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You've Selected:
Aïda
Voix et Piano Réduction
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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La Fida Ninfa Rv714 (VIVALDI ANTONIO)
Voix et Piano Réduction
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Based on Critical Edition by Marco Bizzarini - A. Borin. Par VIVALDI ANTONIO. Th...
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Based on Critical Edition by Marco Bizzarini - A. Borin. Par VIVALDI ANTONIO. The publications of the vocal score series are based on the critical edition of the full scores. The preparation of these vocal scores was realized by the Editorial Staff ofCasa Ricordi. / Opéra-opérette / Répertoire / Voix et Piano Réduction
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Jubilate, O Amoeni Rv 639/639A - Gloria, Rv 588 (VIVALDI ANTONIO)
Voix et Piano Réduction
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Intermediate
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVAL...
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVALDI ANTONIO. RV 588 is Vivaldi’s ‘other’ Gloria, a composition having many parallels with Vivaldi’s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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MeSSA In Re Maggiore (PERGOLESI GIOVANNI BATTISTA)
Voix et Piano Réduction
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Intermediate
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Ed. Critica Di C. Bacciagaluppi - Riduzione Per Canto E Pianoforte. Par PERGOLES...
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Ed. Critica Di C. Bacciagaluppi - Riduzione Per Canto E Pianoforte. Par PERGOLESI GIOVANNI BATTISTA. Pergolesi wrote his Mass in D major for an unknown occasion. The composition however is similar in quality and commitment to his other Mass in F major. Numerous manuscript copies all over Europe testify to the fortunate reception of the work in the eighteenth century. As was traditional in Naples, Pergolesi limited his composition to the “Kyrie” and “Gloria”. The festive character of the work is emphasized by the rich scoring for vocal soloists, five-part choir and a full orchestra of strings and winds. This edition, made with strict philological criteria, is based as its main source on a set of parts preserved partly in Naples, partly in Montecassino. These parts were made for aperformance conducted by the composer, who added various autograph annotations. Among the secondary sources are two period Neapolitan scores, today in Bologna and Dresden. The book includes a historical introduction (which traces the history of the genre in Naples and the relationship between the two Masses by Pergolesi) and the critical notes. / Niveau : Intermédiaire / Messe / Répertoire / Voix et Piano Réduction
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Mosè In Egitto 1 - 2 (ROSSINI GIOACHINO)
Voix et Piano Réduction
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Intermediate
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Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSIN...
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Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III. '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 the Bibliothèque 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. ' 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. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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