Par GUILLOU JEAN. Gerard Manley Hopkins was reputed to be a poet of semantic ambiguity and, in the opinion of Guillou, therefore comes closest to the art of musical expression. Guillou has already 'translated' 'Peace' from Hopkins' oeuvre into a work for eight voices and organ. In 'Andromèda', the sound of the organ and the human voice are supposed to amalgamate such that in effect a new organ stop emerges. At the same time, the composer wants to have the musical organ work seen as an independent poem, like the lines of Hopkins, and wishes the language of the organ to become a kind of living speech to a certain extent./ Répertoire / Soprano et Orgue

Le graphique de mur de Saxophone Voggenreiter offre des charges d'informations utiles dans un espace compact. Ici le saxophoniste trouverez des conseils essentiels en clair gros caractères, y compris des exercices pour le développement de l'intonation, qualité de contrôle et de ton souffle, un polyvalent ' exercice universel 'pour le développement de la dynamique, articulation et du vibrato plus facile à lire de tablature globale. Un outil indispensable pour chaque saxophoniste ! Grande taille DIN A1 35 x 24'(59,4 x 84 cm) format paysage, et laminé plat. / Niveau : Tous Niveaux / All Styles - Reference / Recueil / Saxophone

Par ANDERSON-LOPEZ KRISTEN / LOPEZ ROBERT. Solo arrangements for 8 tunes from the 2019 sequel to Disney's mega-hit movie Frozen are featured in this collection perfect for budding instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound. Songs include:/ Recueil / Saxophone Alto

Turbulence - or ‘the underlying forces usually hidden’- an Opera in three scenes by Juliana Hodkinson (2013). Libretto by Cynthia Troup.For soprano voice with electronic pocket piano* and groovebox* young female actor with hand-held microphone and shortwave radio vintage fans audio samples (*may be redistributed to off-stage player or sound desk).The libretto and score for Turbulence were commissioned by Chamber Made Opera in 2012. Turbulence was first performed by Deborah Kayser (soprano) and Anneli Bjorasen (actor) and directed by David Young with sound design in performance by Jethro Woodward — thepremiere season opened in Melbourne on 3 October 2013 as part of Chamber Made Opera’s Living Room Opera series.

Il s'agit d'une collection de grande valeur de 24 chansons pop et mélodies traditionnels arrangés pour solo non accompagné / Saxophone / 44 pages / Partition

12 favourite works from the Romantic era, with authentic orchestral backing tracks. Play along with these 12 Romantic masterpieces! Themes from the greatest composers of the Romantic era are presented here in authentic arrangements. You can recreate the sound of the Romantic era using the accompanying CD, which includes full orchestral backing tracks to play along with. It also contains performance tracks of all the pieces, played by live musicians. Piano accompaniments are available as printable PDF files and are the same for each 'Romantic Play-Along' publication for other instruments making it ideal for ensemble or solo playing./ Recueil / Saxophone Alto

Another One Bites The Dust Bicycle Race Bohemian Rhapsody Crazy Little Thing Called Love Don\'t Stop Me Now I Want It All Killer Queen Play The Game Save Me Somebody To Love Under Pressure We Are The Champions We Will Rock You You\'re My Best Friend

12 Memorable Themes From The Greatest Movies Of All Time. Jouer avec les thèmes de film de films classiques dont ' Casablanca ', ' Shine ', ' Docteur Jivago ' et ' Eyes Wide Shut '. Arrangements faciles de 12 thèmes de film, complet avec CD contenant plein orchestrale choeurs de pistes et vivre les performances instrumentales. Le C. / Schott Master Play-Along Series / Recueil / Saxophone Alto

Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra.Rui Horta and Joana Carneiro are responsible for the stage direction and the musicaldirection.'My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railwaycompartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Theirtales are not told publicly but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. Thisintrospection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. Theresult is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey.'     - Stephen Plaice

These vocal scores (BA9181, BA9182, BA9183) of Mozart?s concert and insert arias are based on the ?New Mozart Edition? (NMA). The first three volumes comprise all arias for soprano and orchestra. They are classified according to voice type (high soprano, soprano, low soprano and alto) and arranged chronologically within the volumes.

Unlike the NMA the musical text presented in these editions is free from practical references on performance aspects or suggestions on performance practice. Instead, each volume contains a accompanying brochure, with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria. In addition, there is a choice of suggestions for the performance of cadenzas and lead-ins as well as a suggestion for the ornamentation of dal segno parts, which are often found in the early Mozart arias.

? Arrangement of arias according to voice type
? Underlaid text presented in the original language only
? All aria texts are translated into German and English and are printed seperately
? Idiomatic piano reductions to the individual arias
? Clear and legible layout of the musical text as all additional notes and suggestions on performance practice appear in the supplement published with each volume
? Performance material on hire to each aria
(Please refer to the relevant volume for further information)
/ [Grands Airs de Concert Pour Soprano] / Classique / Partition / Agrafé /