SKU: TM.14668SET

Composed by Jules Massenet. Set Type: D. Set of parts. Lucks Music Library #E1210. Published by Lucks Music Library (TM.14668SET).

Act I Duet Werther and Charlotte through the end of Act I. Includes Clair de Lune. Sc pg 109-142.

Arias for Soprano. Composed by Various. Vocal Collection. Opera, Classical. Softcover Audio Online. 60 pages. G. Schirmer #ED4403. Published by G. Schirmer

Concert band - Grade 3

SKU: RM.MASS03798-BA

Composed by Jules Massenet. Arranged by Michel Sorlin. Classical music. Orchestra. Full set. Duration 5 minutes, 4 seconds. Editions Robert Martin #MASS03798-BA. Published by Editions Robert Martin (RM.MASS03798-BA).

ISBN 9790231037982.

Violin 1, Violin 2, Viola, Cello - Grade 3.5

SKU: AP.36-52703177

Composed by Lynne Latham. Performance Music Ensemble. Latham Music. Score. Latham Music Enterprises #36-52703177. Published by Latham Music Enterprises (AP.36-52703177).

ISBN 9781621569367. English.

Some of the best loved operatic tunes are featured in this collection arranged by Lynne Latham. Ideal for the advanced quartet, players will find performances of these Opera Favorites fulfilling and enjoyable. Included: 1. O mio babbino caro from Gianni Schicchi (Puccini), 2. The Flower Song from Lakme (Delibes), 3. Der Vogelfänger from The Magic Flute (Mozart), 4. Bei Männern from The Magic Flute (Mozart), 5. Barcarolle from Tales of Hoffman (Offenbach), 6. Habanera from Carmen (Bizet), 7. The Toreador's Song from Carmen (Bizet), 8. Meditation from Thaïs (Massenet).

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.

Voice & Piano

SKU: UM.13712

Composed by Jules Massenet. United Music Publishing #13712. Published by United Music Publishing (UM.13712).

ISBN 9790224402643.

Cello and Double Bass

SKU: ST.YE0031

Composed by Jules Massenet. String music. Yorke Edition #YE0031. Published by Yorke Edition (ST.YE0031).

ISBN 9790570590315.

Voice & Piano

SKU: UM.13710

Composed by Jules Massenet. United Music Publishing #13710. Published by United Music Publishing (UM.13710).

ISBN 9790224402636.

Joy Of. Book Only. 80 pages. Yorktown Music Press #YK21095. Published by Yorktown Music Press

Composed by Jules Massenet (1842-1912). Edited by Fabio Rizza. Score and Parts. Published by Ut Orpheus (UT.CH-179).

SKU: TM.14295SC

Composed by Jules Massenet. Score. Lucks Music Library #E1909. Published by Lucks Music Library (TM.14295SC).

Recit. & aria from Act II. Score pg 200-211.

By Jules Massenet (1842-1912). For alto saxophone and piano. Classical. Score. 2 1 pages. Published by Editions Jobert

By Various. (score). Ensemble Collection. 64 pages. Published by Rubank Publications.

By Massenet & G. Brand. Concert Band. Band Music. Grade 3. Score and set of parts

Piano

SKU: BT.ALHE33889

Et autres inédits pour piano. Composed by Reynaldo Hahn. Book Only. Composed 2013. 44 pages. Heugel & Cie #ALHE33889. Published by Heugel & Cie (BT.ALHE33889).

French.

Having been considered as a 'fashionable' and 'cliché' composer of his day, Hahn's Piano Works remain unknown. Love Pieces and other hitherto unpublished Piano works, however, shatter these prejudices held, representing theengaging diversity of the composer's music. Venezuelan born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenetbefore becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art and his Piano compositions often contain expressions of his otherwise hidden emotions and moods. Suitablefor intermediate standard pianists, Hahn's Love Pieces and other hitherto unpublished Piano works provide pleasant and evocative short pieces, incorporating a range of expressions, rhythms and other musical features.

Chamber Music Piccolo

SKU: PR.114422450

Composed by Johann Sebastian Bach. Arranged by Nicola Mazzanti. Sws. Full score. 20 pages. Duration 17 minutes. Theodore Presser Company #114-42245. Published by Theodore Presser Company (PR.114422450).

ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.

Bach’s colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of music’s greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzanti’s heroic adaptation of the complete Partita is the culmination of many years’ work, and the only transcription specifically for the piccolo’s unique range.
THE INSPIRATIONEver since my childhood, Johann Sebastian Bach’s solo violin music (like his works for solo cello) has always held a charm and mystery for me. There’s something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partita’s movement titles in Italian) is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.”Transcribing and performing Bach’s PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a “small” instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bach’s presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bach’s string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bach’s original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates “arpeggio” were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.