THE Real Book, une séléction des plus grands thèmes de ces 60 dernières années, arrangés en Sib. 464 pages

A Melodrama Interspersed With Music. Par BENDA GEORG. Georg Anton Benda's melodrama „Medea' (1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's „Medea' was at the center of many heated debates. Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama. Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his „Medea' music were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified „Medea' as the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775. The third volume of the OPERA series 'Medea” contains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited. For further information regarding the work and the OPERA series, please visit www.opera-edition.com and Takte online/ Répertoire / Récitant et Orchestre

Par FRANCES-HOAD CHERYL. Pieces of Light was commissioned by the Flautadors for their 20 th Anniversary. When the group approached me about writing a piece, I had just finished reading Pieces of Light; The New Science of Memory by Charles Fernyhough, and it struck me that a work inspired by memories and how they are created in our brains would be very appropriate for a group of musicians celebrating such a wonderful milestone. A quote by Nabokov in particular provided ideas for both the rapid, rhythmic music that starts and ends the piece and the slow, 'light-filled' chords of the middle section: [In Nabokov's autobiography, Speak, Memory, he sees] 'the awakening of consciousness as a series of spaced flashes, with the intervals between them gradually diminishing until bright blocks of perception are formed, affording memory a slippery hold.' In addition, this work has really been shaped by the recorders themselves: before writing, I spent several hours with Ian Wilson (a member of the group) learning about the myriad different types of instrument I could write for. The renaissance instruments particularly appealed due to their fabulous timbre, despite the fact that, due to their open hole design, diatonic music works much better than anything chromatic. I became rather obsessed with the idea of writing chromatic music for diatonic instruments, and so in this piece I use recorders at both modern (A440) and baroque (A415, a semi-tone lower) pitch. This allowed me to write a piece that uses all twelve semitones of the scale throughout, whilst never writing a note for any individual recorder that falls outside its particular diatonic major scale: a compositional device that pleased me greatly! —Cheryl Frances-Hoad, 2019 / Date parution : 2022-09-07/ Répertoire / 4 Flûtes à Becs

Contemporary Musical Theatre For Teens is a four-volume series providing a giant resource of songs from the musicals that appeal to the young singer.This second volume for women contains 31 songs from 25 musicals, including Good Morning Baltimore (Hairspray), Practically Perfect (Mary Poppins), Popular (Wicked), Start Of Something New (High School Musical), Follow Your Heart (Urinetown) and more. / Voix Et Piano

The New Real Book is the best-selling legal fake book of all time, with over 100,000 musicians depending on it for accurate, easy-to-read charts for hundreds of the most important tunes in the jazz canon. Don't go to the gig without it!All living composers have approved these charts - many of them are from the composer's own lead sheets.Charts for the standards were derived from a consensus of the best recorded jazz versions.Created by musicians, for musicians. The new standard in fake books! / Instruments En Do

Les New Real Book propose une superbe collection de satandards de jazz, pop-fusion... / Instruments En Bb / Partition

Better than the REAL BOOK! Packed with tons of standards, jazz classics, pop-fusion and contemporary jazz from such artists/groups as Ellington, Evans, Monk, Spyro Gyra, Sanborn, Brecker and more. Lyrics and many arrangements included. Perfect for any situation. / Instruments En Eb

Jazz classics, Choice standards, Pop-Fusion classics/ Recueil / Instruments en Mib