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PANPIPES
Voix et Piano Réduction
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2 Trompette en Dos 1 Cor en Fa… (8)
Hautbois, 2 Flûtes Traversiè… (8)
Solistes SATB, Choeur SATB, 4 … (8)
Quatuor à Cordes et Narrateur… (8)
Solo Baryton, Choeur SATB, 2 H… (8)
3 Violons, Alto et Violoncelle… (8)
Flûte, Hautbois et Clarinette… (8)
Flûte Traversière, 2 Violons… (8)
Solo A, Timbales, Percussions … (8)
Solistes SATB, 2 Cors, 2 Violo… (8)
Clarinette en Sib Solo (8)
Flûte à Bec Alto, 2 Violons … (8)
Choeur d'Hommes (TTBB) et Pian… (8)
Solistes SSAATTB, Choeur SATB,… (8)
Voix Et Orff-Instruments (8)
Violon, Alto, Violoncelle et C… (8)
Flûte Traversière (1 Partiti… (8)
Clarinette et Orchestre à Cor… (8)
Hautbois et 4 Clarinettes (8)
Flûte à Bec Alto ou Flûte T… (8)
Solistes SATB, Choeur SATB, 2 … (8)
Hautbois (1 Partition) Violons… (8)
Flûte Traversière, Cor des A… (8)
Solistes, 1-2stg Choeur d'Enfa… (8)
Flute, Violin, Viola (8)
Harpe et Quintette à Cordes (… (8)
Violon, Violoncelle, Alto et C… (8)
Piano Et Guitare (8)
2 Flûtes Traversières et Vio… (8)
Viola da Gamba, Basso continuo… (8)
Trompette Sib (1 Partition) Vi… (8)
Solistes SATB, Choeur SATB, 2 … (8)
Sextuor (8)
Flûte Traversière, Violoncel… (8)
Violon, Orgue Obligatoire, Cor… (8)
Orchestre à Cordes et Percuss… (8)
Solo S, Flûte Traversière, 2… (8)
Flûte 1 Hautbois 1 Clarinette… (8)
Violon, Alto, 2 Cors et Contre… (8)
Ensemble Instrumental (8)
Cornet (8)
Solistes SSA, Choeur SATB, 2 F… (8)
Cors Et Autres Instruments (8)
Harpe ou Piano et Violon (8)
SATB, 4 Parties Mixtes, 2 Viol… (8)
Clarinette, Piano, Violon et V… (8)
2 Flûtes à Bec Alto ou Flût… (8)
4 Parties Mixtes, 2 Violons, 2… (8)
Choeur Et Petite Formation (8)
Quatuor à Cordes ou Orchestre… (8)
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Flûte à Bec, Guitare et Musi… (8)
2 Violons, Alto et Basse Conti… (8)
Descant (Soprano) Recorder, Ba… (8)
Harpe et Quatuor à Cordes (8)
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Violon, Alto et Piano (8)
Petit Orchestre: Récitant, So… (8)
Flûte Traversière et Quatuor… (8)
Gemischter Chor (SSATB/SSATB/S… (8)
Oboe, Clarinet, Bassoon (trio)… (8)
Soprano, Alto, Cordes et Basse… (8)
Flûte Traversière et Piccolo… (8)
Trompette et Cordes (8)
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2 Oboes, 2 Horns and 2 Bassoon… (8)
Flûte à Bec Soprano (Flûte … (8)
Choeur De Femmes (SA) Et Piano… (8)
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Bagpipe (8)
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Guitare Fingerpicking (8)
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Fake Book (8)
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Opéra (8)
Choeur d'Enfants (7)
Solistes SSATB, Choeur SSATB, … (7)
SB, 4 Parties Mixtes et Orches… (7)
Bombard and Organ (7)
Flute, Violin, Piano (7)
Solistes SATB, Choeur SATB, (a… (7)
Saxophone Soprano (7)
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Lecture (7)
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Cornet ou Trompette et Brass B… (7)
Violon, Violoncelle Et Alto (7)
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Flûte Traversière, Violon, I… (7)
DVD (7)
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Lecture de Notes et Du Rythme (7)
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Flûte Traversière Et Hautboi… (6)
Mug (6)
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Ondes Martenot (5)
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2 Violons, 2 Altos, 2 Violonce… (5)
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Score (5)
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Vent (Flûte, Clarinette et Ha… (4)
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Cor de Basset, Vibraphone et G… (4)
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Violon Ou Flûte, Violoncelle … (4)
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Quintette de Cuivres et Orgue (4)
Children's Choeur 1 Piano (4)
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2 Violons Et Piano Et Violonce… (4)
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Mosè In Egitto 1 - 2 (ROSSINI GIOACHINO)
Voix et Piano Réduction
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Intermediate
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Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSIN...
(+)
Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III. '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 the Bibliothèque 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. ' 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. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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MeSSA In Re Maggiore (PERGOLESI GIOVANNI BATTISTA)
Voix et Piano Réduction
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Intermediate
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Ed. Critica Di C. Bacciagaluppi - Riduzione Per Canto E Pianoforte. Par PERGOLES...
(+)
Ed. Critica Di C. Bacciagaluppi - Riduzione Per Canto E Pianoforte. Par PERGOLESI GIOVANNI BATTISTA. Pergolesi wrote his Mass in D major for an unknown occasion. The composition however is similar in quality and commitment to his other Mass in F major. Numerous manuscript copies all over Europe testify to the fortunate reception of the work in the eighteenth century. As was traditional in Naples, Pergolesi limited his composition to the “Kyrie” and “Gloria”. The festive character of the work is emphasized by the rich scoring for vocal soloists, five-part choir and a full orchestra of strings and winds. This edition, made with strict philological criteria, is based as its main source on a set of parts preserved partly in Naples, partly in Montecassino. These parts were made for aperformance conducted by the composer, who added various autograph annotations. Among the secondary sources are two period Neapolitan scores, today in Bologna and Dresden. The book includes a historical introduction (which traces the history of the genre in Naples and the relationship between the two Masses by Pergolesi) and the critical notes. / Niveau : Intermédiaire / Messe / Répertoire / Voix et Piano Réduction
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Jubilate, O Amoeni Rv 639/639A - Gloria, Rv 588 (VIVALDI ANTONIO)
Voix et Piano Réduction
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Intermediate
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVAL...
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVALDI ANTONIO. RV 588 is Vivaldi’s ‘other’ Gloria, a composition having many parallels with Vivaldi’s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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Stabat Mater (PERGOLESI GIOVANNI BATTISTA)
Voix et Piano Réduction
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Ed. Critica Di C. Toscani - Reduction For Voice And Piano By Antonio Frigé. Par...
(+)
Ed. Critica Di C. Toscani - Reduction For Voice And Piano By Antonio Frigé. Par PERGOLESI GIOVANNI BATTISTA. The present reduction derives from the critical edition of the score, also published in this catalog on Novembre 2012 (NR 139699). The critical edition returns the text of the Stabat mater thanks to a study of a particular scientifi c authority andphilological rigor: as main source the edition is based on the autograph score (now kept in the Archives of the Abbey of Montecassino) and on a number of manuscript sources selected (among the many existing) for their greater guarantee of fi delityto the original. The present edition includes a synthetic introduction of the historical context, the description of the main sources employed and a choice of the critical Notes to the musical text. / Opéra-opérette / Répertoire / Voix et Piano Réduction
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Beatus Vir Rv 795 (VIVALDI ANTONIO)
Voix et Piano Réduction
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Intermediate
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVAL...
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVALDI ANTONIO. Reduction for voice and piano based on the critical edition of the orchestral score by Michael Talbot. With an introduction and a critical commentary. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
19.50 EUR - Sold by LMI-partitions
(Seller in french langage)
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Sogno (Ma Forse No)
Voix et Piano Réduction
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Opera Completa. Par CHAILLY LUCIANO. Opera Completa / Opéra-opérette / Réper...
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Opera Completa. Par CHAILLY LUCIANO. Opera Completa / Opéra-opérette / Répertoire / Voix et Piano Réduction
70.50 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time:
3-10 days - In Stock Supplier
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