This edition is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in 2008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars and performers.Thusthe famous overture which Rossini had already used in his earlier opera Aureliano in Palmira differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera The Barber of Seville (with just one Flute one oboe and no Timpani).Urtext edition based on the series Works of Gioachino Rossini.All versions and transpositions are included in the appendix to the study score.Singing English translation in the vocal score.Takes into account all original sources including five manuscripts with Rossini’s autograph ornamentation.Takes into consideration the full extent of Rossini’s personal notational characteristics.Study score contains a detailed foreword (Eng/Ital)Full score (BA10506) critical report (BA10506-40) & study score (TP411) available for sale; performance material (BA10506-72) available for hire.

The Sei Sonate a Quattro are, if not Rossini's very first attempt at composition, then definitely one of his earliest works, having been composed in 1804. Composed for two violins, cello and double bass while staying with his friend and patron Agostino Triossi, the curious combination of this quartet makes this a unique, extremely well crafted piece, with a few fresh new ideas from a young composer. The sonatas were performed for the first time while Rossini was staying on the Triossi estate near Ravenna, known as the Conventello, with Rossini himself playing the second violin.This critical edition - by Matteo Giuggioli, a scholar of 18th and 19th century instrumental music - is based on the manuscript copy of the separate parts with annotations in Rossini's own hand, now kept at the Library of Congress in Washington, D.C. The book also contains facsimiles of the instrumental parts adapted for the classic quartet (2 violins, viola, cello) which Ricordi produced in 1828 in order to guarantee the widest possible circulation of this work. / 2 Violons, Violoncelle Et Contrebasse

Rossini's popular overture is now available with complete performance material on sale. It is newly edited based on the forthcoming volume of the 'Works of Gioachino Rossini' (BA10506).This scholarly-critical practical edition contains almost two works in one as Rossini composed this overture firstly for his opera 'Aureliano in Palmira' and then also used it in 'The Barber of Seville'. The two overtures differ simply in their instrumentation.This new edition is an Urtext edition. Free of later additions to the instrumentation and other changes it reproduces this famous work in the version which Rossini intended.Conductors can nowchoose to perform the overture to 'The Barber of Seville' without the frequently added second flute second oboe and drums which were not part of the opera's original instrumentation.First Urtext edition of the popular overtureForeword (Ger/Eng/It)Optimal page-turns in the parts

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

Rossini's Stabat Mater for SSTB.Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different formssuch as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre.

Coll. Ars Instrumentalis 35 Für Klarinette und Orchester Rossini, Gioacchino [Édi:] Michaels, Jost Réduction pour piano

Par ROSSINI / FRONTY. L'opéra de Rossini raconte l'histoire de la pauvre Cenerentola (Cendrillon en italien), jeune fille déshéritée et spoliée par un infme beau-père qui lui préfêre ses deux filles. Cenerentola, aidée par le mystérieux Alidoro, trouvera l'amour et le bonheur en la personne du jeune prince don Ramiro. / / Livre / Livres

Arrgt: Laëtitia Bouvet. Par ROSSINI GIOACHINO. Un très bel arrangement de l'intégralité de la fameuse ouverture de Guillaume Tell par Laëtitia Bouvet, professeur de clarinette et spécialiste des musiques d'ensembles. Grâce aux parties additionnelles fournies, cette pièce peut se jouer à 3 clarinettes sib et 1 clarinette basse. - Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor de Clarinettes : 2 Clarinettes Sib 1 Cor de Basset en Fa 1 Clarinette Basse descendant au MibParties additionnelles : 1 Clarinette Alto en Mib à défaut de Cor de Basset en Fa 1 Clarinette Sib à défaut de Cor de Basset en Fa - Niveau de Difficulté : 5/6 - Intermédiaire/Avancé - Durée : 12 mn 00 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Gioacchino ROSSINI - Arrangeur : Laëtitia BOUVET / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 2 Clarinettes Sib, Cor en Fa 1 Clarinette Basse Mi

Le Barbier de Séville est l'opéra le plus célèbre de Rossini. Écrit en à peine treize jours Rossini y mène le genre de l?opéra bouffe à la perfection avec au passage quelques joyaux comme la cavatine Una voce poco fa affectionnée par les divas telles que Maria Callas Kathleen Battle ou Teresa Berganza. Cette version de Gerard Posch est écrite pour Saxophone alto solo (ou voix de soprano) et Orchestre d?Harmonie.

A Comic Duet For Two Cats. Par ROSSINI GIOACHINO. Enfin, vous pouvez évacuer votre mauvaise humeur musicalement : le Duetto di de buffo due gatti (duo comique pour deux chats) de Gioachino Rossini fournit l'excellente occasion de faire de la musique et mime. En réalité, le morceau vocal n'était pas écrit par le Itali/ Répertoire / 2 Voix et Piano

Sinofinia dall'opera-La première du Barbier de Séville de Gioacchino Rossini connut un échec retentissant. Dès le lendemain Rossini remplaça l?ouverture nouvellement composée par l?une de ses compositions précédentes l?ouverture d?Aureliano in Palmiro un opéra peu connu. Le 18 août 1816 à Bologne la création de la nouvelle version du Barbier de Séville reçut un accueil triomphal. Un succès jamais démenti depuis.