Voici une des nombreuses partitions de Wolfgang Amadeus Mozart. Ce génie, mort à l'âge de 35 ans, a révolutionné la musique classique. Vous retrouverez à travers la partition CANTOLOPERA: ARIE PER BARITONO E BASSO + CD tout le talent de Mozart. Cette partition a été composée pour Voix Et Piano. C'est l'éditeur Ricordi qui a publiée cette oeuvre. / Voix Et Piano / Partition + Cd

En Trois Parties Avec Choeurs Soprani Contralti Ténors Basses. Par PIERNE GABRIEL. / Répertoire / Chant et Piano

Par HAENDEL GEORG FRIEDRICH. The solo cantatas of Handel (most of them written in Italy during the years 1707-09) are commonly regarded as works of apprenticeship in which he forged a musical technique that would stand him in good stead as a composer of Italian operas. Available here is the first volume of solo Cantatas for Soprano with Basso Continuo. This highly authoritative edition has been edited and prepared by Andrew V. Jones./ Répertoire / Chant et Piano

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Chant et Piano

Il dissoluto punito ossia Il Don Giovanni

Dramma giocoso in 2 Akten (deutsch/italienisch)

Edition : Piano Reduction/Vocal Score. Urtext Edition
Editor : Plath, Wolfgang.Rehm, Wolfgang
Binding : hard bound
Instrumentation : 3 Soprano solo, Tenor solo, Baritone solo, Mixed Choir, 3 Bass solo, 2 Flute, 2 Oboe, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, 2 Trumpet, 3 Trombone, Kettledrum, Mandoline, Strings, Cemb. Bühnenmusik: 2 Oboe, 2 Clarinet (b flat), 2 Bassoon, 2 Horn, Strings

Besetzung / Ensemble
Vorwort
Preface
Verzeichnis der Szenen / Index of Scenes
Ouvertura / Ouvertüre
Atto primo / Erster Akt
Atto secondo / Zweiter Akt
Anhang / Appendix

Mass for Soloists, Chorus and Orchestra. Urtext of the New Bach Edition. Edition : Piano Reduction/Vocal Score Editor : Smend, Friedrich Binding : paperbound Instrumentation : 2 Soprano solo, Asolo, Tenor solo, Bass solo, Mixed Choir: SSAATTBB, Orchestra, Basso continuo

10 paramètres de texte exquis pour voix d'hommes de tout âge, mettant en vedette la poésie classique entièrement écrit par les manieurs de mots masculins. Ce livre unique vous propose chaque morceau dans les deux clefs triples et basses, claviers hautes et basses. Aussi approprié pour le chanteur de récital mature et la voix nouvellement modifiés. / Voix Et Piano

For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's 'Aida') * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My Eng / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Voix grave-Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The film Don Quichotte increased his popularity when he composed the musical score in 1933. Controversially the producers of Don Quichotte asked five composers separately to compose songs for the film. Each composer thought only he had been approached and when Ibert's music was eventually chosen for the film it caused him some embarrassment as Maurice Ravel who had also been approached was a close friend of his. Song of Departure comes toward the beginning of the film sung by thethe main character Don Quichotte. Addressing a variety of musical aspects and techniques Ibert's Song of Departure is a challenging yet evocative addition to the Bass repertoire.

Written for female Voice and Piano. The Piano part is written on two octagonal sheets where the treble and bass parts are interchangable.

Fantastic heart-on-the-sleeve American standards in new arrangements designed to flatter any singer, with interesting harmonies and accompaniments. The arrangements are in the spirit of the performance tradition established by singers such as Judy Garland, Peggy Lee and others. The keys have been carefully chosen and will be comfortable for most voices. The book contains arrangements for voice and piano accompaniment, plus a section of ''fake book''-style arrangements convenient for performing. The accompanying CD includes great performances of each song by a singer backed by piano, bass and drums, as well as trio acompaniment tracks only for practice or performance.