Oper In Einem Akt - Partitura. Par ZEBELJAN I.. Oper In Einem Akt - Partitura / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Opéra

Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822. 

Gary Hess ha scritto il libro definitivo sulla Lettura Ritmica. Il testo contiene tutte le nozioni fondamentali di teoria musicale che stanno alla base della musica moderna. I simboli musicali, i concetti di suddivisione ritmica, pulsazione, indicazi tempo e metro vengono esposti in modo a tutti comprensibile. Il metodo è basato sulle innovative tecniche di Counting, che consistono nel sistema di scansione verbale delle suddivisioni ritmiche, su cui si fonda da più di mezzo secolo la teoria modempio spazio è dedicato allo studio dei tempi tipici della musica contemporanea quali il tempo tagliato, gli ottavi swing, i sedicesimi shuffled, i tempi composti. Il libro consente, inoltre, di sviluppare la capacità di lettura delle partiture tipicha tradizione Jazz, Fusion, Blues, Big Band. L'intero metodo si presenta come un manuale operativo grazie alle tabelle dove l'utente può annotare i propri progressi. Da sottolineare, infine, che quest'opera costituisce il programma di Lettura Ritmica / Opéra Théorique/Didactique

Acts 1 2 and 3-The second in Glass' trilogy about men who changed the world Satyagraha's sub-text is politics. The opera is semi-narrative in form and deals with Mahatma Gandhi's early years in South Africa and his development of non-violentprotest into a political tool. (Satyagraha is a Sanskrit word meaning 'truth force'). The first two acts each contain three scenes; the last is one continuous scene. Each act is dominated by a single historic figure (non-singingrole) overlooking the action from above: the Indian poet Rabindranath Tagore in Act I the Russian author Leo Tolstoy in act II the American civil rights leader Martin Luther King Jr. in Act III

Crit. Ed. Roger Parker. Par PUCCINI GIACOMO. The Critical Edition of MANON LESCAUT is the first volume of the series THE OPERAS OF GIACOMO PUCCINI - CRITICAL EDITION - in collaboration with Archivio storico Ricordi and Fondazione Simonetta Puccini. It makes available the three main versions of the opera that have survived in various sources: an 1893 version, with the original Act I finale, the first version of Manons Act IV aria, and the uncut version of the final duet in Act IV; a 'midcareer'version imagined by Puccini in the first decade of the new century, when he sanctioned the almost complete omission of Manons Act IV aria; and finally the last version that Puccini lived to approve, with Manons aria restored, albeit with a revisedliterary text. The edition consists of two volumes of full score. The first volume is introduced by a preface to the Puccini Critical Edition and an historical introduction; the second volume ends with a detailed description of the operas many sources and alengthy critical commentary which discusses numerous problematic details in the musical text. / Opéra-opérette / Date parution : 1905-07-06/ Répertoire / Opéra

Description Johann Strauss II: Die Fledermaus (Vocal Score) The Bat. English version by Ruth and Thomas Martin. Songlist Ah, My Lady Says (Strauss) Champagne's Delicious Bubbles (Strauss) Come Along To The Ball (Strauss) Drinking Song (Strauss) Ever Since I Was A Baby (Strauss) From Time To Time (Strauss) Good Sir, Are You Accusing Me (Strauss) How Engaging (Strauss) My Friends, Your Kind Attention (Strauss) No, You Set My Doubts (Strauss) Oh, Eisenstein, You Mastermind (Strauss) To Judge His Expression (Strauss) To Part Is Such Sweet Sorrow (Strauss) Turtledove Who Flew Aloft (Strauss) Voice Of My Homeland (Strauss) What A Joy To Be Here (Strauss) When These Lawyers Don't (Strauss)

Plus de 500 pages de texte et plus de 750 exemples musicaux.Ecrit dans le langage du musicien de jazz travail, ce livre est facile à lire et facile à utiliser. Dans le même temps, c'est l'étude la plus complète de l'harmonie de jazz et de la théorie jamais publié. TZ théorie livre prend l'étudiant de techniques plus fondamentaux tels que la construction de la corde et la progression de l'II-V-I grâce à la théorie de l'échelle, le blues, changements 'I ' ve Got Rhythm', barre oblique chords, le bebop et échelles pentatonique, comment lire un aorize de feuille de plomb tunes et une étude de reharmonization qui est presque un livre en soi. Satisfaction garantie ou argent sera remboursé. Mark Levine a travaillé avec Bobby Hutcherson, Cal Tjader, Joe Henderson, Woody Shaw et de nombreux autres grands du jazz. / Opéra Théorique/Didactique

AUDRAN Edmond : Le Grand Mogol (Acte I, Choeur) - GODARD Benjamin : Jocelyn (Choeur des Montagnards) - HEROLD Ferdinand - Le Pré aux Clercs (Mascarade) - LECOCQ Charles : Ali-Baba (Acte II, 5e tableau) - LECOCQ Charles : Giroflé-Girofla (Marche Mauresque) - LECOCQ Charles : Le Petit Duc (La Leçon de chant) - OFFENBACH Jacques : La Belle Hélène (Marche) - OFFENBACH Jacques : La Vie Parisienne (Final de l'Acte I) - OFFENBACH Jacques : Les Brigands (Final de l'Acte III) - PLANQUETTE Robert : Rip (Acte III, 2e tableau)

Par DELFRATI CARLO. Il pensiero musicale, articolato in tre volumi, sviluppa i concetti della teoria musicale e gli elementi della notazione in modo progressivo. Ogni volume è corredato da CD audio per le attività di ascolto, ear-training, dettato musicale. IMPOSTAZIONE E METODOLOGIA: Il corso è frutto di oltre quarant'anni di studi e di insegnamento dell'autore, Carlo Delfrati, e della sua concezione fortemente innovativa della didattica musicale: la formazione teorica va di pari passo con attività pratiche, creative e analitiche. INOLTRE: L'apprendimento della lettura è graduale e progressivo, grazie ad un approccio basato sull'immediatezza percettiva di melodie e figurazioni ritmiche. Per le letture (ritmiche e melodiche) viene utilizzato il repertorio musicale di ogni periodo storico: dal Medioevo a oggi, dal tradizione popolare alla musica etnica. Un'antologia che servirà anche negli studi più avanzati./ Solfège/Formation Musicale / Opéra Théorique ou Didactique

Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra