Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Traduction en anglais par Elizabeth Mayer et Peter Pears / Voix Moyenne(s) Et Piano

Good Night Suite - Suite in Five Movements-Good Night Suite is written for beginning band and suitable for the youngest musicians. The level of difficulty is at lowest grade and the rhythms are equal in all wind parts. The register on each instrument is also customized to each part. Some easy solos appears in some sections and in Mvt. 4 there are different rhythm in the melody and bass parts. The level of difficulty is the same for all five movements. The movements may of course be played as single pieces. When all movements are mastered it's possible to play the suite as a kind of fairytale with simple dramaturgy or choreography. Maybe the whole band can be dressed in their pajamas?

The Violinissimo series attempts to make the rich repertoire of five centuries of violin music accessible for lessons, concerts and private music-making. The anthology Serenade contains a selection of 36 intermediate arrangements for violin and piano which can be used for performance purposes to enlarge the educational standard repertoire and make it more interesting and may therefore be a constant companion of every advanced pupil in his/her lessons. / Violon Et Piano

Par SULLIVAN SIR ARTHUR SEYMOUR. W.S. Gilbert's complete libretto for H.M.S Pinafore, which opened May 28, 1878, at the Opera Comique and ran for 571 performances. Subtitled 'The Lass That Loved A Sailor', the story concerns a captain's daughter and a common sailor that fall in love./ Recueil / Voix

A setting of the Beatitudes text this stately work may be performed by treble voices of all ages. May be performed with Piano or Organ. Performance Time: Approx. 4:00

Par ROSSIGNOL BRUNO. Le terme d'interlude justifie la brièveté de cette composition, destinée à s'insérer dans un programme où sont mises en évidence les complémentarités de timbre et de tessitures de ces deux instruments. ' Maya ' n'est rien d'autre qu'une référence à un lieu parisien où l'idée de l'écriture de cette pièce a trouvé naissance, au cours d'une conversation entre l'auteur et le dédicataire, le guitariste Olivier CHASSAIN. Cette oeuvre a été créée à Périgueux en 1997 par P.H Xuereb et Olivier Chassain. / Niveau : Moyen / Moderne / Date parution : 2010-09-06/ Répertoire / Alto et Guitare

14 famous themes from music history, from Bach to Offenbach, each with its own jazzy interpretation - just as in Vol. 1. This edition shows that 'classical music' and jazz are not that distant from one another after all. Just imagine Grieg's Piano Concerto played on a bandoneon - and you have got the perfect tango! Brahms' Hungarian Dance No. 1 is also ideal as a salsa ('Hungarian Salsa No.1'). Schubert's trout suffers a terrible fate, here it may continue to live in a lively ragtime ('Fish Rag'). With Mozart, the night is merry and friendly. but 'A Black Night Music' shows its dark side. The accompanying CD provides examples and suggestions as to how all of these pieces can be interpreted.

23 Easy Pieces for Trumpet and Piano. This edition provides young pupils with an access to classical music. Apart from pieces they may already know, like melodies from the Magic Flute, Beethoven's Symphony No. 6 or Vivaldi's Four Seasons, they also get to know other works from the Baroque, Classical and Romantic periods. The pieces are set in a pupil-friendly register and were deliberately recorded on CD in a moderate tempo. In order to encourage joint music-making, the piano accompaniment is such that it can also be played by piano pupils./ Recueil / Trompette (B) et Piano

George Frideric Handel's Eternal Source Of Light Divine arranged by John Rutter for Soprano solo and Organ (or Strings and Organ continuo) with optional solo Trumpet. This deeply expressive arioso which opens Handel's Ode for the Birthday of Queen Anne(1713) was performed at the wedding of Prince Harry and Meghan Markle at St George's Chapel Windsor on 19 May 2018. Originally scored in D major for counter-tenor with Trumpet and strings the work is here arranged by John Rutter for performance by Soprano and Organ (or Strings and Organ continuo) with or withoutsolo Trumpet in the slightly lower key of C major. The orchestral score and instrumental parts are available for purchase as a package containing (1) the orchestral score in C major and (2) the instrumental parts (solo tpt vln 1 vln 2 vla vc db organ continuo) in two versions in C major and D flat major. The D flat version of the parts is to enable performance with modern strings but natural Trumpet the Trumpet playing in Handel's original key of D major but at baroque pitch (A = 415).