Par PURCELL HENRY. Orpheus Brittanicus contains thirteen exemplary songs for High Voice with Piano accompaniment, by the master of English Baroque, Henry Purcell. These have been carefully arranged with the figured bass parts realised by Benjamin Britten, and the vocal parts edited by Peter Pears./ Répertoire / Voix Elevées et Piano

Easy Keyboard Library, The Fifties arranged for keyboard. Songs include, Cry Me A River, High Hopes, I've Grown Accustomed To Her Face, Whatever Will Be Will Be and more. / Niveau : Facile / Recueil / Clavier Electronique et Ligne Mélodique

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: Corner of the Sky (Pippin) * The Games I Play (Falsettos) * I've Got a Crush on You (Strike Up the Band) * Not While I'm Around (Sweeney Todd) * On the Street Where You Live (My Fair Lady) and more. / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix 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

Par MARSH LIN. Junior Songscape: Children's Favourites is the perfect resource for infant and lower primary school singing, carefully selected and arranged by Lin Marsh. A timeless collection of 20 best-loved children's songs. Includes suggestions for adding movement, by experienced choreographer Wendy Cook. Ideal for bringing confidence and fun to classroom singing, with vocal ranged carefully considered for Key Stage 1 (Scottish P1-2) voices. Keyboard accompaniments are well within the grasp of Pianists of moderate ability. 2 CDs include complete performances of all the songs, plus backings ideal for rehearsals or performance. Lyrics included on enhanced CD for easy printing/projection./ Recueil / Chant

The updated colour edition of this best-selling Christmas title. Here's a feel-good assortment of music, stories, recipes and poems that perfectly captures the traditional spirit of Christmas and the season of goodwill. Includes: Magical stories from the likes of Dickens and Hans Christian Anderson Recipes of good cheer and Christmas dishes with a difference Yuletide poems by Tennyson, Hardy, Shakespeare, and much more. All seasonal songs and carols are arranged for piano and voice, there is enough here to occupy any Christmas time for children and adults of all ages! / 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 short, highly compact song is based on an excerpt from a poem by Philipp Luidl. Thanks to the narrow ambitus of the vocal part, it is suitable for every vocal register. The piano part is strictly bound to the musical text, whereas the vocal part, though precisely notated, is granted almost unlimited leeway in performance. Almost anything is permitted, from traditional song interpretation to uninhibited Sprechgesang in which even pitches can be redefined. The imagery of the poem - a stone constantly rolled back by the sea - gives rise to music of great flexibility. Piano and voice complement each other while preserving their independence. / Chant Et Piano

Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano

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