The Piano is unquestionably a timeless instrument that has never, and will never go out of fashion in popular music. The beauty of the keys, when married with the right singer or songwriter, has the power to create truly momentous music, and Songs Of The Piano Stars, with its 24 hit songs from the past and present, will let you learn to play a selection of perfect Piano-led tunes.Drawing from the wealth of popular tunes from the past sixty years that have included a pretty Piano part or two, Songs Of The Piano Stars presents a massive range of artists and their songs that are well-loved and will remain so for years to come. From The Beatles and Carole King to Alicia Keys and the Ben Folds Five, the variety on offer here is testament to the persistence of the Piano in popular music. From beautiful ballads like All Of Me by John Legend, Don't Explain by Nina Simone and Imagine by John Lennon to huge pop hits like Carly Simon's You're So Vain and Elton John's classic Tiny Dancer, these songs, arranged for Piano and Voice with full lyrics and Guitar chord boxes, will allow you to learn and perform them accurately and beautifully. There are some old classics included, such as the legendary Tom Waits' Come On Up To The House and Randy Newman's I Love To See You Smile, and these are put alongside newer tunes like Brave by Sara Bareilles and Vanessa Carlton's A Thousand Miles.These songs have been expertly-selected and engraved to reflect the most-requested songs by Piano singer-songwriters from over the years. With the success of the electric Guitar and the advent of rock music, the Piano-led performer faded away somewhat, but the underlying love of composers and songwriters of creating music at the Piano never subsided. This Piano sheet music songbook features the greatest songwriters who have always championed the indomitable ivories throughout the changing musical landscape. Whether they sculpted a career out of their Piano songwriting skills in the '60s or '70s, or they continue to integrate the Piano into their modern pop songs, Songs Of The Piano Stars is full of fantastic Piano tunes that will sound really great as part of your repertoire or in a performance. Music history has shown us that the Piano is here to stay, so open this songbook to your favourite song and play! / Voix Et Piano

A must-own comprehensive collection of 76 songs from musical theatre, movies, folksongs and standards for any budding vocalist! Songs include: Baby Face · The Bare Necessities · Beauty and the Beast · Born to Entertain · Castle on a Cloud · Do-Re-Mi · Do You Want to Build a Snowman? · Edelweiss · Getting to Know You · How Much Is That Doggie in the Window · I Whistle a Happy Tune · Let Me Entertain You · Let There Be Peace on Earth · Little People · Mairzy Doats · My Favorite Things · Never Never Land · Over the Rainbow · Puff the Magic Dragon · The Rainbow Connection · Red Ryder(R) Carbine Action BB Gun · Simple Gifts · Tomorrow · When I Grow Up · Where Is Love? · You've Got a Friend in Me · and more! / Piano/Vocal/Guitare (PVG)

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: 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

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

Par ZEMLINSKY ALEXANDER. If, as the editor states, Zemlinsky's A Florentine Tragedy is one of the milestones of 20th century music theatre, its path to acceptance was rather arduous. Beginning with the troubled text by Oscar Wilde, Zemlinsky dove into the work as if in a fever. A problem arose in requesting the rights to Wilde's text, not helped by timing (and World War I), and this was but one impediment to its performance. The editor provides a complete history of the work, in historical context, along with critical commentary, which, itself is fascinating reading. There follows the complete piano-vocal score in the 1916 UE edition, with revisions in 2011./ Répertoire / Chant et Piano

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

Par SONDHEIM STEPHEN. Initialement intitulé The Girls Upstairs, ' Follies ' sont définies dans un théâtre de Broadway croulant, à démolir, au cours d'une réunion de tous les membres du passé des ' de Weismann Follies, ' une revue musicale (basée sur les Ziegfeld Follies) qui a joué dans ce théâtre entre les deux guerres mondiales. La comédie musicale se concentre sur deux couples, Buddy et Sally Durant Plummer et Ben et Phyllis Rogers Stone, qui assistent à la réunion. Sally et Phyllis étaient les deux showgirls dans le drame comme beaucoup des autres invités. Les deux mariages sont des problèmes parce que Buddy, un voyageur, a une liaison avec une jeune fille sur la route, Sally est toujours en amour avec Ben qu'elle était il y a ans, Ben est tellement renfermé que Phyllis se sent émotionnellement abandonnées. Les deux couples interagissent avec les autres et autres fêtards, et tout au long du premier semestre, les numéros musicaux des vieilles Follies sont effectuées par les personnages, parfois accompagnés par les fantômes de leur ancien moi. Ces chansons sont des pastiches de.../ Recueil / Chant

Vocal Selections de la production uproarious Broadway qui a remporté le Tony Award pour la meilleure comédie musicale en 2005. Sur la base des classiques Python Monty and the Holy Grail long-métrage, tous vos moments favoris Python sont regroupés pour former une sélection tapageuse de chansons, y compris The Song That Goes Like This, Run Away! and Always Look On The Bright Side Of Life. / Piano/Vocal/Guitare (PVG)

The present reduction derives from the critical edition of the full score published in this catalog in 2002 (PR 1367). The Beatus vir in C major RV 597 is composed on Psalm 111, is a prominent member of a group of around 13 sacred vocal works by Vivaldi composed in a period running from the second half of the 1720s into the early 1730s even if it is not possible to establish their right destination. The critical edition is based on the only source available, the original autograph manuscript now kept at the National University Library of Turin Foà 40, cc. 155-185 - it restores the text starting from the revised criteria by the Committee of the Critical Edition. The volume includes also a scrupulous analysis of the autograph and one of all the sections of the psalm as well as a choice of the Critical Notes to the musical text. / Voix Et Piano

Classical Crossover Pour Singers dispose de 36 chansons enregistrées par des artistes bien connus, y compris Andrea Bocelli, Josh Groban, Jackie Evancho, Sarah Brightman, Il Divo, Charlotte Church, Il Volo et autres. / Piano Et Voix