The Christmas favourites Santa Notte (Stille Nacht Heilige Nacht) and L'Albero Di Natale (O Tannenbaum O Tannenbaum) in arrangements for Voice and Piano with lyrics in Italian and German.

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score published in this catalog in November 2019. Antonio Vivaldi?s La Dorilla a heroic-pastoral opera on a libretto by Antonio Maria Lucchini was premiered at the Teatro Sant?Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant?Angelo where despite being greatly revised it was once again successful. Many of its recitatives had been shortened and several arias replaced some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers such as Johann Adolf Hasse Geminiano Giacomelli Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi who adjusted the libretto with the precise aim of satisfying the demands of the public which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context the description of the main source employed and a choice of the critical Notes to the musical text.

Ces trois mélodies pour baryton et piano sont écrites sur des poèmes de Victor Hugo extraits de 'La légende des siècles?. Dans la multitude des visages de Hugo c?est d?abord le poète des sujets grandioses, épiques et solennels qui m?a touché. Ma passion pour l?architecture d?une part et pour les civilisations disparues, antiques et mystérieuses d?autre part m?a fait éprouvé un véritable coup de foudre pour ces 'sept merveilles du monde?.La première 'Les jardins de Babylone? se présente comme une ligne mélodique sensuelle soutenue par un accompagnement liquide d?arpèges, de chants d?oiseaux stylisés et de couleurs harmoniques kaléidoscopiques. La deuxième 'Le Mausolée? est un lent rituel funèbre, avec une écriture vocale déclamée sur les basses puissantes du piano à l?image des fondations du temple de Mausole. Enfin 'Le phare d?Alexandrie? est construit en deux partie : la première est une tempête avec une écriture vocale scandée et rythmique et la deuxième -après la construction du phare- un air virtuose où la joie s?exprime à travers de grandes vocalises et un accompagnement motorique du piano. Après le paradis et la mort le cycle s?achève sur la jubilation de la lumière retrouvée... ' (Guillaume Connesson) / Piano Et Chant / Partition

Singer François Le Roux brings us “Three Posthumous Songs” writen in 1941 by Henri Dutilleux at the request of the great baritone Charles Panzéra. In L’Ange pleureur (The Weeping Angel) a poem by Edmond Borsent there are no tears but much irony as the chubby cherub frets over the “dark deeds” committed by the soul he must guard! Ronsard’s Verses take a delicately archaic style to illustrate the poet’s desire for young Angevin peasant girl Marie Dupin: starting out as pious believers they soon frolic under the sheets as lovers. An excerpt from Rymes written by Pernette du Guillet a poetessfrom Lyon about whom very little is known La Faute en est à toi (Love Blame Yourself) brings a “Renaissance” feel to the graceful crochet-half note rhythm with this third melody following in the footsteps of Ravel and Poulenc.

Dans l?histoire de l?opéra le célèbre mythe d?Ariane la fille du roi abandonnée par Thésée l?homme qu?elle aime est un matériau de prédilection. Avec «Ariane à Naxos» cantate en solo italienne vraisemblablement composée fin 1789 Joseph Haydn réussit une ?uvre poignante illustrant le drame psychologique de l?une des femmes les plus profondément blessées de la mythologie grecque. Deux récitatifs et deux airs d?une grande force musicale voient passer la fille du roi de la peur à la fureur et du deuil à l?amour éploré. Pour son interprétation le soprano pourra s?appuyer à tout moment sur l?édition urtext. Une préface livrant des informations intéressantes sur la genèse de lacantate et de précieuses indications relatives à l?interprétation des récitatifs complètent cette édition élaborée avec soin.

The new reduction of Il barbiere di Siviglia is based on the critical edition of the full score by Alberto Zedda that republished in 2009 appeared in turn as a fully revised edition - in the light of new sources and updated philological criteria -of the historic and pioneering critical edition of 1969. The 1969 Barbiere di Siviglia was based on the autograph and on manuscript and printed sources still considered primary: the copies from Giovanni Battista Cencetti (now kept at the New York Public Library at the Bibliomediateca of Santa CeciliaAcademy in Rome at the Biblioteca Palatina in Parma and at the Bibliothèque nationale de France in Paris) the copies from Naples Florence the main score and vocal scores of the time the fi rst printed libretto many manuscript copies ofAureliano in Palmira work in which Zedda recognized the source of the Symphony of Il Barbiere di Siviglia. To these in 2009 were added all the materials found and transcribed by Zedda after the publication of the volume of 1969.In the Appendices of this edition are published for the fi rst time in vocal score all the new materials added between 1969 and 2009 among them: the aria added for Rosina ?Ah se è ver? (Appendix II) an alternative aria for Rosina for the lessonscene ?La mia pace la mia calma? (Appendix III) an alternative aria for Bartolo ?Manca un foglio? (Appendix IV) and the vocal autograph variants for NN. 5 7 16 (Appendix I).In addition to the musical texts there are - both in Italian and in English - an historical Introduction (in the first volume) and a Critical Commentary to the musical text (in the second volume).