Par SMETANA BEDRICH. Bedrich Smetana (1824-1884) only began to devote himself intensively to the project of an original opera in Czech at the age of 38. The libretto of 'The Bartered Bride”, the second of Smetana's nine operas, was written for Smetana by the poet and journalist Karel Sabina. The subject chosen for the comic opera was the story of a pair of lovers in the countryside whose relationship is disapproved of by their parents. It is set during the festival at a village church anniversary. The final form of the work, which soon came to be regarded as a national opera, was preceded by a relatively difficult genesis. The opera was written between 1863 and 1865 and was premiered on 30 May 1866 at the Provisional Theatre in Prague, where the composer's last version of the work was also performed in 1870. This vocal score contains the musical text of the critical edition of Smetana's own vocal score. The newly-set edition contains both Czech and German vocal texts - the German singing translation is by Kurt Honolka. The newly-set and revised performance material for the entire opera, based on the critical edition by Frantisek Bartos, is available on hire. The vocal score replaces the old edition AE 112. - Urtext based on the critical edition of Smetana's own vocal score - A key work of modern Czech opera - New foreword by Marta Ottlová (Cz/Eng/Ger) - Includes singing translation by Kurt Honolka (Ger)/ Répertoire / Chant et Piano

Spartito Piano, Voce di New York, New York (from New York, New York)/ 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: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

Vienna Version - 1767. Par GLUCK CHRISTOPH WILLIBALD. With the premiere of Gluck's 'Alceste”, the 'Burgtheater” Vienna reopened its doors, concluding a period of moarning that had been decreed following the death of Archduchess Maria Josepha. Calzabigi's inspiration for the libretto, which, despite including an element of wonder, focuses entirely on death and the afterworld, most likely stemmed from the death of Empress Maria Theresia's husband. In Euripides' 'Alkestis”, the librettist might have recognized a sufferer akin to the imperial widow, who was highly regarded by her people. Following in the Greek tragedy tradition, Gluck once more sought to emphasize the unity of the work as a whole and the interplay of all elements involved, including costumes and stage design. He placed great importance on integrating the chorus into the happenings on stage. Bärenreiter now presents a newly engraved vocal score which has been meticulously revised, corrected and adapted to meet current Bärenreiter standards. / Date parution : 2019-11-21/ Répertoire / Chant et Piano

Par HERBERT VICTOR. Né en Irlande et musicalement formé en Allemagne, Victor Herbert (1859-1924) était en Amérique du premier grand compositeur pour le théâtre musical. Le créateur de plus de 40 opérettes, Herbert a produit une série d'oeuvres de scène populaires et durables, y compris Babes in Toyland et Naughty Marietta. Ce trésor de favoris mélodieux, repris directement des éditions rares, comprend 37 hits bien-aimés d'opérettes Herbert. Les sélections comprennent rues de New York, Moonbeams, Ah! Sweet Mystery of Life, Tramp! Tramp! Tramp!, Italien, rue Song, Toyland, Gypsy Love Song, et bien d'autres. Egalement présenté quatre pièces pour piano populaires - Mars de l'Jouets, al fresco, Dague de danse, et Badinage - plus quelques rares anciennes couvertures de partitions./ Répertoire / Chant et Piano

Tiefe Stimme / Low Voice. Par SCHUBERT FRANZ. Continuing the new Urtext edition of Schubert’s Lieder, editor Walther Dürr now presents Volume 6, for Low Voice. While volumes 1 to 4 of this series contain mostly Lieder that Schubert had published during his lifetime, volume 5ff. contain the remaining songs which are presented basically chronologically in the order of their Deutsch catalogue number. The Lieder in this sixth volume were composed during the period between autumn 1814 and spring 1815. With “Nachtgesang” (D 119) and “Trost in Tränen” (D120) Schubert turns to the“Strophenlied” in its stricter sense for the first time. He develops an interest in this form parallel to his first involvement with Geothe. Schubert, during this period an assistant teacher at his father’s school, orientated himself towards the so-called “Berliner Liederschule”, particularly the songs of Johann Friedrich Reichardt. By the beginning of the year 1815 he drew his inspiration mainly from the texts of Theodor Körner; however he regularly still produced settings for the poetry of Goethe and Schiller. - Based on the Urtext of the “New Schubert Edition” - Newly engraved, clearly presented musical layout - Foreword by Walther Dürr on the history and genesis of the work as well as an explanation of the sources for each individual lied (Eng/Ger) - Includes English translations of lieder texts by Richard Wigmore/ Répertoire / Vocal et Piano

Par WEDGWOOD PAM / GREGORY F.. Showkits is a brand new concept in classroom project work. This pack has been designed for teachers to use and develop according to their own strengths and interests. It can be used in a variety of ways: History Topic - based around the life and times of Henry VIII. All the activity suggestions are closely related to the National Curriculum, and draw ideas from all areas of the timetable. Drama/English Project - use the outline plot provided to encourage the class to write or improvise and perform their own script. Music Project - use the songs provided, the musical activities and the story as pointers to a themed approach to a series of music lessons. School Production - for those with ambition, use the story-line as a basis for a script, and create a mini-musical with drama, dancing and singing, tailored exactly to your own resources. Suitable for the National Curriculum Key Stages 2-3. / Niveau : Facile / Recueil / Chant et Piano

Français et Allemand. Par SAINT-SAENS CAMILLE. Saint-Saëns? setting of the biblical story of Samson, a hero equipped with superhuman powers, and his seduction by the Philistine Dalila is considered his magnum opus for the musical stage. It stands alongside Gounod?s ?Faust? and Bizet?s ?Carmen? among the most popular operas in the French repertoire. Lust, hate, frailty and religious war are the ingredients of the plot. Among other things, the sensual music includes Dalila?s famous arias ?Mon coeur s?ouvre ta voix? and ?Printemps qui commence?. The Bärenreiter vocal score, newly engraved with a clear presentation, contains Richard Pohl?s authentic singable translation of the libretto used at the Weimar premiere in 1877./ Répertoire / Chant et Piano

Salieri, Antonio Prima la musica e poi le parole Divertimento teatrale in one act Details Edition no.: BA 8811-90 ISMN: 9790006542826 Editor: Betzwieser, Thomas / La Salvia, Adrian Arranger: Müller, Karl-Heinz / Schellevis, Hans Language(s) of work: German, Italian Language(s) of text: German, English Product format: Piano reduction, Urtext edition Comments: Replaces BA 7698-90 Binding: Paperback Pages / Format: XVI, 199 S. - 27,0 x 19,0 cm A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. The Italian court singers and musicians performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima la musica e poi le parole was performed by a German Singspiel ensemble. This charming opera satire belongs to the genre of ?metamelodrama? in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the writer, composer and prima donna, appear as characters on the stage and are presented in a humorous mirror image. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. By reflecting on the musical-dramatic style of that time and discussing whether ?the word? or ?the music? should take priority, this masterpiece is considered to be a forerunner to Richard Strauss?s Capriccio. This new edition of the score is published as part of OPERA ? Spectrum of European Music Theatre in Separate Editions. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into the newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti?s Giulio Sabino have also been incorporated. - Urtext edition based on the historical-critical hybrid edition OPERA-Spectrum of European Music Theatre in Separate Editions edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).- Original Italian libretto with singable German translation- Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodrama and intertextuality- Includes an extensive appendix to the quotations taken from Giuseppe Sarti?s Giulio Sabino- Idiomatic piano reduction

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: 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

The new Urtext edition of Schubert's lieder edited by Walther Dürr continues with volume 7, presented in separate volumes for high, medium, and low voice. This new volume contains the lieder that Schubert composed between May and August 1815, including his setting of Schiller's ballad 'Die Bürgschaft? (D 246).- Based on the Urtext of the 'New Schubert Edition?- Clear, well-presented engraving- Foreword by Walther Dürr (Ger/Eng) on the genesis and history of the work as well as an explanation of the sources for each individual lied- Includes English translations of the lieder texts by Richard Wigmore / Voix Basse(s) Et Piano