wealth of both religious and secular music from the 12th to the 17th centuries, the collection covers a broad range of moods. Approximately half the songs are secular, some from the popular tradition and others from the courtly poets and musicians surrounding such musically inclined monarchs. Some of the music contained is printed for the first time. Edited by Noah Greenberg / Musique religieuse / 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

Following up on the first collection of Sondheims songs, this volume includes selections from Anyone Can Whistle, Company, Dick Tracy, Evening Primrose, Follies, The Frogs, A Funny Thing Happened on the Way to the Forum, Into the Woods, A Little Night Music, Merrily We Roll Along, Passion, The Seven Percent Solution, Sunday in the Park with George, and Sweeney Todd arranged for voice with piano accompaniment. Includes detailed notes about the shows and films. / Chant Et Piano

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

Ce recueil est le premier recueil définitif de chansons de Stephen Sondheim, mettant en vedette 52 chansons de 17 spectacles et de films. Avec les sélections de Anyone Can Whistle, Assassins, Company, Dick Tracy, Evening Primrose, Follies, The Frogs, A Funny Thing Happened on the Way to the Forum, Into the Woods, A Little Night Music, et plus encore. Comprend des notes détaillées sur les spectacles et les films. / Voix Et Piano

Musical numbers that one after another hit the jackpot. Par DREWE ANTHONY. This is the official songbook for the brand new stage version of Half a Sixpence. The show opened to rave reviews and is currently playing at the Noël Coward Theatre, London. This musical adaptation of H.G. Wells's semiautobiographical novel 'Kipps: The Story of a Simple Soul', is a completely fresh adaptation which reunites Julian Fellowes (creator of Downton Abbey) with George Stiles and Anthony Drewe, the musical team that co-creator Cameron Mackintosh first put together to create the hit stage adaptation of Mary Poppins. The score is inspired by and features several of composer David Heneker's exhilarating songs from the original production, including Flash Bang Wallop, Money to Burn and Half A Sixpence./ Recueil / Chant et Piano

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: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's 'Aida') * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My Eng / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Par MARSH LIN. Série de Songscape du lin Marsh est devenu l'un des ressources disponibles, chanter plus largement utilisé inculquer la confiance et à la jouissance en chantant dans la salle de classe et la salle de concert. Dans ' Noël Songscape ' il y a 18 chants classiques et chansons saisonniers, sacré et profane, idéal pour les primaires supérieures ou et le chant de l'école secondaire. Toutes les chansons ont été soigneusement organisées en fonction des gammes vocales pour 2/3, étape clé voix (Scottish P3-P7 +). Beaucoup de chansons ont facultatif vocaux supplémentaires fournissant la portée pour part-singing et les pièces de clavier sont bien à la portée des pianistes de capacité modérée. Les CD qui l'accompagne sont améliorés et comprennent les pistes audio de haute qualité avec des spectacles complets pour aider les enfants à apprendre les chansons, sauvegarde des pistes pour les répétitions et performance ainsi que les parties vocales en format pdf pour l'impression facile et de projection. Ecoutez soundclips : autour de l'arbre de Noël à bascule/ Répertoire / Matériel D'Orchestre

An ingénue is an innocent young woman - a type of leading role in theatre and film. Disney movies and shows abound with such characters: Ariel, Belle, Cinderella, Moana, Pocahontas, Snow White, and others. This songbook gathers 27 of their songs with arrangements for vocal solo with piano accompaniments. Songs include: Belle (Reprise) - A Change in Me - A Dream Is a Wish Your Heart Makes - For the First Time in Forever - How Far I'll Go - I See the Light - Just Around the Riverbend - Let It Go - Reflection - Some Day My Prince Will Come - That's How You Know - Watch What Happens - When Will My Life Begin? - and more. / Chant Et Piano

Compilé et édité par Steven Stolen et Richard Walters, cette collection a été spécifiquement compilée extraordinairement utiles pour les chanteurs de l'étudiant. 17 compositeurs sont représentés avec des informations historiques et 34 chansons. / Chant Et Piano

Par LERNER A. / LOEWE F.. Alan Jay Lerner et de Burton Lane musical depuis le milieu des années 1960. La chanson-titre, sur un temps clair, est devenu un indicatif pour Barbra Streisand, qui joue dans le film./ Recueil / Chant