Par CORDUAS / CUSANO / MAGGIORE / DI NAT. Classical/ Recueil / Opéra Théorique ou Didactique

All Instruments. Par VELILLA NATALIA. Education / Pédagogie / Recueil / Opéra Théorique ou Didactique

Juegos y Cuentos Infantiles. Par VELILLA NATALIA. Suena Suena es una completa y novedosa metodología para las enseñanzas de Música y Movimiento en escuelas de música, aunque también es perfectamente aplicable en Educación Infantil y primeros cursos de Primaria en colegios. Esta guía del profesor se cia en doce unidades didácticas para desarrollar durante un curso escolar. Cada unidad se introduce con un cuento ilustrado que sirve de motivación para presentar los diferentes conceptos musicales que se trabajan en la etapa infantil. Estos contenid básicamente las cualidades del sonido - intensidad, timbre, duración y altura - y el sonido/silencio. También se aprovechan las diferentes épocas del año (otoño, navidad, invierno, primavera y verano). Además, se incluyen canciones para trabajar el a corporal, canciones relativas al cuento, actividades muy diversas, audiciones y una serie de material complementario consistente en rollitos de partitura, láminas ilustradas de los cuentos, musicogramas e imágenes de los músicos que se trabajan en / Pédagogie / Méthode / Opéra Théorique ou Didactique

Par VELILLA NATALIA. Suena Suena es una completa y novedosa metodología para las enseñanzas de Música y Movimiento en escuelas de música, aunque también es perfectamente aplicable en Educación Infantil y primeros cursos de Primaria en colegios. Este material consiste en ro de fichas para que el alumno lo trabaje en clase y un libro con todos los cuentos ilustrados que se presentarán a lo largo del curso y un CD con las canciones y audiciones, para que el niño disfrute de ellos en casa con sus padres. / Pédagogie / Méthode / Opéra Théorique ou Didactique

Par GRISONI RENATO. / Solfège/Formation Musicale / Opéra Théorique ou Didactique

Par HINDEMITH PAUL. The opera is set in a variety of locations between the years 1608 and 1630 and throws a spotlight on individual scenes, sometimes presented simultaneously, from the life of the astronomer Johannes Kepler (1571-1630); the opera takes its name from Kepler’s theoretical work ‘Harmonices mundi’. Hindemith utilises substantial historical studies as the basis for his sketches of individuals within Kepler’s circle who each accompany the astronomer’s scientific endeavours with a variety of personal ambitions. The military commander Wallenstein attempts to utilise Kepler’s astrological abilities to realise his own pretensions to power while Kepler’s assistant Ulrich aspires to scientific fame and recognition. Kepler’s mother urges her son to apply his scientific abilities to the services of her black magic and the Lutheran minister Hizler forbids the astronomer to receive communion because Kepler questions the doctrine of Holy Communion in the Lutheran church and expresses sympathy for Calvinist doctrine. The few figures shed in a positive light include Kepler’s wife Susanna who supports her husband’s pursuit of truth and knowledge and the child Susanna who listens to the voices of nature and the moon in her childish naivety, thereby gaining revelatory knowledge. At the end of his life, Kepler takes stock of his situation, succumbs to a state of resignation and considers death as the greatest harmony of all. In his state of agony, music of the spheres can be heard; the constellations appear as allegorical figures in the opera and contradict Kepler’s negative concepts: lying beyond all that can be researched by mankind is a final majestic realm with the powers to ‘permit us to be amalgamated into a gigantic harmony of the spheres.’ / Date parution : 2022-07-20/ Répertoire / Opéra

Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra

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.

Par LOPEZ DE ARENOSA E.. El Solfeo en Canciones ha nacido de una manera natural y poco a poco, fruto del trabajo diario de las propias clases de la autora. Esta obra quiere ser, dentro de su sencillez, una forma natural de hacer música desde el primer día de una clase de Solo es un método sino un material complementario que prepara, archiva y resume los conocimientos solfísticos./ Recueil / Opéra Théorique ou Didactique

Facsimile of the autograph score from the National Archive of the Richard Wagner Foundation Bayreuth. Par WAGNER RICHARD. Knowledge, pity, redemption: Richard Wagner took up these major themes in “Parsifal”, the music drama that he completed 13 months before his death and referred to as his “most conciliatory work”. Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day. Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure. The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance. In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript./ Répertoire / Opéra

Par STORNELLO ALEX. Comment étudier leur, leur construction, leur application, écoute et en observant les grands guitaristes vous voir en eux la possibilité de prendre connaissance de la musique d'écailles. Les échelles de contrôle mélodique vous obtenez prenant de nature technique et manipulation suite erimenti de notre créativité. Dans la première partie de ce dictionnaire montrera, à l'aide de l'échelle de la major, toutes les possibilités de développement des scalaires doigtés. Dans la deuxième partie montrera comment dériver toutes les échelles de sare votre imagination expressive. Dans la troisième partie montrera comment développer le contrôle mélodique et la gestuelles solutions scalaires. Cette vidéo, puis, vise à fournir des idées nouvelles et intéressantes pour votre improvisations. Buoro !/ Etude / Opéra Théorique ou Didactique

Par SIERRA F.. Colección de 180 pequeñas piezas para voz y piano repartidas en seis libros en las que, progresivamente, se abordan los distintos problemas que plantea la entonación solfística. Idónea como material complementario en la asignatura de Lenguaje Musical / Pédagogie / Solfège/Formation Musicale / Opéra Théorique ou Didactique

Theory. Par VIANA ALEJANDRA. Un guide illustré qui montre les concepts du monde de base de fascinate de l'harmonie ! Les exemples sont présentés sous forme de diagrammes et d'images qui sont montrés sur le disque compact dans acompanamieto. / Pédagogie / Méthode / Opéra Théorique ou Didactique