Frühe Lieder II (1911-1915) - Erstausgabe. Par SIMON KLAUS. All songs and lieder composed in the years 1910-1937 by the composer Erwin Schulhoff from Prague, who was persecuted by the National Socialists, are now published in three volumes for the first time, documenting his very different creative phases and stages of life: Whereas Vol. I and II stand for the emancipation from being a successor to Wagner and Debussy, Vol. III contains not only the well-known atonal Fünf Gesänge from 1919 but also fresh jazzy popular songs and political songs for the masses written after 1933 when he turned to communism./ Recueil / Chant et Piano

The works of composer Herbert Howells have long been staples of Anglican church services worldwide, with a number of his compositions hailed as some of the finest of the 20th century. This Collection Of Songs For Voice And Piano is a perfect opportunity to further explore more of Howells' sublime works.These songs are indicative of Herbert Howells' incomparable talent, expressing his unique ability to create entire landscapes and worlds through sound and music. Furthermore, the Herbert Howells sheet music is a joy to perform for musicians of all levels, whether professional, amateur or a beginner, there is something for everyone in the Collection Of Songs. The musicality of these expertly-composed pieces is simply a joy to hear, and audiences will continue to be impressed by the inventiveness and technique of each song. / Voix Et Piano

La série The Pop Piano Player est une source incontournable pour tous les pianistes pop, chaque volume réunissant beaucoup de classiques de la chanson. Retrouvez dans ce volume 13 chansons Pop. Conçue pour ceux qui désirent se mettre au piano pop comme pour ceux qui brûlent de développer leur propre style, chaque chanson est proposée en deux versions:


- La première, qui présente la mélodie, les paroles et le structure basique des accords, est idéale pour s'entraîner, accompagner et improviser.

- La seconde - un superbe arrangement pour piano solo, adapté aux pianistes de niveau moyen - est parfaite pour les concerts.

- Toutes les chansons sont dans leur tonalité standard, ce qui permet aux pianistes de jouer avec d'autres musiciens.

- Un CD gratuit propose une interprétation de tous les arrangements pianistiques / Variétés / Partition CD /

Jerry Herman est le seul compositeur-parolier dans l'histoire à avoir eu trois comédies musicales qui s'est déroulée au cours de spectacles consécutifs de 1500 à Broadway. Il est également intronisé au Songwriters Hall of Fame et le Théâtre Hall of Fame. Ce livre célèbre ses plus grands succès avec plus de 60 chansons de Hello, Dolly!, Mame, chers World, La Cage Aux Folles et plus encore. Comprend une biographie et un album de photos de sa vie et sa carrière en 288 pages emballés. / Divers

Lili Boulanger was the sister of the famous music teacher Nadia Boulanger. She was a composer for the last 10 years of her tragically short life - she died at 25. Her music is generally beautiful delicately coloured and touching standing in the main line of French music exemplified by Faure albeit somewhat tinged with the influence of Debussy's Impressionism.These four Songs are settings of texts by de Calone and Maeterlinck among others with an English version by Jane May. The first song Dans l'immense tristesse speaks of a mother's grief on the death of a child. Attente (Expectation) is about the anticipation of love Reflets isgentle and reflective yet tinged with fear which breaks out towards the end whereas Le Retour (The Return) deals with the return of Ulysses to Ithaca.

Wonderland is the delightful soaring musical that takes a new kind of Alice into a world of kaleidoscopic fantasy and romantic adventure. As a mom whose life is spinning out of control Alice's yearning for happier times leads her on a quest far below the streets of New York City to the other side of the looking glass. There she meets a marvelous cast of familiar but phenomenally re-imagined characters who help her navigate this impossibly peculiar universe and change her life forever.This folio features 19 Piano/Vocal selections from the Frank Wildhorn score including: Advice from a Caterpillar • Down the Rabbit Hole • FindingWonderland • Go with the Flow • Home • I Am My Own Invention • The Mad Hatter • Off with Their Heads • Through the Looking Glass • Welcome to Wonderland and more. Includes a special section of full-color production photos.

Contains: 'Chim Chim Cher-ee' 'A Spoonful Of Sugar' and 'Supercalifragilisticexpialidocious'. Arranged for 3-Part mixed choir and piano by Joyce Eilers.

Par SCHUBERT FRANZ. Urtext of the New Schubert Complete Edition in both original key and transposition, edited by Walther Dürr. A coproduction with Bärenreiter-Verlag, Kassel. Contents: An Emma op. 58 D 113 Auf dem See op. 92 D 543 Der Alpenjäger op. 37D 588 Der Jüngling am Bache op. 87 D 638 Der Musensohn op. 92 D 764 Der Pilgrim op. 37 D 794 Der Unglückliche op. 87 D 713 Des Mädchens Klage op. 58 D 191 Geistes-Gruß op. 92 D 142 Gesänge aus 'Wilhelm Meister' op. 62 D877 Gruppe aus dem Tartarus op. 24 D 583 Hektors Abschied op. 58 D 312 Hoffnung op. 87 D 637 Lied der Mignon [Heiß mich nicht reden] op. 62 D 877 Lied der Mignon [Nur wer die Sehnsucht kennt] op. 62 D 877 Lied der Mignon [Solaßtmich scheinen] op. 62 D 877 Mignon und der Harfner [Nur wer die Sehnsucht kennt] op. 62 D 877 Schlaflied op. 24 D 527 Sehnsucht op. 39 D 636 Suleika II op. 31 D 717 / Partition brochée / Répertoire / 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

A New Musical. Based on the book by New York Times bestselling author Jodi Picoult, Between the Lines is an empowering and enchanting new musical for any of us seeking to find our place in the world. An outsider in a new school, Delilah seeks comfort in the pages of her favorite book, where she feels heard and understood. But as the lines between the two worlds of reality and fantasy begin to blur in extraordinary and astonishing ways, Delilah has to confront whether she alone has the power to rewrite her own story. Our matching folio features seven songs, including: Another Chapter · Between the Lines · Talkin' to Oliver · A Whole New Story · Something to Hold On To · Leaps