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LES PALADINS RCT 51 (RAMEAU JEAN-PHILIPPE)
Piano, Voice
[Sheet music]
Barenreiter
Comédie-ballet in three Acts. Par RAMEAU JEAN-PHILIPPE. This edition presents a...
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Comédie-ballet in three Acts. Par RAMEAU JEAN-PHILIPPE. This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau. It comes with a vocal score for study and rehearsals as well as with a compilation of the purely instrumental parts for performance as a suite in the concert hall. In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Boréades” – the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this Comédie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones: and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opéra. The critical new edition published as part of the “Opera omnia Rameau” series offers the final version, supplemented in the appendix by the variants of the original version. Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians./ Répertoire / Chant et Piano
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My Alleluia: Vocal Album
Piano, Voice
Shawnee Press
Vocal Solos for Worship-Heather Sorensons inaugural vocal solo book is a treasur...
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Vocal Solos for Worship-Heather Sorensons inaugural vocal solo book is a treasure trove of sacred gems for church musicians. This collection thrives at the intersection of music and message providing stylistic diversity and subject variety with each turn of the page.Tasteful piano accompaniments showcase the composers instrument of choice but accompaniment tracks are also available. Dont miss this thoughtful gathering of some of Heathers most inspired songs! Includes: Home; My Alleluia; Mercy Still; Rock ofAges (Forgiven and Free); Christmas Dreams; Come Thou Fount of Every Blessing; Lullaby Prayer; Turn Around and See; Stained Glass; Raise Your Hands.
19.99 GBP - Sold by Musicroom UK
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Antonio Vivaldi: Dixit Dominus RV 595: Voice
Piano, Voice
Ricordi
Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The Dixit ...
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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.
12.99 GBP - Sold by Musicroom UK
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Catone In Utica
Piano, Voice
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
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The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Catone In Utica
Piano, Voice
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
(+)
The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Liebeslieder - Love Songs
Piano, Voice
[Sheet music]
Carus Verlag
80 Arrangements For Weddings And Celebrations. What would love be without music ...
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80 Arrangements For Weddings And Celebrations. What would love be without music - or music without love! Many couples associate unforgettable beautiful hours, a first meeting, or first kiss with a particular song. And composers have always been inspired and stimulated by love, have celebrated romantic love and longing from afar, secret love, and jealousy. In her selection of 80 songs from seven centuries, Mirjam James evokes this tremendous feeling with the most beautiful songs ranging from medieval courtly songs, through Beethoven's Ich liebe dich, to the Beatles song And I love her. Many of the songs come from German and English language traditions, but what would such a book be without the fire of southern Europe or a dose of French charm, without the moving melodies of cool northern climes, or the melancholy songs of the Russian soul? A vocal score has been published which contains all of the the songs in the new Carus book of lovesongs in easily playable accompaniments. For many of these songs choral settings by famous composers such as John Dowland, Thomas Morley, Thomas Tallis or Thoinot Arbeau have been adopted, wherever possible, in their original form. In addition, well-known and familiar original settings by Beethoven, Brahms, Benjamin Britten, and other composers will be found in this collection. Songs with entirely new accompaniments have also been included, resulting in a collection of lovesongs offering a distinctive stylistic variety suitable for many different occasions./ Répertoire / Chant et Piano
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Edward German: Charming Chloe In E Flat (Medium Voice And Piano): Medium Voice:
Piano, Voice
Novello & Co Ltd.
Edward German was an English musician and composer of Welsh descent best rememb...
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Edward German was an English musician and composer of Welsh descent best remembered for his extensive output of incidental music for the stage and as a successor to Arthur Sullivan in the field of English comic opera. While French influences are clearly apparent in his music overall German was a ‘stylistic cosmopolitan who wrote music that is quintessentially English’ (David Russell Hulme). While some of his music became outdated with new styles taking the limelight in the 20s and 30s his songs were still widely performed and recorded in the 50s including Charming Chloe. This version in E-flat for medium Voice and Piano Accompaniment waspublished by Novello & Co.
4.50 GBP - Sold by Musicroom UK
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4 Russian Songs Voix/Piano (STRAVINSKY)
Piano, Voice
[Sheet music]
Chester
Par STRAVINSKY. Igor Stravinsky 's compositional career was notable for its styl...
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Par STRAVINSKY. Igor Stravinsky 's compositional career was notable for its stylistic diversity which clearly marks his Four Russian Songs – written while transitioning from his ‘Russian period’ to his ‘neoclassicalperiod’ and thus carrying the unique marks of both. The four songs ( Canard, Chanson Pour Compter, Chant Dissident and Le Moineau Est Anssis ) for high Voice with Piano accompaniment can beperformed as separate pieces but work best when played together. Duration is approx. 7 minutes. French translation by C. F Ramuz. Russian composer, pianist and conductor Igor Fyodorovich Stravinsky is widelyconsidered one of the most important and influential composers of the 20th century. / Rép Classique / Répertoire / Chant et Piano
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