Das Rheingold

'Das Rheingold' is the first part of Wagner's 'Ring Cycle'.Alberich a gnome of the Nibelung discovers the all-powerful Rhine Gold and fashions a ring out of it knowing that whoever wears it will rule the world but mustrenounce love. The gods Wotan and his wife Fricka have build a new castle and paid the giants by promising them Fricka's sister Freia who grows the golden apples that give the gods their power. After a struggle she is kidnappedand all the gods begin to age and weaken. To get her back they decide to steal the Ring and bargain with the giants. br>Meanwhile Alberich has been forcing others to mine gold and Mime makes a helmet the 'Tarnhelm' out ofit thinking this will help him seize the Ring. Alberich steals the Tarnhelm but the gods arrive and trick both it the Ring and his gold out of him taking him prisoner. In a fury he curses the Ring to bring death and envy to allwho posess it. The gods use the Ring and helmet to bargain with the giants. They win Freia back and go home to their new castle but as they leave the giant Fafner murders his brother Fasolt to claim the ring continuingits bloody history...

Vocal score for Richard Wagner's opera Das Rheingold for Voice and Piano accompaniment.

Exam boards: Edexcel AQA OCR WJECLThis workbook has been specifically written to improve theory comprehension among students requiring a basic knowledge of the subject.Starting with the fundamentals of pitch and rhythm this workbook steadily progresses to a range of applications including key signatures scales chords and modulation.There are a number of tasks in each chapter including practical aural and written exercises based on rock pop jazz and classical music. Many of the exercises can also be explored using music technology software.This workbook is aimed at students wanting a firm grounding in music theory to GCSE level and alsocandidates preparing for early grade exams in music theory.Rebecca Berkley is a freelance writer and musician and is a music education consultant. She has taught percussion to students of all ages both as a private teacher and as a workshop leader and published percussion music. She is also a choral conductor running several choirs and directing music festivals with her husband. After starting her career as a music teacher in secondary schools she became a lecturer in music education at the University of Southampton and the Institute of Education University of London. Her PhD thesis focused on how GCSE students learn to compose and how best to teach them. She is the co-author of Rhinegold???s Edexcel GCSE Music Listening Tests (Book 3) and contributes as a freelance writer to Classroom Music Magazine.

From the Musical Play 'Man From La Mancha'. Arranged for TTBB Choir and Piano by Roy Ringwald.

Second Edition-This book defines Baroque music simply and explains how it began developed and influenced later musicians with chapters on major genres and a survey of the lives and music of the two leading composers of the late Baroque Bach and Handel.This book suggests listening viewing and further reading material to complement the main topics within the book and is an ideal resource for those wanting to explore the many aspects of Baroque music.This second edition has been fully revised and updated with expanded sections on the major genres and works of the Baroque era.Written to provide a solid foundation for pupils of all levels who are studyingBaroque music Baroque Music in Focus would also be useful for any readers with an interest in the topic.Hugh Benham read Music and English at Southampton University where he was awarded a Ph.D. for his study of the music of John Taverner. He is a chair of examiners for GCE Music an in-service trainer church organist and writer and formerly taught music in a sixth-form college.Hugh has contributed to Music Teacher and Classroom Music magazines and is the author of Baroque Music in Focus (Rhinegold 2007). His other writing includes two books on English church music including John Taverner: his Life and Music (Ashgate 2003) articles on early music contributions to The New Grove Dictionary of Music and Musicians (2001) and Die Musik in Geschichte und Gegenwart and a complete edition of Taverner for Early English Church Music.

Exam boards: Edexcel AQA OCR WJEC The AS Music Literacy Workbook will develop students??? notational skills to the level necessary to succeed in the exam.This workbook explains the notation of a wide variety of instrumental techniques and includes a whole chapter devoted to score reading.Students will be able to read and understand any classical jazz pop or guitar scores they might come across during their AS studies and beyond.The workbook emphasises learning by doing. It includes numerous scorereading exercises based on jazz and classical music which encourage students to cross-reference their knowledge. The workbook builds towards aseries of exercises and model answers allowing students to check their work.This workbook is tailor made for anyone wanting to develop a grounding in music theory to AS level but is also a refreshing new resource for candidates preparing for higher grade exams in music theory BTEC National and Scottish Higher Grade Music.Rebecca Berkley is a freelance writer and musician and is a music education consultant. She has taught percussion to students of all ages both as a private teacher and as a workshop leader and published percussion music. She is also a choral conductor running several choirs and directing music festivals with her husband. After starting her career as a music teacher in secondary schools she became a lecturer in music education at the University of Southampton and the Institute of Education University of London. Her PhD thesis focused on how GCSE students learn to compose and how best to teach them. She is the co-author of Rhinegold???s Edexcel GCSE Music Listening Tests (Book 3) and contributes as a freelance writer to Classroom Music Magazine.

Klangbeispiele wichtiger Passagen aus der Opern- und Konzertliteratur-Excerpts from the operatic and concert repertoire Tuttistellen: L.v. Beethoven: Sinfonie Nr. 5 c-Moll op. 67 2. SatzL.v. Beethoven: Sinfonie Nr. 8 F-Dur op. 93 3. Satz (Trio)L.v. Beethoven: Sinfonie Nr. 9 d-Moll op. 125 4. SatzL.v. Beethoven: Coriolan op. 62 OuvertüreL.v. Beethoven: Egmont op. 84 OuvertüreG. Bizet: Carmen 1. Akt FinaleJ. Brahms: Sinfonie Nr. 2 D-Dur op. 73 1. SatzA. Bruckner: Sinfonie Nr. 7 E-Dur 1. SatzP. Hindemith: Sinfonie 'Mathis der Maler' 3. Satz: Versuchung des heiligen AntoniusP. Hindemith: Sinfonische Metamorphosen nach Weber 2. Satz: Turandot ScherzoG. Mahler:Sinfonie Nr. 4 G-Dur 1. SatzW.A. Mozart: Die Hochzeit des Figaro OuvertüreB. Smetana: Die verkaufte Braut OuvertüreR. Strauss: Don Juan op. 20I. Strawinsky: Symphonie en Ut 1. SatzP.I. Tschaikowsky: Eugen Onegin 1. Akt Nr. 8P.I. Tschaikowsky: Sinfonie Nr. 4 f-Moll op. 36 1. und 2. SatzP.I. Tschaikowsky: Sinfonie Nr. 6 h-Moll op. 74 2. und 3. SatzG. Verdi: Rigoletto 1. Akt Nr. 2G. Verdi: La Traviata 1. Akt Nr. 2 (Chor) und 2. Akt Nr. 4G. Verdi: Die Macht des Schicksals OuvertüreG. Verdi: Aida 3. und 4. Akt (Nr. 7)G. Verdi: Missa da Requiem Nr. 3 (Offertorium)R. Wagner: Tannhäuser Ouvertüre; 2. Akt 4. Szene; 3. Akt Einleitung und 1. Szene (Gebet der Elisabeth)R. Wagner: Lohengrin 3. Akt 3. SzeneR. Wagner: Das Rheingold 1. und 2. SzeneR. Wagner: Die Walküre 2. Akt 4. SzeneR. Wagner: Tristan und Isolde 1. Akt Einleitung und 2. Akt 2. SzeneSOLOSTELLEN: L.v. Beethoven: Die Geschöpfe des Prometheus op. 43 Nr. 5 Adagio Andante quasi AllegrettoJ. Brahms: Konzert Nr. 2 für Klavier und Orchester B-Dur op. 83 3. SatzE. Humperdinck: Hänsel und Gretel 3. Bild 3. SzeneA. Lortzing: Zar und Zimmermann 3. AktW.A. Mozart: Die Entführung aus dem Serail