| Riccardo primo, Re dInghilterra / Richard der Erste, Konig von England HWV 23 Barenreiter
2 alto voice solos, 2 soprano voice solos, 2 bass voice solos, orchestra (2 Alto...(+)
2 alto voice solos, 2 soprano voice solos, 2 bass voice solos, orchestra (2 Alto Voice Solos, 2 soprano voice solos, 2 bass voice solos, Orchestra) SKU: BA.BA04081 Opera in three acts. Composed by George Frideric Handel. Edited by Terence Best. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Serie II Band 20. Complete edition, Score. HWV 23. Duration 3 hours. Baerenreiter Verlag #BA04081_00. Published by Baerenreiter Verlag (BA.BA04081). ISBN 9790006497782. 33 x 25.8 cm inches. In his libretto for “ Riccardo primoâ€, Paolo Rolli drew on Antonio Lotti’s opera “ Isacio tiranno †which had been performed in Venice in 1710. Handel needed a text with two great women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni . He had already written the operas “Alessandro†and “ Admeto †for them. He began composing “ Riccardo †in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remained closed. For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a new opera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultan of Egypt and Syria , who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion‹’ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.
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
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| La voz latina: Choral Music from Latin America for SATB Choir, Vol. 2 Choral SATB Peters
Choir Secular Mixed choir (SATB choir) SKU: PE.EP11425 2. Argen...(+)
Choir Secular Mixed choir (SATB choir) SKU: PE.EP11425 2. Argentina, Chile, Uruguay, Bolivia, Peru. Composed by Edited by Werner Pfaff and Javier Zentner. Choral Works (inc. Oratorios). Edition Peters. Book. 152 pages. Edition Peters #98-EP11425. Published by Edition Peters (PE.EP11425). ISBN 9790014119355. 198 x 272 inches. English. For choirs who want to bring the music of Latin America to their concerts, the La Voz Latina series is the perfect resource. The second volume in the series, La Voz Latina 2, brings together a collection of 17 vibrant choral pieces from Bolivia, Peru, Chile, Uruguay and Argentina. From traditional styles like Festejo and Candombe, to world-famous hits like Te recuerdo Amanda or Alfonsina y el mar and arrangements of tangos by Piazzolla, this collection captures the unique variety of Latin America. - A varied collection of secular music, with some carols
- Easy to advanced level
- Introductions to the songs, translations of all text and guidance on pronunciation
- Edited by leading choral expert Werner Pfaff and Latin American music scholar Javier Zentner
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| 18 Italian Songs for Accordion Duet 2 Accordions - Intermediate Mel Bay
Accordion - Intermediate SKU: MB.31134 Piano/Keyboard, Saddle-stitched. W...(+)
Accordion - Intermediate SKU: MB.31134 Piano/Keyboard, Saddle-stitched. World. Book. Mel Bay Publications, Inc #31134. Published by Mel Bay Publications, Inc (MB.31134). ISBN 9781513473215. 8.75X11.75 inches. Sure to intrigue and delight accordionists everywhere, this collection by Carole Gatwood brings forward eighteen charming but mostly forgotten Italian folk songs, artfully arranged for accordion duet. Written with unmistakable Italian styling, these duets are equally engaging for both players, having creatively interwoven parts and at a level accessible to the intermediate player and beyond. With captivating melodies, from the joyful and spirited to the tender and yearning, these duets will be an excellent addition to the performing accordionistsÆ library and for use by teachers, as well. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beck/ziegler F Weber U Die Schauspielmusiken Schott
(HC) SKU: HL.49033205 Carl Maria von Weber und die Schauspielmusik sei...(+)
(HC) SKU: HL.49033205 Carl Maria von Weber und die Schauspielmusik seiner Zeit. Composed by Peteris Vasks. Edited by Dagmar Beck and Frank Ziegler. This edition: Hardback/Hard Cover. Book. Edition Schott. 332 pages. Schott Music #ED 9623. Published by Schott Music (HL.49033205). ISBN 9783795703837. German. Bis vor wenigen Jahren wurde der Schauspielmusik, abgesehen von einzelnen herausragenden Werken, von der Musikwissenschaft kaum Beachtung geschenkt; eine historiographische Gesamtdarstellung bzw. editorische Auseinandersetzung steht noch aus. Gerade das letzte Drittel des 18. und das erste Drittel des 19. Jahrhunderts konnen als eine Blutezeit der Schauspielmusik angesehen werden. In diesen Jahrzehnten entstand nicht nur eine unuberschaubare Menge solcher Kompositionen; die Problematik der musikalischen Untermalung bzw. Bereicherung des Sprechtheaters wurde auch im asthetischen Diskurs, anknupfend an Gottsched, Scheibe und Lessing, immer wieder thematisiert. Am Beispiel ausgewahlter Buhnenwerke, beginnend mit Kompositionen von Johann Andre, G. J. Vogler und J. F. Reichardt bis hin zu Mendelssohn, Lortzing und Wagner, wird deutlich, wie verschiedenartig die Anspruche von Autoren und Theaterleitern in Bezug auf die Schauspielmusik sein konnten, und wie die unterschiedlichen Moglichkeiten der Theater-Ensembles die Komponisten beeinflussten. Die Spanne reicht von weitgehend beliebigen Arrangements mit grosstmoglichem 'Wiederverwendungswert' bis hin zu gross angelegten 'analogen', d. h. ausschliesslich auf ein bestimmtes Schauspiel bezogenen, vorbildhaften Kompositionen (z. B. Beethovens Egmont, Webers Preciosa, Mendelssohns Sommernachtstraum-Musik). Besonderes Interesse gilt der Problematik der Edition von Schauspielmusiken, die durch ihre enge Bindung an das Drama einen fachubergreifenden Austausch unter Literatur-, Theater- und Musikwissenschaftlern erforderlich macht. Hier zeigt sich, dass kaum eine 'Patentlosung' zu finden ist; vielmehr stellt jeder Komponist, jedes Werk andere Anspruche an den Editor. Ausgehend von einem Grundkonsens, der die wechselseitige Bedingtheit von Drama und Musik unterstreicht, fuhren nur individuelle, vom einzelnen Werk ausgehende Strategien zu einer adaquaten Wiedergabe in der Edition. $76.95 - See more - Buy online | | |
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