Per L'Esame Di Teoria E Solfeggio.. Par MONACHINO GIUSEPPE. / Théorie / Opéra Théorique ou Didactique

Daníel Bjarnason?s Brothers is an opera in three acts. The 100-minute work, with a libretto by Kerstin Perski, is based on the screenplay of the same name by Susanne Bier and Anders Thomas Jensen. Commissioned by the Danish National Opera / Den Jyske Opera, the opera follows a miliary officer after he returns home from the war in Afghanistan, finding that his relationship with his family has changed forever. The first performance took place on 16 August 2017 at Musikhuset Aarhus. This Edition Peters product is the opera vocal score. The full score and parts are available to hire.

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

Opera Vocal Score-'More than anything else Margaret Garner is an opera that reminds us that we all belong to the same human family and it demonstrates what can happen when we forget this fundamental truth... - RichardDanielpour This Opera by Grammy-winning composer Richard Danielpour tells the story of Margaret Garner an enslaved African-American woman in pre-Civil War America who gained notoriety for killing her owndaughter to prevent her from suffering the degradation of a life of slavery. In this adaptation of the famous tale Edward Gaines acquires his deceased brother’s Kentucky estate and pledges to let all of the slave familieson the Maplewood Plantation stay together. However when he takes a special interest in one of the slaves Margaret Garner it is not long before her husband Robert is sent away alone to another plantation. One night Robertsneaks back to Maplewood and attempts to escape with Margaret and their children to the ‘Free State’ of Ohio. They are caught and Margaret murders her children in a crime of passion sparing them from a life of slavery. Margaretis condemned to death and although she is granted clemency at the last minute she chooses the freedom of the gallows over life as a slave. The tragic work features a libretto by Toni Morrison and gained highcritical praise at its first performance in Philadelphia in 2006. Watch a clip from the performance here:

The fifteenth full Opera from the prolific Hans Werner Henze and the first to feature a self-penned libretto. After the poems he wrote for his Songs from the Arabian Henze has produced this unusal tale through adaptingboth Arab and Persian legends and invoking the same half-real half-imaginary Arabia as the song cycle. The story itself is a fairy tale comedy with much in common with The Magic Flute. The orchestral arrangement is huge featuring quadruple wind five percussionists and a part for tape.

Iain Bell's A Harlot's Progress is an Opera in six scenes featuring a libretto by Peter Ackroyd based upon William Hogarth’s 1730 etchings of the same name.This is a full score for Soprano Mezzo-Soprano (x2) Baritone Tenor and Bass soloists with SATB chorus and Orchestra.

Ed. critica delle opere di A. Vivaldi - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score just published in this catalog. La Griselda was composed and performed in Venice in the spring of 1735 for the occasion of the Ascensiontide fair (Sensa). The taskof adapting the libretto by Apostolo Zeno to the particular exigencies of the production was assigned to a young writer of comedies attached to the company led by Giuseppe Imer: Carlo Goldoni. The latter immortalized in his Mémoires hismeeting with Vivaldi and the composer?s inseparable prima donna the contralto Anna Giraud confessing to having been forced against his will to ?assassinate? Zeno?s drama at the composer?s whim. La Griselda was favourably received bythe audience at the San Samuele theatre remained the sole opera by Vivaldi to be staged at a theatre owned by the powerful Grimani family. The present edition includes a synthetic introduction of the historical context the description of the mainsource employed and a choice of the critical Notes to the musical text.

Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

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.

Par VINAY VITTORIO / GIUFFREDI B.. Pour les cours supplémentaires et l'harmonie principale et des cours préparatoires pour l'université à l'adresse musicologie. Modulation, désambiguïsation, la transition vs polarisation, réinterprétation enharmonique, des applications, des tests de modèles de tableaux de typologiques. Connaissant les modulations est d'être en possession d', puis savoir comment manoeuvrer, les règles par lesquelles la combinaison d'unités génératrices de cadentielle contextes tonale correcte, ce qui n'est possible que si l'étude n'est pas le résultat d'enregistrements contestiri plus ou moins empiriques, mais le résultat d'une hypothèse théorique déduite du système scalaire comme une structure capable de générer les principes de l'organisation du contexte. / Formation musicale / Recueil / Opéra Théorique ou Didactique