Rinaldo Op. 50

The Top Ten Most Beautiful Pieces To Play On Piano is part of a series that has been specially designed to help pianists of all levels to find the repertoire they really want to play. Featuring some ofthe world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or a more experiencedplayer looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The Top Ten MostBeautiful Pieces To Play On Piano brings you the most stunning musical outpourings offered by composers over the last 300 years. Lose yourself in heart-rending melodies by Beethoven Elgar and Debussy. Thiscollection contains Barber's Adagio For Strings Handel's Lascia Ch'io Pianga from Rinaldo HWV 7 Richter's On The Nature Of Daylight/Written On The Sky Einaudi's Nuvole Bianche and more.

Rinaldo HWV 7a; Opera in three acts.Version of 1711.This was Handel’s first opera for London first performed at the theatre in the Haymarket in February 1711. It was strong in both music (including recomposed versions of some movements that Handel had previously written for his operas in Italy) and staging: a contemporary described the opera as ‘filled with Thunder and Lightening Illuminations and Fireworks’.Urtext of the Halle Handel Edition.Full score (BA4033) & vocal score (BA4033-90) available for sale.Performance material (BA4033-72) available for hire

Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g

from the opera Rinaldo van Georg Friedrich Händel-Lascia ch?io pianga est un air extrait de Rinaldo premier opéra londonien de Georg Friedrich Haendel sur un livret de Giacomo Rossi d?après un scénario d?Aaron Hill. Quinze jours de travail suffirent à Haendel pour achever la partition. Le résultat est en réalité une vaste adaptation de plusieurs œuvres antérieures. Rinaldo a été créé à Londres en 1711. Les décors féeriques et chevaleresques étaient éblouissants pour l?époque et c?est sans doute pour cela que l?œuvre fut plébiscitée par le public.Dans le merveilleux jardin du palais enchanté d?Armide (l?alliée d?Argante le rival de Rinaldo) Almirène (la promise de Rinaldo) pleure sa captivité dansson air Lascia ch?io pianga l?un des plus beaux qu?Haendel ait écrits. Cette sublime mélodie célèbre dans le monde entier a été arrangée avec finesse et justesse par Jacob de Haan.

from the opera Rinaldo van Georg Friedrich Händel-Lascia ch?io pianga est un air extrait de Rinaldo premier opéra londonien de Georg Friedrich Haendel sur un livret de Giacomo Rossi d?après un scénario d?Aaron Hill. Quinze jours de travail suffirent à Haendel pour achever la partition. Le résultat est en réalité une vaste adaptation de plusieurs œuvres antérieures. Rinaldo a été créé à Londres en 1711. Les décors féeriques et chevaleresques étaient éblouissants pour l?époque et c?est sans doute pour cela que l?œuvre fut plébiscitée par le public.Dans le merveilleux jardin du palais enchanté d?Armide (l?alliée d?Argante le rival de Rinaldo) Almirène (la promise de Rinaldo) pleure sa captivité dansson air Lascia ch?io pianga l?un des plus beaux qu?Haendel ait écrits. Cette sublime mélodie célèbre dans le monde entier a été arrangée avec finesse et justesse par Jacob de Haan.

Bel Piacere (Countless Pleasures) is a song from the opera Rinaldo. It has been arranged for SATB choir by Stanford Robinson with the words translated into Enlgish by Geoffrey Dunn. A Piano reduction is provided for rehearsal purposes.G F Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. He is credited with popularising opera in Britain both importing Italian works and composing his own. Rinaldo was composed in 1711 and was the first opera written in Italian for the London stage. The libretto was written by the Italian poet Giacomo Rossi.

Based on the Bärenreiter vocal scores the three volumes in this series contain some of Handel's best-known arias for mezzo-soprano/contralto tenor and bass together with some less well-known numbers of equally high musical quality. The arias in these volumes contain works from Handel's thirty-year period as an opera composer in London and give an impression of the variety of this extensive repertoire. The arias placed in the chronological order of the operas display various distinctive technical features and are mostly presented with the pre-ceding recitative or in a few cases in the context of an entire scene. The forewords by DonaldBurrows contain detailed notes on Handel's singers and on the context of the arias of the operas. Mio cor (Goffredo Rinaldo)Sorge nel petto (Goffredo Rinaldo)Pena tiranna io sento al core (Dardano Amadigi)Quando mai spietata sorte (Zenobia Radamisto)Già che morir non posso (Zenobia Radamisto)Fatemi o Cieli almen (Zenobia Radamisto)Deggio dunque oh Dio lasciarti(Zenobia Radamisto)Che colpa è la mia (Teodata Flavio Re de’ Longobardi)Priva son d’ogni conforto (Cornelia Giulio Cesare in Egitto)Par che mi nasca in seno (Irene Tamerlano)No che sei tanto costante (Irene Tamerlano)Crudel più non son io (Irene Tamerlano)Quanto più fiera tempesta freme (Eduige Rodelinda Regina de’ Longobardi)Orgogliosetto va l’augelletto (Matilde Lotario)Arma lo sguardo (Matilde Lotario)S’è delitto trar da’ lacci (Idelberto Lotario)Per tutto il timore (Valentiniano Ezio)Verdi allori (Medoro Orlando)Vorrei poterti amar (Medoro Orlando)Se l’inganno sortisce felice (Polinesso Ariodante)Dover giustizia amor (Polinesso Ariodante)Or che siete speranze tradite (Amastre Serse)Anima infida tradita io sono (Amastre Serse)Cagion son io del mio dolore (Amastre Serse)Meglio in voi col mio partire (Arsamene Serse)Non so se sia la speme (Arsamene Serse)Quella che tutta fé (Arsamene Serse)Sì la voglio e la