Italian Opera Fun For Recorder

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.

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

SKU: AP.6-249441

ISBN 9780486249445. Italian.

Standard Italian libretto of what has been called the greatest opera ever composed, with a complete new English translation. Convenient and thoroughly portable---an ideal companion for reading along with a recording or the performance itself. All repeats are given in full.

SKU: CL.012-3902-75

One of the most dramatic selections ever presented for band, Andrea Chenier has been a staple of mature and professional bands for over a century. This intense and exciting work includes some of the most passionate moments from the Italian opera into a breathtaking tour de force for mature bands. Prominently featuring bel-canto solos for euphonium and cornet/trumpet, the gorgeous melodies and dramatic musical climaxes will both thrill and excite performers and audiences alike. This striking new arrangement includes full score, and is carefully re-orchestrated to be more idiomatic to the wind band medium. Not for the faint-of-heart, and musically challenging, Andrea Chenier is ideal for experienced bands, and is not to be missed!

About Gems of the Concert Band

A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith

SKU: HL.49004865

ISBN 9781423413134. UPC: 073999276947. 6.0x9.0x0.366 inches.

Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

SKU: CF.PL1056

ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt.

Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a...

SKU: BA.BA04050

ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.

“A lmira”, 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 Edition”.
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

SKU: BA.BA04058

ISBN 9790006495672. 33.1 x 25.6 cm inches. Text Language: Italian. Nicola Francesco Haym.

“ Tolomeo ” was Handel’s last opera for the Royal Academy of Music in London . Composed between March and 19 April 1728, it was premiered on 30 April. Handel revived the opera several times further: in 1730 in an extensive revision, with seven performances, and in 1733 with four performances.
The historical background is the dispute between Cleopatra III and her younger son Ptolemaio X Alexander I ( Tolomeo ). In 110 BC Cleopatra drove Tolomeo out of Egypt . She died, irreconciled to him, in 101 BC.

The new vocal score is based on the “Halle Handel Edition” (vol. II/20), published in 2000. The main part contains the version from the premiere. The extensive appendix also enables later versions to be performed.

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

SKU: BA.BA04100

ISBN 9790006550128. 33 x 25.7 cm inches. Text Language: Italian. Preface: Pacholke, Michael. Text: Antonio Salvi.

Antonio Salvi’s “Arminio” is one of the best-loved operatic librettos of the Baroque period.

Against the historical background of the so-called “Battle of the Teutoburg Forest” in 9 AD in which the Cherusci leader Arminius as “Liberator of Germany” (Tacitus) inflicted a devastating defeat on the Romans, Handel’s opera, first performed in 1737, is about the disputes between the Chatti and the Cherusci. Arminius has married the daughter of his arch-enemy Segestes. When he is imprisoned, Segestes, who has conspired with the Romans, sees his opportunity for revenge.

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

SKU: BR.MR-2239B

ISBN 9790004488478. 9 x 12 inches.

There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.

SKU: BR.MR-2239A

ISBN 9790004487877. 9 x 12 inches.

There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.