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SCHUMANN ROBERT - LIEDERKREIS OP.24 - VOIX BASSE & PIANO
Voix solo - piano
G. Henle
Robert Schumann
Liederkreis op. 24
Kazuko Ozawa (Editeur)
Edition...
(+)
Robert Schumann
Liederkreis op. 24
Kazuko Ozawa (Editeur)
Edition Urtext, voix grave, reliure paperback
pour voix grave
Schumann a été le premier à mettre en musique un cycle de poèmes complet d’Henri Heine. Âgé de 17 ans, Schumann était déjà fasciné par les écrits «lançant des éclairs» du poète. Mais c’est au cours de l’«année du lied», en 1840, qu’il écrit son opus 24. Il choisit pour sa mise en musique un cycle tiré du Livre des chants (Buch der Lieder). Le compositeur écrit à sa fiancée: «Ah! Clara, quelle félicité que d’écrire pour le chant.» Cet enthousiasme se reflète dans chacun des neuf lieder.
Il est enfin permis aux chanteurs avec une voix grave de s’appuyer sur les éditions Urtext Schumann de Henle: le magnifique Liederkreis op. 24, composé sur des poèmes de Heinrich Heine, est maintenant publié dans une édition transposée, réalisée par l’experte de Schumann Kazuko Ozawa. Avec le soutien du célèbre accompagnateur de lieder Gerold Huber, Henle propose maintenant des transpositions soigneusement agencées pour baryton de la version pour voix grave. Cette édition Urtext est accompagnée d’une préface approfondie sur la genèse et d’un commentaire critique détaillé. L’édition originale pour voix élevée est disponible sous le numéro HN 548. / Partitions classique / Vocale - chorale / Voix solo - piano / HENLE VERLAG
18.50 EUR - Sold by Woodbrass
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VIARDOT-GARCIA PAULINE - SELECTED SONGS VOL.1 - VOIX & PIANO
Voix solo - piano
EDITION BREITKOPF
This Viardot Edition is the first critical edition of Pauline Viardot’s songs....
(+)
This Viardot Edition is the first critical edition of Pauline Viardot’s songs. It is based on fair copies of the woman composer, who was one of the most versatile singers and important representatives of the bel canto performance tradition in the 19th century. The present volume includes settings of Russian texts by Pushkin, Feth and Turgenev as well as Italian-language songs based on Tuscan folk lyrics. All songs are accompanied by German translations, which were specifically prepared for the German first edition in the 19th century.
The solo Lied with piano accompaniment was Pauline Viardot’s main genre, which she made bloom in the most diverse colors, depending on text and style. In addition to her own use, the sought-after vocal pedagogue also wrote her songs for her students. Accordingly, the songs included in this volume are suitable for different vocal genres in terms of their ranges and expressive content: for example, songs such as “Zwei Rosen”, “L'innamorata” or “Das Vöglein” are suitable for light, high voices, while lyrical, lower voices can find suitable songs with “Ruhige, heilige Nacht”, “Flüstern, atemscheues Lauschen” or “C’era una volta”. For versatile voices with a gift for coloratura, “Non vi maravigliate” is a little showpiece, while voices with the ability for dramatic accents can sing songs like “Die Beschwörung” or “Mitternächtige Bilder”. Unlike the sometimes very long Russian songs, the consistently short Italian songs are well suited as an introduction to the easier Italian repertoire. The songs depict clearly defined scenes within which the singers are able to develop their respective characters.
01. Das Blümlein – Цветок VWV 1018 (Alexander Puschkin | 3')
02. Auf Grusiens Hügeln – На холмах Грузии VWV 1037 (Alexander Puschkin | 2')
03. Ruhige, heilige Nacht – Тихая, звёздная ночь VWV 1038 (Afanassi Fet)
04. Mitternächtige Bilder – Полуночные образы VWV 1039 (Afanassi Fet | 3')
05. Flüstern, atemscheues Lauschen – Шёпот, робкое дыханье VWV 1040 (Afanassi Fet)
06. Die Beschwörung – Заклинание VWV 1041 (Alexander Puschkin | 3')
07. Die Meise – Синица VWV 1042 (Iwan Turgenjew | 2')
08. Zwei Rosen – Две розы VWV 1055 (Afanassi Fet | 2')
09. Des Nachts – Мой голос для тебя и ласковый и томный VWV 1056 (Alexander Puschkin | 3')
10. Der Gefangene – Узник VWV 1057 (Alexander Puschkin | 3')
11. Das Vöglein – Птичка божия VWV 1058 (Alexander Puschkin | 3')
12. Die Sterne – Звёзды VWV 1059 (Afanassi Fet | 4')
13. Florentinisches Ständchen – Serenata fiorentina VWV 1048 (Giuseppe Tigri)
14. Die Verlassene – Cʼera una volta VWV 1049 (Giuseppe Tigri)
15. Die Dorfsängerin – Non vi maravigliate VWV 1047 (Giuseppe Tigri)
16. Die Unglückliche – Povera me! VWV 1050 (Giuseppe Tigri)
17. Doppel-Liebe – L'innamorata VWV 1051 (Giuseppe Tigri) / Partitions classique / Vocale - chorale / Voix solo - piano / EDITION BREITKOPF
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STRAUSS RICHARD - HUIT POEMES OP.10 - VOIX HAUTE & PIANO
Voix solo - piano
G. Henle
Richard Strauss
Huit poèmes op. 10
Annette Oppermann (Editeur)
E...
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Richard Strauss
Huit poèmes op. 10
Annette Oppermann (Editeur)
Edition Urtext, voix aiguë, reliure paperback
Tonalités originales pour voix haute
Les huit lieder composés en 1885 sur des textes du poète Hermann von Gilm, aujourd’hui peu connu, occupent une place à part dans la production de lieder de Richard Strauss. Pour la première fois, il a mis ici en musique tout un groupe de lieder sur des textes d’un seul poète et les a ensuite réunis en un seul opus également destiné à l’impression. Certains numéros comme Zueignung, Die Nacht, et Allerseelen comptent parmi les lieder les plus populaires de Strauss, mais c’est aussi le cycle dans son intégralité qui est, de par son aménagement bien disposé, digne de considération et d’être exécuté en public: le compositeur encore en pleine évolution se situe ici très consciemment dans la tradition de Schubert à Wolf, et choisit, avec l’amour vain, un thème hautement romantique, qui se trouve mis en lumière sous les facettes les plus diverses.
La source principale de l’édition Urtext de Henle est la première édition parue en 1887, que Strauss pourvut d’une dédicace au chanteur de la cour royale de Bavière, le Kammersänger Heinrich Vogl - une incitation à prendre très au sérieux pour nos chanteurs contemporains, afin de les empêcher d’abandonner exclusivement ces merveilleux lieder de Strauss aux chanteuses! / Partitions classique / Vocale - chorale / Voix solo - piano / HENLE VERLAG
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KISSIN E. - THANATOPSIS OP.4 - VOIX DE FEMME & PIANO
Voix solo - piano
G. Henle
Evgeny Kissin
Thanatopsis op. 4 pour voix de femme et piano
C’est un...
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Evgeny Kissin
Thanatopsis op. 4 pour voix de femme et piano
C’est une grande joie que de présenter, avec Thanatopsis, l’opus 4 du Maestro Kissin, une mise en musique très expressive du poème révolutionnaire né de la plume de William Cullen Bryant. Paru en 1821 sous la forme qu’on lui connaît maintenant, il est à l’origine de la poésie romantique américaine du XIXe siècle. Bryant est aujourd’hui rangé parmi les «Fireside Poets» («poètes au coin du feu») ou «Schoolroom Poets» («poètes de salle de classe»), en référence aux lieux où leurs poèmes étaient habituellement récités. Les poèmes de Bryant – en premier lieu le plus célèbre, Thanatopsis («Contemplation de la mort») – s’inscrivent dans la tradition anglaise, tout en révélant une ouverture à une langue et à un monde authentiquement américains. La mise en musique d’Evgeny Kissin s’offre à nous telle une vaste scène lyrique, fortement imprégnée de style récitatif, qui fait résonner avec génie l’atmosphère du texte. Notre édition offre en supplément des traductions allemandes et françaises du poème, ainsi qu’une postface informative sur la vie et l’œuvre de Bryant et la genèse de Thanatopsis. / Partitions classique / Vocale - chorale / Voix solo - piano / HENLE VERLAG
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PUCCINI G. - LE WILLIS - CHANT ET PIANO
Voix solo - piano
RICORDI
Here, appearing for the first time, is the piano vocal score of Le Willis, Giaco...
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Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number – pages that were later removed, in order to make space for the new material produced for Le Villi– are also proposed as the principal text.Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor proves that the vocal material produced for the first performance of Willis was not copied from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score. / Partitions classique / Vocale - chorale / Voix solo - piano / RICORDI
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PUCCINI G. - LE VILLI - CHANT ET PIANO
Voix solo - piano
RICORDI
What is being presented here is the piano vocal score of Le Villi, Giacomo Pucci...
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What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020.The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike.The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor demonstrates that the vocal material realized for the first performance of Willis was not derived from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score. / Partitions classique / Vocale - chorale / Voix solo - piano / RICORDI
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ENOCH BARRAINE ELSA - IL Y A QUELQU'UN AUQUEL JE PENSE - VOIX & PIANO
Voix solo - piano
ENOCH
/ Partitions classique / Vocale - chorale / Voix solo - piano / ENOCH
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ENOCH BARRAINE ELSA - PASTOURELLE - VOIX & PIANO
Voix solo - piano
ENOCH
/ Partitions classique / Vocale - chorale / Voix solo - piano / ENOCH
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POULENC FRANCIS - BANALITES - VOIX & PIANO
Voix solo - piano
DURAND
Cinq mélodies sur des poèmes de Guillaume Apollinaire
/ Partitions class...
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Cinq mélodies sur des poèmes de Guillaume Apollinaire
/ Partitions classique / Vocale - chorale / Voix solo - piano / DURAND
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ENOCH BARRAINE ELSA - LA LUMIERE - VOIX & PIANO
Voix solo - piano
ENOCH
/ Partitions classique / Vocale - chorale / Voix solo - piano / ENOCH
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BARRAINE ELSA - AVIS - CHANT & PIANO
Voix solo - piano
CHANT DU MONDE
/ Partitions classique / Vocale - chorale / Voix solo - piano / CHANT DU MONDE
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BOULANGER NADIA - MELODIES VOL.3 POUR VOIX MOYENNE
Voix solo - piano
Leduc, Alphonse
Third volume of original hitherto unpublished songs by Nadia Boulanger for mediu...
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Third volume of original hitherto unpublished songs by Nadia Boulanger for medium voice and piano:
Extase
Aubade
Allons voir sur le lac d’argent
Écoutez la chanson bien douce
Ilda
Mon cœur
Mon âme
Un grand sommeil noir
Poème d’amour
La Sirène
/ Partitions classique / Vocale - chorale / Voix solo - piano / LEDUC
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CARUS SCHUTZ H. - DER HERR IST GROSS
Voix solo - piano
Carus Verlag
Werkverzeichnis: SWV 286 (op. 8 no. 5)
Kompositionsjahr: 1636
Besetzun...
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Werkverzeichnis: SWV 286 (op. 8 no. 5)
Kompositionsjahr: 1636
Besetzung: Soli SS, Org
Sprache: deutsch / Partitions classique / Vocale - chorale / Voix solo - piano / CARUS
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CARUS SCHUTZ H. - ERHÖHE MICH, WENN ICH DICH RUFE
Voix solo - piano
Carus Verlag
Werkverzeichnis: SWV 289 (op. 8 no. 8)
Kompositionsjahr: 1636
Besetzun...
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Werkverzeichnis: SWV 289 (op. 8 no. 8)
Kompositionsjahr: 1636
Besetzung: Soli SS (TT), 2 Fl, Org
Sprache: deutsch / Partitions classique / Vocale - chorale / Voix solo - piano / CARUS
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CARUS SCHUTZ H. - WANN UNSERE AUGEN SCHLAFEN EIN
Voix solo - piano
Carus Verlag
Werkverzeichnis: SWV 316 (op. 9 no. 11)
Kompositionsjahr: 1639
Besetzu...
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Werkverzeichnis: SWV 316 (op. 9 no. 11)
Kompositionsjahr: 1639
Besetzung: Soli SB, Org
Sprache: deutsch/lateinisch / Partitions classique / Vocale - chorale / Voix solo - piano / CARUS
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CARUS SCHUTZ H. - O LIEBER HERRE GOTT, WECKE UNS AUF
Voix solo - piano
Carus Verlag
Werkverzeichnis: SWV 287 (op. 8 no. 6)
Kompositionsjahr: 1636
Besetzun...
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Werkverzeichnis: SWV 287 (op. 8 no. 6)
Kompositionsjahr: 1636
Besetzung: Soli SS (TT), Org
Sprache: deutsch/englisch / Partitions classique / Vocale - chorale / Voix solo - piano / CARUS
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