Small Talk

Piano/Vocal Selections-Nine songs from the 1954 Broadway hit The Pajama Game penned by Richard Adler and Jerry Ross presented in standard Piano/Vocal format with the melody in the Piano line. Includes: 'Hernando's Hideaway' 'Hey There' 'I'll Never Be Jealous Again' 'I'm Not at All in Love' 'Once-A-Year-Day' 'Seven-And-A-Half Cents' 'Small Talk' 'Steam Heat' 'There Once Was a Man'.

Celebrating the 100th Anniversary of Disney. What better way to celebrate the 100th anniversary of Disney than with 100 magical songs in a beautiful, collectible hardcover edition? Beginning with a foreword by composer and Disney legend Alan Menken, and a preface by Walt Disney Records Supervising Producer and Music Historian Randy Thornton, and featuring colorful art throughout, Disney 100 Songs will take you on a century-long musical journey through 60 feature films, theme park attractions, and television shows. Each song is presented with melody, lyrics, and chords so everyone will be able to sing and play these beloved favorites. Songs include: Baby Mine · Be Our Guest · Beauty and the Beast · Bella Notte · Bibbidi-Bobbidi-Boo (The Magic Song) · Breaking Free · Can You Feel the Love Tonight · Chim Chim Cher-ee · Do You Want to Build a Snowman? · For the First Time in Forever · Friend like Me · Hakuna Matata · How Far I'll Go · I've Got No Strings · The Incredits · Into the Unknown · Lava · Let It Go · The Place Where Lost Things Go · Reflection · Remember Me (Ernesto de la Cruz) · Seize the Day · Speechless · A Spoonful of Sugar · Supercalifragilisticexpialidocious · That's How You Know · Under the Sea · We Don't Talk About Bruno · We're All in This Together · Who's Afraid of the Big Bad Wolf? · Wild Uncharted Waters · Winnie the Pooh · You'll Be in My Heart (Pop Version)* · You've Got a Friend in Me · and more!

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Ablution
Adam's Apple
Affirmation
Air Mail Special
Alfie's Theme
All Alone (Left Alone)
(All Of A Sudden) My Heart Sings
Alto Itis
Another Star
April Skies
Are You Havin' Any Fun?
Ask Me Now
At The Mambo Inn
Avalon
Azure
Ba-Lue Bolivar Ba-Lues-Are (Bolivar Blues)
Baby, It's Cold Outside
Bags And Trane
Bags' Groove
Bali Ha'i
A Ballad
Baltimore Oriole
Barbados
Barbara
Basin Street Blues
Be-Bop
Better Leave It Alone
Beyond The Sea
Big P
Bill's Hit Tune
Billie's Blues (I Love My Man)
Billie's Bounce (Bill's Bounce)
Bird Feathers
Birdland
Birk's Works
The Birth Of The Blues
Black And Tan Fantasy
Blame It On My Youth
Bloomdido
Blow Mr. Dexter
Blue 'N Boogie
Blue Serge
Blue Seven
Blue Silver
Blue Skies
Blues By Five
Blues For Wood
Blues In The Closet
Blues March
Bohemia After Dark
Booker's Waltz
Bouncing With Bud
Brian's Song
Bright Boy
Brilliant Corners
Budo
Bunko
Buster Rides Again
Bye Bye Blackbird
C-Jam Blues
Candy
Cantelope Island
Caravan
Cast Your Fate To The Wind
Chameleon
The Champ
Chasin' The Trane
Cheesecake
Circle
Close Your Eyes
Cold Duck Time
Come Rain Or Come Shine
Comin' Home Baby
The Cooker
Cool Blues
The Core
Cousin Mary
Crazeology
Crepuscule
Criss Cross
Crosscurrent
Dance Of The Infidels
Dat Dere
Day By Day
Dewey Square
Dexter Rides Again
Didn't We
Dinah
Dindi
Do I Love You Because You're Beautiful?
Do Nothin' Till You Hear From Me
Do You Know What It Means To Miss New Orleans
Don't Explain
Down For Double
Doxy
The Drive
Duff
Early Autumn
Eclypso
Einbahnstrasse
Elora
Emancipation Blues
Epilogue
Estate
Everything I Have Is Yours
Eye Of The Hurricane
Ezz-thetic
Farmer's Trust
Feels So Good
Fever
52nd Street Theme
Filthy McNasty
First Trip
Five Brothers
Five Spot After Dark
A Flower Is A Lovesome Thing
Fly Me To The Moon (In Other Words)
Flying Home
The Folks Who Live On The Hill
Four Brothers
Fox Hunt
Freight Trane
Frenesí
The Frim Fram Sauce
Funky
Georgia On My Mind
Get Me To The Church On Time
Get Out Of Town
Gettin' It Togetha
The Gift! (Recado Bossa Nova)
Girl Talk
Gravy Waltz
Gregory Is Here
Grooveyard
Hackensack
Hallucinations
Happy Little Sunbeam
Havona
Head And Shoulders
Hi Beck
Hi-Fly
Ho-Ba-La-La
Hocus-Pocus
Holy Land
Honeysuckle Rose
Horace Scope
The Hucklebuck
Hummin'
Humpty Dumpty
I Believe In You
I Don't Stand A Ghost Of A Chance With You
I Get Along Without You Very Well (Except Sometimes)
I Have Dreamed
I Hear A Rhapsody
I Remember Bird
I Remember You
I Thought About You
I Will Wait For You
I Wish I Didn't Love You So
I'll Know
I'm A Fool To Want You
I'm Confessin' (That I Love You)
I'm Just A Lucky So And So
I'm Putting All My Eggs In One Basket
I've Found A New Baby (I Found A New Baby)
I've Told Ev'ry Little Star
Ice Cream Konitz
Idol Gossip
If I Loved You
If I Should Lose You
If I Were A Bell
Imagination
In Case You Haven't Heard
In Pursuit Of The 27th Man
In The Still Of The Night
In Walked Bud
Indiana (Back Home Again In Indiana)
Infant Eyes
Island Birdie
It Could Happen To You
It Might As Well Be Spring
It Will Have To Do Until The Real Thing Comes Along (Until The Real Thing Comes Along)
It's A Blue World
It's All Right With Me
It's Only A Paper Moon
It's So Peaceful In The Country
Jackie
Jeannine
Jingles
Jitterbug Waltz
The Jody Grind
Joyce's Samba
Jump, Jive An' Wail
Jumpin' With Symphony Sid
June Is Bustin' Out All Over
Just A Few
Just A Settin' And A Rockin'
Just In Time
Just The Way You Are
Kary's Trance
Katrina Ballerina
The Kicker
Kids Are Pretty People
Killer Joe
Lady Day
Lakes
Last Night When We Were Young
The Last Time I Saw Paris
Leila
Lennie's Pennies
Let's Cool One
Let's Fall In Love
Let's Get Lost
Like Sonny (Simple Like)
Like Young
Limbo
Little Chicago Fire
Little Rootie Tootie
Little Sunflower
Locomotion
Lone Jack
Lonely Dreams
Look For The Silver Lining
Lotus Blossom
Love Is Just Around The Corner
Love, Look Away
Love Vibrations
A Lovely Way To Spend An Evening
Lover
Lover Man (Oh, Where Can You Be?)
Make Someone Happy
Manteca
Memories Of You
Menina Flor
Mercy, Mercy, Mercy
Miles Ahead
Minor Mishap
Minor Mood
Theme From Mr. Broadway
Mr. Magic
Moanin'
Monk's Mood
Monk's Shop
Moon Rays
Moon River
Moonglow
Moose The Mooche
More Than You Know
Morning Dance
Moten Swing
Move
My Attorney Bernie
My Little Suede Shoes
My Old Flame
Nature Boy
The Nearness Of You
Night Song
No Moe
No Splice
North Atlantic Run
Now See How You Are
Now's The Time
Nutville
Off Minor
Oh, What A Beautiful Mornin'
Old Devil Moon
On The Sunny Side Of The Street
One By One
One Foot In The Gutter
One Morning In May
Our Language Of Love
Out Back Of The Barn
Oye Como Va
Pannonica
Parisian Thoroughfare
Peel Me A Grape
Pennies From Heaven
People Will Say We're In Love
Perdido
Petite Fleur
Petits Machins
Phase Dance
Picadillo (a la Puente)
Pick Yourself Up
Polka Dots And Moonbeams
Portrait of Jennie
Prisoner Of Love
Pursuance
Question

This piece lasts about 12 minutes and it plays continuously although it is made up of 16 small movements. Throughout the four string players form a group: sometimes the clarinet is caught up with them but more often it is like a person pursuing an independent train of thought: sometimes talking to itself sometimes conversational sometimes singingThe starting point for my Quintet was Italo Calvino’s Invisible Cities: like the book my piece is composed from many small contrasting ideas that are constantly transforming some coming to the fore as others recede. This quintet is dedicated to Hugh Sargent who commissioned it.

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