This edition is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in 2008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars and performers.Thusthe famous overture which Rossini had already used in his earlier opera Aureliano in Palmira differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera The Barber of Seville (with just one Flute one oboe and no Timpani).Urtext edition based on the series Works of Gioachino Rossini.All versions and transpositions are included in the appendix to the study score.Singing English translation in the vocal score.Takes into account all original sources including five manuscripts with Rossini’s autograph ornamentation.Takes into consideration the full extent of Rossini’s personal notational characteristics.Study score contains a detailed foreword (Eng/Ital)Full score (BA10506) critical report (BA10506-40) & study score (TP411) available for sale; performance material (BA10506-72) available for hire.

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.

Taken from Bärenreiter?s first volume in the ?Works of Gioachino Rossini? this brilliant chamber music composition for winds belongs to a little known genre of Rossini?s output.?Andante e Tema con Variazioni? was allegedly written in Bologna in 1812.Rossini deftly sculpts the theme to fit each instrument i.e. all players take their turn with the tuneful theme.This publication with reference score and parts is destined to become a hit with school ensembles as well as with professionals. This is the first critical edition of the work.- Urtext based on the ?Works of Gioachino Rossini?.- First criticaledition of this work.- Reference score with parts.- With a detailed foreword (Ger/Eng/Ital) and Critical Commentary (Eng).

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 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 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.

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.

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

Par ROSSINI GIOACHINO. Gioachino Rossini (1792-1868) referred to his Petite Messe Solennelle as the 'last moral sin of my old age'. Written in 1863 for the Countess Louise Pillet-Will and first performed on 14th 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 is the chorus score ONLY, with no accompaniment, so this edition can be used either with orchestral accompaniment or with the harmonium or 2-piano accompaniments, all available separately. / Niveau : Intermédiaire / Rép Classique / Répertoire / Chant

Par ROSSINI / FRONTY. L'opéra de Rossini raconte l'histoire de la pauvre Cenerentola (Cendrillon en italien), jeune fille déshéritée et spoliée par un infme beau-père qui lui préfêre ses deux filles. Cenerentola, aidée par le mystérieux Alidoro, trouvera l'amour et le bonheur en la personne du jeune prince don Ramiro. / / Livre / Livres

Arrgt: Laëtitia Bouvet. Par ROSSINI GIOACHINO. Un très bel arrangement de l'intégralité de la fameuse ouverture de Guillaume Tell par Laëtitia Bouvet, professeur de clarinette et spécialiste des musiques d'ensembles. Grâce aux parties additionnelles fournies, cette pièce peut se jouer à 3 clarinettes sib et 1 clarinette basse. - Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor de Clarinettes : 2 Clarinettes Sib 1 Cor de Basset en Fa 1 Clarinette Basse descendant au MibParties additionnelles : 1 Clarinette Alto en Mib à défaut de Cor de Basset en Fa 1 Clarinette Sib à défaut de Cor de Basset en Fa - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 12 mn 00 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Gioacchino ROSSINI - Arrangeur : Laëtitia BOUVET / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 2 Clarinettes Sib, Cor en Fa 1 Clarinette Basse Mi

Fantaisie Pour Violoncelle et Orchestre. Re´Duction Pour Piano. Par OFFENBACH JACQUES. Le fait qu'Offenbach ait fait fureur dans sa jeunesse en tant que violoncelliste et qu'on l'ait même surnommé ' le Paganini du violoncelle ' a été oublié au profit de son immense succès en tant que compositeur. Et pourtant, le jeune colonais a longtemps eu un certain succès comme instrumentiste dans les salons parisiens, grâce à des oeuvres de collègues, des arrangements et surtout ses propres compositions. Parmi certains trésors jusqu'ici inconnus que recèle l'oeuvre d'Offenbach, on trouve cet hommage au grand Gioacchino Rossini, à qui Offenbach doit beaucoup pour ses opéras bouffe, et qui a eu de nombreuses affinités avec Offenbach : le surnom affectueux donné à Offenbach de ' petit Mozart des Champs-Elysées ' revient au maitre de Pesaro. L'Hommage à Rossini pour violoncelle et orchestre, basé sur des thèmes de Guillaume Tell, qui est ici proposé dans une version pour piano apte à être jouée en concert en plus de la première édition de la partition, est le résultat d'intenses recherches. L'autographe d'Offenbach a été divisé après sa mort entre plusieurs familles et collections publiques. Les pages conservées dans les archives historiques de la ville de Cologne ont été sauvées il y a des années par la photocopie./ Répertoire / Violoncelle et Piano

Piano Selections from Péchés de Vieillesse-In 1855 Gioacchino Rossini began to compose again after two decades of seclusion from the age of 37. This time in the form of chamber works performed privately in his Paris salon for the cream of society.These works were not published until after the composer's death and have since come to be known as Sins of Old Age.A graceful combination of sophistication and naivety the 150 vocal and solo piano pieces from this period influenced later composers such as Saint-Saëns and Satie.This selection of highlights from a 14-volume compilation of Rossini's piano works includes Mon Prélude Hygiènique duMatin Ouf! Les Petits Pois (Oh! Those Little Peas) and Un Rêve.Fun to learn and satisfying to perform these pieces are suitable for intermediate to advanced pianists. Each piece was selected by classical pianist Sara Davis Buechner who offers an informative Introduction.