Hansel Et Gretel / Hansel E Gretel

This volume presents the probably most beautiful and most popular children's opera that has ever been written in an easy arrangement for piano with all excerpts being in the respective original key. Among the seven operas composed by Humperdinck 'Hänsel und Gretel' is his first and best masterpiece. The magical mood of this fairy-tale and the brilliant music explain why this opera still fascinates both children and adults.The series Get to Know Classical Masterpieces provides an introduction to well-known compositions in simple arrangements for piano by Hans-Günter Heumann. Complete with texts and colour illustrations throughout these editions will appeal not only toboth child and adult pianists but to any music-lover who wishes to get to know these works better.

Un firm favori avec des chanteurs de tous âges, ce duo simple mais émouvant est présenté maintenant joliment dans cette nouvelle édition. Hansel et Gretel est l'un des plus joués opéras jamais écrits - dans l'année de sa création à Weimar en 1893 il avait été perf formée - elle est 50 fois en Allemagne. ' Loi I Hansel et Gretel avons irrite leur mère par danser quand ils devraient ont fait des balais et le tricot. Dans sa colère la mère frappe sur la cruche de lait, la seule nourriture dans la maison. Elle envoie les enfants n dans la forêt voisine pour cueillir des fraises, mais lorsque le père retourne il est horrifié, car c'est où la sorcière vit dans son chalet de pain d'épice. La mère et lui sortir pour trouver leurs enfants. Acte II, après que les enfants ont choisi et ensuite mangé les fraises, un brouillard se pose et, lorsqu'elle efface, il y a le Sandman, un petit personnage gris avec un sac sur le dos. Il lève de sable dans les yeux, et après qu'ils disent leur prière du soir, ils endorment dans chaque othe... / 2 Ou 3 Voix

Hansel and Gretel is another super pantomime from Nick Cornall suitable for performance all year round in any primary school. Two children abandoned in a wood come upon a gingerbread house occupied by a witch who has designson eating them! But as with all Nick Cornall's pantomimes things are not quite what they seem...The witch is urged to update herself and her edible cottage includes sodium monoglutomate! Script available in studentbook.You will require a license to perform this work at your school/youth theatre; please click here for more information and our application form.

Hansel and Gretel is a fantastic Opera by the 19th century German composer Engelbert Humperdinck based on the compelling tale by the Brothers Grimm. It was premiered on December 23 1893 at Weimar and became an instant hit and still remains as an enduring masterpiece. It is a popular favourite and regarded as the leading children’s opera in the repertoire. One of the most memorable and moving songs from the Opera Prayer has been wonderfully arranged here by Julie Knowles for 2-Part choir and a Piano accompaniment.

With his fairy-tale fantasy Hansel And Gretel Humperdinck combined the simplicity of German folksong with the sophistication of Wagnerian operatic technique to create a work that has been a favourite with young and old alike since its first performance in 1893. This vocal score features a piano reduction of the orchestral score and an English translation of the libretto.

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