Most voice teachers and singers still prefer the pianistic, wonderfully gratifying editions made by Alessandro Parisotti (1853-1913) of early Italian arias. This newly researched edition, with updated composer attributions, features new, clean music engravings. The collection includes the original contents of 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries plus four additional Parisotti editions. Also includes international phonetic alphabet for each song text, word for word translations for study, historical introduction for each aria, and a preface on Parisotti and his approach to this music. This compilation includes the High, Medium High, Medium, Medium Low, and Low editions in one book, perfect for teacher reference. / Voix Et Piano

Exceptional singer Reynaldo Hahn (1875-1947) owes his early successes to the 'songs for voice and piano? genre, whose raison d'être he defines in his journal as follows: 'To highlight a poem, word for word but without uniformity - to emphasize its meaning without distorting it - to shine light upon one idea, obscure another and present it all in vocal, sung form - to produce a sharp, precise sensation by touching a heartstring or evoking an image - all in a well-structured and tastefully written piece?. Enhanced by an audio version attached as a download card, this anthology of songs should dispel a good many misconceptions. This is no salon miniature: L'Heure exquise radiates an infinite tenderness, exalted by the high vocal cadences of Ô Bien-Aimée! and C'est l'heure exquise, which surely wrought tears from the author of the verses, Verlaine. Tyndaris, the jewel of Heures latines, clears a crystal-clear space given over to the delights of slumber and of love. Like D'une prison and Cygnes, these songs do more than wet the eyes: they grip the heart. / Voix 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

A sampling of the world's greatest Baroque and Classical arias. In addition to offering fascinating background information about the arias and their composers, the editor has corrected a multitude of errors which have accumulated over time, and has replaced Romantic-era misinterpretations with accompaniments that are faithful to historical styles. Includes word-by-word transcriptions into the International Phonetic Alphabet.

The winner of six Tony Awards', including Best Original Score and Best Musical, Dear Evan Hansen has struck a remarkable chord with audiences and critics everywhere. With advanced ticket sales in excess of $20 million and its soundtrack debut at #8 on the Top 200 Album Billboard chart, it is on track to be one of the most successful Broadway musicals of all time. The show officially opened on Broadway on December 4, 2016, after a successful Off-Broadway run. The musical features a score by Benj Pasek and Justin Paul who were both personally involved in editing and approving the Hal Leonard Vocal Selections. Pasek and Paul won an Oscar for Best Original Song for being the lyricists behind City of Stars from La La Land. They have also received numerous awards for their previous stage productions A Christmas Story, The Musical - Dogfigh - James and the Giant Peach - Edges. This Music Minus One vocal folio includes professionally-produced sound-alike audio tracks for demo and performance online for 13 songs from the soundtrack, including: Anybody Have a Map? - Disappear - For Forever - Good for You - If I Could Tell Her - Only Us - Requiem - Sincerely, Me - So Big/So Small - To Break in a Glove - Waving Through a Window - Words Fail - You Will Be Found. The book includes piano/piano arrangements featuring piano arrangements by Alex Lacamoire and Justin Paul. / Voix 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

Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano

Titres : A Night Like This (Caro Emerald) Candle In The Wind (Elton John) Over The Rainbow (Israel 'IZ' Kamakawiwo'ole) Poker Face (Lagy Gaga) A Whiter Shade Of Pale (Procul Harum) First Day Of My Life (Melanie C) Lady In Red (Chris de Burgh) Theme From Mission Impossible The Sound Of Silende (Simon and Garfunkel) Speak Softly Love (aus dem Film 'The Godfather') New Age (Marlon Roudette) Imagine (John Lennon) Get Down (Gilbert O'Sullivan) Love Hurts (Nazareth) People Help People (Birdy) So wie du warst (Unheilig) Sorry Seems To Be The Hardest Word (Elton John) One More Night (Phil Collins) Ich geh in Flammen auf (Rosenstolz) Angels (Robbie Williams) Another Day In Paradise (Phil Collins) Halo (Beyoncé) Samba Pa Ti (Santana) Rock Around The Clock (Bill Haley and The Comets) Too Close (Alex Clare) Dancing Queen (ABBA) Born To Die (Lana del Rey) My Heart Will Go On (Celine Dion) All Summer Long (Kid Rock) Mad World (Michael Andrews feat. Gary Jules) Moonlight Shadow (Mike Oldfield) Set Fire To The Rain (Adele) Dreamer (Ozzy Osbourne) Angie (The Rolling Stones) Smoke Gets In Your Eyes (The Platters) Küss mich, halt mich, lieb mich (aus dem Film 'Drei Haselnüsse für Aschenbrödel') Standing Still (Roman Lob) Only You (The Platters) Una Mattina (Ludovico Einaudi, aus dem Film 'Ziemlich beste Freunde') The Curse Of The Black Pearl (aus dem Film 'Fluch der Karibik')

Arrangements faciles de 50 chansons par des artistes chrétiens! / Piano / 288 pages / Partition

This songbook features easy Piano arrangements of 11 songs from the multi-award winning show, Blood Brothers , including the hit song Tell Me It's Not True . This powerful, modern fable, with music and lyrics by Willy Russell, has had two highly successful productions in London's West End and is regularly seen in provincial theatres accross Britain. / Piano