Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...(+)
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version)
Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.)
Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique.
Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Having a rather idealistic view ...(+)
Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Having a rather idealistic view of England and the English people, King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions, and that the kingdom should become a company limited . Utopia Limited , or The Flowers Of Progress , is a Savoy Opera, with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on October 7, 1893 for a run of 245 performances. Available here is the vocal score of the Opera. / Niveau : Elémentaire / TV, Film, Comédie musicale / Recueil / Chant et Piano
Edition no.: BVK 2270ISBN: 9783761822708Volume / Series: Documenta musicologica II/45 / Bärenreiter FacsimileEditor: Konrad, UlrichLanguage(s) of work: English, GermanProduct format: FacsimileBinding: Half-leather bindingPages / Format: 405 S. - 41,7 x 30,0 cm 'This Tristan will be something formidable! This last act!''I fear the opera will be banned ' if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.'Richard WagnerWhile working on the score to 'Tristan und Isolde', Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the 'dawn' of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting.He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner's highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness.In time for the 200th anniversary of Wagner's birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches.Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.
Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bel...(+)
Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bellezza ravveduta nel trionfo del Tempo e del Disinganno” (“Beauty Reformed in the Triumph of Time and Enlightenment”), HWV 46a, the 22-year-old Handel notched up one of his greatest successes in this genre right at the very beginning of his oratorio oeuvre. Composed in Rome in 1707, the work was for a long time known as “Il trionfo del Tempo e del Disinganno” (“The Triumph of Time and Enlightenment”). In keeping with the Halle Handel Edition, however, the title is that of the name given in the primary source.
In many cases inspired by the melodically rich ideas of Reinhard Keiser (1674–1739), the work is unsurpassed by any other oratorio by Handel. At the end of an impressive sequence of truly captivating arias, duets and quartets, Bellezza’s reformation in favour of living a life pleasing to God is accompanied in incisive E major by her overwhelmingly beautiful, impossibly sad closing aria “Tu del ciel ministro eletto”, the consummate pinnacle of dramatic irony in Handel’s output.
By virtue of its flawless dramatic structure as well – unlike many other oratorios and all operas of the Baroque period, the story never goes off at a tangent and all arias revolve around the dispute of the four dramatic personae – the oratorio has enjoyed long runs of widely acclaimed, mostly staged performances in the last few years./ Répertoire / Opéra
Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features ...(+)
Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features Jamey at the piano explaining and demonstrating the fundamental techniques used by all great jazz improvisors. Topics covered include chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs, and much more. This DVD not only provides the technical information essential to getting started on improvisation but also serves as an overview of the entire creative process in terms that even a non-musician could understand. Jamey also provides much needed motivational material and discusses the philosophy of man'sneed to be creative. A complete presentation! This DVD is closely aligned with the world famous Volume 1 'How To Play Jazz' and Volume 24 'Major and Minor' play-a-longs (see 'related items' below. ) The visual, hands-on demonstration makes their concepts easier to grasp. Jamey even plays along with tracks from those two play-a-long volumes, showing proper application of scales to chords and essential practice techniques. / Jazz / Accessoire / Opéra Théorique ou Didactique
Playing on the Changes features 13 jazz etudes through the various chord qualiti...(+)
Playing on the Changes features 13 jazz etudes through the various chord qualities found in standards and jazz tunes in all 12 keys. Areas covered include major 7th chords, minor 7th chords, dominant 7th chords (Mixolydian, altered dominant, and half-whole diminished), minor ii (flat-5) chords, tritone substitutions, and a variety of progressions using all of the above. Bob Mintzer has written out etude solos that traverse the changes in a way that familiarizes you with the sound of each harmonic setting. Each etude is modeled after ideas---such as melodic and rhythmic patterns that create continuity---and singable melodies that he recommends using when improvising through the chord changes. Using the TNT 2 software, listen to and analyze the etudes, and by removing Mintzer's saxophone from the mix, you can then practice and play these harmonic exercises on your own with a stellar rhythm section. The amazing TNT 2 software allows you to slow down the tempo, too! / Instruments En Sib
Taking Thomas Hardy's short story as its starting point, we are transported to t...(+)
Taking Thomas Hardy's short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person's actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur.Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely.Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan.As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world. / Opéra
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...(+)
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
Mendelssohn Bartholdy, Felix Lobgesang / Hymn of Praise op. 52 MWV A 18 (+)
Mendelssohn Bartholdy, Felix Lobgesang / Hymn of Praise op. 52 MWV A 18 A Symphony-Cantata after Texts from the Holy Scriptures - Urtext edition taking all sources into account - Piano reduction by the composer including his piano version of the ?Sinfonia? - Extensive Foreword (Ger/Eng) and detailed Critical Commentary (Eng) Mendelssohn?s contemporaries frequently mentioned his ?Hymn of Praise? in the same breath as Beethoven?s Ninth ? and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name ?symphony-cantata?. Later he added a secular counterpart with ?Die Erste Walpurgisnacht?. Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work?s performance, e.g. tempo, articulation and dynamics. For the first time the piano reduction includes Mendelssohn?s authorised version of the ?Sinfonia?, based on the first edition of No. 1 for piano solo. / Partitions classique / Vocale - chorale / Choeur et ensemble vocal / BARENREITER
'Faust? stands for the composer Gounod himself, who was torn between the express...(+)
'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra
Monteverdi's opera 'L'Orfeo', based on the legend of Thracian singer Orpheus and...(+)
Monteverdi's opera 'L'Orfeo', based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the 'Palazzo Ducale' in Mantua.When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi's 'L'Orfeo'. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi's 'Il ritorno d'Ulisse in patria'.Two contemporary prints of 'L'Orfeo' from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary.This edition of 'L'Orfeo' offers in addition to Monteverdi's somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in 'chiavetta' have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.- Detailed introduction by the editor (Ital/Eng/Ger) on the work's genesis and performance practice- Comprehensive critical commentary (Eng) in the score- Idiomatic piano reductionEdition no.: BA 8793-90ISMN: 9790006533121Composer / Author: Monteverdi, ClaudioTitle: L'Orfeo Favola in musica in one prologue and five actsDetailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, OrchestraLibrettist: Striggio, Alessandro (junior)Editor: Alessandrini, RinaldoForeword / Introduction: Alessandrini, RinaldoProduct format: Piano reduction, Urtext editionLanguage(s) of work: ItalianLanguage(s) of text: German, Italian, EnglishPublisher: BärenreiterBinding: PaperbackPrint run: 1st printing 2012Pages / Format: XIV, 143 S. - 27,0 x 19,0 cmWeight: 428 g
Méthode Berklee PressUn guide complet pour organiser la section grande corne. P...(+)
Méthode Berklee PressUn guide complet pour organiser la section grande corne. Pour la première fois, vous pouvez apprendre les mêmes techniques enseignées à l'organisation de prestigieux Berklee College of Music et étudiés par les arrangeurs meilleurs et les plus brillants Invitez maintenant. Même si le texte est axé sur les styles de jazz classique et du big band, des informations générales sur pièce et sur ''l'harmonisation de l'éolienne peut être utilisée pour tous les styles moderne, de hip-hop au ska. Cette lintiene toutes les informations dont vous avez besoin lors de l'écriture des scores pour les cuivres, inspiré des pages écrites par les professeurs de Berklee. Le CD d'accompagnement est un excellent outil pour l'apprentissage, mais seulement d'écouter et d'apprécier, avec plus de pistes et de démonstration certains arrangements écrits dans le style des grands maîtres tels que Count Basie, Duke Ellington et Gil Evans. â ' oeSono été très impressionné par ce livre. Est valable non seulement pour les compositeurs et arrangeurs, mais aussi pour les directs / Opéra Théorique/Didactique
Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and ...(+)
Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and Violence delves into the dark and turbulent events of Edward II's life and death. George Benjamin and Martin Crimp's third collaboration, it unfolds as a taut slow burning arch of seven tableaux. This work boasts particularly rich string textures, and is coloured by basset horn and cimbalom together with a pair of harps, celesta, and percussion (including talking drums and tombak). Several of the opera's powerful interludes are dominated by braying, sardonic brass - with tuba substituted by the more menacing contrabass trombone. There is also much spectacular ensemble writing: in Scene Three's play within a play, several strands of independent music collide, and the result is perhaps one of the most complex musical structures Benjamin has ever tackled. The music's relationship to the drama is often unstable and seemingly very spontaneous, but beneath it all one senses a rigorous architecture, unflinchingly guiding the listener deeper and deeper into the opera's disquieting emotional world. This full score is a perfect accompaniment to the previously published vocal score and text. / Musique contemporaine / Répertoire / Opéra
Par LICALSI ANGELO. Grammatica Della Musica reveals the grammar and theory of mu...(+)
Par LICALSI ANGELO. Grammatica Della Musica reveals the grammar and theory of music through engaging prose by Angelo Licalsi. This book is perfect for applicants to music theory exams at conservatories or music schools. From the very basics right through to the circle of fifths and more advanced theory, this book is the ideal introduction to theory. / Pédagogie / Théorie / Opéra Théorique ou Didactique
Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Work...(+)
Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Works of Gioachino Rossini'. Nach seiner Uraufführung in Paris feierte das Werk große Erfolge an den europäischen Bühnen des 19. Jahrhunderts. Die turbulente Komödie um den Grafen Ory, der sich mit seinen wüsten Kumpanen Zutritt zu einem Nonnenkloster verschafft, ist eines von Rossinis effektvollsten Meisterwerken.Der Herausgeber Damien Colas legt in Zusammenarbeit mit dem ?Center for Italian Opera Studies Chicago' eine kritische Neuausgabe vor, die unter Heranziehung einer Vielzahl von Quellen einen originalen Text des Werkes präsentiert, der in vielen Fällen von der bislang erklungenen Überlieferung abweicht. So konnten originale Besetzungen, formale Verläufe und zahlreiche fragliche Lesarten wieder hergestellt bzw. korrigiert werden. / Opéra
Par GUITIERREZ ANGELES. La presente obra no encierra un trabajo teórico sino qu...(+)
Par GUITIERREZ ANGELES. La presente obra no encierra un trabajo teórico sino que, desde el primer momento, propone una actividad práctica a través de la cual se podrá llegar a una comprensión teórica posterior. Esta es la esencia fundamental del método empleando primero la ca y luego la teoría. / Pédagogie / Eveil Musical / Opéra Théorique ou Didactique
Par SCHIAVI ANGELO. Metodo basilare per lo studio teorico-pratico dell'improvvis...(+)
Par SCHIAVI ANGELO. Metodo basilare per lo studio teorico-pratico dell'improvvisazione jazz. Costruzione di una melodia rmonica. / Pédagogie / Autre FM / Opéra Théorique ou Didactique
Edition no.: BA 10700-90ISMN: 9790006542161Editor: Heinrich, ArtieArranger: Köh...(+)
Edition no.: BA 10700-90ISMN: 9790006542161Editor: Heinrich, ArtieArranger: Köhs, AndreasLanguage(s) of work: English, Italian, GermanLanguage(s) of text: German, EnglishProduct format: Piano reduction, Urtext editionHandel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid's 'Metamorphoses' a total of three times: in the cantata 'Aci, Galatea e Polifemo' HWV 72 (1708), the masque 'Acis and Galatea' HWV 49a (1718) and finally the pasticcio-like serenata 'Acis and Galatea' HWV 49b (1732) of which the original version is now made available in its complete form for the first time.A particular charm is provided by the use of two languages in the serenata. The work was originally conceived in English, as was required for the first performance. However, Handel's Italian singers were criticised for their poor command of English, ' so in the end, many numbers were sung in Italian.The extensive appendix to the vocal score includes the additional arias and newly composed movements for the versions used in the 1734 and 1736 performances.- Urtext edition based on the 'Halle Handel Edition'- English and Italian original text with singable German translation- Extensive foreword in two languages (Ger/Eng)- Clear, straightforward piano reduction
For this opera in two acts, composer and librettist Mark Adamo revisits Louisa M...(+)
For this opera in two acts, composer and librettist Mark Adamo revisits Louisa May Alcott's classic chronicle of growing up female in post-Civil War New England, focusing on the theme that even sincerest love and strongest will cannot stave off change and loss. / Opéra
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...(+)
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
C'est la première jamais de méthode qui vous apprend comment jouer dans un gro...(+)
C'est la première jamais de méthode qui vous apprend comment jouer dans un groupe de rock. Apprenez ce que tous les grands musiciens semblent sait intuitivement - comment écouter, interagir et réagir, improviser et faire partie de la gorge. Le livre et le long de jeu CD permettra d'améliorer votre capacité de calendrier, la technique et la lecture. Devenu le grand joueur que tout le monde veut avoir dans leur groupe. / Saxophone
Cuaderno De Ejercicios Musicales - Iniciación. Par GARCIA JUNQUERO M.A.. biling...(+)
Cuaderno De Ejercicios Musicales - Iniciación. Par GARCIA JUNQUERO M.A.. bilingüe
C E G, vol.1A book of music exercises - BeginnersThis book is complementary for any music methodology applied to elementary education. Our aim is to introduce kids to the music instruments and symbols, hoping this sets the beginning of a great care / Pédagogie / Méthode / Opéra Théorique ou Didactique
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