SKU: BR.BES-3089
ISBN 9790004610022. 0 x 0 inches.
Duration: full eveningText by the composer after Alexander Pushkins Dramatic Chronic of Tsars Boris and Grishka Otrepiev and Nikolai Karamsins History of the Russian EmpireTranslation: German (M. Hube), Engl. (D. Lloyd-Jones) Place and time: Moscow and environment, Court of the Novodevichy Monastery, Tshudov Monastery, Roadside Inn near the Lithuanian frontier, Tsar's Chamber in Kremlin, Castle of Sandomir, Kromy Forest, 1598-1605Characters: Boris Godunov (baritone) - Feodor and Xenia, his Children (mezzo-soprano, soprano) - Wet Nurse Xenias (alto) - Prince Wassily Ivanovitch Shuisky (tenor) - Andrej Schtschelkalov, Secret Scribe (baritone) - Pimen, Chronic Scribe (bass) - Grigory Otrepiev, later Dmitry (tenor) - Marina Mnischek, Wojewoden von Sandomir's Daughter (mezzo-soprano) - Rangoni, Secret Jew (bass) - Varlaam and Missail, escaped Monks (bass, tenor) -Roadside Inn Landlady (mezzo-soprano) - A Simpleton (tenor) - Nikititsh, Church Advocate (bass) - a Boyar (tenor) - Boyar Chrushtschov (tenor) - Mitjucha, Farmer (baritone) - Lowitzki and Tschernjakowski, Jesuits (basses) The Original version of 1868/69 consists of seven scenes in one prologue and three acts: 1. Courtyard of the Novodevichy monastery - 2. Square in the Kremlin. Coronation scene. - 3. Pimen's cell in the Chudov monastery - 4. Inn scene - 5. A room in the Czar's apartments in the Kremlin - 6. Outside St. Basil's Cathedral - 7. Council of Boyars. Death of Boris.When the work was rejected by St. Petersburg's Mariinsky Theater Mussorgsky followed the advice of friends and revised the opera. In the Final version of 1871/72 he expanded the fifth scene scrapped the sixth and added three new scenes so that the opera now consisted of nine scenes in one prologue and four acts:1.- 4. see 1868/69 - 5. A room in the Czar's apartments in the Kremlin - 6. Marina's boudoir in Sandomir - 7. Palace park in Sandomir - 8. Council of Boyars. Death of Boris - 9. In the forest of Kromy (Revolution scene)The score published under the supervision of Pavel Lamm in the Complete Edition (1928) and the piano reduction (1931) contain the parts of both versions transmitted in score as well as in the piano reduction all the changes made by Mussorgsky in his piano reduction of 1874. The performance material can thus be used for a production of either the original version or the final version according to need.
SKU: BA.BA08811
ISBN 9790006539840. 33.1 x 26.5 cm inches. Text Language: Italian. Preface: Betzwieser, Thomas. Text: Giambattista Casti.
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, for example 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’s “Capriccioâ€.The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editionsâ€. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino†have also been incorporated.• Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions†edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).• Original Italian libretto with singable German translation• Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.• Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabinoâ€â€¢ Idiomatic piano reduction
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: AP.36-A929590
UPC: 735816239411. English.
When Max Reinhardt was engaged to direct a German language production of Shakespeare's Much Ado About Nothing at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title Viel Lärmen um Nichts did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A929501
ISBN 9781638875192. UPC: 735816239497. English.
SKU: AP.36-A494401
ISBN 9798892700726. UPC: 659359764028. English.
Premiering on May 22, 1813, at the Teatro San Benedetto in Venice, L'italiana in Algeri (The Italian Girl in Algiers) by Gioachino Rossini (1792-1868) was a success, with subsequent performances in Vicenza, Milan, and Naples. It was later performed at His Majesty's Theatre in London in 1819, and again in New York in 1832. Rossini's mixture of opera seria and opera buffa is notable — L'italiana in Algeri tells the tale of Isabella, an Italian girl who uses her wiles to trick unwitting Mustafà, the Bey of Algiers, into freeing her and her lover, Lindoro from his palace. The opera itself fell somewhat out of favor in the 19th century but has been revived frequently since World War II with many successful productions. The sorrowful cavatina Cruda sorte! Amor Tiranno! takes place in Act I, and serves as the introductory aria of Isabella, who finds herself shipwrecked in Algiers. The aria is preceded by the chorus Quanto Roba! Instrumentation: 2.2.2.2: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Contralto: Mixed Chorus.
SKU: BT.DHP-1084447-010
9x12 inches. English-German-French-Dutch.
The Butterfly that Stamped is a story from the anthology Just So Stories, written by Rudyard Kipling for his daughter who suffered constant bad health. The book inspired composer Maxim Aulio to compose this work which is in a French impressionistic style. The piece opens with a beautiful palace surrounded by the impressive gardens of King Solomon. It is in these gardens that the baritone saxophone makes its appearance representing King Solomon himself, the flute representing the butterfly couple, the clarinet representing Queen Balkis and the trumpet the djin.The Butterfly that Stamped - Der Schmetterling, der aufstampfte“ - ist eine von zwölf Erzählungen aus dem Band Just So Stories, den Rudyard Kipling, der berühmte Autor des Dschungelbuchs, Ende des 19. Jahrhunderts für seine kranke Tochter schrieb. Der französische Komponist Maxime Aulio ließ sich von dieser bezaubernden Geschichte zu einer Komposition im Stil des französischen Impressionismus inspirieren. Vor der wundervoll orchestrierten musikalischen Kulisse des Palastes und der Gärten König Salomons treten das Baritonsaxophon als König Salomon, die Flöten als Schmetterlingspärchen, eine Klarinette als Königin Balkis und die Trompeten als Dschinnsauf. Vorhang auf! Rudyard Kipling (1865-1936) est l’un des plus célèbres écrivains de langue anglaise. Né Bombay en Inde, ce journaliste, poète et romancier reçoit le prix Nobel de littérature en 1907. On lui doit notamment les célèbres ouvrages Le Livre de la Jungle (1894), Histoires comme ça (1902) et Kim (1901), entre autres. Rudyard Kipling a sillonné le monde, glanant de-ci de-l des mots et des merveilles raconter aux petits et aux grands. Aujourd’hui encore ses Histoires comme ça enchantent par leur drôlerie et leur poésie ; de délicieux récits d’animaux entre l’Inde et l’Afrique initialement écrits pour sa fille, Joséphine, qui mourut en 1899 des suites d’unegrippe.Le Papillon qui tapait du pied est un des douze contes du recueil Histoires comme ça. Maxime Aulio s’en est inspiré pour créer une œuvre qui s’inscrit dans la tradition de l’impressionnisme musical français. Le saxophone baryton solo incarne le Roi Salomon, fils de David ; les fl tes jouent le couple de papillons ; une clarinette est la Reine Balkis - la Sage Balkis de Saba - tandis que les trompettes et les cornets représentent les Djinns. Les personnages évoluent dans un décor orchestral merveilleux l’image des jardins et du palais du Roi Salomon. / The Butterfly That Stamped (Le Papillon qui tapait du pied) est une œuvre de commande pour la Fédération Musicale d’Auvergne (France) avec le soutien du Conseil Régional d’Auvergne, l’occasion du 10e anniversaire de l’Orchestre Régional d’Harmonie École. L’œuvre a été donnée en création le 30 avril 2006 au Thé tre Municipal d’Aurillac. L’Orchestre Régional d’Harmonie École d’Auvergne était placé sous la direction de Claude Kesmaecker, avec en soliste, Alexandre Doisy, saxophone baryton. The Butterfly That Stamped è una delle dodici novelle della raccolta Just So Stories, del celebre scrittore britannico Rudyard Kipling (1865-1936). Maxime Aulio se ne è ispirato per creare un brano che di iscrive nella tradizione dell’impressionismo musicale francese. Il sax baritono solo rappresenta il Re Salomone, figlio di David. I personaggi si muovono in uno sfondo orchestrale meraviglioso e incantano per la loro poesia.
SKU: BT.DHP-1084447-140
SKU: AP.36-A706201
ISBN 9798892704045. UPC: 659359855344. English.
Count d'Ogny commissioned Franz Joseph Haydn (1732-1809) to write three symphonies for the Concert de la Loge Olympique, which was then recognized as one of the finest orchestras in Europe. He completed the second of these, the SYMPHONY No. 91 in E flat major, Hob. I/91, in 1788. It received its premiere the next year in the Tuileries Palace gardens, mere months before King Louis XVI and his royal family came to live there under custody of the French Revolution. It is his last symphony to exclude trumpets and timpani, but stuffed with delicacies that would have appealed to its Parisian audience. Its graceful, ebullient character offers no hints of the hard misfortune that would soon fall on the aristocratic listeners who first enjoyed this charming work. Instrumentation: 1.2.0.2: 2.0.0.0: Str (4-4-3-2+2Vc Obligato-3 in set).
SKU: AP.36-A706202
UPC: 659359892394. English.
Count d'Ogny commissioned Franz Joseph Haydn (1732-1809) to write three symphonies for the Concert de la Loge Olympique, which was then recognized as one of the finest orchestras in Europe. He completed the second of these, the SYMPHONY No. 91 in E flat major, Hob. I/91, in 1788. It received its premiere the next year in the Tuileries Palace gardens, mere months before King Louis XVI and his royal family came to live there under custody of the French Revolution. It is his last symphony to exclude trumpets and timpani, but stuffed with delicacies that would have appealed to its Parisian audience. Its graceful, ebullient character offers no hints of the hard misfortune that would soon fall on the aristocratic listeners who first enjoyed this charming work. Instrumentation: 1.2.0.2: 2.0.0.0: Str (4-4-3-3-3 in set).
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