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15 Composizioni vocali da camera : per canto e pianoforte | for voice and piano - voce acuta | high voice

The 15 Composizioni vocali da camera by Vincenzo Bellini are presented here, in versions for high voice, in a new edition based on the most authoritative musical sources available.The 15 Composizioni vocali da camera by Vincenzo Bellini are presented here, in versions for high voice, in a new edition based on the most authoritative musical sources available.

15 Composizioni vocali da camera : per canto e pianoforte | for voice and piano - voce grave | low voice

The 15 Composizioni vocali da camera by Vincenzo Bellini are presented here, in versions for low voice, in a new edition based on the most authoritative musical sources available.The 15 Composizioni vocali da camera by Vincenzo Bellini are presented here, in versions for low voice, in a new edition based on the most authoritative musical sources available.

Magnificat RV 610/611 : Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé

This volume presents the vocal score of Vivaldi’s Magnificat RV 610/611 for soloists, choir, winds, strings and continuo, based on the critical edition by Michael Talbot. Probably meant for a performance at the Pietà, Vivaldi, after its first 1715 version, returned on it in two occasions at least: at the end of the 1720s and of the 1730s. The Magnificat, in its time, was considered as Vivaldi’s most celebrated piece.

Lucrezia Borgia : Ed. crit. R. Parker-R. Ward – Riduzione per canto e pianoforte

Donizetti’s Lucrezia Borgia was premiered at Milan’s Teatro alla Scala on 26 December 1833 and is considered one of the composer’s most important and innovative operas of the 1830s. Although, because of censorship issues, particularly in the south of Italy, it was initially slow to become popular, by the late 1830s it had become one of the composer’s most popular operas, both in Italy and abroad, and remained an essential part of the composer’s oeuvre until at least the end of the nineteenth century. Remarkable for its daring subject matter (with an unconventional, forceful heroine), it is also renowned for its challenging mixture of the comic and the tragic, something very unusual at the time and clearly an important influence on Giuseppe Verdi’s middle period masterpieces. The present reduction for voice and piano derives from the critical edition of the score, recently published in this catalog: is based on Donizetti’s autograph manuscript (housed in the Ricordi Archives in Milan), on the libretto for the premiere, on several printed editions of voice and piano, and on numerous additional scores of the period. It presents for the first time all the numerous additions that the composer made to the score over the course of ten years: a fascinating record of his changing music dramatic attitudes during this period. There is also a synthetic historical reconstruction of the genesis of the opera and of the description of the Sources as well as a selection of most interest to singers of Critical Commentary Notes.

Stabat Mater RV 621 : Ed. critica P. Everett - Riduzione per canto e pianoforte di A. Frigé

This volume presents the vocal score of Vivaldi’s Stabat Mater RV 621 for alto, strings and continuo, based on the critical edition by Paul Everett. Composed for the church of Santa Maria della Pace in Brescia, it was performed, for the first time, on 8 March 1712, for the Seven Sorrows of the Virgin Mary celebration. It is considered as one of the most inspired and celebrated Vivaldian works. Together with the Gloria RV 589 and the Quattro stagioni, it dates from a juvenile period.

Duetti per violino e viola

Dedicated to his ever-remembered maestro and great composer, Luciano Berio, Ludovico Einaudi’s five Duetti (duets) for violin and viola are proof of the freedom and variety of musical languages found in the works of one of the most famous and appreciated composers on the contemporary scene. Dedicated to his ever-remembered maestro and great composer, Luciano Berio, Ludovico Einaudi’s five Duetti (duets) for violin and viola are proof of the freedom and variety of musical languages found in the works of one of the most famous and appreciated composers on the contemporary scene.

Giacomo Puccini: Turandot (Vocal Score)

The compete vocal score of Puccini's celebrated Turandot, premiered on April 25, 1926, at Il Teatro alla Scala in Milan. The last duet and final scene of the opera were completed by F. Alfano. English adaptation by R.H. Elkin.

Sonata da Chiesa (1998) (Flute / Organ)

Flute and Organ. This 4-movement church sonata was commissioned by the American Guild of Organists' 1999 Regional Convention (Knoxville, TN Chapter) and premiered at the Knoxville Museum of Art on June 28th by André Lash, organist. Total duration ca. 12 minutes.

Antonio Vivaldi: La Gloria E Imeneo RV 687 (Vocal Score)

The present reduction derives from the critical edition of the score of La Gloria E Imeneo , published in this catalogue. The opera belongs to a group of the so-called ‘French serenatas’ by Antonio Vivaldi , namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It includes a brief Introduction and a critical apparatus that records all the variants between the autograph score and the secondary collate sources.

Play Happy (Violoncello) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Flauto) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Violino) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Tromba) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Clarinetto) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Percussioni) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Play Happy (Sax Contralto) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. These editions include: a part with piano accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files).

Vincenzo Bellini: Il Pirata

Full Vocal score of Vincenzo Bellini's complete opera Il Pirata. With Italian lyrics and synopsis in Italian, English, French and German. The story reflects the conflict between Guelfs and Ghibellines, mainly between Manfred, the illegitimate son of Frederick II of Swabia, and Charles of Anjou, brother of Louis IX, the king of France. The story, set in the period immediately after the death of Manfred, concerns the clash between two men: on the one hand, Gualtiero, one of Manfred?s followers and Imogene?s former lover, now outlawed and forced to be a pirate; on the other, Ernesto, a duke loyal to the new Angevin king, who with perverse guile has succeeded in marrying Imogene.

Concerto per violino e archi a cinque parti RV 813 : Ed. critica di Federico Maria Sardelli

This concert in five parts for violin and strings has a curious and rather controversial history. Excluded from the Vivaldi’s catalogue on account of doubts raised by its musical language and by its preservation in two different manuscripts that carried conflicting attributions to Torelli and Vivaldi, it’s with this edition that it finally attributed to Vivaldi.Score/Partitura: NR 14191400This concert in five parts for violin and strings has a curious and rather controversial history. Excluded from the Vivaldi’s catalogue on account of doubts raised by its musical language and by its preservation in two different manuscripts that carried conflicting attributions to Torelli and Vivaldi, it’s with this edition that it finally attributed to Vivaldi.Score/Partitura: NR 14191400

I due Foscari : Ed. critica di Andreas Giger - Riduzione per canto e pianoforte

Composed by Verdi in 1843-44, I due Foscari was first performed at Teatro Argentina, Rome, in November 1844. In his libretto, Piave paints the tragic destiny of the old doge of Venice Francesco Foscari and his son Jacopo in dark colours. The vocal score derives from the critical edition based on Verdi’s autograph score and on the first manuscript exemplar corrected by the composer himself, thus restoring powerful passages that had been excised by Roman censors. Moreover, the Appendix presents sketches, fragments, discarded excerpts, as well as an alternative cabaletta for Jacopo’s cavatina. Enriched by an introduction and a detailed critical commentary, this vocal score provides a unique and in-depth research tool for performers and conductors, as well as students and scholars.

Concerto per Violino e Archi a Cinque Parti RV 813 : a cura di Federico Maria Sardelli

This concert in five parts for violin and strings has a curious and rather controversial history. Excluded from the Vivaldi’s catalogue on account of doubts raised by its musical language and by its preservation in two different manuscripts that carried conflicting attributions to Torelli and Vivaldi, it’s with this edition that it finally attributed to Vivaldi. Set of Parts: PR 00145200

Nicola Vaccai: Practical Vocal Method (Contralto Or Bass)

Nicola Vaccai's Practical Vocal Method (Contralto or Bass) is complete and scrupulous, providing an ideal preparation for a certain type of 'pre-Rossinian vocalism' which is attracting renewed interest. This edition is a critical and technical revision of the composer's original work by Elio Battaglia.The completeness and centrality of Vaccai's method is further demonstrated by the practical examples on the accompanying CD.

Gioacchino Rossini: La Cenerentola - Opera Vocal Score

In the days just before the Christmas of 1816, Rossini was still looking for the subject and the libretto for an opera that he was contractually obliged to stage at the Teatro Valle in Rome in just over a month's time. Jacopo Ferretti proposed a libretto he had himself written based on the famous fairytale by Perrault, Cinderella. Rossini composed the opera in less than a month, completing it on the 24th January 1817, the day before its public debut. Removed from its original fairytale context, Ferretti and Rossini's La Cenerentola is a comedy with some credible situations, where comedy and sentiment come together brilliantly. The opera was a fantastic hit right from the start and is still one of the composer's absolute masterpieces!This is the Vocal Score of Rossini and Ferretti's famous collaboration, La Cenerentola.

Play Happy (Chitarra) - edizione con CD e MP3 : 100 facili melodie da 3 a 8 note di autori classici

The volumes of the “Play Happy” series contain 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. This edition includes: a part with second guitar accompaniments, the backing tracks both in download (mp3 files) and on the attached CD (audio files). The accompaniments have been arranged and played by the well-known guitar teacher and player Roberto Fabbri.

Studi (tratti dal "Metodo per contrabbasso") : Revisione di Piermario Murelli

Giovanni Bottesini (1821-1889) is certainly the most famous of all double bass virtuosi; his compositions are an essential pillar of the literature on this instrument. His Metodo, published in 1870 by Ricordi, is remarkable for the exceptional beauty of its studies which, with effectiveness, good taste and imagination, develop an extraordinarily modern pedagogical vision. For this reason, on the bicentenary of the composer's birth, it seems most opportune to re-propose the studies in the method, appropriately fingered according to the current system, which is different from the one used in Italy in the mid-19th century. These short pieces not only help the student to acquire an excellent technique in a short time, but they are also extremely useful to better understand the instrumental language of Bottesini; in particular the second part, constitutes an excellent propaedeutic base for the study of his famous pieces.