A must-own comprehensive collection of 76 songs from musical theatre, movies, folksongs and standards for any budding vocalist! Songs include: Baby Face · The Bare Necessities · Beauty and the Beast · Born to Entertain · Castle on a Cloud · Do-Re-Mi · Do You Want to Build a Snowman? · Edelweiss · Getting to Know You · How Much Is That Doggie in the Window · I Whistle a Happy Tune · Let Me Entertain You · Let There Be Peace on Earth · Little People · Mairzy Doats · My Favorite Things · Never Never Land · Over the Rainbow · Puff the Magic Dragon · The Rainbow Connection · Red Ryder(R) Carbine Action BB Gun · Simple Gifts · Tomorrow · When I Grow Up · Where Is Love? · You've Got a Friend in Me · and more! / Piano/Vocal/Guitare (PVG)

Cette formidable collection de grandes sélections pour les jeunes chanteurs existe depuis quelques années. Il n'y a maintenant une nouvelle édition avec un CD de compagnon d'accompagnements. N'importe qui avec un lecteur de CD peut avoir un accompagnateur professionnel n'importe quand ils veulent ! Chansons comprennent : The Ballad of Davy Crockett, Bibbidi-Bobbidi-Boo (The Magic Song), sur le bon navire Lollipop, caoutchouc Duckie, A Spoonful of Sugar, Supercalifragilisticexpialidocious, Zip-A-Dee-Doo-Dah et plus encore. / Voix / 80 pages / Partition + Cd

For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's 'Aida') * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My Eng / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix 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

Originally a runaway 1935 RKO musical hit on the big screen starring Fred Astaire and Ginger Rodgers, Top Hat is now a critically acclaimed theatre production featuring Summer Strallen (Meg Giry in Andrew Lloyd Webber's Love Never Dies) and Tom Chambers (Winner of Strictly Come Dancing ). Accompanying the Top Hat world premiere in London's West End, Wise Publications are proud to present the matching songbook folio, Selections from Top Hat The Musical. For the first time ever the music of Irvin Berlin has been adapted for the stage, with his six songs from the film's original soundtrack joined by some of the legendary songwriter's best loved tunes from other works. This songbook selection features thirteen Irving Berlin classics from Top Hat The Musical, arranged for piano, guitar and vocals, with a lavish eight page colour photo section featuring exclusive stills of the show. With guitar chord symbols and full lyrics, you too can capture the magic of this musical favourite as it makes its grand debut on the renowned stage of the Aldwych Theatre, London. / Voix Et Piano

Opera seria in two acts - Urtext Edition - Couverture Rigide. Par MOZART WOLFGANG AMADEUS. Due to numerous customer requests, Bärenreiter will be successively offering vocal scores to major Mozart operas in hardback editions again. This means you now have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. The vocal score to Mozart’s „La clemenza di Tito“ is available in this hardcover edition as well as in a soft-cover edition (BA 4554-90). This means that you have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. Mozart’s last two operas, „The Magic Flute“ and „La clemenza di Tito“, are not only remarkable for their outstanding quality but also for the astonishingly short period of time Mozart needed to write them: From the first sketches and drafts to the completed scores Mozart put on paper approximately 800 pages of music between April and September of 1791, a six month period./ Répertoire / Chant et Piano

Description Stephen Sondheim: Into The Woods - Vocal Score Into the Woods blends various familiar fairy tales with an original story of a childless baker and his wife, who catalyze the action of the story by attempting to reverse a curse on their family in order to have a Songlist A Very Nice Prince A Very Nice Prince (Reprise) Act I Finale - Part I Act I Finale - Part II Act I Finale - Part III Act I Finale - Part IV Act I Opening - Part I Act I Opening - Part II Act I Opening - Part IIA Act I Opening - Part III Act I Opening - Part IV Act I Opening - Part V Act I Opening - Part VI Act I Opening - Part VII Act I Opening - Part VIII Act II Finale - Part I Act II Finale - Part II Act II Finale - Part III Act II Finale - Part IV Act II Opening - Part I Act II Opening - Part II Act II Opening - Part III Act II Opening - Part IV Act II Opening - Part IX Act II Opening - Part V Act II Opening - Part VI Act II Opening - Part VII Act II Opening - Part VIII Act II Opening - Part X After Plan (Underscore) Agony Agony Playoff (Underscore) Agony Reprise Any Moment - Part I Any Moment - Part II Arms Of A Princess Attack Of The Birds (Underscore) Bakers Reprise Cinderella At The Grave Cinderella Coming From The Ball (Underscore) Cinderella Coming From The Ball Again (Underscore) Cow Death (Underscore) Cues 18A Fanfare (Underscore) First Midnight Giants In The Sky Grandmother's House (Underscore) Hello Little Girl I Guess This Is Goodbye I Know Things Now It Takes Two Jack's Mother (Underscore) Lament Last Midnight Maybe They're Magic Moments In The Woods No More No One Is Alone - Part I No One Is Alone - Part II On The Steps Of The Palace Rapunzel Rapunzel Hair Pull (Underscore) Second Midnight Stay With Me The Potion (Underscore) Underscore 12B Underscore 13A Underscore 18 Underscore 9A Your Fault

Par HAHN. Having been considered as a 'fashionable' and 'cliche' composer of his day, Hahn 's compositions are possibly not as well-known as they ought to be. If My Verses Had Wings! for Voice & Piano however, is one of many compositions that shatter these prejudices held, representing the engaging diversity of the composer's music. Venezuelan-born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was amagical art and his compositions often contain expressions of his otherwise hidden emotions and moods. If My Verses Had Wings! is based on the poetry of Victor Hugo. Moreover, this edition of Hahn 's If My Verses Had Wings! contrains transcriptions in three different keys, making it versatile to a range of voices. Hahn 's If My Verses Had Wings! contains a variety of different features, making for a pleasant and evocative work for singers and pianists./ Répertoire / Chant et Piano

Par CORP RONALD. The romance and passion of Ireland's colourful history is uniquely depicted through a magical folk tradition. Here are 28 of the most exquisite, nostalgic and best-loved Irish folksongs, including 'Danny Boy' and 'The star of the County Down' and many more. Arranged with simple keyboard accompaniments, chord symbols and delightful illustrations./ Recueil / Chant

Easy piano arrangements of 50 songs, including everything from pop hits to jazz classics. Complete with song background notes, and playing hints and tips. / Piano

Le Mariage de Figaro, Don Giovanni et La Flûte enchantée sont trois des opéras les plus aimés et réalisé par Wolfgang Amadeus Mozart, mis à livrets de Lorenzo da Ponte et Emanuel Schikaneder. Disponible depuis de nombreuses années, ces trois partitions vocales avec des réductions de piano dans 'La Royal Edition des opéras de la série chez Boosey and Hawkes disposent traductions chanter en anglais par Edward J Dent à côté du texte chanté original et les notes liminaires. / Voix Et Piano