Music Minus One Vocal-The winner of six Tony Awards® including Best Original Score and Best Musical Dear Evan Hansen has struck a remarkable chord with audiences and critics everywhere. With advanced ticket sales in excess of $20 million and its soundtrack debut at #8 on the Top 200 Album Billboard chart it is on track to be one of the most successful Broadway musicals of all time. The show officially opened on Broadway on December 4 2016 after a successful Off-Broadway run. The musical features a score by Benj Pasek and Justin Paul who were both personally involved in editing and approving the Hal Leonard Vocal Selections. Pasek and Paul won an Oscar forBest Original Song for being the lyricists behind ?City of Stars? from La La Land. They have also received numerous awards for their previous stage productions A Christmas Story The Musical; Dogfight; James and the Giant Peach; and Edges. This Music Minus One vocal folio includes audio tracks for demo and performance online for 13 songs from the soundtrack including: Anybody Have a Map? Disappear For Forever Good for You If I Could Tell Her Only Us Requiem Sincerely Me So Big/So Small To Break in a Glove Waving Through a Window Words Fail You Will Be Found.

The matching folio to Justin Timberlake's smash second album Futuresex/Lovesounds. A more intimate and grown-up affair All twelve songs are arranged for Piano Vocal and Guitar with full lyrics. Includes the single Sexy Back. parental Advisory: Explicit Lyrics

This edition is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in 2008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars and performers.Thusthe famous overture which Rossini had already used in his earlier opera Aureliano in Palmira differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera The Barber of Seville (with just one Flute one oboe and no Timpani).Urtext edition based on the series Works of Gioachino Rossini.All versions and transpositions are included in the appendix to the study score.Singing English translation in the vocal score.Takes into account all original sources including five manuscripts with Rossini’s autograph ornamentation.Takes into consideration the full extent of Rossini’s personal notational characteristics.Study score contains a detailed foreword (Eng/Ital)Full score (BA10506) critical report (BA10506-40) & study score (TP411) available for sale; performance material (BA10506-72) available for hire.

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

The It's easy To Play series offers you easy-to-read simplified arrangements of music from the world's greatest performers and great composers. Ideal for beginners the music is newly engraved and includes chord symbols andlyrics where appropriate.This volume contains 11 of today's biggest chart hits including Just Give Me A Reason Let Her Go and Wake Me Up.

Part of the popular ‘Top Ten’ series this collection contains ten carefully selected pieces in the jazz style. There is such variety within the genre we call 'jazz' it seems almost impossible to do itjustice in just ten songs but we've given it our best shot. We've unforgettable standards like Duke Ellington's 'Take The A Train' and 'Fly Me To The Moon' as popularised by Frank Sinatra; elegant tunes fromthe 1930s such as 'The Way You Look Tonight' and 'The Very Thought Of You'; classic numbers from the late 50s and early 60s 'So What' and 'Cantaloupe Island' - and we make no apology forstretching the jazz definition to accommodate the gorgeous 'Girl From Ipanema'! Some of the pieces are arranged for Piano and Voice; others are purely instrumental but every one possesses that special somethingthat has earned it a place in our collection and indeed in the heads and hearts of countless jazz lovers around the world. Each piece in The Top Ten Jazz Songs To Play On Piano is accompanied byinteresting background notes to give you that extra bit of insight.

Spanish conductor and composer Tomás Bretón (1850 1923) became conductor of the Madrid Opera and spent his professional life fighting for the cause of sophisticated Spanish music nationalism. Bretón composed the lively evocative zarzuela La Verbena de la Paloma in just nineteen days and it has remained popular with Spanish audiences since its premiere in 1894 for its humour its music and the characters that recall nineteenth century Madrid.La Verbena de la Paloma is scored for two to three Soprano roles one to two contrAltos one to two Tenors and five to six baritones as well as an actor-singer and actress-singer. The libretto is in Spanish withouttranslation.

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score published in this catalog in November 2019. Antonio Vivaldi?s La Dorilla a heroic-pastoral opera on a libretto by Antonio Maria Lucchini was premiered at the Teatro Sant?Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant?Angelo where despite being greatly revised it was once again successful. Many of its recitatives had been shortened and several arias replaced some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers such as Johann Adolf Hasse Geminiano Giacomelli Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi who adjusted the libretto with the precise aim of satisfying the demands of the public which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context the description of the main source employed and a choice of the critical Notes to the musical text.

Vocal Score-In the days just before the Christmas of 1816 Rossini was still looking for the subject and the libretto for an opera that he was contractually obliged to stage at the Teatro Valle in Rome in just over a month's time. Jacopo Ferretti proposed a libretto he had himself written based on the famous fairytale by Perrault Cinderella. Rossini composed the opera in less than a month completing it on the 24th January 1817 the day before its public debut. Removed from its original fairytale context Ferretti and Rossini's La Cenerentola is a comedy with some credible situations where comedy and sentiment come together brilliantly. The opera was a fantastic hit rightfrom the start and is still one of the composer's absolute masterpieces!This is the Vocal Score of Rossini and Ferretti's famous collaboration La Cenerentola.

'Yet you a man have sensed in these songs a depth which hardly the most knowing female heart can feel!' Thus an admirer wrote to Robert Schumann concerning his song cycle Frauenliebe Und Leben.Schumann’s empathy with the highly romantic inflections of Adelbert von Chamisso‘s poetry may also have arisen from the circumstances that prompted this cycle for it was written during one of the happiest periods of hislife just before his marriage to Clara Wieck. Ever since its initial publication Frauenliebe Und Leben has been immensely popular with male and female singers alike. Now it appears for the first time in a Henleurtext edition equally well-suited for medium male or female voice (mezzo soprano or baritone).

Par LITTEN NANCY. This book serves a dual purpose. It aims to give choirs and solo singers gently graded sight singing practice whilst at the same time encouraging the pianist to accompany them from chord symbols. Many examples of the possible realisations of the chords are given and the number of different keys and chords increases gradually. One chord per bar is used at first with more rapid changes in the later chapters. Each stage includes exercises for the singers, (to be practised, not just sight-read) and songs to be accompanied. Pianist edition includes chord examples and practice routines, and at the back, a chord compendium. / Choral Music / Etude / Voix et Piano