Herbert Howell's Requiem written for unaccompanied SATB chorus and soli. Although written in 1936, Requiem was not released for performance until 1980, held back by Howells following the death of his son in 1935. It is a harmonious and deeply Romantic composition, but restrained and it is at these moments we realise how affected he was by his loss. It was the composer's intention that Requiem should be performed a cappella, however he provided a limited organ part, for rehearsal purposes only, which is included here. / Chant Et Piano

Ed. Critica F. Della Seta - Riduzione Per Canto E Pianoforte - Softcover, 2 Volumi. Par BELLINI VINCENZO. I Puritani is the last work of Vincenzo Bellini: composed in nine months, from April 1834 to January 1835 (a gestation unusually long for that time), was performed for the first time in Paris, Théâtre Italien, 24 January 1835. During this period, the dramatic structure suffered radical transformations: initially structured in two acts, the work was divided into three acts just before the premiere, but on the eve of the first performance, and immediately after that, the excessive length of the title imposed the cut of three pieces and other minor sections. Simultaneously with the release for Paris, Bellini prepared a version designed for a planned exhibition for Naples at Teatro S. Carlo, whose protagonist had to be Maria Malibran and in which the part of Riccardo had to be supported by a tenor. The exhibition did not take place, as the score came late in Naples: the Neapolitan version was rediscovered and performed only in the eighties of the twentieth century. The new Critical Edition is based on the autograph, on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work, three of which contain autograph interventions (these sources are now kept at the Biblioteca Comunale in Palermo, at the Museo Civico Belliniano in Catania, at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This Edition presents for the first time all the music composed by Bellini, it restores the sections deleted before or after the first performance in Paris, and returns the modified sections of the Naples version- it consists of three-score volumes - introduced by a detailed reconstruction of the historical context - and of a 'Apparati” volume with a description of the Sources and the Critical Commentary to the musical text. / Niveau : Intermédiaire à Avancé / Répertoire / Chant et Piano

While Robert Burns is celebrated today for his body of poetry the composer of Auld Lang Syne was also the composer or arranger of more than three hundred songs. A Rosebud by My Early Walk is set to the traditional tune The Shepherd’s Wife and it was a favourite of drawing room musicians for many years. According to at least one researcher the ‘rosebud’ was the daughter of a family with whom Burns lived while recovering from a broken leg. The girl was just twelve years old and as a young musician played Burns's songs to him on harpsichord. The sheet music includes a version in C and in D.

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score published in this catalog in November 2019. Antonio Vivaldi's La Dorilla a heroic-pastoral opera on a libretto by Antonio Maria Lucchini was premiered at the Teatro Sant'Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant'Angelo where despite being greatly revised it was once again successful. Many of its recitatives had been shortened and several arias replaced some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers such as Johann Adolf Hasse Geminiano Giacomelli Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi who adjusted the libretto with the precise aim of satisfying the demands of the public which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context the description of the main source employed and a choice of the critical Notes to the musical text.

Pour Soprano Et Orchestre (Piano Reduction)-Gabriel Fauré's Chanson De Mélisande for Soprano and Orchestra. Reduction for Voice and Piano.   “An enchanted dream” – poet Charles Van Leberghe’s words give us an idea of the audience’s enthusiasm at the Prince of Wales Theatre in Piccadilly on June 21st 1898 when the first English language performance of Symbolist play Pelléas et Mélisande by Maurice Maeterlinck was performed with incidental music by Gabriel Fauré.    The composer had tasked his favourite student Charles Koechlin with orchestratingthe score. The London theatre’s small number of musicians suited the apprentice musician’s ideals of clarity and transparency. It was 1936 before Koechlin returned to La Chanson de Mélisande this time to create a version with orchestra published the following year as a Piano-Vocal score. Using autograph manuscripts Roger Nichols and Otfrid Nies have created a new edition of the Piano-Vocal reduction that includes the text of the melody in English French and German. The score contains the 1898 and 1936 variations as well as an informative preface by Otfrid Nies.

Rachmaninoff composed his collection of 13 songs op. 34 in 1912, but it was only three years later that he added a little closing piece without any text: the Vocalise, which soon outshone the other songs in terms of popularity and renown. Since its first performance in 1916 this expressive, melancholy piece has circulated in countless arrangements by others. Rachmaninoff himself made an arrangement for orchestra and voice, as well as one for orchestra alone. Our Urtext edition contains the original version for high voice and piano, and is based on the autograph sources in the Glinka Museum in Moscow. A particular highlight is the separate vocal part that not only serves singers well but also all those instrumentalists who wish to play this wonderful piece using the original solo part. / Voix Et Piano

Attila, Verdi's ninth opera and the second of five that he composed for Venice's Teatro La Fenice, had its premiere on 17 March 1846. Verdi was inspired to compose an opera on the subject of Attila by two rather unusual sources, Attila, König der Hunnen, a curious play by a now-forgotten German playwright, Friedrich Ludwig Zacharias Werner, and Madame de Staël's discussion of it in her magisterial work on Germany, De l'Allemagne. This present reduction is based on the critical edition of the full score that - published in 2012 - is the first complete published version of the full orchestral score and the product of the study of numerous manuscript sources: the autograph sources (now kept at the British Library in London, at the Library of Congress in Washington D.C. and at the 'Museo del Teatro alla Scala? in Milan), manuscript sources (those kept at Teatro La Fenice in Venice and at Teatro San Carlo in Naple) and the first piano vocal scores. / Voix Et Piano

Gioachino Rossini chooses Semiramide as the opera subject of the Carnival season 1822-23, the last of his Italian career. The opera - composed on a libretto by Gaetano Rossi - was performed for the first time in Venice, Teatro La Fenice, on February 3rd 1823. The history of this work is characterized right from the first performances by frequent manipulations, cuts and consecutive adjustments because of its monumental structure. This reduction for voice and piano, based on the critical edition of the full score, offers a new point of view of Semiramide through the reconstruction of the main phases of its rich executive history. In addition to the musical texts there are - both in Italian and in English - an historical Introduction (in the first volume) and a Critical Commentary to the musical text (in the second volume). In the three Appendices of the edition are then published the vocal variants recovered from the original parts (some in Rossini's hand), the original version of the conclusion of the Semiramide's Cavatina and a version of the Finale secondo composed by Rossini for the Parisian version of 1825. / Voix Et Piano

Par RATKJE MAJA S. K.. Hvil (Eng.: rest) is an imperative, and a plea: the earth's plea to humankind. This plea consists of words and music which have taken shape at the same time in a close collaboration between composer and the author Aasne Linnestå. 'Hvil' was commissioned by the Nordland Musikkfestuke festival, Bodø, in 2008 and received its premier performance there by Marianne Beate Kielland and Nils Anders Mortensen. The piece is released on the album 'Come Away Death' by Kielland and Sergej Osadchuk (piano) on the Norwegian label 2L, in 2010.Hvil (Eng.: rest) is an imperative, and a plea: the earth's plea to humankind. This plea consists of words and music which have taken shape at the same time in a close collaboration between composer and the author Aasne Linnestå. 'Hvil' was commissioned by the Nordland Musikkfestuke festival, Bodø, in 2008 and received its premier performance there by Marianne Beate Kielland and Nils Anders Mortensen. The piece is released on the album 'Come Away Death' by Kielland and Sergej Osadchuk (piano) on the Norwegian label 2L, in 2010./ Répertoire / Chant et Piano