Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

Arrgt: Eric Vireton. Par GOUNOD CHARLES. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor de Cuivres : 1 Trompette Sib 1 Cor en Fa 1 Trombone 1 Tuba - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 4 mn 10 - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Charles GOUNOD - Arrangeur : Eric VIRETON / Niveau : Intermédiaire / Classique / Répertoire / Trompette Sib 1 Cor en Fa 1 Trombone 1 Tuba

Arrgt: Eric Vireton. Par GOUNOD CHARLES. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Vent : 1 Hautbois 1 Clarinette Sib 1 Cor en Fa 1 Basson - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 4 mn 10 - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Charles GOUNOD - Arrangeur : Eric VIRETON / Niveau : Intermédiaire / Classique / Répertoire / Hautbois 1 Clarinette en Sib 1 Cor en Fa 1 Basson

Arr. James Curnow. Par GOUNOD CHARLES. Gounod's Prayer (O, Divine Redeemer!), originally a solo for Mezzo-soprano, chorus, and orchestra, comes from his oratorio La Redemption, and here is presented as a beautiful lyrical solo for Euphonium and Piano accompaniment. / Niveau : 4 / Répertoire / Concert Band ou Harmonie

from Faust-Faust de Goethe a été plusieurs fois mis en musique par des compositeurs célèbres - dont Berlioz Busoni et Spohr. En s?inspirant de la pièce de Goethe Charles Gounod composa un opéra connu pour ses belles mélodies ses chants expressifs et ses orchestrations subtiles. Un des points forts de cet opéra est sans aucun doute cette impressionnante Cavatine intitulée Salut ! Demeure chaste et pure. Wil van der Beek a choisi pour son arrangement de confi_x001C_er la partie solo à l?euphonium. Un choix judicieux qui placera votre soliste sous les feux de la rampe grâce à cette cavatine vibrante d?émotion et de sensibilité.

from 'Faust'-L?histoire de Faust qui vend son âme au diable en échange du savoir et du pouvoir a toujours été une source d?inspiration pour de nombreux auteurs poètes régisseurs et compositeurs. Parmi ces artistes est le compositeur français Charles Gounod dont l?opéra Faust fut interprété pour la première fois en 1859. Ce Ch?ur des Soldats (Soldiers? Chorus) ravissant est une des mélodies les plus connues de l?opéra. Sa simplicité et beauté musicales convient à n?importe quelprogramme de concert qui nécessite un arrangement classique célèbre.

Gounod's Prayer (O Divine Redeemer!) originally a solo for Mezzo-soprano chorus and orchestra comes from his oratorio La Redemption and here is presented as a beautiful lyrical solo for Euphonium and Piano accompaniment.

This piece by Gounod has been skillfully arranged for brass quartet. Parts included are Trumpet 1/2 Horn in F Horn in Eb Trombone / euphonium (TC) and Trombone / euphonium (BC).

Arrangeur: Jérôme Naulais. Par GOUNOD CHARLES. / Niveau : Intermédiaire / Répertoire / Hautbois et Orchestre à Vent

Arrangeur: John Glenesk Mortimer. Par GOUNOD CHARLES. / Niveau : Intermédiaire / Répertoire / Orchestre à Vent

Arrangeur: Jérôme Naulais. Par GOUNOD CHARLES. / Niveau : Intermédiaire / Répertoire / 3 Flûtes Traversières et Orchestre à Vent

Tchaikovsky is best known for his purely instrumental compositions. However we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin) composed in 1877-1878 was not called an opera by Tchaikovsky himself but ?lyric scenes?. The work is entirely dominated by lyricism. However there are two moments that contrast sharply with this lyricism: two ball scenes for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant this arrangement features the aforementioned waltz which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

Tchaikovsky is best known for his purely instrumental compositions. However we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin) composed in 1877-1878 was not called an opera by Tchaikovsky himself but ?lyric scenes?. The work is entirely dominated by lyricism. However there are two moments that contrast sharply with this lyricism: two ball scenes for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant this arrangement features the aforementioned waltz which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.