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Earl
VIBRAPHONE
Opera
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Berenice, Regina d'Egitto HWV 38 (HAENDEL GEORG FRIEDRICH)
Opera
[Sheet music]
Barenreiter
Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRI...
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Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRIEDRICH. “Charming Berenice” – the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this “inexpressible delight”. “Berenice” was premiered at Covent Garden Theatre in London just a few days later on 18 May 1737. “Berenice” is one of the “light” operas and offers a wealth of musical gems, the second movement of the overture having become famous as “The Minuet from Berenice”, for instance, as has Berenice’s extended aria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming in Fabio’s “Vedi l’ape” and the sorrowful cooing of a dove in Selene’s “Tortorella che rimira”. The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix which Handel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story’s historical context, the source material and reception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report./ Répertoire / Opéra
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Franz Schubert: Alfonso und Estrella D 732: Opera: Vocal Score
Opera
[Vocal Score]
Barenreiter
Romantische Opera in three acts-Alfonso und Estrella D 732Romatic Opera in 3 Act...
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Romantische Opera in three acts-Alfonso und Estrella D 732Romatic Opera in 3 ActsIn late September or early October 1821 Schubert and his close friend Franz von Schober vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle which belonged to the Bishop of St. Pölten (a close relative of Schober?s) after which they moved on to St. Pölten itself. Roughly a year earlier two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann who blamed the press for the indifferent reception the two works weregiven by the audience. Schubert and Schober now decided it would seem to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.Not until 24 June 1854 was the opera finally performed in Weimar under the baton of Franz Liszt. It only achieved success however in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881 2 allegedly with 'brilliant acclaim'.Urtext of the New Schubert EditionFull score (BA5540) and vocal score (BA5540-90) available for salePerformance material (BA5540-72) available for hire
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Georg Friedrich Händel: Rodrigo Hwv5: Mixed Choir: Vocal Score
Opera
[Sheet music]
Barenreiter
“Rodrigo” was premiered in autumn 1707 in Florence and is therefore ...
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“Rodrigo” was premiered in autumn 1707 in Florence and is therefore one of Handel’s early stage works. The composer only 22 years old wrote a densely-woven musical scenario for his first opera composed in Italy. It masterfully portrays the dramatic states of mind of the protagonists surrounding the Iberian tyrant Rodrigo and the plot full of deception betrayal adultery war as well as the transformation wrought by Rodrigo’s abdication. The work was not as was long thought a commission from the Prince of Medici. Despite this “Rodrigo” seems to have been so popular thatHandel extended his stay in Italy and was able to compose several operas during the following period. In “Rodrigo” the mastery which made Handel’s succeeding opera “ Agrippina” such a success is already clearly evident. “Agrippina” consequently made Handel’s name famous throughout Europe and soon led to his first journey to London. The new vocal score is based on Volume II/2 of the “Halle Handel Edition” (BA 4083). The appendix contains the surviving variants in the versions of the first performances from Handel’s lifetime. Performance material available for hire. Based on the Urtext of the “Halle Handel Edition”. Original Italian text underlaid with German singing translation. Basso continuo and editorial additions in small print. Foreword in two languages (Ger/Eng)
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Georges Bizet: Les Pêcheurs De Perles: Opera: Score
Opera
[Sheet music]
Dover Publications
A pair of men take an oath of eternal friendship but their vow is threatened by ...
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A pair of men take an oath of eternal friendship but their vow is threatened by their attraction to the same woman. The object of their rivalry faces her own dilemma torn between worldly passion and her calling as a priestess.Their romantic triangle forms the heart of this 1863 opera Les Pêcheurs De Perles (The Pearl Fishers) in which the composer of Carmen the world's most popular opera made his first mark.Set in ancientCeylon this enchanting tale of friendship love and betrayal has been performed in Opera houses around the world. The famous Baritone/Tenor duet in the second act is among the most recorded of Opera highlights and a copy of thefull score is essential for conductors as well as for students of composition and orchestration. This large-format version of Bizet's three-act Opera offers musicians an affordable alternative to high-priced hard-to-findeditions.
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Scipione Affricano (CAVALLI FRANCESCO)
Opera
Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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Gioachino Rossini: Mosè In Egitto (Volume 1 + 2): Voice: Vocal Score
Opera
[Sheet music]
Ricordi
Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Eg...
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Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-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.
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Georg Friedrich Händel: Tamerlano HWV 40: Mixed Choir: Score
Opera
[Sheet music]
Barenreiter
Dramma per musica in thre acts-Tamerlano HWV 18; Dramma per musica in 3 acts Han...
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Dramma per musica in thre acts-Tamerlano HWV 18; Dramma per musica in 3 acts Handel began the composition of Tamerlano one of the supreme masterpieces of Baroque opera seria on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano Tragedia per musica which had been set to music by Francesco Gasparini and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October so many alterations and revisions were made that a fresh performing-score had to be writtern very late inthe proceedings to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once in 1731 for three performances. For this revival he marked in the performing score a number of cuts in the recitatives which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.Urtext of the Halle Handel Edition.Full score (BA4052) and vocal score (BA4052-90) available for sale Performance material (BA4052-72) available for hire
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Monteverdi C. - L'orfeo - Vocal Score
Opera
[Vocal Score]
Barenreiter
Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orp...
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Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g
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Faust (GOUNOD CHARLES)
Opera
[Sheet music]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
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Henry Purcell: Purcell Society Volume 26 - King Arthur: Opera: Score
Opera
[Sheet music]
-
Intermediate/advanced
Novello & Co Ltd.
King Arthur (Arr. Laurie)-King Arthur was the only one of Purcell's professional...
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King Arthur (Arr. Laurie)-King Arthur was the only one of Purcell's professionally produced operas to have been designed as a semi-opera; the others were all adaptations of earlier plays. Dryden made a real attempt to integrate the music into the drama but since he ascribed to the dramatic conventions of the period which virtually confined music to allegorical or supernatural beings and thier worshippers or servants shepherds and similar characters the main action mostly occurs in the spoken sections and even the two singing characters Philidel and Grimbald speak more than they sing.
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Faust
Opera
Barenreiter
'Faust? stands for the composer Gounod himself, who was torn between the express...
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'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra
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Antonio Salieri: Prima la musica e poi le parole: Voice: Score
Opera
Barenreiter
Divertimento teatrale in one act-Hardback edition of the full score for Antonio ...
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Divertimento teatrale in one act-Hardback edition of the full score for Antonio Salieri's Prima La Musica E Poi Le Parole.A memorable musical competition commissioned by the Emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima La Musica E Poi Le Parole was performed by the Italian court singers and musicians.This charming opera satire belongs to the genre of 'metamelodramma' in which the opera itself becomes the subject of the action. The people who are part of an opera production forexample the librettist composer and prima donna appear as characters on the stage and are presented in a humorous self-reflection. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether the word or the music should take priority this masterpiece is considered to be an early forerunner to Richard Strauss' Capriccio.
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Claudio Monteverdi: L'incoronazione Di Poppea: Opera: Vocal Score
Opera
[Vocal Score]
Barenreiter
Opera Regia With A Prologue and Three Acts-Drawing on the definitive scholarly-c...
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Opera Regia With A Prologue and Three Acts-Drawing on the definitive scholarly-critical edition by Hendrik Schulze et al. the renowned conductor harpsichordist and organist Jörg Halubek has joined forces with students from the State University of Music and Performing Arts Stuttgart to present a historically informed piano reduction of Claudio Monteverdi?s exciting final opera ?L?incoronazione di Poppea?.The vocal score contains all the appendices found in the full score and includes an uncluttered piano reduction that lies well on the instrument. Rounding off the edition is a detailed musicological Foreword (Ger/Eng) by Emily Hagen providing information on the work?s genesis the history of its performance andreception. In addition there is a Foreword on performance practice by early music specialist Jörg Halubek.
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Jenufa (JANACEK LEOS)
Opera
[Score]
Universal Edition
Oper in 3 Akten aus dem mährischen Bauernleben. Par JANACEK LEOS. With his thir...
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Oper in 3 Akten aus dem mährischen Bauernleben. Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making his breakthrough as an operatic composer. Since the premiere of this moving story about the fate of the sexton and her stepdaughter Jenufa at the Brno National Theatre in 1904, it has become one of the composer's most frequently performed works. Janácek was the first to succeed in transforming everyday speech directly into music. His method of using speech-melodic motives is clearly distinctive. It is known that the composer preserved everyday conversations in the form of little musical sketches: 'Jotting down genuine speech melody is, as it were, music's life class,' he said./ Répertoire / Opéra
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Jenufa (JANACEK LEOS)
Opera
[Study Score / Miniature]
Universal Edition
Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making...
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Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making his breakthrough as an operatic composer. Since the premiere of this moving story about the fate of the sexton and her stepdaughter Jenufa at the Brno National Theatre in 1904, it has become one of the composer's most frequently performed works. Janácek was the first to succeed in transforming everyday speech directly into music. His method of using speech-melodic motives is clearly distinctive. It is known that the composer preserved everyday conversations in the form of little musical sketches: 'Jotting down genuine speech melody is, as it were, music's life class,' he said/ Répertoire / Opéra
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Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
Opera
Barenreiter
Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologic...
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Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.
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Judith Weir: Blond Eckbert - Pocket Version: Opera: Vocal Score
Opera
[Sheet music]
Chester
With a libretto written by Weir herself based on the cryptic supernatural short...
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With a libretto written by Weir herself based on the cryptic supernatural short story Der Blonde Eckbert by Ludwig Tieck. This one act pocket version of the opera makes use of a Chamber group rather thana full Orchestra and omits the chorus.'Eckbert and his wife Berthe live in seclusion in the Harz Moutains. One stormy night Eckbert's friend Walther arrives and to while away the time Berthe tells him her lifestory.Walther mysteriously knows a great deal about Berthe' s early life and Eckbert's suspicions grow eventually leading him to murder Walther during a hunting expediton.Consumed by terror and suspicion Eckbert retreats into seclusion and revisits the fairy-tale scenes of Berthe's childhood accompanied by a magical singing bird. He encounters the old woman who raised Berthe and at last learns the terrible truth about Walther Berthe and himself.' - Judith Weir
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Philip Glass: Satyagraha: Opera: Score
Opera
[Sheet music]
Dunvagen Music Publishers
Acts 1 2 and 3-The second in Glass' trilogy about men who changed the world Sa...
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Acts 1 2 and 3-The second in Glass' trilogy about men who changed the world Satyagraha's sub-text is politics. The opera is semi-narrative in form and deals with Mahatma Gandhi's early years in South Africa and his development of non-violentprotest into a political tool. (Satyagraha is a Sanskrit word meaning 'truth force'). The first two acts each contain three scenes; the last is one continuous scene. Each act is dominated by a single historic figure (non-singingrole) overlooking the action from above: the Indian poet Rabindranath Tagore in Act I the Russian author Leo Tolstoy in act II the American civil rights leader Martin Luther King Jr. in Act III
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Richard Wagner: Fliegende Hollander WWV 63: Opera: Score
Opera
Dover Publications
in Full Score-With this great early opera Wagner achieved the first true repres...
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in Full Score-With this great early opera Wagner achieved the first true representation of his mature style as a German Romantic composer. Reproduced directly from the limited 1896 Weingartner edition that corrected numerous errors and incorporated Wagner's revisions. In addition the text and stage directions appear in English German and Italian.Reprint of the Weingartner 1896 edition.
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Judith Weir: Blond Eckbert - Pocket Version (Full Score): Opera: Score
Opera
[Sheet music]
Chester
With a libretto written by Judith herself based on the cryptic supernatural sho...
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With a libretto written by Judith herself based on the cryptic supernatural short story Der blonde Eckbert by Ludwig Tieck. This one act pocket version of the opera makes use of a Chamber group rather than a fullorchestra and omits the chorus.'Eckbert and his wife Berthe live in seclusion in the Harz Moutains. One stormy night Eckbert's friend Walther arrives and to while away the time Berthe tells him her lifestory.Walther mysteriously knows a great deal about Berthe' s early life and Eckbert's suspicions grow eventually leading him to murder Walther during a hunting expediton.Consumed by terror and suspicion Eckbertretreats into seclusion and revisits the fairy-tale scenes of Berthe's childhood accompanied by a magical singing bird. He encounters the old woman who raised Berthe and at last learns the terrible truth about Walther Berthe and himself.' - Judith Weir
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Gustav Holst: Savitri: Opera: Vocal Score
Opera
[Sheet music]
J. Curwen and Sons
Gustav Holst has earned a place among the most revered of late 19th and early 20...
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Gustav Holst has earned a place among the most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.But before that great work in his use of Englsh folksongs Gnostic texts and these Vedic hymns one can discern Holst’s search for a compositional Voice beyond the constraints of the European canon in the early 1900’s. In Savitri he makes use of modal styles bitonality austerity ofOrchestration in some places richness of texture in others and an ability to suggest Indian exoticism. The piece has a performance time of thirty minutes and has minimal staging requirements.
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Amadeo Vives: Amadeo Vives: Bohemios Vocal Score: Opera: Vocal Score
Español
Opera
[Sheet music]
Unión Musical Ediciones
Bohemios was based on Henry Murger’s Scènes de la vie de bohème th...
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Bohemios was based on Henry Murger’s Scènes de la vie de bohème the same source for the operas of both Puccini and Leoncavallo.At its première in 1904 the Chorus of bohemians in Bohemios received such a rapturous response from the audience that three encores were demanded. The piece was performed an average of nine hundred times per year in its first twenty years and a fully operatic version was later produced. Amadeo Vives was a composer conductor and teacher of music in Spain in the late 19th and early 20th century. He was a choirmaster of renown and composer of many serious works as well as operettas and zarzuelas of which Bohemios was one of his best works. He broughtto zarzuela a raised standard of harmony Orchestration and taste and he suffered the frustrations of people of serious ambition whose lighter works are the most beloved and remembered.
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Giacomo Puccini: La Bohème: Opera: Libretto
Opera
Schirmer
Puccini's 'La Boheme' is based on Henri Murger's novel 'Scènes de la vie de boh...
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Puccini's 'La Boheme' is based on Henri Murger's novel 'Scènes de la vie de bohème' which draws it's inspiration from the Bohemian lifestyle which was somewhat in vogue in Paris at the time. This Libretto by Giuseppe Giacosa andLuigi Illica runs as follows:Rodolfo?s neighbour in his garret Mimi knocks at the door saying her candle has gone out on the stairs. Rodolfo and Mimi sit in the dark talking and fall for each other. They go to meetRodolfo?s friends. While there Marcello's former lover Musetta arrives with her new husband Alcindoro but distracting him falls into Marcello's arms. Some time later Mimì pours out her distress to Marcello over Rodolfo'sincessant jealousy Rodolfo is actually concerned about Mimi?s poor health and wants to part with her. On realising this the two decide to stay together until spring Marcello and Musetta meanwhile part when she isunfaithful.Some months later Rodolfo Marcello and friends are amusing themselves in the garret when Musetta bursts in saying Mimi is downstairs and has begged to be taken to her lover to die. She dies almost happily recalling their early love.
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Anyone Can Improvise (AEBERSOLD JAMEY)
Opera
[DVD]
Jamey Aebersold Jazz
Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features ...
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Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features Jamey at the piano explaining and demonstrating the fundamental techniques used by all great jazz improvisors. Topics covered include chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs, and much more. This DVD not only provides the technical information essential to getting started on improvisation but also serves as an overview of the entire creative process in terms that even a non-musician could understand. Jamey also provides much needed motivational material and discusses the philosophy of man'sneed to be creative. A complete presentation! This DVD is closely aligned with the world famous Volume 1 'How To Play Jazz' and Volume 24 'Major and Minor' play-a-longs (see 'related items' below. ) The visual, hands-on demonstration makes their concepts easier to grasp. Jamey even plays along with tracks from those two play-a-long volumes, showing proper application of scales to chords and essential practice techniques. / Jazz / Accessoire / Opéra Théorique ou Didactique
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Georg Friedrich Händel: Parnasso In Festa HWV 73: Mixed Choir: Vocal Score
Opera
[Sheet music]
Barenreiter
Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Hande...
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Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire
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