Par EICHBERG NILS SOREN. „Oryx and Crake“ tells the story of the only human survivor on Earth. In flash-backs, revealing only bit by bit, we must ourselves put together the pieces of the drama that lead to the apocalypse. The opera unfolds within 24 hours, beginning at dawn and finishing the next morning. Atwood’s love-triangle offers plenty of classic music drama, her dystopia is painted in complex, industrial soundscapes and the post-armageddon solitude in contemporary-contemplative open spaces. Electronics extend and augment the orchestral colours and help achieving the unreal „haunted“ atmosphere and the different reality levels of the protagonist’s memory. / Date parution : 2023-10-31/ Répertoire / Orchestre Symphonique

A Step-by-Step Breakdown of Billy Joel's Keyboard Styles and Techniques. This songbook examines 15 '80s and '90s megahits from the Piano Man: All About Soul · Allentown · And So It Goes · Baby Grand · I Go to Extremes · Leningrad · Lullabye (Goodnight My Angel) · Modern Woman · Pressure · The River of Dreams · She's Got a Way · Tell Her About It · This Is the Time · Uptown Girl · You're Only Human (Second Wind). Also available: Billy Joel Hits - 1974-1980 (00695581).

Jacques Brel is alive and well. This musical is a revue of Brel's work. At the age of 23, Brel moved from Nazi-occupied Brussels to Paris, where he began to chase his dreams of a musical career. No performers wanted to sing his songs and he realised that he would have to sing them himself. This he did and found waiting for his passionate performacnes an ever-widening audience. By the early 1960's he was touring in the U.S.A. and U.S.S.R. One of the musical contact he made was Mort Shuman (A Teenager In Love), who introduced his music to Eric Blau. They both loved what they heard and agreed that the songs were sure to find an American audience, but only if they were sung in English. Not wanting to turn the songs into a commercial venture, the pair eventually decided to turn them into a 'plotless' theatrical production.

All the songs in The Voice of Desire are conversations between humans and birds. In each case the birds seem to have a more sophisticated viewpoint that their human hearers.One of the highlights is Written OnTerrestrial Things set in a dead landscape at the dead of winter. Suddenly a joyus thrush melody breaks out it's ecstatic expression is completely at odds with human perceptions of such a dismal evening has nature somethingto remind us if only we'd listen. The song cycle was commissioned by the BBC for Alice Coote and first performed by her and Julius Drake (piano) in a BBC Proms Chamber Music concert in London on 11 August 2003.

Par KNOCKAERT PETER. In difficult times, it?s important to experience a little tenderness. Teneritas (Latin for ?tenderness?) is what the world needs so much more. By expressing tenderness we will come closer to one another and only by understanding each other there will be respect for each other. With the words of the Dalai Lama: ?We need to develop a sense of the oneness of humanity by considering other human beings as brothers and sisters. This is how we will build a more peaceful world. Genuine peace comes about through mutual understanding and respect for each other?s wellbeing.? / Date parution : 2022-11-29/ Répertoire / Piano

(4CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8664 / Trompette

(3CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8663 / Cor

(2CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8662 / Basson Ou Contrebasson

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

Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion

Wagner's sense of what he wanted to do with the Ring drama changed by the time he returned to Siegfried. When he began the Ring he had clearly seen Siegfried as the hero of the drama but the desire to more fully explore Wotan'spredicament impelled him to expand the project.Siegfried and Mime quarrel Siegfried demands that the sword Nothung be mended but Mime cannot do so much to his own chagrin he wants to win the Ring back for himself. TheWanderer a disguised Wotung tells Mime that Nothung can be forged only by one who has never known fear. This is Siegfried and he repairs the sword himself smashing the anvil as he leaves to reclaim the Ring. He arrives atFafner?s lair and kills him. As he dies Fafner warns that whoever put Siegfried up to this deed is plotting his death as well. From the The Forest Bird Siegfried learns of the Nibelung hoard the Tarnhelm and all-powerful Ring and also of Brünnhilde who sleeps on a fire-encircled rock - a bride who can be won only by a hero who knows no fear. Mime and Alberich (who had recognised the Wanderer and heeded his warning to fear Mime) quarrel over thespoils withdrawing when Siegfried reappears carrying the Tarnhelm and the Ring. Mime tries to persuade Siegfried to take a cup of poisoned drink and Siegfried kills him. Siegfried sets out to climb the mountain. He meetsWotan who asks him about his exploits but the youth splinters the Wanderer's spear with a single stroke of Nothung. Wotan realises he is old and must go to Valhalla but bequeaths the world to the redemptive power ofBrünnhilde's love. Siegfried goes on to the top of the mountain where he discovers an armed sleeping figure the first woman he has ever seen. At last sensing fear he summons the courage to kiss her. Brünnhilde roused from herlong slumber realises that Siegfried has come. Throwing herself into Siegfried's arms she bids farewell to Valhalla and abandons herself to human love.This is the Schirmer edition of the Libretto in the original German

Piano/Vocal Selections-Created by the [title of show] team NOW.HERE.THIS. is a new musical exploring life's big questions with inimitable humor and humanity. The show explores birds bees reptiles early man ancient civilizations and outer space. Also loneliness friendship hoarding hiding laughing living and dying. And middle school. And dinosaurs. Our folio includes 11 vocal selections from the cast recording including: Archer · Dazzle Camouflage · Give Me Your Attention · Golden Palace · Kick Me · Members Only · More Life · That'll Never Be Me (Duet) · Then Comes You · This Time · What Are the Odds?