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

Comédie (Laxenburg 1765) Gluck Complete Works IV/4. Par GLUCK CHRISTOPH WILLIBALD. The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg by the French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print. A popular comedy which in particular was known for its exotic colour, “Soliman second” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and an accomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’s involvement in incidental music is an exception in his artistic output. In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the source material, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile./ Répertoire / Opéra

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