The Library Of Showtunes is a treasury of the greatest songs from the world’s best-loved musical shows. This collector’s volume spans over 85 years of Broadway and West End musicals giving you a vast number ofthe greatest showstoppers all arranged for Piano Vocal and Guitar.  From pioneering classics like Guys And Dolls Oklahoma! and Sweet Charity to modern favourites like The Phantom OfThe Opera Wicked and The Lion King every kind of musical show is represented by what are universally hailed as the finest songs of the genre. Every one of these amazing songs is arranged with Piano parts vocalmelody and Guitar chord boxes and symbols as well as being spiral bound for utmost convenience.Taken together the songs included in The Library Of Showtunes comprise nothing less than the history ofthe stage musical told through outstanding numbers that often became hits in their own right as well as advancing the wonderfully colourful stories told on stage. From Summertime to Over The Rainbow and fromCan You Feel The Love Tonight to I Dreamed A Dream these incredible tunes are essential playing for all fans of musical theatre.The stage musical was born on Broadway in the early years of the 20thcentury as a drama where the story and the music complemented one another. No longer just a series of songs linked by a flimsy plot these new musicals had substance. Early classics like Show Boat and Carouselwere not afraid to use tough source material and they led the way for what would become a wildly popular art form that could tackle any subject and in the end be conceived just as successfully in Europe as the United States.Celebrating the passion emotion and dramatic power of the stage musical The Library Of Showtunes is both a joyful celebration and an enduring reference book allowing you to bring the power and beauty of

50 Thèmes de musique de films, transposés pour Piano Solo réunis dans ce recueil. / [Film Themes For Solo Piano] / Musiques de films and comédies musicales / Partition /

Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

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

Baritone or Bass Voice-The world's most trusted source for great theatre literature for singing actors. The online audio includes Piano accompaniments. The book features authentic editions of each song in the original keys. The songs have been carefully chosen for each voice type and are culled from a wide selection of classic and contemporary shows.

The Boosey and Hawkes Solo Piano Collection provides the intermediate pianist with exciting repertoire in accessible yet authentic arrangements.

?Ballet and Other Dances? brings together a huge breadth of repertoire from around the world in a fine collection of 30 well-known themes from the stage.
Popular Russian favourites such as Shostakovich?s ?Jazz Suite No. 2?, Prokofieff?s ?Romeo and Juliet? and Tchaikovsky?s ?Nutcracker Suite? sit alongside American modern classics including Bernstein?s ?West Side Story? and Copland?s ?Billy The Kid?.

Works by Ginastera and Piazzolla add a South American flavour, whilst pieces by Bartók, Britten, Quilter, Strauss, Whelan and others reflect the rich diversity of European music for dance. / [Ballets et Autres Dances] / Classique / Partition / Broché /

Celebrating its 66th year Theatre World is the most comprehensive record of the theatrical season on Broadway Off-Broadway Off-Off-Broadway and in regional theatre. Each of the 1 000-plus entries includes photos acomplete cast listing producers directors authors composers opening and closing dates song titles and plot synopses. Theatre World also features the year's obituaries a listing of all nominees and winners of themajor theatrical awards the longest-running shows on and Off-Broadway and a complete index.The 2009-2010 season found big-screen stars continuing their trend of taking to the stage with Jude Law inHamlet and Catherine Zeta-Jones in Stephen Sondheim's A Little Night Music lighting up Broadway while Cate Blanchett wowed all at the Brooklyn Academy of Music in Tennessee Williams' A Streetcar Named Desire.Donald Margulies' Time Stands Still with Laura Linney and David Mamet's Race with James Spader led the season of new Broadway plays while David Greenspan's one-man The Myopia and Horton Foote's magnum opusThe Orphans' Home Cycle debuted to raves Off-Broadway. Fela! based on the life of African-American composer Fela Anikulapo Kuti was a musical sensation and Dreamgirls had another noteworthyrevival at theApollo Theatre that went on to a successful national tour. Regionally Hughie and Krapp's Last Tape starring Brian Dennehy at the Goodman Theatre in Chicago and American Idiot the Green Day musical at theBerkeley Repertory Theatre were regional hits.

Understanding the Psychology Relationships and Technology in Recording and Live Performance-To be a great singer talent and technique are obviously important as are having excellent songs and being able to move an audience. But there's more to it than that including two critical skills that are rarely if ever addressed in vocal training: managing the technology on stage and in the studio and interacting with the people who run it. No matter how fantastic your voice is or how much money is behind you if you don't know how to work with performing and recording technology you're in for a tough ride. Countless phenomenal singers stagnate professionally and even leave the business because they can't figure out how to deliver when using studio headphones and stagemonitors or how to communicate their needs to producers and engineers. And many less-capable singers get ahead because they can. The Art of Singing on Stage and in the Studio is the only book that comprehensively addresses these critical issues in an easy-to-read accessible style. Starting with a discussion of the evolution of technology and the voice in our culture it also explores the root causes of anxiety-related performance issues and more importantly how to overcome them. Singers performers producers and engineers will all come away from this book more knowledgeable about the origins of their fields empowered in the tools of their trade and clearer on how to best communicate with one another.

This official sheet music companion folio to the stage version of the smash hit Once allows music makers to apply their own talent to this beloved score full of happy sad hopeful and witty songs but all as romantic and sweet as can be. The unforgettable love story that brought us the Academy Award-winning song Falling Slowly'can now be seen live as a hit Broadway musical! The subtly inspiring and heart-rending songs of Glen Hansard and Markéta Irglová are brought to life anew in a soaring musical theatre setting based on John Carney's smash film. This official Once'sheet music song book features allthe songs from the massively successful stage musical arranged for Piano and Voice with chord boxes and symbols for Guitar.' With this collection you'll be able to learn the fantastic songs from Once such as Say It To Me Now When Your Mind's Made Up and Leave. Also included here is Falling Slowly sheet music the love song for the current generation. With its pretty Guitar and Piano parts poetic lyrics and beautiful harmonies between the two lead characters Falling Slowly won an Academy Award for best original song and it isn't hard to see why. The story of two unlikely lovers who are united by music continues to inspire young amours to play music. What better way to nurture this than with a collection of sheet music from the musical'' This official sheet music companion folio to the stage version allows music makers to apply their own talent to the beloved score of Once. The 12 selections from this hit musical are based on the renditions from the Original Broadway Cast Recording allowing pianists vocalists and guitarists to learn the song exactly as they've heard it at one of the numerous sell-out shows.'

Exam boards: Edexcel AQA OCR WJECThis workbook will develop students' skills in writing about music for AS A2 and undergraduate level.Exercises appear at every stage to challenge and provide examination practice for students. These range from naming musical features and spotting grammatical errors to devising essay plans and analysing sample answers.Beginning with fundamental writing requirements this workbook moves on to address how to describe the features of a musical work as well as how to make comparisons and contrasts between specified pieces.There is advice on how to approach research what to retain and reject and how to structure anessay.Detailed analytical and dissertation-style essays are addressed as well as writing programme notes.Writing About Music Workbook promotes the development of skills which will be of use in many areas of academic life: collecting information selecting relevant material presenting arguments for and against particular propositions and expressing ideas effectively and correctly in English.'Wightman has achieved just the right tone with very clear explanations... I would feel confident giving it to pupils to read in their own time as it???s very easy for them to work from it making it a useful resource to reinforce the comments I write on their essays... I think it's probably one of the most genuinely useful books of its type.'Russell MillardHead of Academic Music Charterhouse

Par MIRANDA LIN-MANUEL. The 2008 Broadway musical In the Heights explores three days in the New York City Latino neighborhood of Washington Heights. Its infectious score featuring hip-hop, salsa, merengue and soul music was written by Lin-Manuel Miranda. The recent movie adaptation brought the musical to a whole new generation of fans. Our easy piano selections songbook features 10 tunes from the stage production which won the Tony for Best Musical and Best Original Score. / Niveau : Facile / Date parution : 2022-07-30/ Recueil / Piano