Par ROSSINI GIOACHINO. Die 'Messa di Rimini', 1809 für die Kathedrale in Rimini geschrieben, zählt neben der 'Petite Messe solennelle', dem 'Stabat Mater' und der 'Messa di Gloria' zu Rossinis umfangreichen Beiträgen zur Musica sacra. Sie besteht aus großangelegten Chorsätzen und Arien für jeden der vier Solisten; Ensembles begegnen dagegen nur zweimal, im 'Domine Deus' [Duett] und im 'Et in terra pax' [Quartett]. Eine melodienreiche und klangschöne, eher kammermusikalische Komposition, noch ohne die für Rossini später so typischen ausladenden Koloraturen und 'Crescendowalzen'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par ROSSINI GIOACHINO. Die 'Messa di Rimini', 1809 für die Kathedrale in Rimini geschrieben, zählt neben der 'Petite Messe solennelle', dem 'Stabat Mater' und der 'Messa di Gloria' zu Rossinis umfangreichen Beiträgen zur Musica sacra. Sie besteht aus großangelegten Chorsätzen und Arien für jeden der vier Solisten; Ensembles begegnen dagegen nur zweimal, im 'Domine Deus' [Duett] und im 'Et in terra pax' [Quartett]. Eine melodienreiche und klangschöne, eher kammermusikalische Komposition, noch ohne die für Rossini später so typischen ausladenden Koloraturen und 'Crescendowalzen'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par ROSSINI GIOACHINO. Die 'Messa di Rimini', 1809 für die Kathedrale in Rimini geschrieben, zählt neben der 'Petite Messe solennelle', dem 'Stabat Mater' und der 'Messa di Gloria' zu Rossinis umfangreichen Beiträgen zur Musica sacra. Sie besteht aus großangelegten Chorsätzen und Arien für jeden der vier Solisten; Ensembles begegnen dagegen nur zweimal, im 'Domine Deus' [Duett] und im 'Et in terra pax' [Quartett]. Eine melodienreiche und klangschöne, eher kammermusikalische Komposition, noch ohne die für Rossini später so typischen ausladenden Koloraturen und 'Crescendowalzen'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par ROSSINI GIOACHINO. Die 'Messa di Rimini', 1809 für die Kathedrale in Rimini geschrieben, zählt neben der 'Petite Messe solennelle', dem 'Stabat Mater' und der 'Messa di Gloria' zu Rossinis umfangreichen Beiträgen zur Musica sacra. Sie besteht aus großangelegten Chorsätzen und Arien für jeden der vier Solisten; Ensembles begegnen dagegen nur zweimal, im 'Domine Deus' [Duett] und im 'Et in terra pax' [Quartett]. Eine melodienreiche und klangschöne, eher kammermusikalische Komposition, noch ohne die für Rossini später so typischen ausladenden Koloraturen und 'Crescendowalzen'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Par ROSSINI GIOACHINO. Die 'Messa di Rimini', 1809 für die Kathedrale in Rimini geschrieben, zählt neben der 'Petite Messe solennelle', dem 'Stabat Mater' und der 'Messa di Gloria' zu Rossinis umfangreichen Beiträgen zur Musica sacra. Sie besteht aus großangelegten Chorsätzen und Arien für jeden der vier Solisten; Ensembles begegnen dagegen nur zweimal, im 'Domine Deus' [Duett] und im 'Et in terra pax' [Quartett]. Eine melodienreiche und klangschöne, eher kammermusikalische Komposition, noch ohne die für Rossini später so typischen ausladenden Koloraturen und 'Crescendowalzen'. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Cors, 2

Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822. 

Vocal Score-In the days just before the Christmas of 1816 Rossini was still looking for the subject and the libretto for an opera that he was contractually obliged to stage at the Teatro Valle in Rome in just over a month's time. Jacopo Ferretti proposed a libretto he had himself written based on the famous fairytale by Perrault Cinderella. Rossini composed the opera in less than a month completing it on the 24th January 1817 the day before its public debut. Removed from its original fairytale context Ferretti and Rossini's La Cenerentola is a comedy with some credible situations where comedy and sentiment come together brilliantly. The opera was a fantastic hit rightfrom the start and is still one of the composer's absolute masterpieces!This is the Vocal Score of Rossini and Ferretti's famous collaboration La Cenerentola.

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

The 'Petite Messe solennelle? is the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the 'Stabat mater?, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the series 'Works of Gioachino Rossini?- Supplements the already existing material available to this work / Choeur Mixte (SATB)

Rossini's Stabat Mater for SSTB.Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different formssuch as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre.

Ed. Critica P. Gossett-A. Zedda – softcover 2 volumi-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 onFebruary 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 criticaledition 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 thenpublished 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.

Par ROSSINI GIOACHINO. Next to the 'Stabat Mater, ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Pianos et Harmonium

Next to the 'Stabat Mater ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly the work was an occasional piece written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb reminiscent of decent elevated salon music produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair.

Gioachino Rossini (1792-1868) referred to his petite messe solennelle as the 'Last mortal sin of my old age'. Written in 1863 for the Countess Louise Pillet-Will and first performed on 14 March 1864 at the consecration of the Countess' private chapel the Mass is one of Rossini's finest achievements and the outstanding work of his 'retirement'. This Vocal score is set for SATB soli SATB chorus Harmonium and two Pianos.