| Missa Brevis - Intermédiaire HoneyRock
By Brett Jones. For Vibraphone and Voice. Level: intermediate. Duo. Published by...(+)
By Brett Jones. For
Vibraphone and Voice.
Level: intermediate. Duo.
Published by HoneyRock.
$17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Suite Pepper Marimba C. Alan Publications
(9 Spicy Sequential Solos for Developing 4-Mallet Marimba Chops). By Brett Jones...(+)
(9 Spicy Sequential Solos
for Developing 4-Mallet
Marimba Chops). By Brett
Jones. For Marimba
(4-mallet) (marimba
(4.3-octave)). Medium
easy to medium. Duration
20:00. Published by C.
Alan Publications
$20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rodelinda, Regina de' Langobardi [Vocal Score] Barenreiter
Dramma per musica in tre atti. By Georg Friedrich Handel. Edited by Jones, Andre...(+)
Dramma per musica in tre
atti. By Georg Friedrich
Handel. Edited by Jones,
Andrew V. Arranged by Rot
Michael. For Recorder 1,
Recorder 2, Flute, Oboe
1, Oboe 2, Horn 1, Horn
2, Violin 1, Violin 2,
Violin 3, Viola,
Violoncello, Contrabass,
Bassoon, Lute,
Harpsichord. Piano
Reduction/Vocal Score;
Urtext Edition
(paperbound). HWV 19.
Published by
Baerenreiter-Ausgaben
(German import).
(1)$80.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081). ISBN
9790200460032. 9.5 x 12
inches. Duration:
full evening
Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'. $76.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rodelinda, Regina de' Longobardi, HWV 19 Barenreiter
Soprano voice solo, mezzo-soprano voice solo, 2 alto voice solos, tenor voice so...(+)
Soprano voice solo,
mezzo-soprano voice solo,
2 alto voice solos, tenor
voice solo, bass voice
solo, orchestra (soprano
voice solo, mezzo-soprano
voice solo, 2 alto voice
solos, tenor voice solo,
bass voice solo,
Orchestra) SKU:
BA.BA04064 Dramma
per musica in thre
acts. Composed by
George Frideric Handel.
Edited by Andrew V.
Jones. This edition:
complete edition, urtext
edition. Linen. Halle
Handel Edition (HHA)
Serie II, Band 16.
Baroque Opera. Complete
edition, Score. HWV 19.
Duration 3 hours, 15
minutes. Baerenreiter
Verlag #BA04064_00.
Published by Baerenreiter
Verlag (BA.BA04064).
ISBN 9790006495696.
33.1 x 25.9 cm inches.
Nicola Francesco
Haym. After Giulio
Cesare and Tamerlano ,
Rodelinda is the third
masterly opera that
Handel composed between
December 1723 and January
1725. The words were
written by Nicola Haym ,
the author of many other
Handel librettos. The
first performance took
place at the King’s
Theatre in the Haymarket,
London , on 13 February
1725. Rodelinda thrives
entirely on the ethical
supremacy of conjugal
love, and thus prefigures
the great operas by Gluck
and Beethoven on the same
subject. The plot is
taken from the history of
the Lombard royalty.
Oskar Hagen’s revival
of Rodelinda in 1920
ushered in the modern
Handel opera
movement. The
work forms the climax to
a series of dramatic
masterpieces that
includes Handel’s most
significant operas.
Handel returned to
Rodelinda on two
occasions, in December
1725 and in May 1731.
Many far-reaching changes
were necessary owing to
the different skills of
the new singers. For
example, Handel wrote
three new arias and a
duet for the first
revival. Yet the changes
he made for this
performance, doubtless to
accommodate the needs and
wishes of the singers,
also improve the work’s
dramatic substance.
Our vocal score is
based on the Urtext of
the full score published
in the Halle Handel
Edition (II/16) and
reproduces the various
alternative readings and
versions in an
appendix.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY 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
$488.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Boris Godunov - Original Version (1868/69) Breitkopf & Härtel
(solos: SMez(S)MezMezATTTTTTBarBa rBBBBBB - choir: SSAATTBB. child ch - 3(picc)....(+)
(solos:
SMez(S)MezMezATTTTTTBarBa
rBBBBBB - choir:
SSAATTBB. child ch -
3(picc).2(cor ang).2.2 -
4.2.3.1 - timp.perc(4) -
hp - pno(4ms) - str /
stage music: trp) SKU:
BR.BES-3089 And
Final Version (1872/74) -
Opera in 4 Acts and
Prologue. Composed by
Modest Mussorgskij.
Arranged by Pawel Lamm.
Softcover. Bessel,
London. Opera; Music
theatre; Romantic.
Libretto. 48 pages.
Breitkopf and Haertel
#BES 3089. Published by
Breitkopf and Haertel
(BR.BES-3089). ISBN
9790004610022. 0 x 0
inches. Duration:
full evening Text by
the composer after
Alexander Pushkins
Dramatic Chronic of Tsars
Boris and Grishka
Otrepiev and Nikolai
Karamsins History of the
Russian
Empire Translation:
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,
1598-1605
Characte
rs: 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.
$10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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