Versione Stoccolma - Per Cinque Orchestre Nello Spazio - Partitura. Par FRANCESCONI LUCA. Versione Stoccolma - Per Cinque Orchestre Nello Spazio - Partitura / Musique contemporaine / Date parution : 1905-07-01/ Répertoire / Orchestre

Per 5 Piccole Orchestre - Partitura. Par ABBADO MARCELLO. / Musique contemporaine / Date parution : 1905-06-06/ Répertoire / Orchestre

Rv 783 - F. Vi/17 - Parti. Par VIVALDI ANTONIO. / oeuvre solo et Orchestre / Date parution : 1905-06-23/ Répertoire / Orchestre

F.Vii-4 - Tomo 222 - Parti. Par VIVALDI ANTONIO. Langue: English(US) / oeuvre solo et Orchestre / Date parution : 1905-06-14/ Répertoire / Orchestre

Pour Petit Orchestre De Debutants. Par GRISEY GERARD. Langue: English(US) / Musique contemporaine / Date parution : 1905-07-03/ Répertoire / Orchestre

'L'Ottavina' Rv 763 - Critical Edition, Softcover - F.I/240 - Parti. Par VIVALDI ANTONIO. L'Ottavina' Rv 763 - Critical Edition, Softcover - F.I/240 - Parti / oeuvre solo et Orchestre / Date parution : 1905-06-14/ Répertoire / Orchestre

Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII). Par DONIZETTI GAETANO. Gaetano Donizetti’s Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizetti’s most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere “musicological curiosity” some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composer’s preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composer’s autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizetti’s music. The critical edition restores the original keys, thus maintaining Donizetti’s overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces – which may have had Donizetti’s approval – will be made available available in the material for hire to theatres. / Date parution : 2022-03-05/ Répertoire / Orchestre

Für Großes Orchester. Par LEVY FABIEN. / Date parution : 1905-06-29/ Répertoire / Orchestre

Par HAAS GEORG FRIEDRICH. / Date parution : 2023-03-11/ Répertoire / Orchestre

für Orchester. Par NEMTSOV SARAH. / Date parution : 2023-03-11/ Répertoire / Orchestre

Musik für das Gürzenich Orchester. Par HAAS GEORG FRIEDRICH. / Date parution : 2023-03-11/ Répertoire / Orchestre

Vol. 10/II - Edizione critica a cura di Alessandro Borin-David Bryant (testi in italiano e inglese). Par GABRIELI ANDREA. Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer?s death in 1585. Broadly speaking, Gabrieli?s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer?s habitual interaction with patrons, poets and musicians in mid sixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli?s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ?stradioto? dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli?s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil?s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli?s presence in multi-author anthologies follows a predictable pattern. The young composer?s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark?s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer?s death). / Date parution : 2022-04-26/ Recueil / Orchestre

Orchestra Version. Par FUJIKURA DAI. / Date parution : 2022-03-15/ Répertoire / Orchestre