Gluck, Christoph Willibald : Ballet Music

Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version. This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts. The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur

Gluck, Christoph Willibald Orpheus and Eurydice Opera in three actsVienna Version 1762 Details Edition no.: BA 5845-90 ISMN: 9790006558735 Editor: Abert, Anna Amalie / Finscher, Ludwig Arranger: Moehn, Heinz Language(s) of work: Italian, German Language(s) of text: German, English, Italian Product format: Piano reduction, Urtext edition Comments: Replaces BA 2294-90 Binding: Paperback Pages / Format: XVI, 164 S. - 27,0 x 19,0 cm The premiere of the Azione teatrale “Orfeo ed Euridice” took place in Vienna in 1762 and plays a significant role in the history of the music theatre. With this work, the composer for the first time rejected the rigid conventions of the Italian opera seria and made an important first contribution towards the renewal of opera genre. In collaboration with his librettist Calzabigi, Gluck reduced the plot to its essentials and freed it from the typical political and romantic intrigues which prevailed at that time. The choir takes on a larger role and the ballet is integrated into the plot. Solo and choral parts, instrumental music as well as pantomime and dance are closely connected. The style of singing has a natural simplicity and coloratura is largely abandoned. This stands in stark contrast to the vocal acrobatics of opera seria. · Urtext edition based on the “Gluck Complete Works” · Revised and newly set · Italian libretto with singable German translation · Comprehensive foreword (Ger/Eng/Ital) on the genesis of the work and its reception as well as on the plot · Clear, idiomatic piano reduction

Now's your chance to play all those beautiful melodies and magical moments from your favourite ballets. Melodies by Berlioz, Borodin, Chopin and others are arranged here for the solo Piano, to be enjoyed again and again. / Classique / Partition /

The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière