Par LLOYD WEBBER ANDREW. Cats: Music from the Motion Picture Soundtrack is a collection of 13 songs from the 2019 movie adaptation of Andrew Lloyd Webber's musical based on Old Possum's Book of Practical Cats by T.S. Eliot. It contains piano/vocal arrangements with the melody in the piano part, plus chord symbols, guitar chords and full lyrics. Including the Taylor Swift/Andrew Lloyd Webber collaboration Beautiful Ghosts as well as all the well-known favourites including Memory, Jellicle Songs for Jellicle Cats, Mr. Mistoffelees, Gus: the Theatre Cat, Macavity: the Mystery Cat and more./ Recueil / Piano/Vocal/Guitare (PVG)

Par MOCCIO STEPHAN. 16 piano solo arrangements from the 2020 classical album release by this Grammy and Academy Award nominated composer. Includes: Burgundy · Fracture · Freddie's Theme · Ghosts · Il Était Une Fois · La Fille Aux Pouvoirs Magiques · Le Temps Qui Passe · Lumiére · Nostalgia · Nuit Blanche · Sea Change · Solace · Thirteen · Through Oscar's Eyes · Tu Me Manques · Whitby./ Répertoire / Piano ou Clavier

Tilmann Dehnhard: Yorishiro for flute UE38034 A modern and atmospheric piece for solo flute by Tilmann Dehnhard. Suitable for slightly advanced players. Tilmann Dehnhard creates an incredibly atmospheric piece for solo flute. He therein includes modern techniques such as key click, sing and play, wind sounds and many more, explaining them in detail in advance. Each technique is written out in the score which makes reading easier. Thereby, this piece becomes accessible even to slightly advanced flutists. Japan has countless ghosts, some of them are wind- and air-ghosts. Most of them are benign. To appear in our world, they need special places to stay in. These could be trees or special rock formations or pipes ? even flutes could serve as such a place. These special places are called Yorishiro. (From the foreword)

Ce DVD présente de nombreux rythmes et autres grooves de batterie dans la musique funk et plus généralement dans les musiques syncopées. Plus de 80 exercices pour vous aider à comprendre le rôle essentiel de la batterie dans ces styles, et à être capable par la suite de créer vos propres grooves. Pour cela, sont abordés des sujets tels que la syncope grosse caisse et caisse claire, les ouvertures et patterns de charleston, les ghosts notes, les grooves basse/batterie, l'influence des différents styles sur la musique funk, ainsi qu'une approche plus moderne, au travers du 'linear concept'. Le tout illustré de très nombreux exemples en solo mais aussi en groupe. Durée : 85 mn / Batterie

for soprano and piano. Par CASKEN JOHN. Chansons de Verlaine were completed in 2006. The third song, Colloque sentimental, was written in 2003 for Alison Smart and Katharine Durran’s New French Song project. It was as a result of having written one short song to words by Verlaine that I subsequently decided to set two further poems to make a group of three. All three were also set by Debussy: L’ombre des arbres and Chevaux de bois appear in Ariettes Oubliées, while Colloque sentimental belongs to Debussy’s second set of Fêtes Galantes. The poems I have grouped together are linked by the idea of three different landscapes. In the first, Verlaine precedes the words of his own sad, pale landscape with words from Cyrano de Bergerac about a nightingale who fears himself about to fall into a river and drown. In the second poem the landscape has been occupied by a fairground where men, women and children watch as the hobby-horses go round and round before night falls and the church tolls a passing-bell. The third poem takes us into an old park where two ghosts recall their past. The one wonders if the other remembers the happy days of their past lives, but the other doesn’t want to remember, barely acknowledging the closeness they once shared, seeing only that ‘hope has fled, defeated, towards the dark sky.’ I am very grateful to Roger Nichols and Dominique Mols for their advice with the setting of the French texts and with the translations. John Casken Colloque sentimental was first performed by Alison Smart and Katherine Durran at the Purcell Room in London on 13 July 2004/ Répertoire / Soprano et Piano

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

This landmark series collects compelling, useful, singer-friendly arias from a distinctly American opera tradition. Each volume includes information about every opera and an aria plot note. A majority of the music in the four volumes has never before been available outside of the opera vocal scores, and some arias in the series have never been in print at all before now. Most arias are appropriate for college-level singers. Composers such as Samuel Barber, William Bolcom, Douglas Moore, Virgil Thomson and Gian Carlo Menotti are well represented. Additionally, arias are included from important works such as Regina, A Streetcar Named Desire, The Ghosts of Versailles, The Great Gatsby, Little Women and many others. Stephen Sondheim graciously agreed to adapt new aria editions of two pieces from Sweeney Todd for the series: ?The Contest? in the Tenor volume and ?Epiphany? in the Baritone/Bass edition./ Recueil / Soprano et Piano

in Full Score. Par WEBER CARL MARIA VON. First performed in Berlin in 1821, Der Freischütz is recognized as the wellspring of German Romantic opera. It was immensely influential in subject matter, atmosphere, orchestration, and other aspects on all later German operatic writing, and it is still quite popular. The composition of Der Freischütz occupied Weber for an unusually long time. He started in July 1819 and did not complete the work until May 1880. Based on the short story 'Der Freischütz' in the Gespensterbuch (Book of Ghosts) by August Apel and Friedrich Laun, its highly romantic aspects include a dark, mysterious forest setting, populated by lusty huntsmen and abounding in evil and magical overtones. This edition reproduces the full orchestral score in a clear, modern engraving for easy reading and study, with large legible notation. Do not confuse this with a piano rendering; it is a full orchestral score. In addition to its obvious uses for study, this score is also indispensable for anyone listening to recordings. In no other manner can the listener keep full awareness of the orchestral richness of this opera. The complete German text, including all spoken dialogue, accompanies the music. Full score edition. Includes full spoken text. Dover reproduction of Peters Edition. / Opéra-opérette / Répertoire / Opéra Full Score

From the blockbuster movie franchise, it's always time to bust some ghosts at Halloween or any time of the year. Utilizing introductory accidentals, a dal segno with a coda, and the flexibility required to play and perform the vocals, there's plenty of teaching in this infectious tune. The familiarity of this tune is a quick fit for every beginning band and the vocals punctuate the energy. Who ya gonna call? (2:00) / Concert Band