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.

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

For baritone voice, tenor saxophone, and piano. New product for the week of Sept 10th, 2012.

New product for the week of October 1st, 2012.

Influential 18th-century oratorio deals with the triumph of the Jewish warrior-hero Judas Maccabaeus over the invading enemies of the Israelites. Beauty, drama and brilliant originality of its arias, duets and choruses have kept the work constantly in the active repertoire. Reprinted from authoritative edition of the German Handel Society. Text underlay in English and German.

Exactingly reproduced from the authoritative Breitkopf & Härtel edition, this superb full-score edition offers music lovers a rare opportunity to study and follow performances of this great comic opera, one of the most engaging and least pretentious masterpieces in the repertory. The earliest of Mozart's five most famous operas and the first he wrote for the Viennese stage. Reprint of Die Enthführung aus dem Serail, Breitkopf & Härtel, Leipzig, n.d.

To help with music selection there is a useful index to suggest how each song might be used. For example, if you have a surfeit of travellers (and which school doesn’t?) hey presto! there are songs which will be ideal for moving all those bodies from one side of the stage to the other. If the innkeeper wants to add to his script, there’s a song especially for him. Snowmen, Santa and Stars will be delighted there is music just for them.With this collection, all the important moments of the Christmas story are provided for with something for each key stage. A musical feast is guaranteed, with as much or as little dialogue as you might want to add. And as a bonus, we have recorded every song!

Though originally recorded by David Foster with Natalie Cole, the 1992 version by Amy Grant is largely responsible for this song's continued popularity. This inspiring ballad will add a special lift to any holiday concert, and Michael's great-sounding arrangement can be performed effectively with or without a vocal soloist.

In response to a continued interest in a scholarly facsimile of the Mass in B minor, a new cloth-bound facsimile edition (BVK 2194) has now been published. This replaces the original BÄRENREITER FACSIMILE edition (BVK 1911). Johann Sebastian Bach completed the Mass in B minor in 1748/49 shortly after the Art of Fugue and shortly before his death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans-Georg Nägeli enthusiastically described the Mass as the "greatest musical artwork of all time and all nations”. Since then it has been ranked as an icon of music history. One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages Bach’s handwriting reflects the effort which this last work demanded of him. The facsimile documents and records the present condition of the complete autograph score. Older reproductions have substituted a few individual folios where the content has become difficult to read in recent years. The renowned Bach scholar Christoph Wolff describes the work’s significance in his introduction, gives an overview of the history of composition and draws attention to particular distinguishing features of the manuscript. "This facsimile edition is a model for the presentation of musical sources, both in appearance and in documentation. […] Wolff's facsimile will serve as foundational tools" (Notes, December 2008) "Once, Bach came up against the boundaries of his art, on blotchy, 260-year-old paper. ‘Et expecto…’ is this point in the B minor mass, ‘And I look for the resurrection of the dead.’ Bach wrote modulations which were extraordinary. He had to strive for these. He crossed out – although this is a fair copy – hatched and scratched until the paper tore. He was already an old man, his script leans to the left. The handwriting here isn’t nearly as lively as in the ‘Cum sancto Spirito’, written earlier. Everywhere, one is moved by the closeness to the manuscript which the facsimile conveys – one of the most sumptuous ever published." (DIE ZEIT Literatur, December 2007)

The Offenbach Edition Keck is created in collaboration with French musicologist Jean-Christophe Keck and other leading musicologists, biographers and collectors. Drawing on first editions and original manuscripts, these will be the first authoritative editions to reflect the composer's original intentions. Now available is a piano reduction of the coherent edition of Offenbach's grand romantic opera "Les Fées du Rhin" . The OEK edition is the World Premiere Publication of this opera that was heard in its completeness for the first time at the Montpellier Festival of 2002. The scenic first performance took place in January 2005 at the Slovenian National Theatre. The sources were scattered in various libraries around the world, and some essential materials were actually in private collections. Content - Original Version - Intermediate Version - Vienna Version

The Offenbach Edition Keck is created in collaboration with French musicologist Jean-Christophe Keck and other leading musicologists, biographers and collectors. Drawing on first editions and original manuscripts, these will be the first authoritative editions to reflect the composer's original intentions. Now available is a piano reduction of the coherent edition of Offenbach's grand romantic opera "Les Fées du Rhin" . The OEK edition is the World Premiere Publication of this opera that was heard in its completeness for the first time at the Montpellier Festival of 2002. The scenic first performance took place in January 2005 at the Slovenian National Theatre. The sources were scattered in various libraries around the world, and some essential materials were actually in private collections. Content - Original Version - Intermediate Version - Vienna Version

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The baritone part for Blake Dreaming was written with the idea that the voice would be used as an extra instrument, without text. Although much of the vocal line is a vocalise, an excerpt from William Blake's The Marriage of Heaven and Hell is incorporated. New product for the week of May 7, 2012.

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Måske ikke havet. Men Vådt nok. Gråt nok og tåget. I: Dette er måske nok ikke havet. II: Og så alligevel. III: Det er så bart. IV: Den benhårde vilje til sameksistens. V: Værre er det ikke. Forenet i hvidt. I: Lammende ægteskab. II: Toget er kørt III: Alt det regnskab. IV: Med hvid skærende indeni. V: Forestillingerne om de blade som kommer.

Five arias, including: Ombre l

Connect to your authentic singing voice with this holistic guide to a healthy and expressive singing life. This collection of technical discussions, exercises, and insights will help you improve all aspects of using your voice – from healthy sound production to exercises for greater vocal facility to guidance on rehearsing with your band. Interviews with Patty Austin, Ysaye Barnwell, and others lend their perspectives to singing, the mind-body connection, and a natural/wellness focused approach to musicianship. The accompanying CD supports the practice exercises and approaches to learning new songs.

Pelle Gudmundsen-Holmgreen: GRENE GRÅ For baryton og klaver

A pavane was a slow dance form the 16th and 17th century. The talented composer Jeff Smallman has taken this Baroque form and created a very colourful piece that features high, mid and low voices allowing all players to have interesting parts.

Audio Clips >>Here are the great duets of the Italian operatic repertoire, minus soprano, mezzo-soprano or baritone voice (depending on the aria selected). You surround yourself with the 130-piece orchestra, the Compagnia d