Reliure : Feuillet imprimé sur du papier `Rives blanc naturel` 180 g/m2 conditionné dans une pochette plastique transparente Format : 21 x 29,7 cm Nb de Pages : 2 + feuillet pour paroles Niveau : Moyen

Zarzuela is a Spanish comic opera employing both spoken dialogue and musical numbers and whose cast includes many stock characters in situations that relate to Iberian society of years gone by. Doña Francisquita is considered one of the very greatest of the form and has continued to enjoy performances in Spanish-speaking countries from its premiere in 1923 to the present. The plot concerns three interlocking love triangles that come to a happy ending in the form of a betrothal of the leading lady Doña Francisquita and her love Fernando.Amadeo Vives was a composer conductor and teacher of music in Spain in the late 19th and early 20th century. He was a choirmaster of renownand composer of many serious works as well as operettas and zarzuelas of which Doña Francisquita is considered his masterpiece. He brought to zarzuela a raised standard of harmony Orchestration and taste and he suffered the frustrations of people of serious ambition whose lighter works are the most beloved and remembered.

Par BEATLES THE. This Piano Chord Songbook contains complete lyrics and chord symbols for over 50 great Beatles hits, plus clear, easy-to-read diagrams for every chord that you'll need to play. / Niveau : Facile / Recueil / Chant et Piano

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

Traditionnel Reliure : Feuillet imprimé sur du papier `Rives blanc naturel` 180 g/m2 conditionné dans une pochette plastique transparente

Adapted from the famous novel by Charles Dickens Lionel Bart’s Oliver! is a well known musical full of memorable songs and is ideal for secondary schools. This vocal score has been transcribed by John Evans and includes all the songs from the musical including the songs Food Glorious Food Consider Yourself and I’d Do Anything.

Fünf Lieder für Jugendliche-Five happy songs for treble voices with suggestions for simple optional percussion and recorders. Four of the five songs in this book were first prize winners in the Huddersfield Mrs Sunderland Musical Competition.

Little Voices Classic Pops brings together five fantastic pop favourites specially selected and arranged in two parts for young groups and choirs. The included CD contains complete vocal and piano versions plus piano-only accompaniments to each song. Each themed book in the Little Voices series contains five songs that make a perfect introduction to part-singing for beginner groups. / Chant Et Piano

Passionnant répertoire contemporain nivelé spécifiquement pour des performances GCSE!Accompagné par des commentaires d'experts pour aider vos élèves à se préparer, cette série permettra aux artistes GCSE à réaliser leur potentiel avec le matériel qu'ils veulent vraiment jouer:Couvrant une gamme d'instruments populaires, la série a été compilé par des enseignants instrumentale et pour les instruments rock par les examinateurs de pas de l'Europe. 1 planche d'examen rock, Rockschool, et tous ont été approuvés par notre éditeur de la série, une personne âgée GCSE examinateur.Convient pour tous les conseils d'examen, chaque livre contient dix chansons et couvre une gamme de difficulté approprié pour le niveau du GCSE.Chaque livre est accompagné d'un CD de morceaux d'accompagnement professionnels, et les chansons ont été soigneusement choisis pour fournir aux étudiants la meilleure occasion de montrer leur instrument et de compétences, avec un large éventail d'artistes et de styles allant des charts actuels comme Take That , Coldplay, Cee-Lo Green et Adele aux grands classiques comme les Beatles, Bon Jovi, Oasis et Led Zeppelin. / Voix Et Piano