Matériel : Conducteur
SKU: HF.FH-3577
ISBN 9790203435778. 9 x 12 inches.
SKU: HF.FH-3576
ISBN 9790203435761. 9 x 12 inches.
Die Ausgabe enthalt zwei Klavierstimmen: eine fur die Orchester- und eine Stimme fur die Solo-Stimmung1. Antonin Dvorak: Songs my mother taught me, op. 55; 2. Zdenek Fibich: Poeme; 3. Georg Friedrich Handel: Largo from Xerxes ; 4. Frederic Chopin: Etude, op 10, 3; 5. Manuel de Falla: Nana.
SKU: BA.BA08708-01
ISBN 9790006537846. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh. Text: Leterrier, Eugène / Vanloo, Albert.
WithL'Etoil e, Chabrier composed a light-hearted opera which has increasingly enjoyed revivals in recent years. The plot is introduced by King Ouf I who offers his subjects an execution every year on his birthday. Unfortunately the problem now arises that no crime has recently been committed which might serve as a reason for an execution. Finally, he finds a would-be victim in the young Lazuli. However, according to predictions by the astrologer Siroco, Lazuli's fate is closely linked to the king's own life. The comic opera is further bolstered by a story of mistaken identities which involves a great deal of diplomacy, a love story and a large number of refined, yet catchy melodies.Chabrier was a master of the sensitive and complicated art of musical comedy, a field where he can be compared in equal measure to Offenbach, Rossini and Mozart.This vocal score is based on the full score edited by Hugh Macdonald which is published as part of the seriesL'Opera francais. - Authoritative Urtext edition based on the seriesL'Opera francais- Original French text with a German singing translation- Comprehensive foreword (Ger/Eng/Fr)
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: PR.114422360
ISBN 9781491133828. UPC: 680160683321. 9 x 12 inches.
Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s “Eight Visions†collection (published by Presser), and is now available as a single publication.I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil†by the legendary 18th-century Armenian troubadour Sayat Nova. The song is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.In playing this piece, you will want to be flexible with time: the 32nd notes are mostly notated grace notes coloring the following note, and can be compressed towards that next note for effect. Similarly, the meter should be downplayed: use the pre-recorded part to give you guideposts, and then shape your phrases quite freely around those guideposts.I strongly suggest that you listen to my demo recording of the piece, as it will give an indication of what I am looking for. I have not transcribed every note that I sang on the demo, and similarly, once you feel comfortable with the playing style, you can ornament the melody with some flexibility yourself. The notated turns are meant to indicate places where it is most natural to do some ornamentation.The piece can be played on either alto flute or bass flute. I am hoping for a certain vulnerability in your playing, so choose the flute that will help you most with that. If you are playing in a dry hall, you might consider slight amplification, not for volume, but to allow you to add reverb to your sound. It will then be easier to blend well with the tape part.Optionally, one (or even two) additional flutists may double the lines called “voice†that are part of the tape part. The additional player(s) should play more softly than the soloist, and get even softer as the piece progresses and the electronics take over.* * *Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.The audio accompaniment and the demo are available for free download from the “Additional Downloads†tab at www.presser.com/114-42236 .
