SKU: BT.MUSUMP22348
ISBN 9781785586736.
Nueva Biblioteca Espanola de musica de teclado Vol.7 revised and transcribed by Antonio Baciero.
SKU: HF.FH-2995
ISBN 9790203429951. 9 x 12 inches.
1. Leise rieselt der Schnee (Ed. Ebel); 2. Ach, bittrer Winter (17. Jhd.); 3. Nikolauslied (Rheinland); 4. Morgen, Kinder, wird's was geben (Berliner Volksweise, 1800); 5. Ihr Kinderlein, kommet (J.A.P. Schulz, 1747-1800); 6. Alle Jahre wieder (F. Silcher, 1789-1860); 7. Vom Himmel hoch da komm' ich her (M. Luther); 8. Frohlich soll mein Herze springen (J. Cruger, 1598-1662); 9. Uns ist geboren (Altflamisch); 10. Es ist ein Ros entsprungen (Speiersches Gesangsbuch, 1599); 11. O du frohliche (sizilianische Volksweise); 12. Nun singet und seid froh (Klug's Gesangbuch, 1535); 13. Vom Himmel hoch ihr Englein (Kolner Gesangbuch, 1632); 14. Kommet, iht Hirten (Volksweise); 15. Auf, auf, ihr Hirten (Niederosterreich); 16. Spielt auf (Volksweise); 17. Lieb' Nachtigall, wach auf (1670); 18. Kindlein mein (Volkslied); 19. Kindlein zart (Volksweise); 20. Joseph, lieber Joseph mein (nach Handschrift 1305 der Universitats-Bibliothek Leipzig); 21. Still, still, weil's Kindlein schlafen will (Volkslied aus Salzburg, 1819); 22. O Tannebaum (Alte Volksweise); 23. O Tannebaum (Volkslied aus Westfalen); 24. Ach Tannenbaum (M. Franck, 1573-1639); 25. Am Weihnachtsbaum die Lichter brennen (Volksweise); 26. Frohliche Weihnacht uberall (aus dem Englischen); 27. Stille Nacht (F. Gruber, 1787-1863).
SKU: BR.CHB-5252-02
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'
ISBN 9790004411681. 7.5 x 10.5 inches.
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II.
SKU: BR.OB-5209-16
ISBN 9790004330715. 10 x 12.5 inches.
This edition is based on Mozart's own autograph copy which was evacuated from the Preussische Staatsbibliothek to the Biblioteka Jagiellonska during World War II; it became available once again for musicological research in the 1980s.'.
SKU: BR.OB-5209-30
ISBN 9790004330739. 10 x 12.5 inches.
SKU: BR.OB-5209-15
ISBN 9790004330708. 10 x 12.5 inches.
SKU: BR.OB-5209-11
ISBN 9790004330692. 9 x 12 inches.
SKU: BR.OB-5209-26
ISBN 9790004330722. 10 x 12.5 inches.
SKU: UT.MS-40B
ISBN 9790215314924. 9 x 12 inches.
Alessandro Scarlatti ventured four times with the Salve Regina text, of which he draws compositions for various ensembles. The treatment of the text in this version obeys to the usual practice for the motets of a certain length: the antiphon is divided into ‘numbers’ of contrasting character alternatively entrusted to the duet and to the solos. In line with the modern style, Scarlatti choose to not emphasize the most remarkable moments of the text, but instead to provide an internal coherence to each section, keeping the expressive expedients to enhance a few elements and relying instead upon an harmony and melody rich writing and upon the virtuosity of the vocal parts.The present edition is based on the manuscript kept at the Biblioteca del Conservatorio S. Pietro a Majella of Naples, compared to the 19th Century copy, less precise, that is part of the Noseda Fund of the Biblioteca del Conservatorio in Milan. The Napolitan drafting appears very meticulous, particularly in respect to the dynamic marks and expression marks (such as staccatos, slurs etc.) that lay out an execution full of contrasts and unexpected dynamic changes.
SKU: BR.OB-4843-15
ISBN 9790004322826. 9 x 12 inches.
Die Veroffentlichung der Weihnachts-Pastorella erfolgt nach den alten Stimmen, die das Nationalmuseum in Prag unter der Signatur XII A 148 aufbewahrt.Der Bibliothek sei an dieser Stelle fur die Anfertigung der Photokopien herzlichst Dank gesagt. Der Originaltext ist in tschechischer Sprache abgefasst, dessen Anfang lautet ,,Narodil se Kristus Pan; das alte, tschechische Weihnachtslied gleichen Textanfangs ist in der Komposition verarbeitet. In Deutschland ist dieser Weihnachtsgesang mit dem Text ,,Freu dich, Erd und Sternenzelt bekannt und weit verbreitet.Die wortliche Ubersetzung, die der gereimten Version dieser Ausgabe als Unterlage diente, erstellte dankenswerterweise Herr Peter Geeringer, Frankfurt/Main; sie hat folgenden Wortlaut:,,Christus, der Herr, ist geboren, freut euch, der Rose ist eine Blute entsprossen, freut euch. Eia, also freuen wir uns alle miteinander, durch Christi Geburt werden wir alle getrostet. Freuen wir uns, feiern wir diesen Geburtstag, lasst uns wohlklingende Musik machen! - Michel, wo hast du deinen Dudelsack? Saume nicht, geh ihn holen! lgnaz, sei auch bereit, hole schnell den Dudelsack! Ruft gleich den Tobias, er soll nicht zaudern und sein Instrument nehmen und sogleich mit euch kommen! Michel, lgnaz und Tobias, seid ihr da? - Christus, der Herr, ist geboren, freut euch, der Rose ist eine Blute entsprossen, freut euch. Eia, also freuen wir uns alle miteinander, lasst uns zusammen zur Krippe gehen, lasst uns diesen Geburtstag feiern, auf dem Dudelsack lasst uns spielen! Dem kleinen Jesulein erweisen wir Ehre, Lob und Preis.Die vorliegende Veroffentlichung teilt die Lesart der alten Stimmen mit. Zusatzliche, analoge Bogensetzungen sind durch Strichelungen, originale Angaben zur Dynamik durch Ausschreibung als solche kenntlich gemacht.
SKU: UT.LB-13
ISBN 9788881094745. 6.5 x 9.5 inches.
Grazie ad un’attenta analisi del catalogo della biblioteca di Elias Canetti è possibile individuare un corpus omogeneo di alcune centinaia di titoli composto da repertori paremiografici, raccolte di miti, leggende, favole, resoconti etnografici, canti e danze popolari. Scopo del libro è la messa a fuoco delle conseguenze prodotte da tale straordinario ‘archivio sull’oralità ’. Da Auto da fé a Massa e potere, dalle giovanili pièces teatrali alla trilogia autobiografica e agli ultimi appunti degli anni Novanta, le opere dello studioso risultano tenute assieme da una sofisticata strutturazione acustica del pensiero, una metodologia della comprensione che di quel materiale si nutriva assiduamente, talvolta producendo interventi di autentica ‘archeologia sonora’. Interventi eseguiti in quella particolare officina mobile, avente per base la biblioteca-studio, che non smetteva di operare nelle osterie e nei caffè notturni, sui tram e per le strade, traendone anzi preziosa linfa. Da quei luoghi prediletti, Canetti ascoltava ed osservava il brulicare del popolo, che come nei quadri di Bruegel può essere placido e festoso, ma anche mostrare i denti e colpire al cuore; lì elaborava le nozioni di ‘cristalli di massa’, ‘metamorfosi’, ‘scarica’, sempre e innanzitutto aiutandosi con l’udito, come chi si serva dell’olfatto prima di portare cibo alla bocca. Seguendo questo intricato itinerario acustico è possibile incontrare Karl Kraus, Alban Berg, Hermann Scherchen, Cesare Pavese, James Joyce, Alma e Anna Mahler; e poi la lingua dei Boscimani, arcaica portatrice di miti, le voci degli animali e la danza dei Maori, il rumore prodotto dalle gocce di pioggia e le allucinazioni auditive di uno schizofrenico, la ‘massa statica’ dei concerti e la figura del direttore d’orchestra, incarnazione del potere: il tutto in una fitta trama di oralità , suono e musica che diventa per il lettore, come lo fu per lo scrittore, anche inesauribile e spesso inedita fonte di dati.
SKU: BR.CHB-3145-02
ISBN 9790004403501. 7.5 x 10.5 inches.
Palestrina's Missa Paternoster is one of the masses by this composer that were published neither during his lifetime nor after his death. The work has come down to us in one single manuscript source from the collections of the Cappella Sistina in Rome, a copy transcribed by D. Brancadore in 1618.The mass is written on motifs from the ancient plainchant Pater noster melody from the mass liturgy, which underlays the movements in an admirable multiplicity of melodic forms. New counterpoints are repeatedly intertwined with the themes of the title melody over the course of the mass. Certain idiosyncrasies in the voice-leading and the austere sonorities that recall the late Netherlandish tradition give rise to the hypothesis that this is a relatively early work of Palestrina.Several decades ago, the Missa Paternoster was published by Breitkopf & Hartel in a performance edition prepared by Hermann Bauerle. The present edition is based on the copy of the work printed in the Choirbook 68 (Cappella Sistina) of the Biblioteca Vaticana in Rome. The poor condition of the source made it necessary to compare it with Haberl's Complete Edition as weil, after which two errors have to be corrected. Our edition cannot pretend to offer a definitive reading of the accidentals, since they are difficult to distinguish in the original. The work was transposed, as this seemed more appropriate to present-day choral practice. Finally, the note values were reduced by a half and the closing notes reproduced uniforrnly as longae. Palestrina's Missa ,,Pater noster occupies a distinguished position next to its better known, four-part fellow works. lt deserves this rank thanks to its dignified and broadly sweeping themes, the archaic loftiness of its sound, and the wealth of motivic work contained within it. We sincerely hope that this new edition will stimulate choirs to turn their attention once again to this rarely sung mass by the great Roman master.Rudolf Ewerhart,January 1962, Munster (Westf.).
SKU: BR.OB-4843-11
ISBN 9790004322819. 12 x 9 inches.
SKU: BR.OB-5296-27
ISBN 9790004340561. 10 x 12.5 inches.
Mozart's late E flat major Symphony was written in 1788, presumably for subscription concerts that ultimately did not take place. The new edition is based on the sole extant authentic source, the autograph from the Biblioteka Jagiellonska in Krakow. Unfortunately, the manuscript was notated negligently and faultily, which forced the editor to make frequent decisions about whether Mozart did or did not intend different articulations at many passages. Cliff Eisen's editorial competence was a major asset here.Urtext braves negligently notated autograph.
SKU: BR.OB-5296-15
ISBN 9790004340523. 10 x 12.5 inches.
SKU: FZ.8324
ISBN 9790230683241. 24.00 x 33.00 cm inches.
These early music methods are in facsimile in three books. Traite de l'harmonie - Nouveau systeme de musique. Remarques sur les differents genres de musique. Observations sur la methode d'accompagnement. Plan abrege d'une nouvelle methode d'accompagnement. Dissertation sur les differentes methodes d'accompagnement. Discours sur l'harmonie - Demonstration du principe de l'harmonie. Verites egalement ignorees et interessantes. Origines des sciences - Code de musique pratique Generation harmonique. Observations sur notre instinct pour la musique etc. . . Articles from the Encyclopaedia and their cristicism by Rameau. Argument with Monteclair - Correspondence. Articles published in newspapers - Prefaces to musical works. Table of contents: Volume 1: Rameau Jean-Philippe: Traite de l'harmonie - 1722. Rameau Jean-Philippe: Pieces de clavecin avec une methode pour la mecanique - 1724. Rameau Jean-Philippe: Nouveau systeme de musique - 1726. Rameau Jean-Philippe: Lettre de M. Rameau a Houdar de la Motte - 1727. Rameau Jean-Philippe: Remarques sur les differents genres de musique - 1728. [Monteclair Michel Pignolet de ?]: Conference sur la musique - 1729. Rameau Jean-Philippe: Examen de la conference sur la musique - 1729. Rameau Jean-Philippe: Observations sur la methode d'accompagnement - 1730. Rameau Jean-Philippe: Plan abrege d'une methode nouvelle d'accompagnement - 1730. [Monteclair Michel Pignolet de ?]: Reponse su second musicien au premier - 1730. Rameau Jean-Philippe: Replique du premier musicien a la reponse du second - 1730. [Monteclair Michel Pignolet de ?]:Reponse du second musicien au premier musicien - 1730. Rameau Jean-Philippe: Replique du premier musicien a l'ecrit du second - 1730. Rameau Jean-Philippe: Dissertation sur les differentes methodes d'accompagnement - 1732. Rameau Jean-Philippe: Les Indes galantes, ballet reduit a quatre concerts - 1735. Castel R. P. Louis-Bertrand: Suite et seconde partie des nouvelles experiences - 1735. Castel R. P. Louis-Bertrand: Suite et troisieme partie des nouvelles experiences - 1735. Rameau Jean-Philippe: Lettre de M. Rameau au R. P. Castel - 1736. Rameau Jean-Philippe: Pieces de clavecin avec une table pour les agrements - 1736. Rameau Jean-Philippe: Discours sur l'harmonie - 1737. Volume 2: Rameau Jean-Philippe: Generation harmonique - 1737. Rameau Jean-Philippe: Generation harmonique, ou traite de musique theorique - 1737. Anonyme: Le Pour ou le Contre - Tome XIII - 1737. Rameau Jean-Philippe: Lettre a Hans Sloane - 1737. Anonyme: Le Pour ou le Contre - Tome XIV - 1738. Rameau Jean-Philippe: Lettre a Jean-Pierre Christin - 1741. Rameau Jean-Philippe: Pieces de clavecin en concert - 1741. Rameau Jean-Philippe: Deux lettres a Johann II Bernoulli - 1750. Rameau Jean-Philippe: Lettre a Gabriel Cramer - 1750. Rameau Jean-Philippe: Demonstration du principe de l'harmonie - 1750. Rousseau Jean-Jacques: Encyclopedie - Articles Accompagnement, Accord, Cadence - 1751. Rameau Jean-Philippe: Nouvelles reflexions de M. Rameau - 1752. Rameau Jean-Philippe: Lettre a Johann II Bernoulli (copie ancienne) - 1752. Rameau Jean-Philippe: Lettre de M. Rameau a l'auteur du mercure - 1752. Euler Leonhard: Lettre a Rameau - 1752. Rameau Jean-Philippe: Reflexions de M. Rameau sur la maniere de former la voix - 1752. Rameau Jean-Philippe: Extrait d'une reponse de M. Rameau a M. Euler - 1752. Rousseau Jean-Jacques: Encyclopedie - articles Choeur, Chromatique - 1753. Rameau Jean-Philippe: Extrait d'une reponse de M. Rameau - 1753. Rameau Jean-Philippe: Observations sur notre instinct pour la musique - 1754. Rousseau Jean-Jacques: Encyclopedie - article Dissonance - 1754. Rameau Jean-Philippe: Erreurs sur la musique - 1755. Volume 3: Rousseau Jean-Jacques: Encyclopedie - Article Enharmonique - 1755. Alembert Jean Le Rond d' et Diderot Denis: Encyclopedie - Avertissement du volume VI - 1756. Rameau Jean-Philippe: Suite des erreurs sur la musique dans l'Encyclopedie - 1756. Rameau Jean-Philippe: Prospectus ou l'on propose - 1757. Alembert Jean Le Rond d': Encyclopedie : articles Fondamental - Gamme - 1757. Rameau Jean-Philippe: Reponse de M. Rameau a MM. les editeurs - 1757. Rameau Jean-Philippe: Lettre de M. d'Alembert - 1758. Rameau Jean-Philippe: 2 lettres a J. B. Beccari 1759. Rameau Jean-Philippe: 2 lettres au Padre Martini - 1759. Rameau Jean-Philippe: Lettre au Padre Martini - 1759. Rameau Jean-Philippe: Code de musique pratique - 1760. Alembert Jean Le Rond d': Lettre de Monsieur d'Alembert a Monsieur Rameau - 1761. Rameau Jean-Philippe: Reponse de Monsieur Rameau a la lettre de M. d'Alembert - 1761. Rameau Jean-Philippe: Origine des Modes & du Temperament par M. Rameau - 1761. Rameau Jean-Philippe: Suite de la reponse de M. Rameau a la Lettre de M. d'Alembert - 1761. Rameau Jean-Philippe: Origine des sciences - 1762. Alembert Jean Le Rond d': Reponse de M. d'Alembert a une lettre imprimee de M. Rameau - 1762. Rameau Jean-Philippe: Lettre de M*** a M. D**** sur un Ouvrage Seconde lettre deM*** a M*** ou extrait d'une controverse - 1762. Rameau Jean-Philippe: Observations de M. Rameau sur son ouvrage - 1762. Rameau Jean-Philippe: Lettre de M. Rameau aux Philosophes - 1762. Alembert Jean Le Rond d': Reponse a une lettre imprimee de M. Rameau - 1762. Rameau Jean-Philippe: Verites interessantes - manuscrit autographe incomplet - 1763/1764. Rameau Jean-Philippe: Verites egalement ignorees et interessantes tirees du sein de la nature - manuscrit avec corrections de autographes de Rameau - 1763/1764. Rameau Jean-Philippe: A. M. de la Place, auteur du Mercure sur M. Rameau (publication posthume d'une lettre de Rameau) - 1765. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimiles of copies from: - Academie des Sciences, Belles Lettres et Arts of Lyon (France). - Conservatory Library of Dijon (France). - Inguimbertine Library of Carpentras (France). - Municipal Library of Bordeaux (France). - Municipal Library of Grenoble (France). - Municipal Library of Lyon (France). - National Library of Paris (France). - British Library of London (England). - Civico Museo Bibliografico Musicale of Bologna (Italy). - Mariemont Museum of Morlanwelz (Belgium). - Nederlands Musiek Instituut of The Hague (Netherlands). - offentliche Bibliothek der Universitat of Basel (Switzerland). - osterreischiche National-Bibliothek of Vienna (Austria). - Stiftelsen Muzikkulturens Framjande of Stokckholm (Suede). - Zurich Library (Switzerland). - In Private Collection. Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the Jean-Philippe Rameau.
SKU: BR.CHB-3566-02
ISBN 9790004404942. 7.5 x 10.5 inches.
SKU: UT.AS-6
ISBN 9790215320109. 9 x 12 inches.
Toccate, Fughe e composizioni varie (Napoli, Biblioteca del Conservatorio <>, Ms. 46.1.29; Montecassino, Biblioteca dell'Abbazia, Ms. 126 D. 3; altre fonti (Berlino, Firenze, Londra, Roma, Vienna))
SKU: BR.OB-5296-30
ISBN 9790004340578. 10 x 12.5 inches.
SKU: BR.MR-2239B
ISBN 9790004488478. 9 x 12 inches.
There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.
SKU: BR.PB-4843
ISBN 9790004206423. 9 x 12 inches.
SKU: M7.VOGG-850
ISBN 9783802408502. German.
Von den Grundlagen bis zum Einstieg in die erste Band - hier lernst du alles, was ein Bassist wissen sollte. Zahlreiche in Tabulatur notierte Übungen machen dir mit der zusätzlichen Rhythmus-Zeile das Üben leicht. Schritt-für-Schritt-Aufnahmen der richtigen Fingerposition zeigen dir außerdem zu jedem Beispiel die richtige Griffweise. Die Übungen und Stücke sind in traditioneller Notation mit Tabulatur notiert, um auch dem Anfänger den sofortigen Einsteig leicht zu machen.Die Akkord- und Tonleiter-Bibliotheken dieses Buches sind für jeden Bassisten zum Nachschlagen nützlich und ein kleiner Einkaufsführer hilft dem Anfänger bei der Suche nach dem richtigen Bass, Verstärker und dem benötigten Zubehör.Alle Original-Arrangements sind in voller Länge auf der CD enthalten - einmal in der Band-Version mit Schlagzeug, Keyboard und Gitarre, und einmal als Backingtrack ohne Bass, zu dem du sofort mitspielen kannst.
SKU: BR.CHB-3069-02
ISBN 9790004403099. 7.5 x 10.5 inches.
Palestrinas Missa ,,Dies sanctificatus steht in den ,,Missae ... Liber Sextus, dem sechsten Messenbuch, das 1594 in Rom erstmals gedruckt wurde. Die sechs Messen dieses Druckes sind dem kunstliebenden Kardinal Pietro Aldobrandini gewidmet, dem Neffen des Papstes Clemens VIII.Als Modell fur diese Messe diente Palestrina seine gleichnamige, vierstimmige Weihnachtsmotette, welche er im Jahre 1563 in den ,,Motecta festorum anni hatte veroffentlichen lassen. Die Themen dieser Motette bestimmen das melodische und harmonische Gefuge der Messe: fast alle Satzanfange sind vom Initialthema der Motette gespeist, und der jubelnde Dreiertakt des ,,Exultemus et laetemur beschliesst Gloria und Credo sowie das funfstimmige Agnus Dei, das nach Palestrinas Gewohnheit einen Kanon durchfuhrt, hier im Intervall der Oberquart zwischen Tenor und Alt 2.Bereits vor mehreren Jahrzehnten war die Missa ,,Dies sanctificatus in einer praktischen Ausgabe von Hermann Bauerle im Verlag Breitkopf & Harte! veroffentlicht worden. Unsere Ausgabe geht auf den Druck von 1594 zuruck, der in den Exemplaren des Liceo Musicale in Bologna (Cantus) und der Proske-Bibliothek in Regensburg (Altus, Tenor, Bassus) vorlag. Durch die Transposition des hochgeschlusselten Satzes wird die Ausfuhrung durch einen gemischten Chor moglich. Die Notenwerte wurden auf die Halfte gekurzt; der Dreiertakt ist im Originaldruck durch Schwarzung angezeigt. Einige Druckfehler, so der Schluss des Alt im Credo, wurden verbessert. Die schwungvolle, von der freudigen Grundstimmung der Weihnachtsmotette inspirierte Messe zahlt zu den Werken des romischen Meisters, die auch fur verhaltnismassig einfache Chorverhaltnisse erreichbar, in der Praxis aber weniger bekannt sind. Unsere Neuausgabe, die das Original in einer moglichst getreuen Form ohne Zusatze bietet, mochte dieser Messe in weiteren Kreisen Freunde gewinnen.Rudolf Ewerhart, im Dezember 1959, Munster (Westf.).
SKU: UT.CSS-69
ISBN 9790215318793. 9 x 12 inches.
As for mostly of Alessandro Stradella’s instrumental compositions also for the Sinfonie a 2 Violini e Basso, subject of the present edition, the only sources are the manuscripts kept in the Biblioteca Nazionale Universitaria of Turin (Foà n. 11) and in the Biblioteca Estense Universitaria of Modena (Mus. F. 1129). Of both neither the author, nor the genesis, nor the destination, nor the exact date are known (the Turinese manuscript should date back to the years 1660-1690, the Modenese one to the period 1676-1700). The Turin manuscript, which generally turns out to be more clear, complete and correct than the Modenese one, is the source of reference for this edition.
SKU: UT.NAP-11R
ISBN 9790215324459. 9 x 12 inches.
Performance Material on Hire[Solo: SSATTB - Choir: SATB - 2.2.2.2 - 4.2.3.0 - Tp - Hp - Str]Francesca da Rimini is a drama for music in two acts by Saverio Mercadante, libretto by Felice Romani; the text is freely inspired by the unfortunate events of the two lovers, Francesca and Paolo, of which Dante's Comedy (canto V) also narrates.According to some scholars, the first performance of Francesca da Rimini took place in Madrid in January 1828; however, this date is not reflected in the Diario de Avisos de Madrid, a publication that daily reserved a conspicuous space for news on the shows staged in the Spanish city: the years between 1828 and 1831 in fact do not mention the work. Furthermore, no printed libretto of Mercadante's Francesca da Rimini is preserved today – an inexplicable fact, if one admits that the performance took place. The text of the opera can be largely traced back to the one prepared by Romani for the homonymous work by Antonio Carlini (Naples 1825), which Mercadante was able to know before his stay in Spain.Following the missed Spanish premiere, the opera should then have been represented at La Scala Theater in a subsequent season, with reliability the imminent one of the 1831/32 carnival; but shortly thereafter the impresario died: thus the contractual obligations involving him were no longer fulfilled, and, for a second time, Mercadante was then forced to shelve the plans about Francesca da Rimini, put aside now for several months. In fact, the scoring – very similar to that of the operas planned at La Scala in the same Carnival period – assumes that Francesca da Rimini was destined for a theatre of great means, like few others in Italy besides La Scala. But the failure of the opera may also have been due to the presence of the part of an amoroso en travesti, Paolo, to whom Mercadante assigns a prominent role also in terms of music: in 1831 and in Italy such a solution was no longer so frequent as a few years before or in provincial theatres, and so this condition may possibly have affected the fate of the negotiations in Milan, and may explain how the composer was then unable to have the score performed elsewhere.This critical edition is based on manuscript copies conserved in the Museo internazionale e Biblioteca della Musica di Bologna (autograph score) and in the Biblioteca Histórica Municipal in Madrid (score and separate parts).
SKU: BR.MR-2239A
ISBN 9790004487877. 9 x 12 inches.
SKU: HH.HH568-FSP
ISBN 9790708185833.
Galuppi’s cantata La scusa for alto/contralto and strings – based on a poetry by Pietro Metastasio – has come down to us through an autograph manuscript, dated 1780, preserved in Venice, in the Biblioteca Nazionale Marciana. There are also two other, non-autograph eighteenth-century manuscripts of this cantata, preserved in Münster (Santini-Bibliothek) and in Paris (Bibliothèque Nationale de France), respectively. The cantata comprises an introductory instrumental movement, two recitatives and two arias. While the first recitative is entirely unaccompanied (secco), the second one also provides for the use of the accompaniment. The arias, both very beautiful and highly representative of Galuppi’s compositional style, stand out for the beauty of their melodic line and the inventiveness of their orchestral accompaniment. In this edition – which includes score and separate parts – some passages where the composer forgot to write in the viola part have been reconstructed by the editors. A sample realization of the basso continuo is also provided.
SKU: BR.OB-5296-16
ISBN 9790004340530. 10 x 12.5 inches.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version