Par FAITH REBECCA. In this collection we have gathered fifty Christmas Carols from around the world carefully arranging them for Voice and Piano. Each piano accompaniment is playable by a competent pianist, and there are additional optional harmonies added to the vocal part for choral use if desired. Every country puts its own unique cultural stamp on celebrating the holiday season and this volume can be used to explore those celebrations as part of a wider exploration of the World of Christmas. To this end we have included interesting Christmas related facts, a translation of the text, and both versions where they exist, so each anthem can be easily sung and understood, or compared. Ideal for use in the classroom, or by choirs, and provides wonderful presentational opportunities for themed Christmas concerts. / Choral Music, Songbooks / Recueil / Voix et Piano

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / 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

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: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Par . “Una voce poco profonda”: Curtain up for Trouser Roles and Heroines Whether the voice is lyric light or heavy, whether it can master coloratura, perhaps even has dramatic potential – in the OperAria mezzo-soprano and alto volumes, singers with a deeper voice and a special talent for the trouser role through to the heroine find everything they need for their performance. Throbbing of the heart? Yes, that’s simply part of the game! Feeling nervous? No, because actually nothing can go wrong with OperAria. The best vocal coach for auditions and current theatre practice. Only the voice needs to do its bit. Toi, toi, toi! “Our goal is to give the user a modern-day, systematically structured vocal coach who satisfies the demands of present-day theater practice. At long last a consistent repertoire and a well-ordered conflation of respective audition arias for all vocal genres.” (Peter Anton Ling and Marina Sandel, editors) OperAria – repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera’s plot an evaluation from the singer’s point of view with “phonetic assistant” and “text assistant” aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2022-11-04/ Recueil / Chant et Piano

This is a new edition of a collection of standards of Italian music, with transcriptions for Piano, Voice and Guitar. This volume contains 30 tracks (6 more than the previous edition), including I'll go with you, O 'Sole Mio, Volare (Volare), Caruso, Libiam It 'Pleased Goblets, Va' pensiero, the Woman is mobile, Una furtiva lagrima, Arrivederci Roma, Casta diva, Core 'ngrato, And the stars were shining, Funiculi Funicula, Glory, Mother, Navy, morning, O' land of the sun or OR 'surdato nammurato, talk about love Mariu', Quando Quando Quando, Rome nun is stupid tonight, One fine day, Vissi d'arte, Ciribiribin, first, Brothers of Italy, Saint Lucia, Come back toSorrento and A love so great./ Recueil / Chant et Piano

Comédie-ballet in three Acts. Par RAMEAU JEAN-PHILIPPE. This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau. It comes with a vocal score for study and rehearsals as well as with a compilation of the purely instrumental parts for performance as a suite in the concert hall. In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Boréades” – the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this Comédie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones: and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opéra. The critical new edition published as part of the “Opera omnia Rameau” series offers the final version, supplemented in the appendix by the variants of the original version. Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians./ Répertoire / Chant et Piano

Over 100 songs including 'Myrthen' 'Sechs Gedichte Von Reinick' 'Frauenliebe und Leben' Breitkopf and Hortel edition.

Par LEVINAS MICHAEL. Précédé de Je, tu, il, prologue à La Métamorphose sur un texte de Valère Novarina. Au sortir d'un rêve agité, Grégor Samsa s'éveille pour vivre un véritable cauchemar, celui de sa transformation en énorme cancrelat. Tout le monde connaît cette nouvelle de Kafka - elle appartient désormais à nos mythologies contemporaines. L'idée d'en faire un opéra est tellement excitante qu'on en serait presque à se demander pourquoi une telle adaptation n'a encore jamais été tentée. Peut-être parce que la perspective donne le vertige et que l'histoire elle-même semble veiller à sa propre irreprésentabilité ? Il aura fallu attendre près d'un siècle pour que le texte se métamorphose en opéra grâce à Michaël Levinas et à l'équipe artistique qu'il a réunie. Avec Valère Novarina et Emmanuel Moses, le compositeur opère un travail sur la langue pour révéler sa vocalité lyrique. Le chant du 'sopraniste' Fabrice Di Falco et des autres interprètes est ensuite traité par des techniques d'hybridation informatiques [réalisées à l'Ircam, NDLR]. Toujours en quête 'd'une suggestion d'ébranlement dramatique dans la vibration du son' comme s'il y avait un 'au-delà du son dans le son', la musique de Levinas s'ouvre au fantastique. Ce sentiment de l'extraordinaire sera rendu palpable par les instrumentistes d'Ictus, imbattables quand il s'agit de faire advenir des univers inouïs. L'adaptation scénique est confiée à Stanislas Nordey, homme de théâtre insatiable découvreur de textes contemporains. Il s'est également distingué à l'occasion de nombreuses collaborations avec les plus grands compositeurs de notre temps, parmi lesquels Michaël Levinas. C'est en effet lui qui a mis en scène son précédent opéra composé à partir des Nègres de Jean Genet. www.opera-lille.fr/ Répertoire / Chant et Piano

Directed by Ron Howard . Par DIVERS AUTEURS / PAVAROTTI LUCIANO. This collection contains the pieces performed by the great Italian tenore in the biopic docu-film Pavarotti directed by Ron Howard, come out on June 2019. The tracklist is composed by 23 titles, mostly from the opera repertoire but also from the pop one. This project has been developed in collaboration with Decca Music Group, which has released a CD with the same contents. / Niveau : Intermédiaire / Répertoire / Chant et Piano

Third Edition-40 songs for the Broadway belter. All songs have been especially chosen for this voice type with careful attention to range and key. This expanded third edition contaians And All That Jazz (from CHICAGO) • And I Am Telling You I'm Not Going (from DREAMGIRLS) • Another Hundred People (from COMPANY) • Astonishing (from LITTLE WOMEN) • Broadway Baby (from FOLLIES) • Burn (from HAMILTON) • Cabaret (from CABARET) • A Change in Me (from BEAUTY AND THE BEAST: THE BROADWAY MUSICAL) • Defying Gravity (from WICKED) • Don't Cry for Me Argentina (from EVITA) • Don't Rain on My Parade (from FUNNY GIRL) • Everything's Coming UpRoses (from GYPSY) • Fly Fly Away (from CATCH ME IF YOU CAN) • Gimme Gimme (from THOROUGHLY MODERN MILLIE) • Heaven Help My Heart (from CHESS) • The History of Wrong Guys (from KINKY BOOTS) and many more!