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You've Selected:
Antonio
DJ GEAR
Piano, Voice
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Orlando furioso, opéra(VIVALDI ANTONIO) (VIVALDI ANTONIO)
Français
Piano, Voice
[Sheet music]
Editions Buissonnieres
Par VIVALDI ANTONIO. / Date parution : 2010-01-06/ Répertoire / Chant et Clavi...
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Par VIVALDI ANTONIO. / Date parution : 2010-01-06/ Répertoire / Chant et Clavier
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Salve Regina Rv 616, Rv 617, Rv 618 (VIVALDI ANTONIO)
Piano, Voice
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Intermediate
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VI...
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano
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JoaquÃn Rodrigo: Con Antonio Machado: Voice: Vocal Album
Español
Piano, Voice
[Sheet music]
Unión Musical Ediciones
Con Antonio Machado - Poemas de Antonio Machado by Joaquin Rodrigo for Voice and...
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Con Antonio Machado - Poemas de Antonio Machado by Joaquin Rodrigo for Voice and Piano. Composed 1971.
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Antonio Machado: Album De Leonor: (Antonio Machado) Voice and Piano: Voice:
Español
Piano, Voice
[Sheet music]
Unión Musical Ediciones
Album De Leonor: (Antonio Machado) Voice and Piano
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Antonio Vivaldi: Juditha Triumphans Devicta Holofernis Barbarie: Voice: Vocal
Piano, Voice
[Sheet music]
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Riduzione per canto e pianoforte RV 644-Antonio Vivaldi's Juditha Triumphans Dev...
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Riduzione per canto e pianoforte RV 644-Antonio Vivaldi's Juditha Triumphans Devicta Holofernis Barbarie for Voice with Piano accompaniment.Â
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Antonio Vivaldi: Gloria RV 589: Voice
Piano, Voice
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Ed. Critica M.Talbot - Reduction for voice and piano by Antonio Frigé-The prese...
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Ed. Critica M.Talbot - Reduction for voice and piano by Antonio Frigé-The present reduction derives from the critical edition of the score published in this catalog in 2002 (PR 1362). Although it is not possible to establish with certainty the time and the occasion for which it was composed - between the end of 1716and beginning of 1717 - the Gloria RV 589 is the best known among the works Vivaldi wrote on this subject enough to be considered the Gloria by Vivaldi.The critical edition is based on the only source available the autograph full score now kept at the National University Library of Turin Codex Giordano 32. It restores the famous Vivaldi text based on the revised criteria by the Committee of theCritical Edition. The volume includes a synthetic introduction of the historical context and a choice of the critical Notes to the musical text.
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Antonio Vivaldi: Salve Regina RV 616 RV 617 RV 618: Vocal: Score
Piano, Voice
[Vocal Score]
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Intermediate
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The pre...
(+)
Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617 and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments respectively a flute and a pair of oboes whereas the instrumentation of the first is confined to strings disposed in a single coro although a solo violin is employed in three movements. RV 617 preserved in a non-autograph source in Brno belongs to Vivaldi?s first period of sacred music composition at the Pietà (1713-1717) while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores prepared by Antonio Frigé are closely based on those of the Critical Editions by Michael Talbot published in 1998 1990 and 1994.
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Antonio Vivaldi: Arie D'Opera per Soprano: Opera: Vocal Score
Piano, Voice
[Sheet music]
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Reduction for voice and piano-12 Arias based on the Critical Edition of the Ful...
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Reduction for voice and piano-12 Arias based on the Critical Edition of the Full Scores published by the Istituto Italiano Antonio Vivaldi. Introduction in English and Italian
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Il Teuzzone RV 736 (VIVALDI ANTONIO)
Piano, Voice
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Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. Par VIVALDI...
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Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. Par VIVALDI ANTONIO. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed./ Répertoire / Chant et Piano
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Antonio Vivaldi: Stabat Mater RV 621: Countertenor: Vocal Score
Piano, Voice
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Vocal Score-Antonio Vivaldi's Stabat Mater RV621 for Voice and Orchestra.
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Antonio Vivaldi: Il Teuzzone RV 736: Vocal and Piano: Vocal Score
Piano, Voice
Ricordi
Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teu...
(+)
Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.
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Antonio Vivaldi: La Dorilla RV 709: Vocal: Vocal Score
Piano, Voice
[Vocal Score]
-
Easy
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Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The ...
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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.
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Antonio Vivaldi: Dixit Dominus RV 595: Voice
Piano, Voice
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Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The Dixit ...
(+)
Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The Dixit Dominus RV 595 shares a key and some further characteristics with the better-known setting of the same psalm RV 594 but differs from it markedly: first in being scored for an undivided ensemble (i.e. not ?in due cori?): second in belonging to Vivaldi?s first period of sacred music composition around 1715 rather than to a later period. There are stylistic parallels too with Vivaldi?s two Gloria settings RV 588 and RV 589. Three of the eleven movements making up RV 595 use borrowed material which in two instances is taken from movements by unknown composers in Vivaldi?s own collection and in one instance (heavily disguised) from a published madrigal(1705) by Antonio Lotti. The borrowings are absorbed extremely well into the fabric of the setting and do not disrupt its well-unified character. Among the high points of RV 595 are its opening pair of moments ? the first bustling and the second poignantly reflective ? and the fourth movement ?Tecum principium? where two obbligato cellos enter into dialogue with two sopranos. This Dixit Dominus preserved uniquely in Prague ranks among Vivaldi?s finest large-scale sacred vocal compositions. The Introduction and Critical Commentary for this vocal score are based on the Critical Edition by Michael Talbot published in 1993.
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La Fida ninfa, opéra, réduction chant et clavier (VIVALDI ANTONIO) (VIVALDI ANTONIO)
Français
Piano, Voice
[Sheet music]
Editions Buissonnieres
Par VIVALDI ANTONIO. L'?uvre lyrique de Vivaldi reste paradoxalement méconnue :...
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Par VIVALDI ANTONIO. L'?uvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notamment les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une ?uvre colossale, préservée en grande partie à la bibliothèque de Turin : plus de 450 compositions manuscrites, pour la majorité autographes. Créé à Vérone en janvier 1732, pour l?inauguration du Teatro Filarmonico,cet opéra est tombé dans l?oubli, malgré la beauté et la virtuosité des arias. La redécouverte du manuscrit, conservé à la bibliothèque de Turin, a permis d?en faire une édition complète, inédite, en 2004. Le matériel d'orchestre, 'urtext', a été préparé à partir de ce manuscrit. Il a été revisé par Jean-Christophe Spinosi, directeur musical de l'ensemble Matheus, et Laurence Paugam (premier violon de l'ensemble) et enregistré par cet ensemble en 2008. Le matériel d'orchestre de l'opéra La fida ninfa est disponible en location et en réduction clavier (consulter le site des Editions Buissonnières), ainsi que les airs, individuellement. / Date parution : 2013-05-02/ Répertoire / Chant et Clavier
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Sonata In Gm (VIVALDI ANTONIO)
Piano, Voice
[Sheet music]
Simrock
Edition De Concert Arrangement Pour Piano & Chant. Par VIVALDI ANTONIO. / Réper...
(+)
Edition De Concert Arrangement Pour Piano & Chant. Par VIVALDI ANTONIO. / Répertoire / Voix et Piano
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Girl From Ipanema, The (JOBIM ANTONIO CARLOS)
Piano, Voice
Carisch
Par JOBIM ANTONIO CARLOS. Arranged for Piano, Vocal./ Feuillet / Chant et Piano
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Ruiz-Pipo Cinco Tonadas Vx/Piano (RUIZ-PIPO ANTONIO)
Piano, Voice
[Sheet music]
Eschig
Par RUIZ-PIPO ANTONIO. / Répertoire / Chant et Piano
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Hit Lerele
Français
Piano, Voice
Capte Note
Compositeur(s): JAN ERIK NILSSON, SAMUEL ALVARO MEDINA and ANTONIO CARMONA / Pia...
(+)
Compositeur(s): JAN ERIK NILSSON, SAMUEL ALVARO MEDINA and ANTONIO CARMONA / Piano Et Chant
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