Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared anonymously from Teseo in Creta by Pietro Pariati. Please note that this piano score does not contain a realisation of the figured bass. The left hand of the piano part is the figured basso continuo of the opera, with occasional octave transpositions and the incorporation of some of the viola part. The right hand is a reduction of the main orchestral material. Item numbering and bar numbering accord with the full score and parts.

The well-known aria announcing the barber's entrance — "Figaro!… Eh, Figaro!" — highlights this comic romp of an opera. Based on Beaumarchais' Le Barbier de Seville, Rossini's 1816 classic began as Almaviva, or the Useless Precaution, in an attempt to avoid confusion with a highly successful Il Barbiere di Siviglia of a half-century earlier. An opening night fiasco and persistent interruptions during the premiere by fans of the older play were but momentary detours on the path of this masterpiece to international fame. With the now-famous overture in place, the work reached the operatic capitals of the world, becoming the first opera to be sung in Italian in New York. Ideal for conductors, soloists, chorus members, and rehearsal pianists, this practice and performance vocal score is based on the classic 1900 Schirmer edition. Please note that the lyrics appear in the original Italian only.

Let's all sing, just for the fun of it! Be a POP star and sing some of the biggest hits by Bruno Mars, Taio Cruz, Adam Young, Black Eyed Peas, Bon Jovi and Justin Bieber! Perfect for group singing in the classroom, choir or community, these songs have been carefully arranged for young unison voices with some optional harmony. The Piano/Vocal Collection offers fully accompanied songs, and the Singer Edition comes in handy paks of ten and provides vocal parts only. Check out the professionally-produced recording available separately, for performance and accompaniment possibilities! Available separately: Piano/Vocal Collection (HL00112992), Singer 10-Pak (HL00112993), Performance/Accompaniment CD. Suggested for grades 5-8.

From the campfire to the concert hall, singing in rounds and canons is one of the most enjoyable experiences for singers of all ages. As music teachers, we know that successful harmony doesn't just happen. It occurs over time with lots of practice and encouragement.This collection of rounds and canons is a sequential repertoire of kid-tested, no-fail songs to guide students through that developmental process of “finding their voices” in successful harmony. It includes movement and percussion echoes, rounds and canons; speech canons; call and response songs; and song rounds and canons. ROUND the World is also a multicultural collection so that students can experience the music of their world brothers and sisters, and have a greater understanding of their cultural stories and traditions. The Teacher Edition features reproducible song melodies with chord symbols, song background, performance tips, piano/vocal arrangements and a variety of reproducible classroom instrument parts for accompanying options. The Performance/Accompaniment CD is available separately or in a Classroom Kit with the Teacher Edition for more budget-saving value! Available separately: Teacher Edition (HL09971739), Performance/Accompaniment CD (HL09971740), and Classroom Kit (Teacher and P/A CD). Suggested for grades 2-5.

From the campfire to the concert hall, singing in rounds and canons is one of the most enjoyable experiences for singers of all ages. As music teachers, we know that successful harmony doesn't just happen. It occurs over time with lots of practice and encouragement.This collection of rounds and canons is a sequential repertoire of kid-tested, no-fail songs to guide students through that developmental process of “finding their voices” in successful harmony. It includes movement and percussion echoes, rounds and canons; speech canons; call and response songs; and song rounds and canons. ROUND the World is also a multicultural collection so that students can experience the music of their world brothers and sisters, and have a greater understanding of their cultural stories and traditions. The Teacher Edition features reproducible song melodies with chord symbols, song background, performance tips, piano/vocal arrangements and a variety of reproducible classroom instrument parts for accompanying options. The Performance/Accompaniment CD is available separately or in a Classroom Kit with the Teacher Edition for more budget-saving value! Available separately: Teacher Edition (HL09971739), Performance/Accompaniment CD, and Classroom Kit (HL09971741) (Teacher and P/A CD). Suggested for grades 2-5.

Song Reader is an experiment in what an album can be in the 21st century. Beautifully illustrated by Marcel Dzama, Leanne Shapton, Josh Cochran, Jessica Hische and others, Song Reader has been designed by Beck with the help of McSweeney's for release in December 2012. The twenty songs here, including two instrumentals, are as exciting as you'd expect from their author but if you want to hear 'Do We? We Do', or 'Don't Act Like Your Heart Isn't Hard', bringing them to life depends on you, the reader. Complete with full-colour, heyday-of-home-play-inspired art for each song and a lavishly produced hardcover carrying case (and, when necessary, ukulele notation) Readers' (and select musicians') renditions of the songs will be featured on www.songreader.net

A critical and popular success from its 1786 debut, Mozart's musical comedy elevated the opera buffa to new heights. Le nozze di Figaro ("The Marriage of Figaro"), ossia la folle giornata ("or The Day of Madness") reassembles characters from The Barber of Seville for a romantic romp involving mistaken identities, remarkable coincidences, and the triumph of true love. This authoritative practice and performance edition presents Lorenzo da Ponte's vocal score, originally published by Casa Ricordi, Milan. Ideal for study, practice, and performance, it contains the complete vocal music with a piano reduction of the orchestral score. Vocalists, voice majors and teachers, and rehearsal pianists will rejoice in this high-quality, low-cost edition of Mozart's masterpiece. Note: Lyrics are in the original Italian only. Dover (2001) republication of the vocal score from an authoritative early edition.

Remarkable for its bold characterization, color, atmosphere, and dramatic plot, Verdi's 1851 opera was an immediate success upon its Venice debut, and it remains a staple of the repertoire to this day. The tale of a despised hunchback and his beloved daughter marked the first appearance of the tragic jester in Italian opera and provided Verdi with a subject well suited to his talents. Amateur and professional performers alike will appreciate this handsome, moderately priced practice and performance edition of the opera's vocal score. Ideal for study, rehearsals, and recitals, it contains the complete music for voices with a piano reduction of the vocal score. Lyrics appear in the original Italian only. Reprint of the G. Ricordi, Milan, c. 1851 edition.

This volume contains newly edited versions of all William Walton's songs for voice and piano, together with Anon in Love for voice and guitar and songs from radio plays. It also includes the first publication of the scores of the orchestral versions of Anon in Love and A Song for the Lord Mayor's Table.William Walton wrote songs throughout his life, the first, 'Tell me where is Fancy bred?', written when he was a chorister at Christ Church, Oxford, the last, A Song for the Lord Mayor's Table, a song-cycle for Elisabeth Schwarzkopf written in the early 1960s. They all reveal his ear for word-setting, an imaginative response to the text, and an ability to conjure striking musical images from his chosen material. Shakespeare: Tell me where is Fancy bred? Shakespeare: Tell me where is Fancy bred? - arr. piano Four Swinburne Songs 1. Child's Song 2. Song 3. A Lyke-wake Song 4. The Winds William Drummond: Tritons Three Songs to poems by Edith Sitwell 1. Daphne 2. Through Gilded Trellises 3. Old Sir Faulk Shakespeare: Under the Greenwood Tree - low voice Shakespeare: Under the Greenwood Tree - medium voice Louis MacNeice: Beatriz's Song Louis MacNeice: Beatriz's Song - arr. piano Anon.: Anon. in Love 1. Fain would I change that note 2. O stay, sweet love 3. Lady, when I behold the roses 4. My Love in her attire 5. I gave her Cakes and I gave her Ale 6. To couple is a custom A Song for the Lord Mayor's Table Thomas Jordan: 1. The Lord Mayor's Table Wordsworth: 2. Glide Gently Arley: 3. Wapping Old Stairs Blake: 4. Holy Thursday Charles Morris: 5. The Contrast Anon.: 6. Rhyme Anon.: Anon. in Love - orchestral version 1. Fain would I change that note 2. O stay, sweet love 3. Lady, when I behold the roses 4. My Love in her attire 5. I gave her Cakes and I gave her Ale 6. To couple is a custom A Song for the Lord Mayor's Table - orchestral version Thomas Jordan: 1. The Lord Mayor's Table Wordsworth: 2. Glide Gently Arley: 3. Wapping Old Stairs Blake: 4. Holy Thursday Charles Morris: 5. The Contrast Anon.: 6. Rhyme

The Glagolitic Mass, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge. The recently published scholarly-critical edition presents two different versions of the work in two separate volumes: the “September 1927” version (BA 6863) which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928 (BA 6862). This second version was then revised further and published after Janácek’s death by Universal Edition Wien in 1930. Known as the “final authorised version”, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janácek’s regular copyist Václav Sedlácek. The “final authorised version” is the significant version and most suited to performance purposes. The instrumentation is richer, it is more straightforward to rehearse and several important passages are more coherent than in the earlier version. It is the later version that is presented in the vocal score. The Old Church Slavonic text has been prepared by the slavicist Radoslav Vecerka. Urtext edition based on volume B/5-I of the “Complete Critical Edition of the Works of Leos Janácek” Translation of the Old Church Slavonic into three languages (Cz/Eng/Ger) New idiomatic piano reduction