Poursuivant la petite histoire de l'art lyrique français, Germaine Tailleferre et Denise Centore évoquent maintenant le grand style réaliste tel que l'ont pratiqué, entre autres compositeurs, Gustave Charpentier et Alfred Bruneau, qui ont osé amener sur la scène lyrique, le langage de tous les jours et le costume du prolétaire. L'action de la Pauvre Eugénie se situe à Paris en 1905, dans un atelier de lingerie, celui de Madame Phémie, qui a un mari, Monsieur Ernesse, et trois ouvrières : Titine la gavroche, Paula la sentimentale, et Eugénie, l'héroïne de cette histoire, ou plutôt, de ces tranches de vie, selon le style de l'époque. C'est le pendant musical des Rougon-Macquart de Zola. Gégène n'apparaîtra qu'à l'heure du dénouement. Au début de l'opéra, dans l'atelier, les trois ouvrières travaillent à des jupons de linon ennuagés de dentelle, et la mauvaise humeur de Monsieur Ernest s'exprime à la cantonade. Madame Phémie, la femme de ce dernier, presse ses ouvrières et découvre qu'Eugénie mange du saucisson à l'ail. Eugénie est mise à la porte pour cette faute grave et, désespérée, elle veut se jeter dans la Seine. Titine et Paula, horrifiées, lui parlent de l'enfant qu'elle a eu avec Monsieur J. Duplan, qui devait l'épouser. Elle ne peut pas l'abandonner. Soudain, on frappe à la porte, et apparaît Gégène qui vient livrer un boa pour Madame Phémie. Indignation de Titine et Paula, Madame Phémie va mettre un boa alors qu'elle a mis à la porte une fille-mère ! Gégène, indigné, veut voir Eugénie, dont il tombe amoureux ! Tout est bien qui finit bien, Eugénie part avec Gégène, quittant ainsi celle qui l'exploitait.Le dernier opéra évoque la période d'Offenbach, il s'agit de Monsieur Petitpois achète un château. Les personnages, en costume Second Empire, évoluent dans un château médiéval proche de Romorantin. C'est le domaine ancestral de Monsieur le Duc de la Bombardière. Le duc a un fils, lieutenant hussard et joli garçon, une servante familière et dévouée, Cunégonde, nourrice d'Adélestan, et un notaire compétent, Maître Pointillard. Mais il n'a pas d'argent, tout au moins, commence-t-il à n'en avoir plus assez. Il lui faut vendre son château, et il attend la visite d'un acquéreur éventuel, Monsieur Petitpois. Il s'entretient de l'affaire avec son notaire, et ne dédaignera pas de prendre l'avis de Madame Cunégonde, sa servante, sitôt terminée l'ouverture de l'opéra. / Orchestre / Partition

Méthode Berklee PressUn guide complet pour organiser la section grande corne. Pour la première fois, vous pouvez apprendre les mêmes techniques enseignées à l'organisation de prestigieux Berklee College of Music et étudiés par les arrangeurs meilleurs et les plus brillants Invitez maintenant. Même si le texte est axé sur les styles de jazz classique et du big band, des informations générales sur pièce et sur ??l'harmonisation de l'éolienne peut être utilisée pour tous les styles moderne, de hip-hop au ska. Cette lintiene toutes les informations dont vous avez besoin lors de l'écriture des scores pour les cuivres, inspiré des pages écrites par les professeurs de Berklee. Le CD d'accompagnement est un excellent outil pour l'apprentissage, mais seulement d'écouter et d'apprécier, avec plus de pistes et de démonstration certains arrangements écrits dans le style des grands maîtres tels que Count Basie, Duke Ellington et Gil Evans. â ? oeSono été très impressionné par ce livre. Est valable non seulement pour les compositeurs et arrangeurs, mais aussi pour les directs / Opéra Théorique/Didactique

Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contiene tutte le nozioni fondamentali di teoria musicale che stanno alla base della musica moderna. I simboli musicali, i concetti di suddivisione ritmica, pulsazione, indicazi tempo e metro vengono esposti in modo a tutti comprensibile. Il metodo è basato sulle innovative tecniche di Counting, che consistono nel sistema di scansione verbale delle suddivisioni ritmiche, su cui si fonda da più di mezzo secolo la teoria modempio spazio è dedicato allo studio dei tempi tipici della musica contemporanea quali il tempo tagliato, gli ottavi swing, i sedicesimi shuffled, i tempi composti. Il libro consente, inoltre, di sviluppare la capacità di lettura delle partiture tipicha tradizione Jazz, Fusion, Blues, Big Band. L'intero metodo si presenta come un manuale operativo grazie alle tabelle dove l'utente può annotare i propri progressi. Da sottolineare, infine, che quest'opera costituisce il programma di Lettura Ritmica / Opéra Théorique/Didactique

Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g

Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les 30 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de contre-ténor, extraits des opéras : Andromeda Liberata, Ottone in villa, L'Olimpiade, Tietiberga, Tito Manlio, Il Tigrane, Bajazet, Il Giustino, Olando finto pazzo, La Verità in cimento, La Fida nonfa, Orlando Furioso. / Date parution : 2014-07-01/ Recueil / Contre Ténor

Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest is inspired by Shakespeareâ??s play rather than literally being based on every aspect of it. There are key images from the play as well as new material. From among the playâ??s many themes and possible interpretations the opera focusses on the difficulty and the necessity of mercy. The libretto uses contemporary vocabulary. Its lines are short rhythmic and rhymed or semi-rhymed echoing Shakespeareâ??s strophic songs more than his blank verse. This choice reflects the playâ??s magical ritual childlike elements and acknowledges the traditional power of incantation in song. The operatic Prospero is the passionately vengeful man seen in the play more than the wise disconnected actor also seen there. Despite his near-omnipotence he finds things out as he goes along and experiences contradictory emotions to the end. Please note: Full Score and Parts are rental material. Please contact hire@fabermusic.com

Ed. Critica F. Della Seta - Partitura e Commento Critico Inglese. Par VERDI GIUSEPPE. A Cura Di Fabrizio Della Seta/ Répertoire / Oeuvres Théâtrales/Oratorios et Ballets

A chamber opera in one act for soprano tenor baritone and bass soli TTBB chorus and orchestra commissioned for the Wells 800 Celebration in 1982. Libretto by Peter Porter. Vocal score with piano reduction. Duration: c. 55minutes.Orpheus is a Chamber Opera or perhaps more properly might be described as an ‘Opera-Cantata’. It is designed to be performed as a short opera fully staged and costumed or as a concert piece. Either way itsstructure is dramatic rather than reflective. It tells the story of Orpheus probably the most familiar story in music and en emblem of their art for composers of all periods as a direct narrative. Since the legend is set inthe world of pagan mythology it has been lightly Christianised for its Church setting. The Aeneid has often been seen as speaking of Christ avant la lettre and Renaissance Humanists were always willing to identify forerunnersof Christian types in Classical personages: in this manner Orpheus pursues without undue emphasis musical parallels with St Francis St Cecilia and even Adam and Eve.The work is framed briefly by a prologue and epilogue. ThePrologue introduces the four solo singers Hades (bass) Orpheus (tenor) Eurydice (soprano) and Charon (baritone). It also introduces the chorus who do not only portray at various stages Orpheus’s wedding companions thedenizens of Hell and Blessed Spirits in the Elysian Fields but also comments on the action as it proceeds.

Crit. Ed. Fabrizio Della Seta. 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. 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 autographinterventions (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. / Opéra-opérette / Répertoire / Opéra

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Inspired by models from the Commedia dell?Arte the plot is set in Seville and presents the old ?Greybeard? Don Belflor (a retired bullfighter and womanizer) his young wife Coraline and her lover Tracolin. In a highly contemporary way this leads to a three-way relationship of which everyone approves. The ?accord parfait? is a perfect triad consisting of exactly three notes. It is noticeable that the libretti of the Second Republic were no longer subject to censor.Two arias were planned for each role. As a flautist Tracolin also knows how to evoke famous melodies from the French opera repertoire in his advances. The centrepieces are the two trios.Oneof these the variation number ?Ah! vous dirai-je maman ? is the jewel of the opera: here vocal virtuosity and the comedy of the situation are combined with brilliant ease.The Vocal score is based on the first scholarly-critical edition of the opera. This appears in the series ? L'Opéra français ? edited by Paul Prévost. Here the spoken dialogue text is integrated with the music for the first time.Based on the Urtext of the new series ? L?Opéra français ?.Original French text with singing German translation.Extensive foreword (Fr/Ger/Eng).Full score (BA8701) and Vocal score (BA8701-90) available for sale and performance material available for hire.