Vol.1, for Soprano, Violin and Piano / Voix Et Instruments Divers
SKU: HH.HH390-FSP
ISBN 9781910359280.
Gree ne’s seven chamber arias – today, we would call them ‘concert arias’ – include a set of six that appears to have been custom-written for Faustina Bordoni, the great Venetian diva, during her visits to London in 1726–28, since (among other things) they all showcase her ‘trademark’ note: the E in the top space of the treble clef that particularly thrilled opera-goers. The obbligato violin part for all of them was probably written for the violinist and composer Mauro D’Alay, her constant companion and reputed lover. All six works are substantial and full of character and expression as well as melodiousness and contrapuntal finesse. They show a composer at the peak of his inspiration and ambition.
SKU: HL.48185731
Favourite Operatic Arias ? Vol. 1 for Flute or Oboe and Piano is an anthology of famous pieces arranged by Armando Ghidoni. Written for intermediate players, this first volume features five pieces which can be played along with the CD which includes the Piano part for each song. The five pieces are: - ?Habanera?, from Carmen by Bizet - ?Che faro senza Euridice? from Orfeo Ed Euridice by Gluck - ?E lucevan le stelle? from Tosca by Puccini - ?Questa o quella per me pari sono? from Rigoletto by Verdi - ?Brindisi? from La Traviatta by Verdi Armando Ghidoni is an Italian musician who is very famous in France. He composed and arranged a large variety of pieces, influenced by the impressionism a la francaise and incorporating jazz rhythms to his music. He composed religious pieces, operas and numerous pieces of chamber music among others..
SKU: PR.UE003630
UPC: 680160504404.
SKU: HL.48185495
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“A lmiraâ€, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira†by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato†from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Editionâ€. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ .Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition†volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar†(no. 71).
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA04045
ISBN 9790006443536. 33 x 26.1 cm inches. Text Language: Italian. Anonymus.
In 1734 Handel provided the pasticcio “ Oreste †for his third operatic enterprise which, following the bankruptcy of the Royal Academy and its successor academy, felt threatened by competition from the newly-founded Opera of the Nobility. Hence, the composer did not compile the work from favourite movements from his own and other composer's pieces as was usual at that time; rather in “ Oreste †he presented a selection of the most beautiful arias and ensembles exclusively from his own operas. In addition, he expanded the ballet and choral scenes which he thought would make a great impact after the move into the newly built Covent Garden Theatre. As most of the singers in his Italian company had been enticed away by the competition, Handel increasingly began to engage English virtuosi. He probably even worked on the new version of the libretto himself in order to place the new stars in the limelight to the best effect. The new vocal score is based on Volume 1 of the Supplement to Series II of the “Halle Handel†Edition edited by Bernd Baselt .
SKU: HL.51489547
UPC: 888680991333. 6.75x9.5x0.493 inches.
The works for solo voice(s) and orchestra assembled in this volume owe their composition to the most diverse occasions. Some were tailor-made for female singers in Beethoven's milieu, while with others he was dabbling in the field of Italian opera (under the tutelage of none other than Antonio Salieri). Scarcely any of them made it into print during Beethoven's lifetime. Aside from canonical works of the repertoire such as “Ah! perfido†op. 65, this volume also contains unknown gems like the scene and aria Beethoven revised multiple times, “No, non turbarti†- “Ma tu tremi, o mio tesoro?â€. The study score contains the text of the scholarly Complete Edition. Beethoven specialist Ernst Herttrich additionally provides information about the genesis and exciting variants in the transmission history.
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What I can expect from Henle Urtext editions:
SKU: BA.BA04096
ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.
The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli. In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
SKU: BA.BA04066
ISBN 9790006495832. 33 x 26 cm inches. Text Language: Italian. Nicola Francesco Haym.
This volume of the “Halle Handel Edition†presents the music of the second version of the opera which was premiered on 28 December 1720 at the King's Theatre, Haymarket, London as well as the amendments made for November 1721 revival. The appendix includes the amendments for the January/February 1728 version.The first season of the Royal Academy ended on 25 June 1720. The new vocal soloists arrived in London in September. As the first version of “Radamisto†had been a great success during the first season, Handel revised the opera for the oncoming season to accommodate it to his new more proficient cast.The revision was extensive. It included:1) Changes to the vocal range of Radamisto (soprano to alto for the singer Senesino), Zenobia (alto to soprano for the female singer Durastanti) and Tiridate (tenor to bass for the singer Boschi),2) compositions of new arias and ensembles,3) significant changes to the plot consisting of the reduction of Fraartes’ role from brother to servant Tiridates and the omission of his not so original love affair to Zenobia.For most of Handel's operas it can be said that the first version is the best version. This is due to the fact that when a work was performed again in later seasons, Handel was often forced to make changes due to casting constraints which often affected the equilibrium and the dramatic context of the work. “Radamisto†is an exception to this rule – the December 1720 adaptation is a much more superior composition than the version performed in April of the same year.
