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OCARINA
Opera
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Edition Critique des oeuvres d… (63)
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Xylophone (50)
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Lute (48)
Trombone et Piano ou Orgue (48)
2 Cornets et Piano ou Orgue (47)
2 Clarinettes et Piano ou Orgu… (46)
Cello Ensemble (46)
Accordion and Orchestra (46)
Saxophone Baryton (45)
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2 Trompettes (duo) (45)
4 Clarinettes et Piano ou Orgu… (45)
Hautbois 1 Clarinette en Sib 1… (44)
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2 Trompettes Sib 1 Cor en Fa 1… (44)
Libretto (44)
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Livre Musical (44)
Trombone Alto et Piano (44)
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Tuba en Do et Piano (42)
4 Tubas (2 Euphoniums et 2 Tub… (42)
2 Cors en Mib et Piano ou Orgu… (41)
Choeur SATB, 2 Hautbois, 2 Cla… (41)
3 Flûtes Traversières et Pia… (41)
Cornet en Mib et Piano (41)
Cor Des Alpes Et Piano (41)
4 Saxophones (Soprano, Alto, T… (41)
Saxophone Alto, Saxophone Tén… (41)
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Conga (40)
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Tenor (38)
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Mandoline, Mandole et Guitare (36)
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Baryton (36)
Chamber Music (36)
Soprano Saxophone and Piano (36)
Trompette, Cordes Et Basse Con… (36)
Partition D'Orchestre In 16 Po… (36)
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Oboe, Bassoon and Piano (35)
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Chanson (35)
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Viola da Gamba (34)
2 Hautbois, 2 Violons, Alto, V… (33)
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Saxophone Soprano, Saxophone A… (33)
Tuba Solo (33)
Trumpet ensemble (33)
2 Clarinettes en Sib et Clarin… (33)
Clavier Electronique et Ligne … (33)
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Solistes SATB, Choeur SATB, 2 … (33)
Baritone Saxophone (33)
Percussions et Piano (33)
4 Trompettes, Cor, 4 Trombones… (33)
Flûte à Bec et Piano (33)
Trombone Et Orgue (33)
2 Hautbois, 2 Clarinettes, Tim… (32)
Trompette en Mib, Cor, Trombon… (32)
String Quintet: 2 violins, vio… (32)
Trompette, Cor et Piano ou Org… (32)
Trompette et Quatuor à Cordes… (32)
Batterie Fanfare En Sib (32)
Solo S, Choeur SATB, 2 Flûtes… (32)
Quatuor à vent (32)
Concert Band ou Harmonie et Ba… (32)
Harpsichord and Strings (32)
Guitare (Fingerpick) (32)
5 Saxophones (Soprano, Alto, 2… (32)
Trombone et Orchestre à Vent (32)
3 Clarinettes en Sib et Clarin… (32)
Choeur SSATB, 2 Flûtes Traver… (31)
Choeur SSATTB, (6 Instruments,… (31)
Flûte à Bec Alto ou Flûte T… (31)
Cello, Organ (31)
Orgue et Brass Band (31)
2 Trompettes, Cor Et 2 Trombon… (31)
English horn, Piano (31)
2 Trompettes Et 2 Trombones (31)
Choeur SS (B) ou SA (B), 2 Vio… (31)
Guitar and Bass Tablatures, Ch… (30)
Duos (30)
Batterie Fanfare En Mib (30)
Autoharp (30)
Trompette et Piano ou Orgue (30)
Bugle et Piano (30)
Trompette Et Orchestre (30)
Organ and Brass Band (30)
Soprano Saxophone (30)
Diverses Formations (30)
Solistes SATB, Choeur SATB, 2 … (29)
Ensemble Divers (29)
Choeur A Cappella (29)
2 Oboes (duet) (29)
Piano, Bass, Drums (trio) (29)
Baritone Ukulele (29)
Euphonium et Brass Band (29)
Flûte A Bec, Guitare Et Musiq… (29)
Oeuvres Théâtrales/Oratorios… (29)
Flûte à Bec F1, C1, 2 Violon… (28)
Harpe, Violon et Violoncelle A… (28)
2 Clarinettes, 2 Violons, Orgu… (28)
Trompette ou Flûte à Bec ou … (28)
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Cor, Euphonium et Piano ou Org… (28)
2 Violons, 2 Altos ou 3 Violon… (28)
2 Hautbois, 2 Clarinettes, 2 B… (28)
Flûte 1 Hautbois 1 Clarinette… (28)
Recorder, Bass Continuo (28)
Accordion - Piano, Voice, Guit… (28)
C Trumpetor et Trompette Sib/C… (28)
Instruments Acoustiques (28)
Book (28)
Trombone ou Tuba (28)
3 Bassons (28)
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Orchestre Scolaire (27)
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Piano et Orchestre (27)
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Choeur SATB, 2 Trompettes, 2 T… (27)
Musique de chambre (27)
Solo et Accompagnement de Cord… (27)
String trio (27)
Quatuor Variable (27)
Cor en Mib et Brass Band (27)
2 Cornets (27)
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Voix (Ou Récitant) Et Instrum… (27)
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Ocarina (27)
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2 Flûtes Traversières, Corde… (26)
Petit Choeur SATB, Contrebasse… (26)
Choeur SATTB (26)
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Musique originale (26)
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Euphonium and Orchestra (26)
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Cor en Mib (26)
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Flûte à Bec et Guitare (26)
Trio (2 Soli Avec Réduction D… (26)
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Trombone ensemble (26)
Trompette Solo (26)
Trompette en Do ou et Trompett… (26)
Voice, String Quartet (25)
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Clarinette, Violon et Piano (25)
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Le Comte Ory -Opera In Two Acts-
Opera
Barenreiter
Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Work...
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Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Works of Gioachino Rossini'. Nach seiner Uraufführung in Paris feierte das Werk große Erfolge an den europäischen Bühnen des 19. Jahrhunderts. Die turbulente Komödie um den Grafen Ory, der sich mit seinen wüsten Kumpanen Zutritt zu einem Nonnenkloster verschafft, ist eines von Rossinis effektvollsten Meisterwerken.Der Herausgeber Damien Colas legt in Zusammenarbeit mit dem ?Center for Italian Opera Studies Chicago' eine kritische Neuausgabe vor, die unter Heranziehung einer Vielzahl von Quellen einen originalen Text des Werkes präsentiert, der in vielen Fällen von der bislang erklungenen Überlieferung abweicht. So konnten originale Besetzungen, formale Verläufe und zahlreiche fragliche Lesarten wieder hergestellt bzw. korrigiert werden. / Opéra
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Germaine Tailleferre : 4 Opéras Bouffes Vol.2 - La Pauvre Eugénie / M. Petitpois Achète Un Château
Français
Opera
Billaudot
Poursuivant la petite histoire de l'art lyrique français, Germaine Tailleferre ...
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Poursuivant la petite histoire de l'art lyrique français, Germaine Tailleferre et Denise Centore évoquent maintenant le grand style réaliste tel que l'ont pratiqué, entre autres compositeurs, Gustave Charpentier et Alfred Bruneau, qui ont osé amener sur la scène lyrique, le langage de tous les jours et le costume du prolétaire. L'action de la Pauvre Eugénie se situe à Paris en 1905, dans un atelier de lingerie, celui de Madame Phémie, qui a un mari, Monsieur Ernesse, et trois ouvrières : Titine la gavroche, Paula la sentimentale, et Eugénie, l'héroïne de cette histoire, ou plutôt, de ces tranches de vie, selon le style de l'époque. C'est le pendant musical des Rougon-Macquart de Zola. Gégène n'apparaîtra qu'à l'heure du dénouement. Au début de l'opéra, dans l'atelier, les trois ouvrières travaillent à des jupons de linon ennuagés de dentelle, et la mauvaise humeur de Monsieur Ernest s'exprime à la cantonade. Madame Phémie, la femme de ce dernier, presse ses ouvrières et découvre qu'Eugénie mange du saucisson à l'ail. Eugénie est mise à la porte pour cette faute grave et, désespérée, elle veut se jeter dans la Seine. Titine et Paula, horrifiées, lui parlent de l'enfant qu'elle a eu avec Monsieur J. Duplan, qui devait l'épouser. Elle ne peut pas l'abandonner. Soudain, on frappe à la porte, et apparaît Gégène qui vient livrer un boa pour Madame Phémie. Indignation de Titine et Paula, Madame Phémie va mettre un boa alors qu'elle a mis à la porte une fille-mère ! Gégène, indigné, veut voir Eugénie, dont il tombe amoureux ! Tout est bien qui finit bien, Eugénie part avec Gégène, quittant ainsi celle qui l'exploitait.Le dernier opéra évoque la période d'Offenbach, il s'agit de Monsieur Petitpois achète un château. Les personnages, en costume Second Empire, évoluent dans un château médiéval proche de Romorantin. C'est le domaine ancestral de Monsieur le Duc de la Bombardière. Le duc a un fils, lieutenant hussard et joli garçon, une servante familière et dévouée, Cunégonde, nourrice d'Adélestan, et un notaire compétent, Maître Pointillard. Mais il n'a pas d'argent, tout au moins, commence-t-il à n'en avoir plus assez. Il lui faut vendre son château, et il attend la visite d'un acquéreur éventuel, Monsieur Petitpois. Il s'entretient de l'affaire avec son notaire, et ne dédaignera pas de prendre l'avis de Madame Cunégonde, sa servante, sitôt terminée l'ouverture de l'opéra. / Orchestre / Partition
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Faust (GOUNOD CHARLES)
Opera
[Sheet music]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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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
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Arranging X Large Jazz Ita
Italiano
Opera
Volonte and Co
Méthode Berklee PressUn guide complet pour organiser la section grande corne. P...
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Méthode Berklee PressUn guide complet pour organiser la section grande corne. Pour la première fois, vous pouvez apprendre les mêmes techniques enseignées à l'organisation de prestigieux Berklee College of Music et étudiés par les arrangeurs meilleurs et les plus brillants Invitez maintenant. Même si le texte est axé sur les styles de jazz classique et du big band, des informations générales sur pièce et sur ??l'harmonisation de l'éolienne peut être utilisée pour tous les styles moderne, de hip-hop au ska. Cette lintiene toutes les informations dont vous avez besoin lors de l'écriture des scores pour les cuivres, inspiré des pages écrites par les professeurs de Berklee. Le CD d'accompagnement est un excellent outil pour l'apprentissage, mais seulement d'écouter et d'apprécier, avec plus de pistes et de démonstration certains arrangements écrits dans le style des grands maîtres tels que Count Basie, Duke Ellington et Gil Evans. â ? oeSono été très impressionné par ce livre. Est valable non seulement pour les compositeurs et arrangeurs, mais aussi pour les directs / Opéra Théorique/Didactique
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Thomas Adès: The Tempest - Limited Edition: Opera: Score
Opera
[Sheet music]
Faber Music Limited
Full Score-Thomas Adès? The Tempest one of the most striking and successful op...
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Full Score-Thomas Adès? The Tempest one of the most striking and successful operas of recent years is available for the first timeas a beautifully produced limited-edition full score. Featuring the stunning image ?Octopus? by artist Claire Burbridge this unique cased edition includes colour plates of exclusive images from Adès? original handwritten score and sketches. Each copy is signed and numbered by the composer. From the turbulent orchestral prelude with which it begins to Ariel?s stratospheric yet ethereal ?Five fathoms deep? and the radiant quintet of reconciliation inits final act Thomas Adès conjures up a wholly compelling musical world in The Tempest.Responding to librettist Meredith Oakes? clear unfussy refashioning of Shakespeare into formalised rhyme schemes Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary.? Limited to 250 copies with signed and numbered limitation page.? Cased square back and sewn.? Endpapers feature original artwork ?The Firmament? by Claire Burbridge.? Case features original artwork ?Octopus? by Claire Burbridge printed in neon Pantone 809 with scratch-proof matt lamination and high gloss uv.? Black book-block edges ribbon and head
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Enciclopedia Lettura Ritmica
Italiano
Opera
Volonte and Co
Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contien...
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Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contiene tutte le nozioni fondamentali di teoria musicale che stanno alla base della musica moderna. I simboli musicali, i concetti di suddivisione ritmica, pulsazione, indicazi tempo e metro vengono esposti in modo a tutti comprensibile. Il metodo è basato sulle innovative tecniche di Counting, che consistono nel sistema di scansione verbale delle suddivisioni ritmiche, su cui si fonda da più di mezzo secolo la teoria modempio spazio è dedicato allo studio dei tempi tipici della musica contemporanea quali il tempo tagliato, gli ottavi swing, i sedicesimi shuffled, i tempi composti. Il libro consente, inoltre, di sviluppare la capacità di lettura delle partiture tipicha tradizione Jazz, Fusion, Blues, Big Band. L'intero metodo si presenta come un manuale operativo grazie alle tabelle dove l'utente può annotare i propri progressi. Da sottolineare, infine, che quest'opera costituisce il programma di Lettura Ritmica / Opéra Théorique/Didactique
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Il Tito (Score/Vocal Score): Opera: Score
Opera
[Sheet music]
Novello & Co Ltd.
Opera in three acts edited by Alan Curtis. This opera was first performed in Ve...
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Opera in three acts edited by Alan Curtis. This opera was first performed in Venice in 1666. It may with justice be considered to be the finest opera written between Monteverdi's 'Poppea' and the dramatic works of the mature Purcell. Having in 1983 presided over the first modern revival of 'Il Tito' in Innsbruck the city of its original commissioning Alan Curtis has now produced the first complete performing edition to be drawn from available sources.
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Monteverdi C. - L'orfeo - Vocal Score
Opera
[Vocal Score]
Barenreiter
Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orp...
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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
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Gian Carlo Menotti: Amahl and the Night Visitors: Opera: Score
Opera
-
Intermediate/advanced
Schirmer
Opera Full Score-The first opera written for television 'Amahl and the Night Vi...
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Opera Full Score-The first opera written for television 'Amahl and the Night Visitors' has become the most frequently performed opera of all time with over five hundred performances annually across the world. Menotti's take on theChristmas story focuses on Amahl a young handicapped boy and his mother who are visited by three Kings -- Balthazar Melchior and Kaspar -- who are on their way to find Jesus. The Kings stay the night during which Amahl'smother tries to steal some of the Kings' gold and is caught in the act. Melchior suggests that she keep the gold because the child they are visiting will rule his kingdom with love not riches. Amahl's mother gives back the gold wishing she had something to give of her own. Amahl offers his crutch as a gift and suddenly is able to walk. He decides to follow the Kings so that he himself may give his crutch to the Christ child.The work is ideal foran amateur performance (for example a secondary school or a local dramatic society) since all the action takes place in one act and one place and the work calls for limited adaptable musical forces. It also gives each principala chance to shine either in a solo or an ensemble.This is the Schirmer hardback edition of the full score.
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Recueil ? Airs d?opéra (VIVALDI ANTONIO) (VIVALDI ANTONIO)
Français
Opera
Editions Buissonnieres
Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certa...
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Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les 30 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de contre-ténor, extraits des opéras : Andromeda Liberata, Ottone in villa, L'Olimpiade, Tietiberga, Tito Manlio, Il Tigrane, Bajazet, Il Giustino, Olando finto pazzo, La Verità in cimento, La Fida nonfa, Orlando Furioso. / Date parution : 2014-07-01/ Recueil / Contre Ténor
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Gioachino Rossini: Mosè In Egitto (Volume 1 + 2): Voice: Vocal Score
Opera
[Sheet music]
Ricordi
Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Eg...
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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.
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Thomas Adès: The Tempest: Opera: Vocal Score
Opera
[Sheet music]
Faber Music Limited
Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest i...
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Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest is inspired by Shakespeareâ??s play rather than literally being based on every aspect of it. There are key images from the play as well as new material. From among the playâ??s many themes and possible interpretations the opera focusses on the difficulty and the necessity of mercy. The libretto uses contemporary vocabulary. Its lines are short rhythmic and rhymed or semi-rhymed echoing Shakespeareâ??s strophic songs more than his blank verse. This choice reflects the playâ??s magical ritual childlike elements and acknowledges the traditional power of incantation in song. The operatic Prospero is the passionately vengeful man seen in the play more than the wise disconnected actor also seen there. Despite his near-omnipotence he finds things out as he goes along and experiences contradictory emotions to the end. Please note: Full Score and Parts are rental material. Please contact hire@fabermusic.com
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William Schwenck Gilbert Arthur Sullivan: Utopia Limited: Voice & Piano: Vocal
Opera
[Sheet music]
-
Intermediate/advanced
Faber Music Limited
Having a rather idealistic view of England and the English people King Paramoun...
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Having a rather idealistic view of England and the English people King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions and that the kingdom should become a company limited.Utopia Limited or The Flowers Of Progress is a Savoy Opera with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations premiering on October 7 1893 for a run of 245 performances.Available here is the vocal score of the Opera.
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Traviata Partitura Edizione Critica (VERDI GIUSEPPE)
Opera
[Sheet music]
Ricordi
Ed. Critica F. Della Seta - Partitura e Commento Critico Inglese. Par VERDI GIUS...
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Ed. Critica F. Della Seta - Partitura e Commento Critico Inglese. Par VERDI GIUSEPPE. A Cura Di Fabrizio Della Seta/ Répertoire / Oeuvres Théâtrales/Oratorios et Ballets
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Robert Saxton: Caritas: Opera: Vocal Score
Opera
[Sheet music]
Chester
Vocal Score for the Opera in Two Acts.Caritas’ is in two acts the first ...
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Vocal Score for the Opera in Two Acts.Caritas’ is in two acts the first consisting of 12 short scenes the second being a continuous scena.The overall form of the opera retains the architecture of Wesker’s stage play butalters the proportions in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch the second act is a Passacaglia whose ‘ground’ is a Cantus Firmus each repetition ofwhich begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in and derived from the musical material itself.
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Peter Grimes (BRITTEN BENJAMIN)
Opera
[Book]
Avant Scène Opéra
Par BRITTEN BENJAMIN. / Date parution : 2022-02-18/ Livre / Opéra
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Music Analysis (WHITTALL ARNOLD / DUNSBY J)
Opera
[Sheet music]
Faber Music Limited
Par WHITTALL ARNOLD / DUNSBY J.. Ecrit pour les étudiants et les enseignants, l...
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Par WHITTALL ARNOLD / DUNSBY J.. Ecrit pour les étudiants et les enseignants, la préoccupation centrale des auteurs est avec les approches du XXe siècle à deux types de musique : que basé sur la tonalité (la langue de Bach, Beethoven et Brahms) et d'autre part, antonal et composition de série, avec Schoenberg et Webern les maîtres représentatifs. Le livre se termine par une introduction à la plus en plus importante remplacée par la nouvelle ISBNject du structuralisme et sémiologie musicale./ Recueil / Opéra
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Geoffrey Burgon: Orpheus: Voice: Vocal Score
Opera
[Sheet music]
Chester
A chamber opera in one act for soprano tenor baritone and bass soli TTBB chor...
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A chamber opera in one act for soprano tenor baritone and bass soli TTBB chorus and orchestra commissioned for the Wells 800 Celebration in 1982. Libretto by Peter Porter. Vocal score with piano reduction. Duration: c. 55minutes.Orpheus is a Chamber Opera or perhaps more properly might be described as an ‘Opera-Cantata’. It is designed to be performed as a short opera fully staged and costumed or as a concert piece. Either way itsstructure is dramatic rather than reflective. It tells the story of Orpheus probably the most familiar story in music and en emblem of their art for composers of all periods as a direct narrative. Since the legend is set inthe world of pagan mythology it has been lightly Christianised for its Church setting. The Aeneid has often been seen as speaking of Christ avant la lettre and Renaissance Humanists were always willing to identify forerunnersof Christian types in Classical personages: in this manner Orpheus pursues without undue emphasis musical parallels with St Francis St Cecilia and even Adam and Eve.The work is framed briefly by a prologue and epilogue. ThePrologue introduces the four solo singers Hades (bass) Orpheus (tenor) Eurydice (soprano) and Charon (baritone). It also introduces the chorus who do not only portray at various stages Orpheus’s wedding companions thedenizens of Hell and Blessed Spirits in the Elysian Fields but also comments on the action as it proceeds.
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Ear Training + 2Cd Ita
Opera
Volonte and Co
Per il musicista contemporaneo.Una volta sentito un motivo riesce a rieseguirlo ...
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Per il musicista contemporaneo.Una volta sentito un motivo riesce a rieseguirlo a memoria, a ideare una melodia e mettere tutto ciò per iscritto senza cambiare nemmeno una nota, oppure suonare subito, senza alcun apparente sfasatura tra il pensiero e l'esecuzione. Nonostante di soi si riferisca a questa abilità in termini di 'dono? -ovvero un qualcosa che è stato conferito ad una persona da una forza esterna- in realtà questa dote si basa su abilità concrete che possono essere apprese attraverso una corretta educazione musicaesto testo, completato da 2 cd allegati, accompagna passo dopo passo proprio nella direzione di un giusto ed efficace percorso didattico attraverso il famoso corso di Ear training del Musician Institute. Grazie a questo metodo si potranno migliorare lmente le proprie abilità musicali. Le analisi e le lezioni comprendono: l Intonazione di base - l Cantare scale maggiori e minori - l Riconoscimento degli intervalli - l Trascrizione di melodie e ritmi - l Riconoscimento di accordi e successioni di / Opéra Théorique/Didactique
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I Puritani - Opera Seria In Tre Atti (BELLINI VINCENZO)
Opera
Ricordi
Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work...
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Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work of Vincenzo Bellini: composed in nine months, from April 1834 to January 1835 (a gestation unusually long for that time), was performed for the first time in Paris, Théâtre Italien, 24 January 1835. The new Critical Edition is based on the autograph, on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work, three of which contain autographinterventions (these sources are now kept at the Biblioteca Comunale in Palermo, at the Museo Civico Belliniano in Catania, at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This edition presents for the first time all the music composed by Bellini, it restores the sections deleted before or after the first performance in Paris and returns the modified sections of the Naples version. It consists of three-score volumes -introduced by a detailed reconstruction of the historical context - and of a 'Apparati' volume with a description of the Sources and the Critical Commentary to the musical text. / Opéra-opérette / Répertoire / Opéra
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Alan Jay Lerner Frederick Loewe: Camelot: Opera: Libretto
Opera
[Libretti]
Faber Music Limited
Camelot is a popular Musical which also received a film adaptation in 1967. Ava...
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Camelot is a popular Musical which also received a film adaptation in 1967. Available here is the Libretto for the Musical with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The show is based on the King Arthur legend as based on the T.H. White novel The Once and Future King.
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William Schwenck Gilbert Arthur Sullivan: Ruddigore Or Witch's Curse: Opera:
Opera
Faber Music Limited
Or 'The Witch's Curse'. This score contains all the dialogue.
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Dimitri Shostakovich: Le Nez: Libretto
Opera
[Sheet music]
Universal Edition
Libretto with German English French and Italian text. Piano reduction by Carl ...
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Libretto with German English French and Italian text. Piano reduction by Carl Goetz.
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Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
Opera
Barenreiter
Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologic...
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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.
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Io RCT 45 (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...
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Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
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Adam: Toreador Ou L'Accord Parfait: Mixed Choir: Vocal Score
Opera
[Vocal Score]
-
Advanced
Barenreiter
Inspired by models from the Commedia dell?Arte the plot is set in Seville and p...
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Inspired by models from the Commedia dell?Arte the plot is set in Seville and presents the old ?Greybeard? Don Belflor (a retired bullfighter and womanizer) his young wife Coraline and her lover Tracolin. In a highly contemporary way this leads to a three-way relationship of which everyone approves. The ?accord parfait? is a perfect triad consisting of exactly three notes. It is noticeable that the libretti of the Second Republic were no longer subject to censor.Two arias were planned for each role. As a flautist Tracolin also knows how to evoke famous melodies from the French opera repertoire in his advances. The centrepieces are the two trios.Oneof these the variation number ?Ah! vous dirai-je maman ? is the jewel of the opera: here vocal virtuosity and the comedy of the situation are combined with brilliant ease.The Vocal score is based on the first scholarly-critical edition of the opera. This appears in the series ? L'Opéra français ? edited by Paul Prévost. Here the spoken dialogue text is integrated with the music for the first time.Based on the Urtext of the new series ? L?Opéra français ?.Original French text with singing German translation.Extensive foreword (Fr/Ger/Eng).Full score (BA8701) and Vocal score (BA8701-90) available for sale and performance material available for hire.
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Faust
Opera
Barenreiter
'Faust? stands for the composer Gounod himself, who was torn between the express...
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'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra
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