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

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

Opéra de chambre en un prologue et un acte. Une histoire de fantôme raconter de la disparition mystérieuse de trois gardiens de phare dans les Hébrides.Ceci est une histoire de mystère dans la forme d'un opéra de chambre. Le prologue est défini comme un tribunal d'enquête sur la disparition inexpliquée de trois gardiens d'un phare. Des questions sont posées par un cor solo, ce qui peut paraître parmi l'auditoire, et trois officiers de donner une réponse. Progressivement, ils se déplacent d'un témoignage directement dans imaginations fantastiques du mal lors d'une 'flashback' pour le phare, mais ensuite nous remettre très vite à la salle d'audience.Dans l'acte principal des trois chanteurs deviennent les gardiens disparu. Ils ont été ensemble pendant des mois, assez longtemps pour être pleinement conscients des uns et des autres faiblesses- querelles mesquines suggèrent une relation qui est stable, mais susceptibles de devenir hautement instables à tout moment. Ils chantent des chansons pour réduire la tension, Blazes commençant par une ballade grossière de la violence des rues, accompagnée par le violon et le banjo. Chanson de sable, avec violoncelle et out-of-piano désaccordé debout, est une description à peine déguisée de béatitude sexuelle, et d'Arthur avec cuivres et clarinettes, est un hymne démagogique. Mais les chansons ne servent que de ressusciter les fantômes dans leurs esprits du passé, et que le brouillard descend chacun des gardiens devient convaincu qu'il est réclamé par la Bête. Ils se préparent à répondre à ses yeux éblouissants, qui deviennent les lumières du bateau de secours, et les trois hommes réapparaissent comme des officiers, réunis au phare que par une infestation de rats. Ils partent, et à la fin des dernières heures de flammes, de sable et Arthur commence à jouer de nouveau.Study Score. Durée c. 1h 25min. / Scores

Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from Francesco Cavalli - Opere Edition no. TP 891 ISMN 9790006205356 'La Calisto' received its first performance in Venice in 1651 but only really achieved its breakthrough in the 20th century. It is one of Cavalli's most frequently-performed operas today. The reason for this success may have been the late acknowledgement of its masterly dramatic and musical structure. The musical text is not presented in the usual small study score format, but in the vocal score format (19 x 27 cm). This results in an optimal and well-presented layout of the work. The study score is ideal for analysis as well as for rehearsing the vocal parts. - Reduced-size full score based on the first volume of the new Bärenreiter series, 'Francesco Cavalli ' Opere' - Reflects the latest state of research - Foreword (Eng) by the editor - English translation of the libretto included separately (not singable) - Practical for study and rehearsing the vocal parts

Par TCHAIKOVSKI PIOTR ILITCH. Written during the composer’s years as a professor at the renowned Moscow Conservatory, this volume presents a clear and thorough introduction to the study of harmony - a complete course in writing music featuring numerous examples and exercises. It functions equally well as a classroom text, an adjunct to private instruction, or as a guide to individual musicians. Out of print for several decades and exceedingly rare in its original edition, the Guide to Practical Study of Harmony holds an intrinsic historical interest. This is the unabridged republication of the classic 1900 edition and is an excellent manual which remains as useful and instructive today as it wasat the turn of the 20th century./ Répertoire / Opéra Théorique ou Didactique