Par VELILLA NATALIA. Suena Suena Bebés es un material que trata de recuperar el placer de cantar y jugar con nuestros hijos o alumnos desde que son bebés - a partir de los 4 meses aproximadamente, persiguiendo un doble objetivo - por un lado, potenciar y fortalecer los latre el adulto y el niño y por el otro lado aportar un sentido educativo y musical. / Pédagogie / Eveil Musical / Opéra Théorique ou Didactique

Par TEBALDI ALBERTO. Chitarra Jazz : Teorie sul suono, sul colore e sulla forma applicate all'armonia e all'improvvisazione./ Méthode / Opéra Théorique ou Didactique

Description The tragic tale of brothers who are in love with the same mysterious woman, Debussy's only opera is a perfect marriage of music and verse. The culmination of an eight-year effort on the part of the composer, the five-act lyric drama premiered in 1902. This volume, reprinted from the E. Fromont 1904 edition, reproduces the full orchestral-vocal score in a clear, modern engraving.

Par WHITTALL ARNOLD / DUNSBY J.. Ecrit pour les étudiants et les enseignants, la préoccupation centrale des auteurs est avec les approches du XXe siècle à deux types de musique : que basé sur la tonalité (la langue de Bach, Beethoven et Brahms) et d'autre part, antonal et composition de série, avec Schoenberg et Webern les maîtres représentatifs. Le livre se termine par une introduction à la plus en plus importante remplacée par la nouvelle ISBNject du structuralisme et sémiologie musicale./ Recueil / Opéra

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

Oper in einem Aufzug nebst einem Vorspiel. Par STRAUSS RICHARD. Richard Strauss's Piano reduction of Ariadne Auf Naxos Arranged by Otto Singer. This work is in the original German text. / Opéra-opérette / Répertoire / Réduction Piano

Facsimile of the autograph score from the National Archive of the Richard Wagner Foundation Bayreuth. Par WAGNER RICHARD. Knowledge, pity, redemption: Richard Wagner took up these major themes in “Parsifal”, the music drama that he completed 13 months before his death and referred to as his “most conciliatory work”. Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day. Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure. The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance. In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript./ Répertoire / Opéra

Teoría de la Entonación y Práctica de Ejercicios Musicales. Par BARRIO A.. Complemento básico del solfeo Antes de empezar a practicar los ejercicios, se expone una serie de procedimientos que el alumno deberá conocer para llegar a conseguir la entonación perfecta. Al mismo tiempo se pretende dar un sentido y una forma concreta y lógica a eso tan abstrac es el sonido. / Pédagogie / Solfège/Formation Musicale / Opéra Théorique ou Didactique

Par ESCUDERO MARIO. Los Cuentos Musicales deben aumentar gradualmente el interés de los niños, en los que se pondrá también en juego sus posibilidades y habilidades vocales, instrumentales, plásticas y subjetivas.El contenido de los cuentos musicales está determinado prelato, el canto, el juego con los instrumentos musicales, la dramatización e interpretación, el ritmo y el movimiento, así como la plástica y los dibujos./ Recueil / Opéra Théorique ou Didactique

Par PERGOLESI GIOVANNI BATTISTA. Editeur(s) d'origine: Koerth, Manfred / Ebermann, Wo/ Répertoire / Opéra

Herausgegeben Anders Wiklund. Par MAYR GIOVANNI SIMONE. / Date parution : 2022-07-28/ Répertoire / Opéra

Par TCHAIKOVSKI PIOTR ILITCH. Editeur(s) d'origine: Koerth, Manfred / Ebermann, Wo/ Répertoire / Opéra

EDIZIONE CRITICA A CURA DI REBECCA HARRIS-WARRICK / Oeuvres Théâtrales/Oratorios Et Ballets

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