/ Flûte Traversière Et Harpe
SKU: M7.BRP-1479
SKU: BA.BA05447
ISBN 9790006471461. 33.1 x 26 cm inches. Text Language: French. Translation: Gerard de Nerval. Hector Berlioz.
Llio was composed during Berlioz's stay in Italy in 1831. In April of that year he set out from Rome, where he held a scholarship as winner of the Prix de Rome, and travelled as far as Nice on hearing that his fiancee Camille Moke had rejected him in favour of another suitor. He had intended to return to Paris to exact revenge, but then he abandoned his plan and instead spent three weeks in Nice, returning in stages to Rome. On this return journey he conceived the idea of a semi-theatrical work that combined music and monologues to express the idea of returning to life after a profound traumatic experience. The composition was finished in Rome in Iune 1831. In the spring of 1832, while staying with his parents in Dauphin, Berlioz copied the orchestral and vocal parts, and the work was first performed in conjunction with the Symphonie fantastique at the Paris Conservatoire on 9 December 1832. It was heard again three weeks later and again on 3 May 1835. While designated as the second part of the Episode in the Life of an Artist, Lelio can never- theless be performed on its own, without the Symphonie fantastique to precede it.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: HL.48022495
ISBN 9781476871486. UPC: 884088669676. 6.75x10.5 inches.
Texts: Latin and EnglishPublisher: Boosey & HawkesDifficulty level: 3The Ceremony of Carols is one of Britten's best-known and most-performed works. It is a brilliantly conceived and dramatic concert work which sees the voices process to their places singing unaccompanied plainsong and, at the end, processing out again to the same chant. These movements can also be accompanied but strictly only if the voices do not process. The final Alleluia can be repeated as many times as necessary to get the singers to and from their destination.The carols are for three-part children's voices (though, of course they can be sung by female adults as well) and they form a two-part work around a central Interlude for harp which is based on the plainsong from the Procession. Variety is the key word here as all the carols have such individual identities. The forthright Wolcum Yole!, the deliciously lyrical There is no Rose, the swinging Balulalow, the fiery and dramatic This little Babe all contribute to a work which is a feast of discovery throughout. Lovely solos and duos add further colour and the harp part, an inspired choice of accompaniment, enriches, colours and surrounds the voices with its pictorial musical imagery. If anything shows Britten's genius for writing for voices it must be this work.The challenges here are in creating a real equality between voice parts, fielding a confident pair of soloists, and making the most of the wonderfully colourful poems Britten has chosen to set. Pronunciation is not really an issue, but when I recorded this work with the Finzi Singers I decided to follow the example of Sacred and Profane and use authentic medieval pronunciation for which an expert coach was necessary. It brings an added element of colour to a familiar aural experience.Duration: 22 minutesPaul Spicer, Lichfield, 2011.
SKU: BA.BA25143
ISBN 9790006575091. 29.5 x 21 cm inches. Text Language: Latin.
The motets and choral pieces, composed with the distinctive features of the Madeleine organ in mind, enchant with their colourful, floating harmonies and convey a certain intimacy even with their ritualized Latin texts. These works are very well suited for performances by small vocal ensembles. A novelty is the inclusion of the double bass part (ad libitum) which does not appear consistently in the first editions but corresponds to the musical practice at the Madeleine.Numerous gems such as the “Cantique de Jean Racine†or the “Messe basse†are published in performing editions based on the musical text of the “Gabriel Faur – Å’uvres complètesâ€.
