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Ave Maria Per Canto E Pianoforte
7.40 EUR
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Ave Maria Per Canto E Pianoforte
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Opera Arias For Soprano (Piano/Vocal)
30.60
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Schubert F. - Ave Maria Op.52 N.6 D.839 - Chant Et Piano
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Musical Category : canto (o voce recit) e pianoforte per voce e pianoforte (mez...
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Te Deum (VERDI GIUSEPPE)
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Riduzione Per Canto E Pianoforte Di G. Luporini. Par VERDI GIUSEPPE. Te Deum, to...
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Riduzione Per Canto E Pianoforte Di G. Luporini. Par VERDI GIUSEPPE. Te Deum, together with Ave Maria, Stabat Mater and Laudi alla Vergine Maria, is one of the Quattro pezzi sacri composed by Giuseppe Verdi between 1890 and 1898 and first released by Ricordi in 1898. According to the composer, Te Deum is the best piece and undoubtedly one of the most significant. For double SATB choir, with a short soprano solo, and big orchestra composed by 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 4 bassoons, 4 horns, 3 trumpets, 4 trombones, percussions (kettledrums and bass drum) and strings. The present edition offers the choral and piano reduction by Gaetano Luporini. / Classique / Répertoire / SATB Double Choeur et Piano Réduction
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La Dorilla Rv 709 (VIVALDI ANTONIO)
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Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. 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. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Réduction Piano
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Jubilate, O Amoeni Rv 639/639A - Gloria, Rv 588 (VIVALDI ANTONIO)
20.70
Jubilate, O Amoeni Rv 639/639A - Gloria, Rv 588 (VIVALDI ANTONIO)
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVAL...
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Ed. Critica M. Talbot - Riduzione Per Canto E Pianoforte Di A. Frigé. Par VIVALDI ANTONIO. RV 588 is Vivaldi’s ‘other’ Gloria, a composition having many parallels with Vivaldi’s better-known setting of the same text (RV 589). It dates similarly from the period 1713-1717, when the composer was acting choirmaster at the Ospedale della Pietà in Venice. It even borrows from the same work, a slightly earlier Gloria by the Venetian amateur composer Giovanni Maria Ruggieri, for its closing fugue. However, the present Gloria, RV 588, departs from its more famous counterpart in ingeniously combining its opening movement with the final movement of a specially designed introductory motet, Jubilate o amoeni chori (RV 639/639a), for solo contralto (or soprano) and strings, although Vivaldi makes it possible, through optional cuts indicated in the autograph manuscript in Turin, to perform the Gloria alone. With or without its Introduzione, RV 588 is a masterly work with many memorable moments, not least in its heartfelt second movement set to the words “Et in terra pax”. The Introduction and Critical Commentary for this vocal score prepared by Antonio Frigé are closely based on those of the Critical Edition by Denis Arnold and Michael Talbot, published in 1990. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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Stabat Mater Rv 621 (VIVALDI ANTONIO)
15.76
Stabat Mater Rv 621 (VIVALDI ANTONIO)
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[Partition]
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Ed. critica P. Everett - Riduzione per canto e pianoforte di A. Frigé. Par VIVA...
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Ed. critica P. Everett - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. This volume presents the vocal score of Vivaldi's Stabat Mater RV 621 for alto, strings and continuo, based on the critical edition by Paul Everett. Composed for the church of Santa Maria della Pace in Brescia, it was performed, for the first time, on 8 March 1712, for the Seven Sorrows of the Virgin Mary celebration. It is considered as one of the most inspired and celebrated Vivaldian works. Together with the Gloria RV 589 and the Quattro stagioni, it dates from a juvenile period. / Niveau : Intermédiaire / Répertoire / Chant et Piano
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I Puritani (BELLINI VINCENZO)
78.87
I Puritani (BELLINI VINCENZO)
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Ed. Critica F. Della Seta - Riduzione Per Canto E Pianoforte - Softcover, 2 Volu...
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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
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Antonio Vivaldi: La Dorilla RV 709: Vocal: Vocal Score
24.99
Antonio Vivaldi: La Dorilla RV 709: Vocal: Vocal Score
Piano, Voix
[Vocal Score]
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Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The ...
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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.
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Salve Regina Rv 616, Rv 617, Rv 618 (VIVALDI ANTONIO)
22.67
Salve Regina Rv 616, Rv 617, Rv 618 (VIVALDI ANTONIO)
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VI...
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano
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Antonio Vivaldi: Salve Regina RV 616 RV 617 RV 618: Vocal: Score
15.50
Antonio Vivaldi: Salve Regina RV 616 RV 617 RV 618: Vocal: Score
Piano, Voix
[Vocal Score]
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The pre...
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Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617 and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments respectively a flute and a pair of oboes whereas the instrumentation of the first is confined to strings disposed in a single coro although a solo violin is employed in three movements. RV 617 preserved in a non-autograph source in Brno belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717) while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores prepared by Antonio Frigé are closely based on those of the Critical Editions by Michael Talbot published in 1998 1990 and 1994.
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Pianoforte Classico...A 1Ovista V.2 (CONCINA FRANCO)
20.60
Pianoforte Classico...A 1Ovista V.2 (CONCINA FRANCO)
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Par CONCINA FRANCO. Anthologie de la classique facilitée pour piano par Franco ...
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Par CONCINA FRANCO. Anthologie de la classique facilitée pour piano par Franco Concina/ Recueil / Piano
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Ave Maria (Dall'Opera Otello) Per Canto E Pianoforte (VERDI GIUSEPPE)
7.40
Ave Maria (Dall'Opera Otello) Per Canto E Pianoforte (VERDI GIUSEPPE)
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Ave Maria Per Canto E Pianoforte
7.40
Ave Maria Per Canto E Pianoforte
Piano, Voix
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/ Voix Et Piano
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