| The Real Book - Volume 2 (C Instruments)
C Instruments [Fake Book] - Intermediate Hal Leonard
By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 i...(+)
By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard.
(5)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2 Bb Instruments [Fake Book] Hal Leonard
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8....(+)
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard.
(1)$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2: Second Edition C Instruments [Sheet music + Audio access] Hal Leonard
Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+)
Book with Play-Along Tracks.
Composed by Various. Real
Book Play-Along. Softcover
Audio Online. 440 pages.
Published by Hal Leonard
$75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard (C Edition). By Various.
CD ROM SHEET MUSIC.
CD-ROM. Published by Hal
Leonard
$30.99 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| The Real Book - Volume 2 Fake Book [Fake Book] Hal Leonard
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x...(+)
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Book - Volume 2 Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size...(+)
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.
$49.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Venti Pezzi per Pianoforte Piano solo Suvini Zerboni
Piano SKU: BT.ESZ-01494800 Composed by Sandor Veress. Score Only. Edizion...(+)
Piano SKU: BT.ESZ-01494800 Composed by Sandor Veress. Score Only. Edizioni Suvini Zerboni #ESZ 01494800. Published by Edizioni Suvini Zerboni (BT.ESZ-01494800). With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art†music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants.
Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta†occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Barber of Baghdad Breitkopf & Härtel
Chorus (with soloists) and piano (solos: S. A. 7T. Bar. 4B - choir: SAATTBB - pi...(+)
Chorus (with soloists) and piano (solos: S. A. 7T. Bar. 4B - choir: SAATTBB - picc.2.2.2.2 - 4.2.3.0 - timp.perc(2) - hp - str) SKU: BR.EB-2066 Comic Opera in 2 Acts. Composed by Peter Cornelius. Edited by Max Hasse. Arranged by Waldemar von (KA) Baussnern. Choir; Softbound. Edition Breitkopf. Opera; Music theatre; Romantic. Piano/Vocal Score. 240 pages. Breitkopf and Haertel #EB 2066. Published by Breitkopf and Haertel (BR.EB-2066). ISBN 9790004160770. 7.5 x 10.5 inches. Text by the composer Translation: engl. (M. E. Browne) Place: Bagdad Characters: Der Kalif (baritone) - Baba Mustapha, ein Kadi (tenor) - Margiana, seine Tochter (soprano) - Bostana, eine Verwandte (alto) - Nureddin (tenor) - Abul Hassan Ali Ebn Bekar, Barbier (bass) - 1. Muezzin (bass) - 2. Muezzin (tenor) - 3. Muezzin (tenor) - Ein Sklave (tenor) - Vier Bewaffnete (2 Tenore, 2 Basse) Corneliuss opera got off to a bad start, to say the least: the scandal provoked at the first performance in Weimar in 1858 led to protests and ultimately to the resignation of Franz Liszt as court opera director. It was not until 1904 that the opera was played again in that city and proved that the scandal had not been caused by the work but by Liszts aesthetic views. The score was long considered as the ideal example of a musical comedy with a far too complicated plot. Today, however, many prominent commentators beg to differ: This is one of the sunniest scores ever written. Music in the spirit of Mozart and Mendelssohn: a highly delicate mixture of classical formal rigor and romantic irony, heightened with just a touch of exquisite sensuality that has just wafted in from the Orient. It is practically incomprehensible how Cornelius could have been regarded as a composer of the Wagner school for practically a century. With its intricate fusing of comedy, lyricism and sentimentality, it is precisely the opera that Schubert, Schumann, E.T.A. Hoffmann and Mendelssohn were unable to write. (Hans Zender). $75.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str) SKU: BR.DV-6081 Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081). ISBN 9790200460032. 9.5 x 12 inches. Duration: full evening
Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century
Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )
There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.
Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.
Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.
Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.
Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.
The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.
In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'. $76.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Pikowaja dama Op. 68 Breitkopf & Härtel
Chorus (with soloists) and piano (Soli: SSSMezMezATTTTBarBarBB - choir: SSAATTBB...(+)
Chorus (with soloists) and piano (Soli: SSSMezMezATTTTBarBarBB - choir: SSAATTBB and child ch - picc.2.2(cor ang).2.B-clar.2 - 4.2.3.1 - timp.perc - hp - pno - str - stage music: child trp and child dr) SKU: BR.BES-3074 The Queen of Spades - Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Choir; Softcover. Bessel, London. Opera; Music theatre; Romantic. Piano/Vocal Score. 10 pages. Duration 150'. Breitkopf and Haertel #BES 3074. Published by Breitkopf and Haertel (BR.BES-3074). ISBN 9790004610008. 11.5 x 8.5 inches. Russian / French / German / English. Duration: full eveningText by Modest Tchaikovsky after Alexander Puschkins NovelTranslation: German (W. Ebermann/M. Koerth and collaboration by H. Seeger); (R. Lauckner) Place and time: Petersburg, End of the 18th CenturyCharacters: Hermann (tenor) - Count Tomskij (baritone) - Prince Jeletzkij (baritone) -Czekalinskij (tenor) - Ssurin (bass) - Tschaplitzkij (tenor) - Narumoff (bass) - The Counts Wife (mezzo-soprano) - Lisa (soprano) - Pauline (alto) - Governess (mezzo-soprano) - Mascha (soprano) - A Steward (tenor) Characters of the intermezzo: ChloE (soprano) - Daphnis (Pauline) (alto) - Plutus (Count Tomskij) (baritone) By the time Tchaikovsky began writing Pique Dame, he had already composed eight operas and had very well developed ideas about the drama and aesthetics of the genre. Gustav Mahler, who judged Pique Dame to be Tchaikovskys most mature and artistically solid musical work, is certainly not alone with his opinion. A confession made by Tchaikovsky a few months before his death show to want extent the composer, after an initial period of hesitation, was possessed by his work on this opera: I composed it with uncommon passion and enthusiasm, suffered from everything that happens in it and related to it with every fibre in my body (it went so far that I even feared the apparition of the ghost for a while). Now I hope that all my enthusiasm, excitement and devotion will find an echo in the hearts of receptive listeners. $9.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| After Life (Piano/Vocal Score) Piano, Voice Schirmer
Composed by Tom Cipullo. One Act/Chamber. 21st Century. Score. Published by ...(+)
Composed by Tom Cipullo. One
Act/Chamber. 21st Century.
Score. Published by E.C.
Schirmer Publishing
$28.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
1 |