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Flûte Traversière, Clarinette, Cor, Triangle, Ma… (4)
5 Instruments à Vent (4)
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2 Violons Hautbois et Orchestre (4)
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Choeur Mixte (SSATB) Et Instrument(s) Ad Lib (4)
Guitare Tablatures Flatpick et Fingerpick (4)
Hautbois et Cordes (4)
Violon, Piano et Vibraphone (4)
Chorale SSATB (4)
Guitare et Voix (4)
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Orgue, Voix (4)
Flûte à bec Soprano, Piano (4)
Piano Quintette: piano, violon, alto, violoncelle,… (4)
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Quintette à cordes: 2 violons, 2 altos, violoncel… (3)
Violoncelle, Basse continue (3)
Flûte, alto et harpe (3)
Clarinette, Violoncelle, Piano (trio) (3)
Choeur SSATTB et Basse Continue (3)
Violon, Clarinette, Piano (trio) (3)
Piano, Violon et Cor ou Alto ou Violoncelle (3)
CHAM::Chamber Group (3)
Piano, Hautbois et Basson (3)
Solistes ATB, Choeur SATB, Cor Da Caccia, 2 Hautbo (3)
Solo S (Garçon) T, HauptChoeur (Choeur à 4 à 8 … (3)
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Violon 2 (3)
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1 Piano, 6 mains (3)
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:: (3)
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Voix Mezzo-Soprano, Orchestre (3)
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Ténor Solo, Violon Solo, SATB, Chœur d'Enfants e… (2)
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For Soprano, solo Horn and large ensemble (1)
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Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
917.90
Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
Opéra
Barenreiter
Edition no.: BVK 2270ISBN: 9783761822708Volume / Series: Documenta musicologica ...
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Edition no.: BVK 2270ISBN: 9783761822708Volume / Series: Documenta musicologica II/45 / Bärenreiter FacsimileEditor: Konrad, UlrichLanguage(s) of work: English, GermanProduct format: FacsimileBinding: Half-leather bindingPages / 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 WagnerWhile 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.
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294.40
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Opéra
Dunvagen Music Publishers
Par GLASS PHILIP. The third in Glass' trilogy of operas about men who changed th...
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Par GLASS PHILIP. The third in Glass' trilogy of operas about men who changed the world in which they lived through the power of their ideas, Akhnaten's subject is religion. The Pharaoh Akhnaten was the first monotheist in recorded history, and his substitution of a one-god religion for the multi-god worship in use when he came to power was responsible for his violent overthrow. The opera describes the rise, reign, and fall of Akhnaten in a series of tableaux. This newly typeset edition is in accord with the vocal score, DU11199, first released in 2017./ Répertoire / Opéra
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Faust (GOUNOD CHARLES)
1794.30
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Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
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Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD....
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Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD. Christoph Willibald Gluck’s most popular opera “Orphée et Euridice” was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives. Both versions of Gluck’s reform drama are based on a libretto by Ranieri de’ Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music, instrumental music, pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set. Urtext editions based on “Gluck, The Complete Works” Revised and newly set The revised editions are compatible with the old editions T48Full score (BA2282-01) and vocal score (BA2282-90) available for sale Performance material (BA2282-72) available for hire/ Répertoire / Opéra
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In The Locked Room
81.50
In The Locked Room
Opéra
Schott
Taking Thomas Hardy's short story as its starting point, we are transported to t...
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Taking Thomas Hardy's short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person's actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur.Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely.Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan.As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world. / Opéra
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MENDELSSOHN F. - LOBGESANG OP.52 -VOCAL SCORE
15.80
MENDELSSOHN F. - LOBGESANG OP.52 -VOCAL SCORE
Opéra
Barenreiter
Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
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Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
A Symphony-Cantata after Texts from the Holy Scriptures
- Urtext edition taking all sources into account
- Piano reduction by the composer including his piano version of the ?Sinfonia?
- Extensive Foreword (Ger/Eng) and detailed Critical Commentary (Eng)
Mendelssohn?s contemporaries frequently mentioned his ?Hymn of Praise? in the same breath as Beethoven?s Ninth ? and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name ?symphony-cantata?. Later he added a secular counterpart with ?Die Erste Walpurgisnacht?.
Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work?s performance, e.g. tempo, articulation and dynamics.
For the first time the piano reduction includes Mendelssohn?s authorised version of the ?Sinfonia?, based on the first edition of No. 1 for piano solo. / Partitions classique / Vocale - chorale / Choeur et ensemble vocal / BARENREITER
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Faust
Opéra
Barenreiter
'Faust? stands for the composer Gounod himself, who was torn between the express...
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'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
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I Puritani - Opera Seria In Tre Atti (BELLINI VINCENZO)
613.50
I Puritani - Opera Seria In Tre Atti (BELLINI VINCENZO)
Opéra
Ricordi
Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work...
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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
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Janacek L. - Fate - Vocal Score
49.60
Janacek L. - Fate - Vocal Score
Opéra
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Intermédiaire/avancé
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Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 IS...
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Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 ISMN: 9790260107045 Editor: Zahrádka, Jirí Arranger: Baumann, Rasmus Language(s) of work: Czech, German Language(s) of text: Czech, German, English Product format: Piano reduction, Urtext edition Binding: Paperback Pages / Format: XXXVII, 237 S. - 27,0 x 19,0 cm Janácek?s opera ?Osud? is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist?s copy of authorised by Janácek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the ?Complete Critical Edition of the Works of Leo? Janácek?. ? First critical edition of this opera ? Foreword on the genesis of the work and its reception by Jirí Zahrádka (Cz/Eng/Ger) ? New idiomatic piano reduction by Rasmus Baumann ? Singable German translation
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Richard Wagner: Lohengrin Wwv75: Opera
75.99
Richard Wagner: Lohengrin Wwv75: Opera
Opéra
Eulenburg
Lohengrin is regarded as Wagner's most fairy-story-like opera its plot interwea...
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Lohengrin is regarded as Wagner's most fairy-story-like opera its plot interweaving motives from the world of legends and medieval history. The opera was premiered at the Weimar Court Theatre on 28 August 1850 under the direction of Franz Liszt in the composer's absence.This new Eulenburg study score edition follows the Wagner Complete Edition which is based on the autograph score representing the first critical edition of Lohengrin. Previous editions were based on the 1914 edition of the score which differed from the autograph in many details and was published by Michael Balling as part of the first complete edition which has remained unfinished.The original musical text isnow available in a handy format for the first time - and is perfectly suited for study purposes.With German/English preface and Critical Report!
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Scipione Affricano (CAVALLI FRANCESCO)
753.50
Scipione Affricano (CAVALLI FRANCESCO)
Opéra
Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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Berenice, Regina d'Egitto HWV 38 (HAENDEL GEORG FRIEDRICH)
423.40
Berenice, Regina d'Egitto HWV 38 (HAENDEL GEORG FRIEDRICH)
Opéra
[Partition]
Barenreiter
Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRI...
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Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRIEDRICH. “Charming Berenice” – the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this “inexpressible delight”. “Berenice” was premiered at Covent Garden Theatre in London just a few days later on 18 May 1737. “Berenice” is one of the “light” operas and offers a wealth of musical gems, the second movement of the overture having become famous as “The Minuet from Berenice”, for instance, as has Berenice’s extended aria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming in Fabio’s “Vedi l’ape” and the sorrowful cooing of a dove in Selene’s “Tortorella che rimira”. The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix which Handel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story’s historical context, the source material and reception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report./ Répertoire / Opéra
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The Tempest - Limited Edition (ADES THOMAS)
366.50
The Tempest - Limited Edition (ADES THOMAS)
Opéra
[Conducteur]
Faber Music Limited
Full Score. Par ADES THOMAS. Thomas Adès' The Tempest, one of the most striking...
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Full Score. Par ADES THOMAS. Thomas Adès' The Tempest, one of the most striking and successful operas of recent years, is available for the first time as a beautifully produced, limited-edition full score. Featuring the stunning image 'Octopus' by artist Claire Burbridge, this unique cased edition includes colour plates of exclusive images from Ades' original handwritten score and sketches. Each copy is signed and numbered by the composer. Limited to 250 copies, with signed and numbered limitation page. Cased, square back and sewn. Endpapers feature original artwork 'The Firmament' by Claire Burbridge. Case features original artwork 'Octopus' by Claire Burbridge, printed in neon Pantone 809, with scratch-proof matt lamination and high gloss uv. Black book-block edges, ribbon and head and tail bands. From the turbulent orchestral prelude with which it begins to Ariel's stratospheric yet ethereal 'Five fathoms deep' and the radiant quintet of reconciliation in its final act, Thomas Adès conjures up a wholly compelling musical world in The Tempest. Responding to librettist Meredith Oakes' clear, unfussy refashioning of Shakespeare into formalised rhyme schemes, Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary. / Opéra-opérette / Répertoire / Opéra
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Poul Ruders: Tycho: Opera: Score
Opéra
[Partition]
Wilhelm Hansen
Poul Ruders' opera Tycho in 3 Acts was premiered May 15 1987 by Aarhus Symphony...
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Poul Ruders' opera Tycho in 3 Acts was premiered May 15 1987 by Aarhus Symphony Orchestra and Kaare Hansen (conductor) at Helsingør Theater in Aarhus Denmark. Libretto in Danish by Henrik Bjelke. Vocal score: WH31457C Synopsis: In 1597 the famous Danish astronomer and astrologist the nobleman Tycho Brahe flees his castle cum observatory Uraniburg on one of the small islands off the Danish coast. The newly coronated King Christian the Fourth has a grudge against Tycho who in 1572 discovered a new star Stella Nova by using his naked eye only; the telescopewasn’t invented yet. This discovery gained Tycho tremendous fame among his contemporaries within the European scientific circles. The now weakened and embittered old man moves together with his wife Christina whom he raped when she was an adolescent and Jeppe the Dwarf his fool-servant whose life Tycho once saved to the plague-infested city of Prague. There at the Benatky Castle Tycho encounters the main reason for his departure from Denmark: the young German mathematician Johannes Kepler the only scientist among his contemporaries Tycho acknowledges - Tycho is in severe need of intelligent challenge. Which he gets and with a disastrous result for himself. The encouraging encounter with Kepler turns into Tycho's scientific and earthly death verdict. Slowly Tycho realizes that his own conception of the Earth as the indisputable axes of the Universe is shattered by Kepler s theory about Earth encircling the stationary Sun. The ancient picture of the Universe collapses Tycho feels deceived by Kepler who leaves the castle shaken by Tycho's wrath. But they meet again and reunite in a Romanza a Due at Tycho’s death bed. The opera hovers above immense sadness and extreme ridicule - the cast is most peculiar indeed - so in many ways 'TYCHO' may be described at the best as a'Tragic Operetta'
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Georges Bizet: Carmen: Opera: Libretto
Opéra
Schirmer
Standard Version with sung recitatives-Although almost unanimously condemned by ...
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Standard Version with sung recitatives-Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac andHalevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musicalsignificance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. In aclassic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature.Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession.This is the Schirmer edition of the Libretto in the original French with an English translation by Ruthand Thomas Martin.
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Georg Friedrich Händel Thomas Augustine Arne: Comus: Opera: Vocal Score
16.99
Georg Friedrich Händel Thomas Augustine Arne: Comus: Opera: Vocal Score
Opéra
[Partition]
Novello & Co Ltd.
The latest addition to the Novello Handel Edition. A stage work of 1745 based on...
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The latest addition to the Novello Handel Edition. A stage work of 1745 based on John Milton's classical masque Comus created from a compilation of songs by Handel and Thomas Arne both pre-existing and original with the text adapted by John Dalton. This is the first ever complete publication of the work and is edited by Handel scholar Colin Timms. This work is for three or four Sopranos Mezzo-Soprano Tenor one or two Bass Soli and Orchestra. This edition is an 'important new contribution to scholarship with Colin Timms continuing the work of Anthony Hicks in putting together an edition of work from various sources'. There are 'somefine movements to be found by both composers not least the three airs and trio that Handel provided specially for performance in Exton Hall Rutland in 1745'. Choir & Organ November/December 2017 'Potential performers will appreciatre the excellent editorial preface. The print of this vocal score with piano reduction though small is very clear and well laid-out and orchestral parts including a fully realised continuo part are available from Novello.' Organists’ Review December 2017
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Monteverdi C. - L'orfeo - Vocal Score
48.00
Monteverdi C. - L'orfeo - Vocal Score
Opéra
[Vocal Score]
Barenreiter
Monteverdi's opera 'L'Orfeo', based on the legend of Thracian singer Orpheus and...
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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 reductionEdition no.: BA 8793-90ISMN: 9790006533121Composer / Author: Monteverdi, ClaudioTitle: L'Orfeo Favola in musica in one prologue and five actsDetailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, OrchestraLibrettist: Striggio, Alessandro (junior)Editor: Alessandrini, RinaldoForeword / Introduction: Alessandrini, RinaldoProduct format: Piano reduction, Urtext editionLanguage(s) of work: ItalianLanguage(s) of text: German, Italian, EnglishPublisher: BärenreiterBinding: PaperbackPrint run: 1st printing 2012Pages / Format: XIV, 143 S. - 27,0 x 19,0 cmWeight: 428 g
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Simon Holt: The Nightingale's To Blame: Opera: Vocal Score
39.99
Simon Holt: The Nightingale's To Blame: Opera: Vocal Score
Opéra
[Partition]
Chester
This new Opera was first performed in 1998 in Huddersfield by Opera North. Desig...
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This new Opera was first performed in 1998 in Huddersfield by Opera North. Designed for the modern stage it utilises only a small cast and orchestra albeit one with a good variety of percussion! The libretto is adapted by thecomposer from the play ‘The Love of Don Pemperlin for Belisa in the Garden’ by Feredico Garcia Lorca translated into English by David Johnston. The plot revolves around the ill-fated marriage of Don Pemperlin an ageing bachelorand his beautiful neighbour Belisa which was suggested by Pemperlin’s maid. Tricks and misunderstandings abound and because of them Pemperlin ends by stabbing himself and dying even as Belisa proclaims her love for him.
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Claudio Monteverdi: IL Ritorno D'Ulisse In Patria: Opera: Score
69.99
Claudio Monteverdi: IL Ritorno D'Ulisse In Patria: Opera: Score
Opéra
[Partition]
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Intermédiaire/avancé
Novello & Co Ltd.
'Il Ritorno D'Ulisse In Patria' (The Return Of Ulysses) was first performed in ...
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'Il Ritorno D'Ulisse In Patria' (The Return Of Ulysses) was first performed in Venice in 1640. Its stature among dramatic works of the seventeenth century has grown considerably and is now one of the most frequently performed of Baroque Operas. Alan Curtis has produced the first complete performing edition to be drawn from all available sources carefully annotated throughout the figured bass completed and the newly edited libretto and argomento given in full. Along with a useful scholarly preface and numerous corrections of notes rhythms and harmonies this edition is also of particular service for its careful corrections of the faulty libretto which has until now had to servefor all modern performances. Libretto by Giacomo Badoaro. English Libretto by Anne Ridler.
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Alice's Adventures Under Ground (BARRY GERALD)
90.80
Alice's Adventures Under Ground (BARRY GERALD)
Opéra
[Conducteur d'étude / Miniature]
Schott
Opera. Par BARRY GERALD. Gerald Barry's new opera is based on Lewis Carroll's tw...
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Opera. Par BARRY GERALD. Gerald Barry's new opera is based on Lewis Carroll's two beloved books, Alice's Adventures in Wonderland and Through the Looking Glass. As with Barry's last opera, the lauded The Importance of Being Earnest, the composer has created the libretto himself from the author's original texts. Thus, the work remains faithful to many aspects of the Alice story but is trimmed and compressed into a compact 70-minute opera in one act. Barry's characteristic highspeed energy and riotous sense of humour propel the action forward in this surreal plunge into the depths of Wonderland./ Répertoire / Opéra
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Gian-carlo Menotti - Amahl And The Night Visitors Opera B - Opera
37.50
Gian-carlo Menotti - Amahl And The Night Visitors Opera B - Opera
Opéra
[Partition]
Schirmer
Description Gian-Carlo Menotti: Amahl And The Night Visitors (Vocal Score) Th...
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Description Gian-Carlo Menotti: Amahl And The Night Visitors (Vocal Score) This vocal score is a new and revised edition of the well-known opera that made television history on Christmas Eve, 1951.
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Cavalli Francesco - La Calisto - Conducteur
48.50
Cavalli Francesco - La Calisto - Conducteur
Opéra
Barenreiter
Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from France...
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Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from Francesco Cavalli - Opere Edition no. TP 891 ISMN 9790006205356 'La Calisto' received its first performance in Venice in 1651 but only really achieved its breakthrough in the 20th century. It is one of Cavalli's most frequently-performed operas today. The reason for this success may have been the late acknowledgement of its masterly dramatic and musical structure. The musical text is not presented in the usual small study score format, but in the vocal score format (19 x 27 cm). This results in an optimal and well-presented layout of the work. The study score is ideal for analysis as well as for rehearsing the vocal parts. - Reduced-size full score based on the first volume of the new Bärenreiter series, 'Francesco Cavalli ' Opere' - Reflects the latest state of research - Foreword (Eng) by the editor - English translation of the libretto included separately (not singable) - Practical for study and rehearsing the vocal parts
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Thomas Adès Tom Cairns: The Exterminating Angel: Opera: Vocal Work
13.99
Thomas Adès Tom Cairns: The Exterminating Angel: Opera: Vocal Work
Opéra
[Vocal Score]
Faber Music Limited
An Opera in Three Acts-Adès's third opera The Exterminating Angel premiered at...
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An Opera in Three Acts-Adès's third opera The Exterminating Angel premiered at the Salzburg Festival in July 2016. Based on Luis Buñuel's surrealist classic El ángel exterminador the opera sees a collection of society's grandees inexplicably trapped in a room.The libretto adapted from the original Buñuel-Alcoriza screenplay by the composer together with the director Tom Cairns brilliantly captures their descent into anarchy. Featuring a jaw-dropping 15 principals (who remain on stage for the majority of the piece) The Exterminating Angel is a true ensemble opera and the skill with which Adès delineates the many intricacies and undercurrents present over itsdensely-packed span (just under two hours plus interval) is breathtaking. Like the shipwrecked characters of The Tempest the cast of this new opera are held in a state of entrapment and dramatic stasis. Like the glittering high-society world of Powder Her Face the dinner party guests are denizens of a nightmarish world of aristocratic pretension.
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Giuseppe Verdi: Don Carlo: Opera: Score
45.70
Giuseppe Verdi: Don Carlo: Opera: Score
Opéra
Dover Publications
5-act restauration with notations for an alternative 4-act version-Don Carlos wh...
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5-act restauration with notations for an alternative 4-act version-Don Carlos which debuted in 1867 ranks among the composer's most complex and challenging works. Based on the verse play by Schiller about tragic love and intrigue at the court of Philip II of Spain the opera features a rich assortment of memorable characters and dramatic situations. Verdi revised the work twice incorporating his changing musical ideas into a thoroughly revised Italian translation of the five act work with optional cuts for a four-act version. This new edition is of the final version reprinted from the authoritative G.Ricordi edition.
45.70 GBP - vendu par Musicroom GB
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2 A 2 Op. 88A (HUMMEL BERTOLD)
23.60
2 A 2 Op. 88A (HUMMEL BERTOLD)
Saxophone Soprano
Advance Music
Par HUMMEL BERTOLD. The overall form of this work in one movement is in seven se...
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Par HUMMEL BERTOLD. The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone - over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo./ Répertoire / Saxophone Soprano et Percussions
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William Walton: The Bear: Opera: Score
214.95
William Walton: The Bear: Opera: Score
Opéra
Oxford University Press
William Walton Edition vol. 2 2/e Hardback-This new edition of The Bear is base...
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William Walton Edition vol. 2 2/e Hardback-This new edition of The Bear is based on a full assessment of all extant sources and takes account of Walton's various revisions. A new vocal score is also published on sale and new orchestral material fully compatible with this score is available for hire.
214.95 GBP - vendu par Musicroom GB
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Erik Bergman: The Singing Tree (Det Sjungande Tradet): Opera: Vocal Score
39.99
Erik Bergman: The Singing Tree (Det Sjungande Tradet): Opera: Vocal Score
Opéra
[Partition]
Novello & Co Ltd.
This Swedish Folk Tale reminiscent of the myth of Cupid and Psyche explores ne...
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This Swedish Folk Tale reminiscent of the myth of Cupid and Psyche explores new and intriguing instrumental and vocal textures yet is always poetic lyrical and accessible with a fairy tale quality that assures it a universal appeal.
39.99 GBP - vendu par Musicroom GB
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