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

Livet Skal Jo Leves - John Mogensen-Sangbogen af Henrik Smith-Sivertsen og Jakob Faurholt. Sangeren komponisten og Danmarks dansktop-rebel John Mogensen (1928-1977) skrev sig direkte ind i den danske folkesjæl med tekster og melodier som stadig hænger i ører og danseben. På forunderlig vis beherskede han både det livsfilosofiske og det umiddelbare glade udtryk som gjorde ham til en ener i dansk populærmusik.Vi kan synge med på rigtig mange af John Mogensens ikoniske sange og det er ikke tilfældigt - John kunne sit håndværk og han sled forsagen endda i dobbelt forstand: spillejobs og indspilninger dag og aften - og hjem og skrive sange i nattens stille timer. I løbet af en professionel karriere der strakte sig over 25 år nåede han at være en del af de populære vokalkvartetter Blue Boys og Four Jacks for derefter i 1970erne at blive til solisten John Mogensen som lagde landet ned med sine medrivende og vedkommende sange der stadig sætter ord på tanker og følelser som de fleste kan nikke genkendende til. I denne bog kan du opleve John i alle sammenhænge: tant fjas nedtur optur kærlighed og politik - og uanset sammenhængen som nærværende og ærlig.Musikformidler og -forsker Henrik Smith-Sivertsen sætter John Mogensen i perspektiv i en længere introduktion samt forsyner de enkelte sange med fyldige noter. Jakob Faurholt har tilrettelagt noderne og desuden transskriberet de sange som ikke tidligere har været udgivet på tryk. Sangene er gengivet som becifret melodilinje med underlagt tekst og ledsages af fotografier fra hele John Mogensens karriere.  

Take centre stage and sing along with a live band. Read the music in the book while the authentic CD backing tracks help you to become a more professional performer. With this great book you get... Ten pieces of classic gospel music printed in melody line arrangements with lyrics. Audio CD featuring professional performances of every song accompanied by a live band, plus 'soundalike' backing tracks to sing along with. / Tout Instrument En Do, Mib Et Sib

Denne sangbog indeholder - som titlen røber - 55 viser og sange med tekster af forfatter og skuespiller Henrik H. Lund. Plukket direkte fra mandens frodige og mangfoldige produktion af tekster skrevet til vidt forskellige sammenhænge: tv revy teater plade etc. Tegnerierne i bogen er begået af Henrik selv.

111 short and very easy original classical piano pieces Piano Piccolo has been designed as a beginner's introduction to the successful collection Für Elise (ED 20044) in the Pianissimo series. This collection of 111 very easy original classical piano pieces includes popular repertoire pieces as well as many rarer finds that are not widely known. Works by over sixty composers from the Baroque, Classical, Romantic and Modern eras here offer a rich treasure trove for and are a valuable addition to imaginative and varied tuition for beginners. Piano Piccolo offers excellent opportunities for introducing beginners, returning students and amateur musicians to classical music with pieces suitable for auditions at music schools and playing to family and friends. Piano Piccolo has been designed as a beginner's introduction to the successful collection Für Elise (ED 20044) in the Pianissimo series. This collection of 111 very easy original classical piano pieces includes popular repertoire pieces as well as many rarer finds that are not widely known. Works by over sixty composers from the Baroque, Classical, Romantic and Modern eras here offer a rich treasure trove for and are a valuable addition to imaginative and varied tuition for beginners. Piano Piccolo offers excellent opportunities for introducing beginners, returning students and amateur musicians to classical music with pieces suitable for auditions at music schools and playing to family and friends. Contenu - M. Praetorius: Old German Dance C major- J. Krieger: Minuet A minor - J. Krieger: Bourrée A minor - H. Purcell: Air D minor - G. Böhm: Minuet G major - C. Graupner: Bourrée E minor GWV 827 - J.S. Bach: Aria D minor BWV 515 - G.F. Händel: Minuet G major - G.F. Händel: Passepied C major HWV 559 - Anon.: Minuet F major No. 2 - Anon.: Minuet F major No. 6 - L. Mozart: Minuet D minor - J. Haydn: German Dance D major Hob.IX:22/2 - J. Haydn: German Dance G major Hob.IX:22/3 - W. Duncombe: Minuet C major - W. Duncombe: Gavot C major - S. Arnold: Gavot C major S. Arnold: Giga C major - J. Hook: Minuet D major - J. Hook: Gavotta D major - J.W. Häßler: Poco Allegro, op. 38/3 - J.W. Häßler: Tempo di Minuetto, op. 38/4 - J.W. Häßler: Moderato, op. 38/12 - D.G. Türk: Carefree Jack - D.G. Türk: Lullaby - D.G. Türk: I feel so sick and faint - D.G. Türk: Arioso - J.G. Witthauer: Dance C major - J.G. Witthauer: Allegretto F major - J.G. Witthauer: Gavotte A minor - M. Clementi: Arietta C major, op. 42/5 - A. Reinagle: Allegro, op. 1/4 - A. Reinagle: Allegretto, op. 1/5 - A. Reinagle: Allegretto, op. 1/9 - A. Reinagle: Allegretto op. 1/11 - W.A. Mozart: Allegro KV 1b - W.A. Mozart: Allegro DV 1c - N.-J. Hüllmandel: Minuetto, op. 5/1 - N.-J. Hüllmandel: Allegro, op. 5/5 - C.H. Wilton: Little Sonata C major - J.J. Ryba: Two Little Inventions No. 1 C major, No. 2 A minor - D.G. Steibelt: Adagio A minor - A.E. Müller: Andantino, Handstück No. 5 - A.E. Müller: Andante, Handstück No. 9 - L.v. Beethoven: German Dance WoO 8/1 - L.v. Beethoven: Russian Folk Song, op. 107/3 - A. Diabelli: Allegretto, op. 125/3 - A. Diabelli: Vivace, op. 125/7 - C.M.v. Weber: Allemande, op. 4/2 - M. Szymanowska: Mazurka - C. Czerny: Allegro, op. 777/3 - C. Czerny: Allegretto, op. 823/7 - C.T. Brunner: Andante, op. 487/38 - C.T. Brunner: Andantino, op. 487/41 - H. Wohlfahrt: Moderato A minor - F. Schubert: Ländler B-flat major D 378/2 - R. Schumann: Little Piece, op. 68/5 - F.de Couppey: Melody No. 14 - F. de Couppey: Arabian Air - F. Spindler: Song without Words - L. Kühler: Piano Piece, op. 190/27 - L. Köhler: Piano Piece, op. 190/30 - L. Köhler: Piano Piece, op. 190/31 - C. Gurlitt: Going to School, op. 117/14 - C. Gurlitt: Consolation, op. 179/12 - C. Gurlitt: Waltz, op. 179/17 - C. Gurlitt: Gavotte, op. 210/9 - I. Bartalus: Two Hungarian Melodies No. 1 and No. 2 - H. Henkel: Piano Piece No. 13 - C. Reinecke: Scherzino, op. 136/1 - C. Reinecke: Elegy E minor op. 183/2 - E. Breslaur: Cuckoo, op. 46/21 - E. Breslaur: Waltz, op. 46/25 - O. Bolck: Sonatine C major op. 30/4, 1st movement - F. Scotson Clark: Tarantella - M.W. Vogel: Brave Knight - M.W. Vogel: Waltz - R. Fuchs: Proud Horseman, op. 47/2 - R. Fuchs: Sad at Heart, op. 47/5 - A. Sartorio: On Tip-Toe, op. 783/8 - A. Gretchaninoff: Farewell, op. 98/4 - A. Gretchaninoff: Elephant's Dance - E. Satie: Menus propos enfantins No. 2 - E. Satie: Enfantillages pittoresques No. 2- E. Satie: Peccadilles importunes No. 3 - C. Scott: Teddy-bear's Headache - I. Strawinsky: Andantino - G.F. Humbert: The Chocolate Automat - G.F. Humbert: Tarantella - G.F. Humbert: The Music Box - G.F. Humbert: Sad Song - G.F. Humbert: Walzer - P. Hindemith: Song - C. Orff: Two Pieces from the Piano Exercises No. 1 and No. 2 - D. Kabalevsky: Dance, op. 39/9 - D. Kabalevsky: Waltz, op. 39/13 - D. Shostakovich: March, op. 69/1 - D. Shostakovich: Waltz, op. 69/2 - H. Badings: Sarabande - H. Badings: Country Dance - G. Kretschmer: Little Waltz - G. Kretschmer: Little Minuet - G. Kretschmer: Little Prelude - B. Heller: The Melody in the Box - B. Heller: Waves - H.-G. Heumann: PreludeC major - H.-G. Heumann: Mazurka D minor - H.-G. Heumann: Minuet G major

Chant, accord guitare et clavier / C?ur de rocker; Fille du feu; La fille aux bas nylon; Lili voulait aller danser; Mélissa; Petits pois lardons; This melody; L'enfant au walkman; Hélène; Fais-moi une place.

Par DAY SUSAN H.. On the Open Seas is an exciting new sea chantey by Susan H. Day. Written because sea-faring voyagers are always looking for their next adventure on the open seas! This piece is written in E minor, 4/4 time, and features a spirited, memorable melody, detache bowing, easy rhythms, accents, pizzicato, and fun for all! Bass and cello double, and viola rhythms double 2nd violin rhythms throughout for ease of teaching. Optional piano adds harmonic color. Perfect for any concert occasion, students and teachers will want to keep performing this one! (2:00) / Date parution : 2022-10-12/ Répertoire / Orchestre à Cordes

Dramatic and rich in style and texture Spanish Rhapsody is a terrific showpiece. Open octaves rolled chords and cross-hand arpeggios add up to a rousing opening introduction preparing for the waltz theme to make its entrance. The sweeping melody is full of expression and rhythmic tension great for rubato study. Tenutos appear in the R.H. (thumb) for voicing as the Rhapsody develops. Watch for the opening flourishes to return in a triumphant cadenza.

Monikas Gartenparty - Aufführungsmaterial für Kindergärten und Grundschulen-Die Kleine Schnecke Monika Häuschen is a charming play for all musically curious children. The Little Snail named Monika goes on a number of adventures in the garden with her friends an earthworm and a gander. Featuring a book with the score for 14 witty and wonderful songs arranged for Piano Voice and Guitar as well as a CD with full versions and backing tracks. The fantastic songs sung by the characters are a great way to get children interested in music and each song has enjoyable lyrics and catchy melodies. The arrangements in the book include the melody line lyrics and chords with an overview of the Guitar chords used before eachsong.? What's more four mini-musicals for performances in nurseries or primary schools are included. These pieces can be easily adapted to different groups aged 3 to 9 years old and these vary in lengths between 7 and 25 minutes. Information about set design props costumes and roles along with four imaginative craft templates complete this performance material. With the assistance and guidance of educators or parents this songbook would make an excellent performance to get a group of children interested in singing and making music.

Walford Davies' most famous tune Solemn Melody arranged as an anthem for SATB Choir and Organ by H.A. Chambers.

To H.C. Andersen Poesier - Two Poems by Hans Christian Andersen arranged to music by Per Nørgård for SATB choir and SSA choir. 1. Lysets færdreland / The Native Land of Light (for mixed chorus SATB)2. Løft mig kun bort / Come lift me up (for mixed chorus SSA*) *) the second movement may be performed by a children’s chorus or by the female voices (SSA) from a mixed chorus Programme note From my very first aquaintance with these Andersen poems I was deeply moved by the simple almost naive yet evocative imagery with which Andersenrealized his visions images like: “The Melody of the Heart” “The Poem of Beauty” “A Spiritual Hindustan” “Fly Death over the Sea of Time fly to Eternal Summer”. Along with this “childishness” Hans Christian Andersen’s poetry encompasses enormous – almost Willim Blake-ish – cosmic visions in the interpolations between e.g. “reaching the Heaven” as opposed to “you’ll find it in a Rosebud” or the juxtaposition of “Everyday Life” and “Eternal Poetry” - which become one. Thus the music came to life in my immediate encounter with these words which almost sang themselves into my Musical Furnace – if you will. Per Nørgård

A well-known text set by a veteran composer who knows how to make it singularly superior. The melody is immediately entrancing a middle section introduces a high church chant-like liturgical sound then the melody resumes andbrings us home. The passionate lyrics although from scripture make it appropriate for church and concert use.

På Syngende Grund - 50 sange af Bjarne Lisby. Tekster og noder med becifring. Fra forordet Jeg har altid holdt af at lege med ord. Det er billigt legetøj. Man har dem altid lige på tungen. En slags medfødt mundheld. Og man behøver heldigvis ikke at gå kold for at rime. Tværtimod. Man ryster sin glosepose åbner den og lader indholdet drysse ud i løse linjer der efterhånden finder sammen i vers og viser. Den rene ordgasme. Glæde er noget man deler. Særlig sangglæde. Og så befinder man sig pludselig på syngende grund.Tivolis Vise Vershus var i 1971 stedet hvor Thøger Olesen gav unge håbefulde talenter chancen for at prøve sig selv af overfor et publikum. Alene mod publikum! Den store forløsning da grin og klap og glade øjne belønnede en. Jubelstunderne fortsatte først som solist gennem flere sæsoner i Dyrehavsbakkens forlystelsestempler og siden over hele landet. Overalt hvor der er brug for befordrende munterhed. Jeg har nu optrådt med min revypop og musikalske stand up i mere end 40 år. Det er blevet til godt 600 sange i tidens løb. Halvdelen har jeg haft fornøjelsen at høre gode kolleger og dygtige revyskuespillere fremføre. Og den anden halvdel har jeg selv fået udgivet på mine godt 20 lp' er og cd'er. Denne sangbog består af 50 af sidstnævnte sange der alle er tilgængelige på diverse cd'er og digitale platforme. Jeg håber I får glæde af dem - sange har det bedst når de synges. Bjarne