SKU: HL.49015947
ISBN 9790200207712.
SKU: BT.MUSMS0286
Spanish.
Cualquiera que sea su nivel, Ud encontrará en este libro material para ampliar su cultura musical y para disfrutar tocando las más grandes melod as de la música clásica en su bajo. Todos los grandes compositores que han dejado huella en la historia de la música (Mozart, Bach, Beethoven, Tcha kovski, Verdi, Brahms, Wagner, Vivaldi...) están presentes en nuestro libro a través de sus mejores obras. Melod as conocidas de todos, los mayores “éxitos†de la música clásica que uno podrá presumir saber tocar al bajo. Transcritas en solfeo y cifra y con las posturas que le vienen mejor al toque al bajo, dichas maravillosas melod as están grabadas en el CD adjunto, en unas versionesvariadas y modernas (con uno o más efectos: chorus, distorsión, delay...). Tendrá también a su disposición un playback completo para tocar cada una de ellas “en situaciónâ€... ¡Una maravilla!
SKU: TM.06035SET
SKU: HG.GH-4952
Nur in Chorstarke, ab 20 Stuck.
SKU: TM.06035SC
SKU: BT.EMBZ20017A
English-German-Hungarian.
In 1845 Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). It was central to his ambition to attain status as a major European composer, with premieres variously planned for Milan, Vienna, Paris and London. But he abandoned it half way through, and the music he completed has lain silently for 170 years. Liszt’s difficulty in obtaining a libretto meant that composition only began in April 1850. He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music ‘sketch book’. The unnamed librettist was an Italian poet and political prisoner, seemingly living under house arrest, and a close acquaintance of Cristina Belgiojoso. His libretto survives as underlay in the N4 sketchbook and has been critically reconstructed and translated. Sardanapalo is Liszt’s only mature opera. While he consistently referred to it in French, as Sardanapale, the published title of the Italian opera would almost certainly have used the Italian name, hence this forms the title of the first edition. There are three solo roles and a chorus of concubines. The manuscript was previously thought to be fragmentary and partially illegible, but it was finally deciphered to international acclaim in March 2017. Liszt’s score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian. The opera sets Byron’s tragedy about war and peace in ancient Assyria: the last King, effeminate in his tastes, is drawn to wine, concubines and feasts more than politics and war: his subjects find him dishonourable (a ‘man queen’) and military rebels seek to overthrow him, but are pardoned, for the King rejects the ‘deceit of glory’ built on others’ suffering: this leads only to a larger uprising, the Euphrates floods its banks, destroying the castle’s main defensive wall, and defeat is inevitable: the King sends his family away and orders that he be burned alive with his lover, amid scents and spices in a grand inferno. As Byron put it: ‘not a mere pillar formed of cloud and flame, but a light to lessen ages.’ For his part, Liszt told a friend that his finale ‘will even aim to set fire to the entire audience!’ This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.
SKU: BR.EB-2066
ISBN 9790004160770. 7.5 x 10.5 inches.
Text by the composer Translation: engl. (M. E. Browne) Place: Bagdad Characters: Der Kalif (baritone) - Baba Mustapha, ein Kadi (tenor) - Margiana, seine Tochter (soprano) - Bostana, eine Verwandte (alto) - Nureddin (tenor) - Abul Hassan Ali Ebn Bekar, Barbier (bass) - 1. Muezzin (bass) - 2. Muezzin (tenor) - 3. Muezzin (tenor) - Ein Sklave (tenor) - Vier Bewaffnete (2 Tenore, 2 Basse) Corneliuss opera got off to a bad start, to say the least: the scandal provoked at the first performance in Weimar in 1858 led to protests and ultimately to the resignation of Franz Liszt as court opera director. It was not until 1904 that the opera was played again in that city and proved that the scandal had not been caused by the work but by Liszts aesthetic views. The score was long considered as the ideal example of a musical comedy with a far too complicated plot. Today, however, many prominent commentators beg to differ: This is one of the sunniest scores ever written. Music in the spirit of Mozart and Mendelssohn: a highly delicate mixture of classical formal rigor and romantic irony, heightened with just a touch of exquisite sensuality that has just wafted in from the Orient. It is practically incomprehensible how Cornelius could have been regarded as a composer of the Wagner school for practically a century. With its intricate fusing of comedy, lyricism and sentimentality, it is precisely the opera that Schubert, Schumann, E.T.A. Hoffmann and Mendelssohn were unable to write. (Hans Zender).
SKU: BT.ALHE33396
French.
Cendrillon (Cinderella), with a libretto by Henri Cain based on Perrault's fairytale, premiered in 1899 in Paris. Best known for composing over thirty operas, the composer, Jules Massenet (1842-1912) purposely did not attend thepremiere, but received a telegram the following day from baritone Fugère recording its triumph. Incorporating the composer's sense of humour and wit, the use of recurrent motifs is subtle and often thought to be inspired byRichard Wagner. Cendrillon contains musical echoes of the 18th century, incorporating gallant music, the use of the Lute and Viola D'Amore and a series of Ballet entrées. The Opera is in four acts with 19 characters and a chorus.The role of Prince Charming is a breeches role whilst the melody lines of the Fairy Godmother are characterised by trills and arpeggios. Massenet's Cendrillon remains popular to this day and was notably performed at the RoyalOpera House in 2011.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
