SKU: SU.91770970
An oratorio based on the writings of William Still, a conductor for the Underground Railroad.Libretti by Mark CampbellInstrumentation: Soli, SATB Chorus & Orchestra [2,1 222; 4331; timp, perc, hp; stgs] Duration: 46' Composed: 2017 Published by: Subito Music Publishing Also available:VOCAL SCORE - $39.95 (Item #91770971)CHORUS SCORE - $12.95 (Item #91770972) Performance materials available on rental only: Subito Music Rental Library.
SKU: SU.91770971
An oratorio based on the writings of William Still, a conductor for the Underground Railroad.Libretti by Mark CampbellInstrumentation: Soli, SATB Chorus & Orchestra [2,1 222; 4331; timp, perc, hp; stgs] Duration: 46' Composed: 2017 Published by: Subito Music Publishing Also available:CHORUS SCORE - $12.95 (Item #91770972)STUDY SCORE - $75.00 (Item #91770970)Discount (CHORUS SCORE only) available to organizations renting the orchestra materials. For more information call (973) 857-3440 or email rental@subitomusic.com.
SKU: SU.91770972
An oratorio based on the writings of William Still, a conductor for the Underground Railroad.Libretti by Mark CampbellInstrumentation: Soli, SATB Chorus & Orchestra [2,1 222; 4331; timp, perc, hp; stgs] Duration: 46' Composed: 2017 Published by: Subito Music Publishing Also available:VOCAL SCORE - $39.95 (Item #91770971)STUDY SCORE - $75.00 (Item #91770970)Discount (CHORUS SCORE only) available to organizations renting the orchestra materials. For more information call (973) 857-3440 or email rental@subitomusic.com.
SKU: TM.02994SC
Aka. Gypsy Chorus. Les tringles des sistres. Sc pg 113-124. Original opera version with voice.
SKU: TM.02994SET
SKU: BA.BA10506-01
ISBN 9790006552009. 33 x 26 cm inches. Text Language: Italian. Text: Sterbini, Cesare.
Barenreiter's publication of a new volume of theWorks of Gioachino Rossini, in collaboration with the Center for Italian Opera Studies at the University of Chicago, makes available an edition of the operaIl barbiere di Sivigliawhich meets modern demands. The editors have recently identified numerous carelessly edited places in the last critical edition by referring to additional sources. The greatest changes relate to the overture; for the new edition, no fewer than twenty different autograph manuscripts have been consulted. A detailed appendix containing alternative vocal parts, advice on ornamentation and compositions by Rossini significant in the performance history of the opera complete the volume. A 420-page Critical Commentary is published separately. With this, a critical edition is now available to interpreters, enabling them to perform Rossini's ,,Barber of Sevillewith the greatest possible confidence in the accuracy of the musical material. The performance material is available on hire, and a vocal score will be published at the end of 2009. Through 1829 Rossini was an extraordinarily prolific composer of operas, comic, serious, and semiserious, in Italian and French, as well as of a great deal of vocal and instrumental music. He composed sacred music, vocal treatises, cantatas. Then, for many different reasons, he wrote very little music for more than twentyfive years, if we except some songs and the ' Stabat Mater' . Only after he left Italy definitively for Paris in 1855 did he find his voice again. Between 1857 and 1868 a fresh group of masterpieces issued from his pen, the so-called ' Peches de vieillesse' (Sins of Old Age), including chamber music, songs, and the 'Petite Messe Solennelle'. Philip Gossett, General Editor of Works of Gioachino Rossini, is the Robert W. Reneker Distinguished Service Professor at The University of Chicago and a professordi chiara famaat the University of RomeLa Sapienza. He is also general editor of The Works of Giuseppe Verdi. Barenreiter in cooperation with the Center for Italian Opera Studies at The University of Chicago will publish ten volumes in the series Works of Gioachino Rossini, in critical editions, during the period 2007-2011. These are all volumes that were not issued in theEdizione critica delle opere di Gioachino Rossini.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: TM.07227SET
P/C in set. No specific titles or operas listed; titles in medley form - cannot be played alone. Maestoso, Allegro moderato, Marciale, Lento, Allegretto, Moderato, Allegro, Andante, Allegretto, Allegro marcile, Allegro moderato, Allegretto, Allegro vivo, Vivo.
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handelâ??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part â??Englishâ? oratorio form that he had developed in â??Estherâ? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from â??Il trionfo del Tempo e della Verità â?.
SKU: BA.BA08708-01
ISBN 9790006537846. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh. Text: Leterrier, Eugène / Vanloo, Albert.
WithL'Etoile, Chabrier composed a light-hearted opera which has increasingly enjoyed revivals in recent years. The plot is introduced by King Ouf I who offers his subjects an execution every year on his birthday. Unfortunately the problem now arises that no crime has recently been committed which might serve as a reason for an execution. Finally, he finds a would-be victim in the young Lazuli. However, according to predictions by the astrologer Siroco, Lazuli's fate is closely linked to the king's own life. The comic opera is further bolstered by a story of mistaken identities which involves a great deal of diplomacy, a love story and a large number of refined, yet catchy melodies.Chabrier was a master of the sensitive and complicated art of musical comedy, a field where he can be compared in equal measure to Offenbach, Rossini and Mozart.This vocal score is based on the full score edited by Hugh Macdonald which is published as part of the seriesL'Opera francais. - Authoritative Urtext edition based on the seriesL'Opera francais- Original French text with a German singing translation- Comprehensive foreword (Ger/Eng/Fr)
SKU: BA.BA05441
ISBN 9790006494996. 33.2 x 26 cm inches. Text Language: French. Text: Wailly, Léon de.
Benvenuto Cellini, premiered in 1838, is inspired by the life of the legendary Florentine goldsmith and Renaissance figure. The premiere was a disatster yet even by Berliozâ??s high standards it contains music of exceptional inventiveness and beauty.The work is challenging not least due to the three versions which exist:I The original version (Paris 1) as Berlioz composed itII The version premiered in Paris (Paris 2) after rehearsal and copied into an archival full scoreIII The Weimar version based on the revival in 1852 following changes suggested by LisztOur edition offers a solution to the problem of publishing operas which have been heavily revised by their composers, so that any of its many versions may be adopted on stage today.
SKU: BA.BA04096
ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.
The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli. In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
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