Othello

Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Par MACONCHY ELIZABETH. Elizabeth Maconchy's Four Shakespeare Songs written for Baritone and Piano with text taken from Shakespeare's Twelfth Night, Measure for Measure and Othello. Duration: 6 minutes Elizabeth Maconchy's Four Shakespeare Songs written for Baritone and Piano with text taken from Shakespeare's Twelfth Night, Measure for Measure and Othello. Duration: 6 minutes/ Répertoire / Baryton et Piano

Pride, pomp, and circumstance of glorious war! It is these words from Shakespeare's Othello that these works by the English composer Sir Edward Elgar fall back on. The work was a sensational success from the very beginning, especially March #1. At its premiere in 1901 under the composer's direction, the audience requested two repeats - in 1902 the words of 'Land of Hope and Glory' were added to the march at the request of Edward VII for his coronation ceremonial. The resulting version is now performed every year at the Last Night of the Proms. Motivated by the success of the first two marches, Elgar composed another three which were performed in 1905, 1907 and 1930. #4 is as formal as #1 whereas the others are of a rather melancholy nature. / Orchestre

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.Book five contains three songs adapted from Othello A Winter's Tale andThe Merry Wives Of Windsor.

from Ben Hur-Le Hongrois Miklós Rózsa (1907-1995) fut un des derniers compositeurs de l?âge d?or hollywoodien. Auteur de plus de cent musiques de films il fut ?oscarisé? à trois reprises pour les bandes originales des films La Maison du Docteur Edwardes (1945) Othello (1947) et enfin Ben Hur (1959) le péplum du cinéaste William Wyler (né à Mulhouse en Alsace). Ben Hur est le film de tous les superlatifs : l?un des plus grands budgets jamais alloué pour un film les décors les plus majestueux 11 Oscars et cette scène incroyable une course de chars qui dure environ 30 minutes et qui exigea à elle seule quatre mois de préparation et trois mois de tournage.The Parade of the Charioteers est le titre de la musique illustrant ce grand moment de cinéma. L?arrangement d?Ed Keeley est aussi monumental que la scène du film !

Le sorcier maléfique Barbe Rouge du ballet ' SwanLake ', le jeune paysanne Giselle et enfin Othello - tous ces personnages de théâtre ont une chose en commun : ils ont été choisis par les danseurs comme noms de GI pour leurs activités non officielles pour le ministère de la sécurité de l'Etat. C'est à l'intention ou négligence en traitant artistiquement conçus infractions ? Le ministère de la sécurité d'Etat a-t-elle un travail particulièrement facile dans le théâtre de danse, un lieu de tromperie artistique, de play-acting et d'intrigue où les comportements humains extrême sont présenté au moyen d'exemples ?Avec l'aide de documents auprès de l'autorité de Birthler, les actions des personnes impliquées et les personnes concernées sont pour la première fois décrite de manière compréhensible, pourtant oppressive, sans vouloir provoquer toute compréhension pour les actions des personnes responsables. / Divers

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.

and Popular Songs of Shakespeare's Time. Shakespeare's England comes alive once again in this delightful and much needed collection of songs. Here are the words and music for 70 songs from Hamlet, King Lear, Twelfth Night, The Winter's Tale, Much Ado About Nothing, As You Like It, Othello, Romeo and Juliet, and several other plays, plus other popular songs of the time. Each song is chorded for guitar in the musical style of the Elizabethan era. Songs from Shakespeare's plays consist of songs whose texts were written by William Shakespeare: popular songs and ballads quoted or referred to by characters in the plays: songs of contemporary poets and musicians: and popular songs, folk songs, ballads, rounds and street cries known to have been current at the time and included to add to the overall setting in which Shakespeare wrote and performed. This is a practical, useful, and informal book, making no pretense to prove anything except, as editor Tom Kines says, that the songmakers of Shakespeare's time were a skillful lot and the combination of the golden flow of poesy with the silver flood of melody and harmony will perhaps never again be equalled.

Klangbeispiele wichtiger Passagen aus der Opern- und Konzertliteratur-Contains over 40 tutti and solo passages for viola from the operatic and concert repertoire including Euryanthe (Weber) Til Eulenspiegels Don Quixote (R Strauss) Symphonies No.3 5 and 9 Coriolanus (Beethoven) Hansel and Gretel (Humperdinck) Die Zauberflote Marriage of Figaro (Mozart) Carmen (Bizet) Coppelia (Delibes) Giselle (Adam) Manon Lescaut (Puccini) Flying Dutchman Lohengrin Tannhauser (Wagner) Othello Don Carlos (Verdi) The Barber of Seville (Rossini) and many more.

Lyric drama in four acts with a libretto by Arrigo Boito (founded on Shakespeare's tragedy Othello) and an English translation by Walter Ducloux. The score is extremely dramatic and complex; the tone for the whole opera is set when the curtain rises on a huge storm (there is no Overture) and the fishermen debate the fate of a ship out on the seas. The Willow song and Ave Maria in Act IV also form one of the great lyric scenes for soprano. This is the Vocal Score with a Piano reduction.