Romantische Opera in three acts-Alfonso und Estrella D 732Romatic Opera in 3 ActsIn late September or early October 1821 Schubert and his close friend Franz von Schober vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle which belonged to the Bishop of St. Pölten (a close relative of Schober?s) after which they moved on to St. Pölten itself. Roughly a year earlier two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann who blamed the press for the indifferent reception the two works weregiven by the audience. Schubert and Schober now decided it would seem to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.Not until 24 June 1854 was the opera finally performed in Weimar under the baton of Franz Liszt. It only achieved success however in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881 2 allegedly with 'brilliant acclaim'.Urtext of the New Schubert EditionFull score (BA5540) and vocal score (BA5540-90) available for salePerformance material (BA5540-72) available for hire

A pair of men take an oath of eternal friendship but their vow is threatened by their attraction to the same woman. The object of their rivalry faces her own dilemma torn between worldly passion and her calling as a priestess.Their romantic triangle forms the heart of this 1863 opera Les Pêcheurs De Perles (The Pearl Fishers) in which the composer of Carmen the world's most popular opera made his first mark.Set in ancientCeylon this enchanting tale of friendship love and betrayal has been performed in Opera houses around the world. The famous Baritone/Tenor duet in the second act is among the most recorded of Opera highlights and a copy of thefull score is essential for conductors as well as for students of composition and orchestration. This large-format version of Bizet's three-act Opera offers musicians an affordable alternative to high-priced hard-to-findeditions.

Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822. 

Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g

King Arthur (Arr. Laurie)-King Arthur was the only one of Purcell's professionally produced operas to have been designed as a semi-opera; the others were all adaptations of earlier plays. Dryden made a real attempt to integrate the music into the drama but since he ascribed to the dramatic conventions of the period which virtually confined music to allegorical or supernatural beings and thier worshippers or servants shepherds and similar characters the main action mostly occurs in the spoken sections and even the two singing characters Philidel and Grimbald speak more than they sing.

Divertimento teatrale in one act-Hardback edition of the full score for Antonio Salieri's Prima La Musica E Poi Le Parole.A memorable musical competition commissioned by the Emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima La Musica E Poi Le Parole was performed by the Italian court singers and musicians.This charming opera satire belongs to the genre of 'metamelodramma' in which the opera itself becomes the subject of the action. The people who are part of an opera production forexample the librettist composer and prima donna appear as characters on the stage and are presented in a humorous self-reflection. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether the word or the music should take priority this masterpiece is considered to be an early forerunner to Richard Strauss' Capriccio.

Oper in 3 Akten aus dem mährischen Bauernleben. Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making his breakthrough as an operatic composer. Since the premiere of this moving story about the fate of the sexton and her stepdaughter Jenufa at the Brno National Theatre in 1904, it has become one of the composer's most frequently performed works. Janácek was the first to succeed in transforming everyday speech directly into music. His method of using speech-melodic motives is clearly distinctive. It is known that the composer preserved everyday conversations in the form of little musical sketches: 'Jotting down genuine speech melody is, as it were, music's life class,' he said./ Répertoire / Opéra

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Acts 1 2 and 3-The second in Glass' trilogy about men who changed the world Satyagraha's sub-text is politics. The opera is semi-narrative in form and deals with Mahatma Gandhi's early years in South Africa and his development of non-violentprotest into a political tool. (Satyagraha is a Sanskrit word meaning 'truth force'). The first two acts each contain three scenes; the last is one continuous scene. Each act is dominated by a single historic figure (non-singingrole) overlooking the action from above: the Indian poet Rabindranath Tagore in Act I the Russian author Leo Tolstoy in act II the American civil rights leader Martin Luther King Jr. in Act III

With a libretto written by Judith herself based on the cryptic supernatural short story Der blonde Eckbert by Ludwig Tieck. This one act pocket version of the opera makes use of a Chamber group rather than a fullorchestra and omits the chorus.'Eckbert and his wife Berthe live in seclusion in the Harz Moutains. One stormy night Eckbert's friend Walther arrives and to while away the time Berthe tells him her lifestory.Walther mysteriously knows a great deal about Berthe' s early life and Eckbert's suspicions grow eventually leading him to murder Walther during a hunting expediton.Consumed by terror and suspicion Eckbertretreats into seclusion and revisits the fairy-tale scenes of Berthe's childhood accompanied by a magical singing bird. He encounters the old woman who raised Berthe and at last learns the terrible truth about Walther Berthe and himself.'                 - Judith Weir

Bohemios was based on Henry Murger’s Scènes de la vie de bohème the same source for the operas of both Puccini and Leoncavallo.At its première in 1904 the Chorus of bohemians in Bohemios received such a rapturous response from the audience that three encores were demanded. The piece was performed an average of nine hundred times per year in its first twenty years and a fully operatic version was later produced. Amadeo Vives was a composer conductor and teacher of music in Spain in the late 19th and early 20th century. He was a choirmaster of renown and composer of many serious works as well as operettas and zarzuelas of which Bohemios was one of his best works. He broughtto zarzuela a raised standard of harmony Orchestration and taste and he suffered the frustrations of people of serious ambition whose lighter works are the most beloved and remembered.

Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features Jamey at the piano explaining and demonstrating the fundamental techniques used by all great jazz improvisors. Topics covered include chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs, and much more. This DVD not only provides the technical information essential to getting started on improvisation but also serves as an overview of the entire creative process in terms that even a non-musician could understand. Jamey also provides much needed motivational material and discusses the philosophy of man'sneed to be creative. A complete presentation! This DVD is closely aligned with the world famous Volume 1 'How To Play Jazz' and Volume 24 'Major and Minor' play-a-longs (see 'related items' below. ) The visual, hands-on demonstration makes their concepts easier to grasp. Jamey even plays along with tracks from those two play-a-long volumes, showing proper application of scales to chords and essential practice techniques. / Jazz / Accessoire / Opéra Théorique ou Didactique