Par WOLF HUGO. This volume contains two of the composer's most celebrated song collections. The Spanisches Liederbuch of 44 songs, largely religious or erotic. The Italienishces Liederbuch comprises 46 songs, full of masterly invention. Reproduced from an authoritative C.F.Peters edition, these songs include many acknowledged masterpieces. Peters edition. With separate English translations of the German sung text./ 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

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

Preface by Carol Barratt. Here's a great new collection of showtunes, folk songs, children's songs and pop songs, carefully chosen to bring fun and musical variety to the primary school classroom. Some will be familiar, some will be brand new surprises, and some will be half-forgotten favourites from the past now given a new lease of life. All songs are arranged for easy piano and the piano parts can also be heard on the two accompanying music CDs. Lyrics are printed out for every song but are also available as free downloadable pdfs for easy projection for multiple printing. Includes teachers notes. Let's get our schoolchildren singing again with The National Songbook! / Chant 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

Description Stephen Sondheim: Into The Woods - Vocal Score Into the Woods blends various familiar fairy tales with an original story of a childless baker and his wife, who catalyze the action of the story by attempting to reverse a curse on their family in order to have a Songlist A Very Nice Prince A Very Nice Prince (Reprise) Act I Finale - Part I Act I Finale - Part II Act I Finale - Part III Act I Finale - Part IV Act I Opening - Part I Act I Opening - Part II Act I Opening - Part IIA Act I Opening - Part III Act I Opening - Part IV Act I Opening - Part V Act I Opening - Part VI Act I Opening - Part VII Act I Opening - Part VIII Act II Finale - Part I Act II Finale - Part II Act II Finale - Part III Act II Finale - Part IV Act II Opening - Part I Act II Opening - Part II Act II Opening - Part III Act II Opening - Part IV Act II Opening - Part IX Act II Opening - Part V Act II Opening - Part VI Act II Opening - Part VII Act II Opening - Part VIII Act II Opening - Part X After Plan (Underscore) Agony Agony Playoff (Underscore) Agony Reprise Any Moment - Part I Any Moment - Part II Arms Of A Princess Attack Of The Birds (Underscore) Bakers Reprise Cinderella At The Grave Cinderella Coming From The Ball (Underscore) Cinderella Coming From The Ball Again (Underscore) Cow Death (Underscore) Cues 18A Fanfare (Underscore) First Midnight Giants In The Sky Grandmother's House (Underscore) Hello Little Girl I Guess This Is Goodbye I Know Things Now It Takes Two Jack's Mother (Underscore) Lament Last Midnight Maybe They're Magic Moments In The Woods No More No One Is Alone - Part I No One Is Alone - Part II On The Steps Of The Palace Rapunzel Rapunzel Hair Pull (Underscore) Second Midnight Stay With Me The Potion (Underscore) Underscore 12B Underscore 13A Underscore 18 Underscore 9A Your Fault

Ed. Tradizionale - Opera Completa (Testo Cantato In Italiano-Inglese). Par PUCCINI GIACOMO. The Vocal Score for Il Tabarro, the one-act Opera by Giacomo Puccini. With a libretto by Giuseppe Adami, Il Tabarro is the first of three operas that make up Puccini 's triptych. Along with 'Suor Angelica' and 'Gianni Schicchi', Il Tabarro is one of Puccini 's most famous and best-loved works. Typically known as the 'tragic panel' of the triptych, this work was composed in two stages - in 1913 and then between 1915 and 1916. Il Tabarro heralds a move towards an expressionist form of language and drama for Puccini, a truly unique work ofart./ Répertoire / Chant et Piano

'Ces chansons sont une source de plaisir sans fin.' - Dictionnaire de Grove. Soixante-quatre chansons, publiés de 1877 à 1886, y compris les favoris tels que Geheimnis, Alte Liebe, et Vergebliches Standchen. Opp. 69, 70, 71, 72, 84, 85, 86, 91, 94, 95, 96, 97. Comprend les traductions anglaises des commentaires de l'éditeur original.Réimpression du volume 25 de Johannes Brahms- Sämtliche Werke: Ausgabe der Gesellschaft der Musikfreunde in Wien, Breitkopf and Härtel, Leipzig, nd / Voix Et Piano

Par MARSH LIN / COOK WENDY. Raconté à travers les yeux de trois filles de l'école actuelle, ' Relayeurs ' sont l'histoire des femmes qui ont entrepris le voyage périlleux de la côte est de l'Angleterre à vivre en Nouvelle Angleterre au XVIIe siècle. Ils ont quitté soutenu uniquement par leurs croyances puritains, tout ce qui était familier de suivre leurs maris à une terre ' noire ', où ils voyaient eux-mêmes, ce qui porte à la lumière de leur foi aux personnes qui y vivaient. Jane Landon tente de concilier elle-même de s'acquitter de ce que la nouvelle communauté de femmes attend de lui, malgré les doutes soulevés par son esprit de questionnement. Elle apprend à respecter les façons Native American Indian par amitié avec son esclave qui elle nomme Rebecca. Mais lorsque bébé de Jane dies préjudice de la communauté, suscité par son serviteur possessif Martha, invite à une chasse aux sorcières avec une terrifiante de conséquences. ' Relayeurs ', écrits par Lin Marsh et Wendy Cook sont une pleine longueur musicale écrite spécialement pour les voix des filles. / Date parution : 2006-02-09/ Recueil / Chant

Over fifty Christmas songs arranged for Piano and voice featuring performances by the National Philharmonic Orchestra, Royal Philharmonic Orchestra, The Fireside Singers, The Ambrosian Singers and more! Includes two CDs of stunning performances from world class orchestras!/ Recueil / Chant et Piano

Par VOLPI ANDREA / GERINI ALESSANDRO. The series ?Scuola superiore di musica? was designed to suit the needs of students from beginning to intermediate-advanced music courses. Canto polivocale moderno is an anthology of rock ? pop/rock songs engraving for two three and four voices. It makes use of a rich material as scores lyrics and audio online to ensure more tools are available to students. / Date parution : 2023-01-24/ Recueil / Piano