'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / 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.

Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features Jamey at the piano explaining and demonstrating the fundamental techniques used by all great jazz improvisors. Topics covered include chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs, and much more. This DVD not only provides the technical information essential to getting started on improvisation but also serves as an overview of the entire creative process in terms that even a non-musician could understand. Jamey also provides much needed motivational material and discusses the philosophy of man'sneed to be creative. A complete presentation! This DVD is closely aligned with the world famous Volume 1 'How To Play Jazz' and Volume 24 'Major and Minor' play-a-longs (see 'related items' below. ) The visual, hands-on demonstration makes their concepts easier to grasp. Jamey even plays along with tracks from those two play-a-long volumes, showing proper application of scales to chords and essential practice techniques. / Jazz / Accessoire / Opéra Théorique ou Didactique

Opera in three acts. Leos Janácek began composing his seventh opera, ?The Cunning Little Vixen?, based on the popular feuilletons of Rudolf Tesnohlídek, in January 1922. The first copy of the score, since lost, was completed by Václav Sedlácek in October 1923, while the second copy was prepared by Jaroslav Kulhánek in January 1924. The world premiere took place on 6 November 1924 under the direction of Ota Zítek and was conducted by Frantisek Neumann. The vocal score was published in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right. This volume of the complete edition reprints the critical edition by Jirí Zahrádka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). The edition draws on all extant sources and ? in consideration of Janácek?s active participation in rehearsals for the premiere production ? integrates both the dynamics of Franti?ek Neumann and the performance markings of Sir Charles Mackerras into the musical text. This is the third opera to be published in the complete edition, following ?Fate? and ?The Makropulos Affair?.

Hector Berlioz was enthralled by Gluck and heard his masterpieces Iphigénie en Tauride Orphée Alceste and Armide in Paris.The original Italian version of Orphée gives the title role to a castrato. Gluck rewrote the part for high tenor for the performances in France (1774). In 1859 Berlioz arranged the opera so that Orpheus could be sung by the great mezzo-soprano Pauline Viardot with whom he worked closely at that time. He changed the formal design by dividing the work into four instead of three acts and placing the scenes in Hades and the Elysian Fields in separate acts. He also changed certain sections of Orpheus?s part mainly in therecitatives and fundamentally reworked Gluck?s orchestration.Berlioz?s version of Orphée is published as volume 22a of the New Berlioz Edition. This vocal score is based on that volume.- Vocal score based on the Urtext of the ?New Berlioz Edition?.- Original French text underlaid with singing German translation.- Trilingual Preface (Ger./Eng./Fr.).- Performance material available for hire.

Description The tragic tale of brothers who are in love with the same mysterious woman, Debussy's only opera is a perfect marriage of music and verse. The culmination of an eight-year effort on the part of the composer, the five-act lyric drama premiered in 1902. This volume, reprinted from the E. Fromont 1904 edition, reproduces the full orchestral-vocal score in a clear, modern engraving.

Full Score. Vocal score in two volumes to the opera The Snow Queen, after the fairy tale by Hans Christian Andersen. Commissioned by The Royal Opera in Copenhagen and first performed on 13 October 2019.

In Georges Bizet's Carmen--the latest volume in the Oxford Keynotes series--author Nelly Furman explores the evolution of Carmen's story and its meaning illuminating how the titular heroine has maintained her status as a universally recognizable cultural icon.

Volume 6 - Sez. Prima - Op. Teatrali - Partitura + Commento Critico / Ed. Critica A. Wiklund

Par ESCUDERO MARIO. Los objetivos que persigue esta colección es: Conocimiento de la música y desarrollo del sentido musical - Desarrollo de las facultades expresivas y creadoras del niño - Despertar el sentido del ritmo y del equilibrio, a través de la música. El plan dejo que el presente volumen desarrolla está constituido por una serie de temas que siguen un orden de dificultades a superar: formación rítmica, formación auditiva, vocalizaciones, audiciones musicales./ Solfège/Formation Musicale / Opéra Théorique ou Didactique

Par DELFRATI CARLO. Il pensiero musicale, articolato in tre volumi, sviluppa i concetti della teoria musicale e gli elementi della notazione in modo progressivo. Ogni volume è corredato da CD audio per le attività di ascolto, ear-training, dettato musicale. IMPOSTAZIONE E METODOLOGIA: Il corso è frutto di oltre quarant'anni di studi e di insegnamento dell'autore, Carlo Delfrati, e della sua concezione fortemente innovativa della didattica musicale: la formazione teorica va di pari passo con attività pratiche, creative e analitiche. INOLTRE: L'apprendimento della lettura è graduale e progressivo, grazie ad un approccio basato sull'immediatezza percettiva di melodie e figurazioni ritmiche. Per le letture (ritmiche e melodiche) viene utilizzato il repertorio musicale di ogni periodo storico: dal Medioevo a oggi, dal tradizione popolare alla musica etnica. Un'antologia che servirà anche negli studi più avanzati./ Solfège/Formation Musicale / Opéra Théorique ou Didactique