Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Classical.
Part. 12 pages. Duration
13'. Breitkopf and
Haertel #OB 5142-27.
Published by Breitkopf
and Haertel
(BR.OB-5142-27).
ISBN
9790004329559. 10 x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Overture; Classical. Full
score. 68 pages. Duration
13'. Breitkopf and
Haertel #PB 5142.
Published by Breitkopf
and Haertel (BR.PB-5142).
ISBN 9790004208878. 10
x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Classical.
Part. 10 pages. Duration
13'. Breitkopf and
Haertel #OB 5142-19.
Published by Breitkopf
and Haertel
(BR.OB-5142-19).
ISBN
9790004329535. 10 x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Overture; Classical. Set
of parts. 100 pages.
Duration 13'. Breitkopf
and Haertel #OB 5142-30.
Published by Breitkopf
and Haertel
(BR.OB-5142-30).
ISBN
9790004329566. 10 x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Classical.
Part. 10 pages. Duration
13'. Breitkopf and
Haertel #OB 5142-15.
Published by Breitkopf
and Haertel
(BR.OB-5142-15).
ISBN
9790004329511. 10 x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Overture No. 2 to the
Opera. Composed by
Ludwig van Beethoven.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Classical.
Part. 16 pages. Duration
13'. Breitkopf and
Haertel #OB 5142-23.
Published by Breitkopf
and Haertel
(BR.OB-5142-23).
ISBN
9790004329542. 10 x 12.5
inches.
Despite the
numbering, the overture
Leonore No. 2 was
Beethoven's first effort
to precede his only opera
with an adequate
introduction. It had been
composed last minute and
in between the rehearsals
for the premiere of the
opera Leonore oder Der
Triumph der ehelichen
Liebe (Leonore, or The
Triumph of Marital Love)
on 20 November 1805 at
the Theater an der Wien.
This comprehensive,
programmatic work was met
with incomprehension at
first performances just
like the opera itself.
Beethoven felt compelled
to re-write Leonore
completely and presented
it under its new title
Fidelio. In 1806 he
revised the overture to
such an extent that a
symphonic sonata movement
emerged; with another
incorrect numbering,
Leonore No. 3 has gone
down in music history and
above all it has achieved
a regular place in
concert repertory. And in
order to complete the
confusion: written in
1806/07, only Overture
No. 1 is Beethoven's
chronologically last
effort to write an
overture for Leonore,
before he - many years
later - put an end to
this infinite subject
with the so-called
Fidelio overture for the
third version of the
opera. After all, thanks
to the search after a
dramaturgically
convincing beginning of
the opera, the music
world has been enriched
by four quite different
orchestra scores.The
music text of the present
score is based on Volume
11 of the Supplements to
the Complete Edition. The
performance material of
the Fidelio and Leonore
No. 3 overtures is
available in Breitkopf
Urtext editions..
Chorus (with soloists) and piano (solos: S. A. 7T. Bar. 4B - choir: SAATTBB - pi...(+)
Chorus (with soloists)
and piano (solos: S. A.
7T. Bar. 4B - choir:
SAATTBB - picc.2.2.2.2 -
4.2.3.0 - timp.perc(2) -
hp - str)
SKU:
BR.EB-2066
Comic
Opera in 2 Acts.
Composed by Peter
Cornelius. Edited by Max
Hasse. Arranged by
Waldemar von (KA)
Baussnern. Choir;
Softbound. Edition
Breitkopf. Opera; Music
theatre; Romantic.
Piano/Vocal Score. 240
pages. Breitkopf and
Haertel #EB 2066.
Published by Breitkopf
and Haertel (BR.EB-2066).
ISBN 9790004160770.
7.5 x 10.5
inches.
Text by the
composer Translation:
engl. (M. E. Browne)
Place: Bagdad Characters:
Der Kalif (baritone) -
Baba Mustapha, ein Kadi
(tenor) - Margiana, seine
Tochter (soprano) -
Bostana, eine Verwandte
(alto) - Nureddin (tenor)
- Abul Hassan Ali Ebn
Bekar, Barbier (bass) -
1. Muezzin (bass) - 2.
Muezzin (tenor) - 3.
Muezzin (tenor) - Ein
Sklave (tenor) - Vier
Bewaffnete (2 Tenore, 2
Basse) Corneliuss opera
got off to a bad start,
to say the least: the
scandal provoked at the
first performance in
Weimar in 1858 led to
protests and ultimately
to the resignation of
Franz Liszt as court
opera director. It was
not until 1904 that the
opera was played again in
that city and proved that
the scandal had not been
caused by the work but by
Liszts aesthetic views.
The score was long
considered as the ideal
example of a musical
comedy with a far too
complicated plot. Today,
however, many prominent
commentators beg to
differ: This is one of
the sunniest scores ever
written. Music in the
spirit of Mozart and
Mendelssohn: a highly
delicate mixture of
classical formal rigor
and romantic irony,
heightened with just a
touch of exquisite
sensuality that has just
wafted in from the
Orient. It is practically
incomprehensible how
Cornelius could have been
regarded as a composer of
the Wagner school for
practically a century.
With its intricate fusing
of comedy, lyricism and
sentimentality, it is
precisely the opera that
Schubert, Schumann,
E.T.A. Hoffmann and
Mendelssohn were unable
to write. (Hans
Zender).
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5255-16.
Published by Breitkopf
and Haertel
(BR.OB-5255-16).
ISBN
9790004342237. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Composed by Robert Ward. Full Length Opera. 20th Century. Libretto. Galaxy Music...(+)
Composed by Robert Ward.
Full Length Opera. 20th
Century. Libretto. Galaxy
Music Corporation
#7.0277. Published by
Galaxy Music Corporation
(EC.7.0277).
0.48
Viola (2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.OB-5255-19 Overture to ...(+)
Viola (2.2.2.2 - 4.2.3.0
- timp - str)
SKU:
BR.OB-5255-19
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5255-19.
Published by Breitkopf
and Haertel
(BR.OB-5255-19).
ISBN
9790004342244. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Chorus (with soloists) and piano (solos: Sp MezT2BarB - 2(picc).2(cor ang).2(Bkl...(+)
Chorus (with soloists)
and piano (solos: Sp
MezT2BarB - 2(picc).2(cor
ang).2(Bkl).2(dble bsn) -
3.2.3.0 - timp.perc.(2) -
Cel - str - stage music:
2trp.timp.perc)
SKU:
BR.EB-9433
A
Theatrical Caprice in One
Act. Composed by
Ferruccio Busoni. Choir;
Softbound. Edition
Breitkopf. Opera; Music
theatre; Early modern;
Late-romantic.
Piano/Vocal Score.
Duration 60'. Breitkopf
and Haertel #EB 9433.
Published by Breitkopf
and Haertel (BR.EB-9433).
ISBN 9790004189108. 9
x 12 inches.
German.
Text by the
composerTranslation:
engl. (E. J. Dent), ital.
(V. Levi), port. (G. de
Medeiros)Place and time:
Bergamo, around the 18th
century.Characters: Ser
Matteo del Sarto, master
tailor (baritone) -
Abbate Cospicuo
(baritone) - Dottore
Bombasto (bass) -
Leandro, Cavaliere
(tenor) - Arlecchino
(speaking part) -
Colombina, Arlecchino's
wife (mezzo-soprano) -
Annunziata, Matteo's wife
- Zwei Sbirren - Ein
Karrner - a Donkey -
People at the windows
(silent parts)The idea
behind this work was to
combine a major speaking
role with a part for a
female singer and
orchestra in the spirit
of the opera buffa. The
overall tone is
pacifistic and
anti-bourgeois. Busoni's
inspiration was that of
an opera-play in the
style of Italian
improvised comedy; he
wanted types and
characters on stage whose
varying typology would
provide the source of
conflict ... The title
hero absconds with the
young wife of the
Dante-reading tailor
Matteo. He returns as a
false barbarian
commander, as a husband
who engages in a duel
with the suitor Count
Leandro, and as a
conqueror who announces
the moral of the story in
the epilogue: how to be
able to bow in rags and
still retain one's
dignity and rights. The
piece takes a turn for
the absurd when the
Abbate, at the sight of
Leandro, who is presumed
dead, begins to sing a
chorale-like song of
praise to the donkey of
Providence who comes
trotting in at that
moment. This introduces
the most musically
refined number in the
piece, the quartet, in
which Leandro's love aria
and his duet with
Columbina satirize the
attitudes prevalent in
Italian opera from
Scarlatti to Verdi.
Musically, Busoni uses
throughout the entire
work an idiom of
dance-like, blissfully
transparent comedy and
hides harmonic audacities
behind touches of
lightness. The orchestral
sound radiates an
incomparable brightness
and buoyant elegance.
(Hans Heinz
Stuckenschmidt,
1967)
In the
appendix, EB 9433
contains the later
composed aria Wer siegt?
Wer fallt?..
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5255-15.
Published by Breitkopf
and Haertel
(BR.OB-5255-15).
ISBN
9790004342220. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
Folder.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Set of parts.
56 pages. Duration 10'.
Breitkopf and Haertel #OB
5255-30. Published by
Breitkopf and Haertel
(BR.OB-5255-30).
ISBN
9790004342275. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Study Score. 40
pages. Duration 10'.
Breitkopf and Haertel #PB
5549-07. Published by
Breitkopf and Haertel
(BR.PB-5549-07).
ISBN
9790004213599. 6.5 x 9
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
(Study Score) SKU: HL.49045553 Study Score. Composed by Aribert Re...(+)
(Study Score)
SKU:
HL.49045553
Study
Score. Composed by
Aribert Reimann. This
edition: Paperback/Soft
Cover. Sheet music.
Opera. Classical.
Softcover. Composed 1970.
418 pages. Duration 100'.
Schott Music #AVV329.
Published by Schott Music
(HL.49045553).
ISBN
9790001164467. UPC:
841886031258.
8.25x11.75x0.985 inches.
German.
Aribert
Reimann's second opera
Melusine, premiered in
1971, was created before
Lear. 'Yvan Goll
modernized the story in
1922 by setting the story
in the present day:
Melusine kills to protect
nature, but her attempt
to evade responsibility
for man and nature is
doomed to fail' (Claus H.
Henneberg, librettist).
The highly topical early
work of the prominent
opera composer is now
available as study score
for the first time.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Part. 4 pages.
Duration 10'. Breitkopf
and Haertel #OB 5255-23.
Published by Breitkopf
and Haertel
(BR.OB-5255-23).
ISBN
9790004342251. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
Overture to the Opera
- Urtext. Composed by
Robert Schumann. Edited
by Christian Rudolf
Riedel. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library). The
Urtext debut of
Schumann's beloved
overture. Overture;
Romantic. Part. 8 pages.
Duration 10'. Breitkopf
and Haertel #OB 5255-27.
Published by Breitkopf
and Haertel
(BR.OB-5255-27).
ISBN
9790004342268. 10 x 12.5
inches.
Robert
Schumann placed great
importance on the genre
of the overture, as can
be seen in the chronology
of the genesis of his
sole opera Genoveva. In
his Haushaltbuch the
composer entered as his
first idea thoughts of an
overture, then produced
the score even before
having begun working on
the actual opera.
Schumann was right on the
mark when he suspected
that the overture alone
should enjoy a favorable
reception. The Overture
appeared in print at
about the same time that
the opera was premiered.
It established itself in
the concert hall as an
autonomous work and ranks
today - along with the
Manfred Overture - among
Schumann's most beloved
concert overtures. The
Genoveva Overture is
being released in a
text-critical Breitkopf
Urtext edition for the
first time. The main
source is the first
printing revised by
Schumann.
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
Composed by Francesco Geminiani (1687-1762). Edited by Rudolf Rasch. For violin....(+)
Composed by Francesco
Geminiani (1687-1762).
Edited by Rudolf Rasch.
For violin. Francesco
Geminiani Opera Omnia.
Early music. Hardcover
(cloth bound). 204 pages.
Published by Ut Orpheus
The
Marriage of Figaro -
Opera buffa in 4
Acts. Composed by
Wolfgang Amadeus Mozart.
Stapled. Chor-Bibliothek
(Choral Library). Opera;
Music theatre; Classical.
Choral score. 8 pages.
Breitkopf and Haertel
#ChB 4925-02. Published
by Breitkopf and Haertel
(BR.CHB-4925-02).
ISBN
9790004409015. 6.5 x 9.5
inches.
Duration:
full eveningText by
Lorenzo da
PonteTranslation: German
(H. Levi) Place and time:
Count Almavivas Palace,
18th CenturyCharacters:
Count Almaviva (bass) -
Countess Almaviva
(soprano) - Susanna
(soprano) - Figaro (bass)
- Cherubino (soprano) -
Marcellina (soprano) -
Basilio (tenor) - Don
Curzio (tenor) - Bartolo
(bass) - Antonio (bass) -
Barbarina (soprano) - Two
Girls (soprano,
alto).
Keyboard (NOTEN+CD) - easy to intermediate SKU: HL.49033068 Die modern...(+)
Keyboard (NOTEN+CD) -
easy to intermediate
SKU: HL.49033068
Die moderne
Klavierschule für
Jugendliche und
Erwachsene. Composed
by Hans Gunter Heumann.
This edition: Ring/Spiral
binding. Sheet music with
CD. Edition Schott.
German Edition, Method.
Edition with CD. 128
pages. Schott Music #ED
9399. Published by Schott
Music (HL.49033068).
ISBN 9783795756000.
9.0x12.0x0.664 inches.
German.
Whoever
pursues piano playing as
a hobby mostly focusses
on two things: playing
from music, with as wide
a range of works from
classical, pop and jazz
music as possible, and
playing without the book,
i.e. the ability to
accompany melodies with
chords, play songs by ear
and improvise freely. In
this volume, both topics
are dealt with thoroughly
and systematically.
Whereas most piano
methods prefer either
classical or popular
music, both kinds of
music are well-balanced
herein.Clearly structured
chapters cover a variety
of interesting topics:
the Baroque, Classical
and Romantic eras,
popular piano styles
(e.g. ragtime, boogie,
rock 'n' roll, pop
ballad), the blues and
the genres of opera,
operetta and ballet.
Flute and Piano - very easy, easy SKU: BT.DHP-1185897-404 Flöte...(+)
Flute and Piano - very
easy, easy
SKU:
BT.DHP-1185897-404
Flöte. Arranged
by Markus Schenk.
Hören, Lesen und
Spielen. Opera or
Operetta. Book with Part
and Audio-Online.
Composed 2018. 28 pages.
De Haske Publications
#DHP 1185897-404.
Published by De Haske
Publications
(BT.DHP-1185897-404).
ISBN 9789043154574.
German.
Hören
, lesen & spielen ist
die bewährte
Bläserschule für
dreizehn verschiedene
Instrumente, die im
Einzel- oder
Gruppenunterricht
eingesetzt werden kann.
Sie ist gemäß den
aktuellen Erkenntnissen
und Ansprüchen der
Musikerziehung
konzipiert. Die perfekte
Ergänzung zur Methode
in drei Bänden bilden
diverse Bücher mit
Spielliteratur. Sie sind
genau auf den
Lernfortschritt in
Hören, lesen &
spielen abgestimmt,
können aber auch
unabhängig von der
Schule eingesetzt
werden.
Einige der
schönsten Melodien,
die je für Opern
geschrieben wurden, sind
im Opern-Spielbuch
versammelt. Berühmte
Arien, aber auch
Chorsätze und
Ouvertüren wurden so
bearbeitet, dass
sieparallel zu allen drei
Bänden von
Hören, lesen &
spielen verwendet
werden können. Sie
sind in ansteigendem
Schwierigkeitsgrad
angeordnet. Die
Schüler können sich
von den Klavieraufnahmen
begleiten lassen, die
online zum direkten
Abspielen oder
Herunterladen zur
Verfügung stehen. Die
Klavierbegleitungen
liegen der Ausgabe
darüber hinaus auch in
gedruckter Form bei.