Par MARSH LIN. Junior Songscape: Children's Favourites is the perfect resource for infant and lower primary school singing, carefully selected and arranged by Lin Marsh. A timeless collection of 20 best-loved children's songs. Includes suggestions for adding movement, by experienced choreographer Wendy Cook. Ideal for bringing confidence and fun to classroom singing, with vocal ranged carefully considered for Key Stage 1 (Scottish P1-2) voices. Keyboard accompaniments are well within the grasp of Pianists of moderate ability. 2 CDs include complete performances of all the songs, plus backings ideal for rehearsals or performance. Lyrics included on enhanced CD for easy printing/projection./ Recueil / Chant

The demand for literature in Spanish is a reflection of our changing American culture. Here are twelve songs in two keys that can serve as an introduction to art songs in Spanish for a voice student. International PhoneticAlphabet is included for each song text as are translations for study. Laura Ward has recorded wonderful informed piano accompaniments on the companion CD. Before the accompaniment a excellently instructive pronunciationlesson recorded by a native Spanish speaker (a university Spanish professor) is heard. The songs are by Manuel de Falla Enrique Granados and Fernando Obradors with an additional two Mexican folksong arrangements. A beautifulVelasquez painting is seen on the cover.

Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later. The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections. It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin. Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music. The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano

Par TANGUAY JAMES. What's more fun than playing the tin whistle? How about playing tin whistle with a friend? Here are 38 two-part tunes arranged and composed especially for tin whistle players. Presents Celtic jigs, hornpipes, airs, American and British folk songs, marches, and country dances along with favorite hymns and campfire songs. For those who really want to try something different on whistle, there are also Medieval rounds, Renaissance courtly dances and a complete eighteenth-century, six-movement suite for two flageolets. / Niveau : Facile / Musique traditionnelle anglaise, irlandaise, écoss / Recueil / Tin Whistle

Par RACHMANINOV SERGEI. This is a collection of 71 songs in two volumes. These long-neglected works are finally beginning to recieve the exploration and recognition that they deserve. This edition (Volume Two) contains songs 37-71. For Voice with Piano Accompaniment with both English and Russian text./ Répertoire / Chant et Piano

Par HOWARD EMILY. Two Songs after Friday Afternoons by Emily Howard is a 5-minute work for children?s choir and piano. With texts by Selma Dimitrijevic the two songs are called 1. Big Bums 2. Pi (A Pie') / Date parution : 2022-04-12/ Répertoire / Voix Haute et Piano

Arrangement: Cordero Ernesto. Par CORDERO ERNESTO. Los Cuatro Muleros (The Four Mulers) and En el CafE de Chinitas (The Chinitas CafE) are two popular Andalusian songs of exquisite taste that probably date from the beginning of the 19th century. These popular songs were compiled by the great Spanish poet, Federico Garcöa Lorca (1898-1936), who loved to play them on the piano. Here they are arranged for solo classic guitar in standard notation only. / Niveau : Intermédiaire / Classic - Solos / Recueil / Guitare Classique

Composed for unaccompanied Double Mixed Chorus these two songs were commissioned by the Swedish Broadcasting Corporation for the 75th Anniversary Concert of the Swedish Radio Choir. Based on two poems by Ann Jäderlund with textin Swedish and an English translation.By contemporary composer Esa-Pekka Salonen Djupt I Rummet and Kyss Min Mun are written for SSAATTBB Choir a cappella.

Ernest J Moeran (1894-1950) was an English composer who followed the tradition of R. Vaughan Williams and John Ireland by collecting preserving and using many folk songs mainly from Norfolk Suffolk and Ireland.First published in 1924 Two Songs are both set for High Voice with Piano accompaniment. The first The Bean-Flower is a setting of a poem by Dorothy L. Sayers (1893-1957) which recallsthe scent of the Hawthorn which made the writer fall in love. The second is called Impromptu In March and is a setting of a poem by Doreen A. E. Wallace (1897-1989) a more cheery affair which looks forward tothe coming of Spring.

These two songs were written between December 1994 and January 1996. Swayne has said that there will be eventually three songs as he will hopefully include a version of La Belle Dame sans merci.

The Ukulele Playlist: Kids' Songs is a fantastic selection of songs old and new, specially arranged for Ukulele! Contains over 40 well known favourites such as If Your Happy And You Know It, Let's Go Fly A Kite and The Circle of Life . Includes full lyrics, strumming patterns and ukulele chord diagrams. / Niveau : Débutant / Recueil / Ukulélé

Hardcover, Cloth-Bound. Par LISZT FRANZ. This volume contains Liszt's earliest pieces written in a Hungarian style. The complete set of Magyar dallok / Ungarische National-Melodien [Hungarian songs] consisting of 11 items is published here for the first time in a scholarly edition. The composer began to write them resulting from his first return visit to Pest in 1839. The music of these pieces was partly re-used by Liszt at the beginning of the 1850s in his deservedly popular 15 Hungarian Rhapsodies. The Carnival at Pest was inspired by his second tour of Hungary in 1846- it was later re-worked as the 9th Hungarian Rhapsody. The present volume also contains the so far unknown very first version of the 1st Hungarian Rhapsody, and in addition two large fragments from the 1840s plus a number of album leaves. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included./ Répertoire / Piano

Paperback. Par LISZT FRANZ. This volume contains Liszt's earliest pieces written in a Hungarian style. The complete set of Magyar dallok / Ungarische National-Melodien [Hungarian songs] consisting of 11 items is published here for the first time in a scholarly edition. The composer began to write them resulting from his first return visit to Pest in 1839. The music of these pieces was partly re-used by Liszt at the beginning of the 1850s in his deservedly popular 15 Hungarian Rhapsodies. The Carnival at Pest was inspired by his second tour of Hungary in 1846- it was later re-worked as the 9th Hungarian Rhapsody. The present volume also contains the so far unknown very first version of the 1st Hungarian Rhapsody, and in addition two large fragments from the 1840s plus a number of album leaves. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included./ Répertoire / Piano