Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto?s complicated literary lineage and illustrates the circumstances of the opera?s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.

And Other Classic American Folk Songs-Oh Shenandoah & Other American Folksongs forms part of the Choral Basics series which has been carefully designed to provide rewarding varied repertoire for beginner choirs from world music to pop classics and showtunes.These American folk songs are arranged for soprano alto and combined men's voices - ideal for beginner choirs and for choirs in which the male singers are few or at the stage when their voices are changing. The straightforward piano accompaniment provides good support for the singers. Included are the beautiful title song an enchanting version of the Shaker hymn Simple gifts and a barn-storming medley of US country dances Low-down onthe Hoe-down! Stetsons at the ready...

The story of the Dutch sea-captain cursed to wander the earth unendingly featured three themes that were of enduring interest to Wagner: the Wanderer on his Quest Redemption through Self-sacrifice and Pre-destined Love. The story is that a storm drives Daland's ship off course. A ghostly schooner arrives and its captain the Flying Dutchman steps ashore. He is bound to his ship as he once pledged to sail around the Cape of Good Hope if it took him forever. Once every seven years he may leave his ship in search of a woman who will save him from his deathless wandering if she is faithful until death. Daland offers his daughter Senta’s hand in marriage. As theyapproach the village Senta’s suitor Erik notices she is preoccupied. He relates a frightening dream in which he saw her sail away with the Dutchman and Senta exclaims that this is her own dream as well and pledges her faithfulness to him. Erik is not happy and insists that Senta is his. The Dutchman overhearing believes himself betrayed and sets sail. Senta runs to the top of a cliff proclaiming herself faithful unto death and leaps into the sea. Their ghostly forms are seen together ascending to Heaven. This is the Schirmer edition of the Vocal Score with an essay by W.J. Henderson and an English translation of Wagner's text by Troutbeck and Baker.

A Musical for Young Voices Singer 5 Pak-From Captain John Jacobson and Jolly Roger Emerson - ARRRR! Our favorite rascally pirates are back at work seeking adventure and treasure on the high seas! But a mighty storm rolls in and the pirates find themselves shipwrecked on a deserted island - or is it? Will the King of the High C's have a plan to save the day? Through the course of their musical adventures they discover that real treasure is something they have plenty of ... friendship and family. Designed for performers in upper elementary and middle school this 35-minute musical features six original songs with connecting script and over 20 speaking parts. The Teacher Edition is filled with quality performancematerial including piano/vocal song arrangements and choreography script helpful production guide and teaching objectives linked to the National Standards for each song. For added value the ready-to-use student books include songs and script and will enhance the musical experience for your young aspiring actors/singers! Songs include: A Pirate I Will Be The Storm The King's Plan Talent to Burn Who Cares We've Got Friends! 35 Minutes.

A Fun-Filled Musical Salute to the Joys of Winter-There's no business like 'snow' business! Just ask Weatherman Storm Watch. An overnight Nor'easter has dumped buckets and buckets of fluffy white precipitation and it's everywhere! Join 'shredders' (snowboard enthusiasts) Professor Snow-It-All the Zamboni Brothers Snow Angel skiers skaters curlers ice fishermen and more in this delightful 40-minute vaudeville-style musical revue written for upper elementary and middle school performers. Sevenclever original songs zany antics and a full evening of entertainment will leave your audience in stitches! The Teacher Edition comes with the full script accompanied songs Production Guide and choreography suggestions.Available: Teacher Edition Singer Edition 5-Pak Preview CD (with vocals only) Performance/Accompaniment CD Performance Kit/CD (Teacher 20 Singer books P/A CD). Performance Time: Approx. 40 minutes. For Grades 4-8.

Lyric drama in four acts with a libretto by Arrigo Boito (founded on Shakespeare's tragedy Othello) and an English translation by Walter Ducloux. The score is extremely dramatic and complex; the tone for the whole opera is set when the curtain rises on a huge storm (there is no Overture) and the fishermen debate the fate of a ship out on the seas. The Willow song and Ave Maria in Act IV also form one of the great lyric scenes for soprano. This is the Vocal Score with a Piano reduction.

In his libretto for “Riccardo Primo” Paolo Rolli drew on Antonio Lotti’s opera “Isacio tiranno” which had been performed in Venice in 1710. Handel needed a text with two great women’s roles for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni. He had already written the operas “Alessandro” and “Admeto” for them. He began composing “Riccardo Primo” in spring 1727 completing the first version on 16 May. However following the death of King George I on 11 June 1727 the theatres remained closed.For Handel who had become a British citizen in February 1727 the accession of George II to the throne offered new possibilities and he embarked on a revision of the opera. With this he was able to offer a new opera for the coronation festivities the hero of which was one of King George’s charismatic forebears. From May onwards Handel thoroughly revised the present score wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin the Sultan of Egypt and Syria who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion’ by the English for his great military ability and bravery although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005 edited by Terence Best and contains the second version of the opera which was premiered in November 1727. Performance material available for hire. Based on the Urtext of the Halle Handel Edition. Original Italian text with German singing translation. Straightforward and easy-to-play Piano reduction.

Uses: Thanksgiving general praise team youth choirsScripture: John 3:16 Luke 2:8-9From the composer's highly successful solo project A Shelter in the Time of Storm comes a choral versionof this beloved hymn. Updated with an invigorating contemporary treatment this uplifting version of a classic is an excellent offering for youth or praise teams during Thanksgiving or for an upbeat change of pace for chancelchoirs anytime.

Oh Shenandoah & Other American Folksongs forms part of the Choral Basics series which has been carefully designed to provide rewarding varied repertoire for beginner choirs. These American folk songs are arranged for soprano and alto voices and the straightforward piano accompaniment provides good support for the singers. Included are the beautiful title song an enchanting version of the Shaker hymn Simple Gifts and a barn-storming medley of US country dances  Low-down on the Hoe-down! Stetsons at the ready...

For sheer raw excitement this work inspired by the 1993 Storm of the Century the great blizzard which covered much of the United States will become a classic. The blending of the choirs and the dynamic shaping of the lines will bring a stunning exp

Par L'ESTRANGE ALEXANDER (Arr.). Low-down on the Hoe-down is a rollicking romp through a selection of light-hearted line-dance tunes. It’s a tribute to Ward Swingle, founder and arranger of the legendary vocal group The Swingle Singers, whose idea it was to make a show-stopping concert-piece out of a number of barn-storming American square-dance songs, using a song called The Arkansas Traveler to bind them all together. Focus on incredibly clear diction, with a smile on your face, and the audience will enjoy it as much as you! This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano

Uses: General MemorialScripture: Exodus 25:21-22; Psalm 27:5; Isaiah 25:3-4 Inspiring words from a classic sacred text are caressed with loveliness in this octavo. Emotive choral textures and vocal tessitura create adistinctive sound for choirs and the message of finding a calm retreat at the mercy seat of Christ will bring a tranquil comfort to all who hear it. Attention to the dynamic palette of this piece will ensure a memorable moment for all ensembles.

House Of Winter is a setting of four Christmas poems by George Mackay Brown for AATBBB or SATBBB a cappella choir. The music is continuous and though scored for unaccompanied voices it becomes almost orchestra in itsevocation of the calm frozen stillness of an Orkney winter on the one hand and the wildness of a December storm on the other.The setting is largely homphonic in Davies’s 'adult' modal style and with a characteristicinventiveness of vocal scoring as in the storm sequence with its whistling upper voices and eruptive bass line.The first performance took place during the tenth St. Magnus Festival as part of a concert given by The King'sSingers in Kirkwall in June 1986.Vocal score with piano accompaniment for rehearsal purposes.

Libretto Background and Photos-Today Mozart's exquisite Le Nozze di Figaro delights and moves audiences everywhere long after its 1786 birth into tumultuous times. The original Beaumarchais play raised a firestorm in France then on the brink ofrevolution with its dangerous commentary on class relations. However Lorenzo Da Ponte carefully omitted anything political from his opera libretto; what remained when joined with Mozart's sublime and penetrating music was awitty yet profound tale of infatuation heartache scheming and tenderness where complex emotions are laid bare and everyone regardless of class is equally vulnerable to the powers of love.Figaro continues the story ofThe Barber of Seville several years later in a single “day of madness.” Count Almaviva's love Rosina is now his long-suffering countess and the barber Figaro now the count's valet is about to marrySusanna the countess's maid. But the couple-to-be must first deal with two obstacles: a demand that Figaro pay his debt to an older woman or marry her instead and the count's determination to bed Susanna on her weddingnight.Suspicions fly plots are hatched narrow escapes abound and connivers receive their due. Love and forgiveness finally bring order to the craziness and a day filled with torment and worry ends in joy.