SKU: EB.1-930292-37-6
ISBN 9781930292376.
Premier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.The first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.
Prem ier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.Th e first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.
SKU: EB.1-930292-12-0
ISBN 9781930292123.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: MH.0-931329-35-3
ISBN 9780931329357.
Comp oser's Preface: Antithigram is coined from the words antithesis and program. The work is bi-thematic -- the first theme comprised of eleven notes, the second (beginning at measure 63) more like a chorale in structure. A four-note tone cluster (B flat, C, F sharp, B natural) appears in the first measure, and subsequently appears as an arpeggiated ostinato (B flat, C, and F sharp, in orchestra bells and vibraphone) that underpins and adheres subsequent sections. After the themes are treated in a number of traditional ways (two-voice counterpoint, canon, chorale, and diminution) they are joined at measure 110 in a polychordal statement. The work should be performed with energy, with special attention to a precise and lively style of articulation. Antithigram was composed in the Summer of 1977 and premiered by the East Carolina University Symphonic Band in April of 1978 with the composer conducting. Ensemble instrumentation: 1 Piccolo, 2 Oboe, 2 Bassoon, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet, 1 Bb Contrabass Clarinet, 4 Eb Alto Saxophone 1, 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 F Horns 1 & 2, 2 F Horns 3 & 4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 2 Baritone, Treble Clef, 2 Baritone, Bass Clef, 4 Tuba, 1 Timpani, 1 Percussion 1 (Xylophone, Vibraphone, Bongos), 1 Percussion 2 (Orchestra Bells, Tambourine), 1 Percussion 3 (Chimes), 1 Percussion 4 (Snare Drum, Tambourine, Triangle), 1 Percussion 5 (Bass Drum, Tam-tam, Cymbal-susp.).
SKU: HL.14006143
12.0x20.0x1.531 inches.
Cantata for Soprano, Tenor, Baritone, Bass soloists, SATB chorus and orchestra. Caractacus was the last and most ambitious of Elgar's dramatic cantatas, written to fulfill a commission negotiated by Henry Embleton for the Leeds Festival Committee which received its premiere performance on October 5th 1898. Full Score, in paper-bound format with an informative introduction and some facsimile pages from the autograph score.
SKU: PR.111402650
UPC: 680160643516. Text: Lorna Goodison. Lorna Goodison.
Angel of Dreamers is a song cycle for bass-baritone (or mezzo-soprano) singer, trombone, and either string orchestra, string quintet, or piano. It is based on the extraordinary poetry of the Jamaican-American poet, Lorna Goodison, whom I have had the great pleasure of getting to know in the course of writing this piece. The work was commissioned by a friend from my undergraduate college years at The Eastman School of Music, Maury Okun, trombonist and director of the Detroit Chamber Winds And Strings. The work was premiered in 2011 by bass-baritone Daniel Washington, trombonist and U. of Michigan faculty member David Jackson, and the string section of the Detroit Chamber Winds and Strings. Daniel and David gave the second performance of the work with Lorna Goodison and Maury Okun in attendance at The Juilliard School the following year. I was approached by Maury Okun and David Jackson to write this piece as a tribute to Maury's father who had recently passed away. They also introduced me to their colleague and friend Lorna Goodison, suggesting her poetry. Reading several volumes of her work, I was absolutely captivated by the vivid imagery and beautiful messages of her words. I chose five of the poems, forming a cycle about life and death and home and parents. Lorna is originally from Jamaica, and the rich, vivid imagery, language and story lines of her poems beautifully reflect her roots. The work, in the tradition of Brahms' songs for voice, viola, and piano, features a singer with an obligato lyric instrumental line, which, in my piece, is the trombone, an instrument that blends so beautifully with the sound of a bass singer. The first song, O Love You So Fear the Dark is hopeful and uplifting, describing enduring love throughout the twists and turns of our lives. The music is strong and declamatory, but also tender. The second song, God A Me actually portrays a fish in Jamaica which is almost amphibious, flying up out of the water onto the land, and somehow, magically, returning to the water! For me this poem depicts the enjoyment of seeing parts of life that are fun and enjoyable and almost magical! The third song, All Souls Day depicts a holiday, somewhat magical, but also full of life and energy. The final two songs are a tribute to our parents -- My Mother's Sea Chanty, recalling a dream of seeing one's mother, with lyrics of tender love and remembrance, and finally, This is my Father's Country which is a tribute to the life of a loving father, recalling his spirit, his love of the music Harry Belafonte, and his enduring spirit. Angel of Dreamers was a special piece for me to write: for and with friends, old and new, collaborating with a poet whose beautiful, meaningful, and touching words were so inspiring, performed by fantastic musicians who poured themselves into the music, and commissioned by a dear friend from years gone by. THIS is why we write and perform music!.
SKU: BR.CHB-138-02
Richard Wagner wrote Tristan and Isolde in the years 1857 to 1859. The first edition was published by Breitkopf & Hartel in Leipzig in 1860. The world premiere took place in the Konigliches Hof- und National-Theater in Munich on 10 June 1865 u. Opera; Music theatre; Romantic. Choral score. 8 pages. Breitkopf and Haertel #ChB 138-02. Published by Breitkopf and Haertel (BR.CHB-138-02).
ISBN 9790004400791. 6 x 8.5 inches.
Translation s: engl. (H. und F. Comer), french (A. Ernst/P. Bruck) Place: Tristan's ship, King Mark's castle in Cornwall, Tristan's castle Characters: Tristan (tenor) - King Mark (bass) - Isolde (soprano) - Kurwenal (baritone) - Melot (tenor) - Brangane (mezzo-soprano) - Shephard (tenor) - Mate (baritone) - Voice of a young sailor (tenor)In 1856 pressing financial obligations forced Wagner to interrupt the composition of the Ring to work on Tristan und Isolde. He initially planned a work that was modest in its production and performance demands. The project was also given priority not least because of the prospect of the royalties which he would then receive. He once again turned to Breitkopf & Hartel for the performance material: 'Tristan und Isolde' is scheduled to be given its first performance at the end of this year. I still hope that it will take place in Karlsruhe under my guidance. Due to the celebrity that I have now acquired, I assume that a new and easily performable work of mine should be able to spread very quickly across the German stages in its first winter season. Wagner was wrong. although the publisher had spent a great deal of time and money in producing preliminary material, Wagner wrote to Breitkopf & Hartel from Munich in November 1864: The squalor of Germany's opera singers and the vile condition of its opera houses have so far dissuaded me from allowing a performance of 'Tristan und Isolde'. What I needed was an impassioned young monarch to restore my courage. Next spring you will hear about the work's premiere in Munich, and you will then hopefully become more confident about this publication.Richa rd Wagner wrote Tristan and Isolde in the years 1857 to 1859. The first edition was published by Breitkopf & Hartel in Leipzig in 1860. The world premiere took place in the Konigliches Hof- und National-Theater in Munich on 10 June 1865 under the direction of Hans von Bulow.
SKU: PR.416414140
UPC: 680160601905. 8.5 x 11 inches. Libretto: Frank Corsaro (based on his original play - Lyric Suite). Libretto by Frank Corsaro (based on his original play, Lyric Suite).
Margot Kunstler - soprano, Kara Sondstrom - mezzo-soprano, Ted Steinert - baritone, Walter Engelmann - tenor, Inspector Gert Osterland - bass-baritone, Maitre'd - tenor, Four waiters:, Humbert - tenor, Peter - baritone, Jos - baritone, Klaus - bass.
SKU: PR.41641414L
UPC: 680160601912. 11 x 17 inches. Libretto: Frank Corsaro (based on his original play - Lyric Suite). Libretto by Frank Corsaro (based on his original play, Lyric Suite).
SKU: PR.11540204F
UPC: 680160591237. Key: G major.
Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
SKU: CY.CC2904
Concert Piece No. 5 (also known as Concert Sketch No. 5) was composed in 1938 and is the only one of five of these works that are known. After this work, the composer apparently composed his 13 concertos for the Trombone.This work is very popular for high school level performers and this premier arrangement by Benjamin Coy will allow Trombone soloists to perform the work with a large ensemble.The music is in a Russian sounding romantic style and about 7 minutes in length, appropriate for moderately advanced performers.Instrumen tation for the Concert Band is:2 Flutes, Oboe, 3 Clarinets in B-flat, Bass Clarinet, Bassoon, Alto Sax, Tenor Sax, Baritone Sax, 2 Trumpets in B-flat, 2 Horns, 2 Trombones, Euphonium, Tuba, Timpani, Marimba (can be replaced with a keyboard or Xylophone) & Percussion.Cherry Classics Music is thankful to the Blazhevich Estate for giving permission to license and publish this work.
SKU: BA.BA08703
ISBN 9790006530465. 33 x 27 cm inches. Text Language: French. Preface: Prévost, Paul / Macdonald, Hugh.
Edouard Lalo composed two operas: “Le Roi d’Ys†enjoyed considerable success at its first performance at the Opera-Comique in 1888, and it remained in the repertory for many years. His other opera, “Fiesqueâ€, on the other hand, had to wait nearly 140 years before it was performed in a concert version in Montpellier in 2006, and then was finally premiered on stage at the National Theatre Mannheim on 16 June 2007.Fiesque is an opera of action and intrigue, set in Genoa in 1547 and based on Schiller’s early drama “Die Verschwörung des Fiesco zu Genuaâ€. The historical Fiesco led a conspiracy against the ruling Doria family, Doges of Genoa. The plot revolves around Fiesque’s love for Julie, daughter of his enemy Andreas Doria, and his wife Lonore’s bitter suspicion. Fiesque is also opposed by Verrina, an old fanatical republican who distrusts Fiesque’s commitment to overthrowing the Dorias, especially when his involvement with Doria’s daughter is known. In the final act the Dorias are overthrown; the crowd acclaims Fiesque and Lonore in a triumphal march, but Verrina refuses to allow Fiesque to assume supreme power and throws him to his death in the waters of harbour. Lalo’s invention is remarkable, and the orchestral writing is at times powerful, at times poignant. Its revival adds a remarkable work to the repertory of French operas.
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
