(Chopin National Edition 27B, Vol. III). Composed by Frederic Chopin (1810-1849)...(+)
(Chopin National Edition
27B, Vol. III). Composed
by Frederic Chopin
(1810-1849). Edited by
Jan Ekier. For Voice,
Piano Accompaniment. PWM.
Polskie Wydawnictwo
Muzyczne #51600021.
Published by Polskie
Wydawnictwo Muzyczne
20 Seasonal Songs and Carols in Jazz, Gospel, Swing, and Show Styles. Composed...(+)
20 Seasonal Songs and
Carols
in Jazz, Gospel, Swing,
and
Show Styles. Composed by
Charles Beale and Steve
Milloy. Voiceworks.
Oxford
University Press
#9780193522671. Published
by
Oxford University Press
Lieder (for high and medium voice and piano). By Felix Bartholdy Mendelssohn (18...(+)
Lieder (for high and
medium voice and piano).
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Eugene Asti.
For high voice/medium
voice/piano. This
edition: Paperback,
Urtext edition. Vocal
score, Anthology. 154
pages. Published by
Baerenreiter Verlag
By Franz Schubert. Voice and piano. Selected by SERGIUS KAGEN. German with liter...(+)
By Franz Schubert. Voice
and piano. Selected by
SERGIUS KAGEN. German
with literal English
translations and notes by
G. Contains all the
cycles plus 42 selected
songs. Published by
International Music Co.
Soprano voice and piano SKU: M7.AST-72 Vier Gesänge aus Liebesgedic...(+)
Soprano voice and piano
SKU: M7.AST-72
Vier Gesänge aus
Liebesgedichte (Zweite
Folge). Composed by
Wilhelm Rettich. Sheet
music. Op. 94. Duration
8'. MDS (Music
Distribution Services)
#AST 72. Published by MDS
(Music Distribution
Services) (M7.AST-72).
Singing voice, Piano SKU: BA.BA05503 16 Lieder (2 in 2 Fassungen). Urt...(+)
Singing voice, Piano
SKU: BA.BA05503
16 Lieder (2 in 2
Fassungen). Urtext der
Neuen
Schubert-Ausgabe.
Composed by Franz
Schubert. Edited by
Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition (Neue Ausgabe
samtlicher Werke) Series
IV, Volume 6. Lieder,
Romantik (Songs,
Romantic). Complete
edition, Singing Score,
anthology. Baerenreiter
Verlag #BA05503_00.
Published by Baerenreiter
Verlag (BA.BA05503).
ISBN 9790006471973.
27.5 x 19.5 cm inches.
Preface: Dürr, Walther
/ Feil, Arnold / Landon,
Christa.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
By Franz Schubert. Voice and piano. Selected by SERGIUS KAGEN. German with liter...(+)
By Franz Schubert. Voice
and piano. Selected by
SERGIUS KAGEN. German
with literal English
translations and notes by
G. Contains all the
cycles plus 42 selected
songs. Published by
International Music Co.
(200 Songs. ) Selected by Sergius Kagen, composed by Franz Schubert (1797-1828)....(+)
(200 Songs. ) Selected by
Sergius Kagen, composed
by Franz Schubert
(1797-1828). Collection
for high voice and piano.
Text language German.
Published by
International Music Co..
Piano Accompaniment; Vocal (Voice and Piano) SKU: HL.287859 Voice/Pian...(+)
Piano Accompaniment;
Vocal (Voice and Piano)
SKU: HL.287859
Voice/Piano.
Composed by Isabelle
Aboulker. Music Sales
America. Classical.
Softcover Audio Online.
176 pages. Alphonse Leduc
#AL30758. Published by
Alphonse Leduc
(HL.287859).
9.0x12.0x0.636
inches.
Sonatas and
quartets aren't my thing.
Armed with this
self-knowledge, composer
Isabelle Aboulker placed
singing at the heart of
her creative activity and
garnered huge success in
a variety of genres such
as oratorio (The Man who
Staggered Through War,
1997), comic opera
(Monsieur de Balzac fait
son theatre, 1999),
childrens tales (Douce et
Barbe Bleue, 2002) and
the theatrical
adaptationof narrative
works (Une fille quon
appelle Boule de suif,
2014). Isabelle Aboulker
also devotes much
attention to melody, as
can be seen in this
collection presenting a
few of her most
enchanting successes. Her
prosodic clarity and
focus on the power of
words crystallises a
musical legacy that
stretches from Rameau to
Poulenc.This anthology of
melodies for voice and
piano - most of which are
written for all voices -
is delightfully eclectic:
the melancholyperfume of
the Lettre damour sits
beside the unnerving
eeriness of the merchant
of souls (Au marche de
Saint-Paul), while the
limpid music of the La
Fontaines Fables
contrasts with the fever
that animates Je taime, a
passionate vocalise
dedicated to Patritica
Petibon. A subtle,
sensitive art that
enchants all who lend an
ear.
Voice and Piano SKU: BT.MUSAM92045 TV-Film-Musical-Show. Book Only. Wise ...(+)
Voice and Piano
SKU:
BT.MUSAM92045
TV-Film-Musical-Show.
Book Only. Wise
Publications #MUSAM92045.
Published by Wise
Publications
(BT.MUSAM92045).
ISBN
9780711941755.
Some
of the most memorable,
poignant, shocking or
side-splitting film
moments are captured in
this specially selected
anthology of
silver-screen songs for
Piano, Voice and Guitar.
From classic movies such
as
CasablancaandGr
ease to modern-day
masterpieces like
Donnie Darko and
Moulin Rouge, a
great film song is often
so much more than just a
soundtrack, with many of
the songs featured here
becoming huge
chart-topping hitsintheir
own right!
Whether
you're looking for that
tear-jerking ballad,
sensational show-stopper
or vintage heart-warmer,
you'll find that magical
movie-song right
here.
SKU: GI.G-6390B A practical resource for choir directors, trainers, an...(+)
SKU: GI.G-6390B
A practical resource
for choir directors,
trainers, and
teachers. Royal
School of Church Music.
Sacred. Choir part. 224
pages. GIA Publications
#6390B. Published by GIA
Publications
(GI.G-6390B).
Hail! Bright
Cecilia. Composed by
Henry Purcell. Stapled.
Eulenburg Orchestral
Series. Renaissance/early
Baroque; Baroque. Part.
20 pages. Duration 60'.
Breitkopf and Haertel
#EOS 8063-26. Published
by Breitkopf and Haertel
(BR.EOS-8063-26).
ISBN
9790004789810. 8.5 x 11.5
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0....(+)
Chorus (with soloists)
and piano (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc)
SKU:
BR.ED-10296
Hail!
Bright Cecilia.
Composed by Henry
Purcell. Edited by
Christopher Hogwood.
Choir; stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 80
pages. Duration 60'.
Breitkopf and Haertel #ED
10296. Published by
Breitkopf and Haertel
(BR.ED-10296).
ISBN
9790220101977. 7.5 x 11
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
By Hector Berlioz (1803-1869). Arranged by Philipp Scharwenka. Choir and piano. ...(+)
By Hector Berlioz
(1803-1869). Arranged by
Philipp Scharwenka. Choir
and piano. For tenor
voice solo, SSTTBB choir,
piano. This edition:
Paperback. Liturgical,
Original Works, Mass,
Transcriptions, Choral.
Romantic Period;
Sacred/Hymns, French,
Funerals.
Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0...(+)
Chorus (with soloists)
and piano (solos: TTB -
choir: SST(A)TBB -
2.0.0.0. - 0.0.0.0. -
vl.2va.vc/db)
SKU:
BR.ED-12658
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softbound. Mass;
Requiem; Baroque.
Piano/Vocal Score. 70
pages. Duration 55'.
Breitkopf and Haertel #ED
12658. Published by
Breitkopf and Haertel
(BR.ED-12658).
ISBN
9790220121760. 7.5 x 11
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Requiem; Baroque. Part.
12 pages. Duration 55'.
Breitkopf and Haertel
#EOS 8047-20. Published
by Breitkopf and Haertel
(BR.EOS-8047-20).
ISBN
9790004789759. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).