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A Beautiful Lie
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You've selected:
A Beautiful Lie
Tenor voice, Piano
Sheetmusic to print
3 sheet music found
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1
Something So Beautiful
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Tenor voice, Piano
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INTERMEDIATE
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The Song Factory Feat and Wole
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Something So Beautiful
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Songs of Humanity
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1232109 By The Song Factory Feat and Wolei Sway. By Julie Carter. Pop,Singer/Songwriter,Soul,...
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Tenor Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.1232109 By The Song Factory Feat and Wolei Sway. By Julie Carter. Pop,Singer/Songwriter,Soul,Standards. 5 pages. Songs of Humanity #827787. Published by Songs of Humanity (A0.1232109). Sad love song about a beautiful love affair that was meant to last forever, completely ruined by one indiscretion. This song is straightforward enough for a keyboard player/singer to play unaccompanied. Wolei Sway interprets the song in a Marvin Gaye style, but the song would equally suit the style of Lewis Capaldi et al.
$1.99
Crossing the Bar from Songs of Love and Departure (Downloadable)
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Tenor voice, Piano
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Contemporary
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Henry Mollicone
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Crossing the Bar from Songs of
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Tenor voice and piano - Medium - Digital Download SKU: MQ.8477-E Composed by Henry Mollicone. 20th Century. Secular, Memorial, 20th Century, Hope/Assuran...
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Tenor voice and piano - Medium - Digital Download SKU: MQ.8477-E Composed by Henry Mollicone. 20th Century. Secular, Memorial, 20th Century, Hope/Assurance. Instrument part. 6 pages. Duration 3 minutes, 15 seconds. E. C. Schirmer Music Company - Digital #8477-E. Published by E. C. Schirmer Music Company - Digital (MQ.8477-E). English.Crossing the Bar is a favorite poem of mine. Alfred Tennyson's vision of approaching death is both beautiful and profound, expressing both his belief in God and his doubts. The line 'I hope to see my captain face to face,' indicates his lack of certainty (doubts) regarding meeting his 'Captain' (God) in a beautiful and mystical way. I also appreciate his metaphorical use of a quiet sea voyage. The musical setting is meant to be both tranquil and peaceful. -Henry MolliconeDuration: 3:15.
$6.75
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Tenor voice, Piano
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ADVANCED
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Contemporary
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126...
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Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95
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