SKU: LM.29241
ISBN 9790230992411.
I. La Reine noire (soprano dramatico-coloratura) - II. Disperata donna (soprano dramatico-coloratura) - III. La Diva (soprano dramatico) - IV. Ah Madre del Cielo (soprano lirico-spinto) - V. Leonora (soprano lirico-spinto) - VI. La Mort des amants (soprano lirico-leggero) - VII. Anna Bolena (soprano lirico-leggero) - VIII. Je suis belle (soprano colorature) - IX. Mes grisgris (soprano soubrette) - X. La Pastorella (soprano soubrette).
SKU: LM.29245
ISBN 9790230992459.
I. Le charmant - II. MAB - III. L'illumine - IV. Maudite Marguerite - V. La loge de scene - VI. Una cosa stravagante - VII. Vulcain - VIII. O toi, ma Mie, je t'attendrai ce soir - IX. Le malheureux Philippe - X. Sarastromin.
SKU: LM.29244
ISBN 9790230992442.
I. Son un poeta - II. Florestan - III. Adolar - IV. Le clown - V. Bella voce - VI. Pedrillo - VII. Della sua pace - VIII. Eleazar - IX. Monostatos - X. Don Jose.
SKU: LM.29243
ISBN 9790230992435.
I. O solitude - II. Erbarme dich - III. Sweet nightingale - IV. Infirmata, vulnerata - V. Nacht und Traume - VI. Eternita - VII. Puisque j'ai mis ma levre - VIII. Bella amorosa - IX. Artabano - X. Alto giove.
SKU: LM.29242
ISBN 9790230992428.
I. Arianna (mezzo lyrique) - II. La sentimentale (mezzo lyrique) - III. C'est a Seville (mezzo colorature) - IV. Il paggio (mezzo colorature) - V. Lucrezia (mezzo dramatique) - VI. Marina (mezzo dramatique) - VII. Fata Morgana (contralto) - VIII. Le temps des lilas (contralto) - IX. Torture-moi (contralto) - X. Elena-Lila (contralto).
SKU: CY.CC2888
Ralph Sauer has artfully arranged Three French Vocalises for Tuba or Bass Trombone and Piano by three well-known composers from the 20th Century:Darius Milhaud, Arthur Honegger and Joseph Canteloube.Each has a unique style and total about 5-6 minutes in length. Their modest ranges make them appropriate for moderately advanced performers.
SKU: CY.CC2903
Ralph Sauer has artfully arranged Three French Vocalises for Trombone and Piano by three well-known composers from the 20th Century:Darius Milhaud, Arthur Honegger and Joseph Canteloube.Each has a unique style and total about 5-6 minutes in length. Their modest ranges make them appropriate for moderately advanced performers.
SKU: CY.CC3024
ISBN 9781774310656. 8.5 x 11 in inches.
Ralph Sauer has artfully arranged Three French Vocalises for Euphonium and Piano by three well-known composers from the 20th Century: Darius Milhaud, Arthur Honegger and Joseph Canteloube. Each has a unique style and total about 5-6 minutes in length. Written in bass clef, their modest ranges make them appropriate for moderately advanced performers.
SKU: CY.CC2948
ISBN 9790530057674.
Voca lise-etude alla gitana (in a Gypsy style) by Paul Dukas is a seductive and lyrical work of about 4 minutes in length written in 1909 for Voice and Piano. It has been beautifully arranged by Ralph Sauer for advanced performers.
SKU: CY.CC2865
Vocalise-etude (en forme de Habanera) was originally written for voice and is one more example of a French composer's fascination with the music of Spain. Ravel in particular was fond of this Habanera style, having included it in several of his works. This music also may have been composed as a study for students at the Paris Conservatory.Ravel includes virtuosic runs and portamento effects which Mr. Sauer has effectively used in his fine arrangement for Tenor Trombone.The work of about 3 minutes in length is appropriate for advanced performers.
SKU: CY.CC2857
Vocalise-etude (en forme de Habanera) was originally written for voice and is one more example of a French composer's fascination with the music of Spain. Ravel in particular was fond of this Habanera style, having included it in several of his works. This music also may have been composed as a study for students at the Paris Conservatory.Ravel includes virtuosic runs and portamento effects which Mr. Sauer has effectively used in his fine arrangement for Bass Trombone.The work of about 3 minutes in length is appropriate for advanced performers.
SKU: CY.CC2880
Vocalise-etude alla gitana (in a Gypsy style) by Paul Dukas is a seductive and lyrical work of about 4 minutes in length written in 1909 for Voice and Piano. It has been beautifully arranged by Ralph Sauer for advanced performers.
SKU: CY.CC2805
Vocalise-etude alla gitana (in a Gypsy style) by Paul Dukas is a seductive and lyrical work of about 4 minutes in length written in 1909 for Voice and Piano. It has been beautifully arranged by Ralph Sauer for advanced performers.
SKU: SU.80300162
1. Oh, the Beautiful Treasure; 2. We Will Walk with Mother and Mourn; 3. Hop Up and Jump Up. Explore the American heritage of Shaker hymnody with these three settings of lesser-known, very appealing Shaker spirituals. Each brief setting grows from its underlying melody to make an exceptionally unified arrangement. With a different technique as the focus for each arrangement, these minute-long pieces make fine vocalises for your choir. Oh the beautiful treasure, with its square rhythms, horn calls, and harmonic texture opening out and closing, is excellent for teaching chord tuning. We will walk with Mother and mourn, with its smooth, stepwise, rising and falling melody, is a fine exercise for legato singing. Hop up and jump up, with its crisp rhythms and phrase fragments tossed from part to part, calls for rhythmic clarity and clean entrances and cutoffs. SSAA a cappella; 13 pages, plus editorial notes; duration: 3:15 min.; range: g to f; difficulty: easy-medium; from the Nina Gilbert Choral Series. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: HL.49016802
ISBN 9783795705404. 6.0x8.5x0.62 inches. German.
A novel combination of DVD and book, this volume for the first time presents issues pertaining to vocal techniques and interpretation in word, picture and sound. Film examples provide insights into the working method of the renowned tenor Christoph Pregardien who can be seen in his lessons with students of his master classes. In addition, the singer and teacher Hedwig Fassbender deals with specific problems of the female voice; the pianists Michael Gees and Andreas Staier talk about the accompaniment of lied singers. Professionals, students and lovers of classical singing as well as interested amateur singers are provided with a plethora of important and valuable information. The DVD with more than 240 minutes of film material shows Christoph Pregardien during song, oratorio and opera lessons. An index allows for purposeful selection of the most important topics: exercises of scales, vocalises, phrasings, breathing, tonal work, portamento, conduct of the voice, vocal position, and many more.In the book section, Christoph Pregardien deals with further questions on programming, correct practising and warm-ups, concert preparations and voice problems, among others. This innovative product is complemented by a detailed discography of Christoph Pregardien as well as bibliographical references and recommendations. Schott Master Class Gesang was awarded the Comenius Medal 2006. With the Comenius EduMedia Awards, the Society for Education and Informatics (GPI) fosters didactic multimedia products and educational media which are of particularly great value as regards education, content as well as layout and design. The Master Class series was awarded the special prize digita 2007 for new developments which can change and further learning with new media. The convincing editing of the learning content by renowned experts and the unobtrusive media design of the videos provide the reader - no matter whether students, advanced singers or interested amateurs - with numerous suggestions on a high level. Thanks to the exercises and examples of interpretation filmed in live action and processed digitally, performers are given excellent support.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.
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: CY.CC2501
Le Rossignol or the Nightingale is originally a vocalise for Soprano solo from Saint-Saen's incidental music for the play, Parysatis written in 1902. This 4-5 minute work is all about mood.
Mr. Sauer uses the original key of B-flat, which lays perfectly for all of the bird-like calls that are in phrases which are slurred. The music has a lot of ad lib. tempo sections which gives the performer plenty of time to create that magic call of the Nightingale. Early writers thought it was the female that sang, but in fact it is the male. The Nightingale usually sings at night or just before dawn when other birds are silent and has a strong spontaneous song with an impressive range of trills and whistles.
SKU: CY.CC2516
Le Rossignol or the Nightingale is originally a vocalise for Soprano solo from Saint-Saen's incidental orchestral music for the play, Parysatis written in 1902. This 4 minute work is all about mood. For this arrangement, Mr. Sauer transposes into the key of C, which lays perfectly for all of the bird-like calls that are in phrases which are slurred. The music has a lot of ad lib. tempo sections which gives the performer plenty of time to create that magic call of the Nightingale. Early writers thought it was the female that sang, but in fact it is the male. The Nightingale usually sings at night or just before dawn when other birds are silent and has a strong spontaneous song with an impressive range of trills and whistles.
SKU: CY.CC2513
