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New Songs Of Lada : for Female Voice & String Quartet

Ludovico Einaudi: Eden Roc (Ricordi Edition)

The music to the popular album from the contemporary Milanese composer. The composer writes Eden Roc is the name of a place in the south coast of France where the writer Francis Scott Fitzgerald lived and where he located the beginning of his novel 'Tender is the night'. From that book I partially took the inspiration for Eden Roc, as well as the name itself recall me the idea of an ideal place where you can find your inner balance in the world.

Bruno Szordikowski/Thomas Cieslik: Quitsch-Quatsch

This songbook contains 45 brand new songs that are perfect for the young guitarist, whether they are looking for a piece that's funny or serious.

15 Composizioni da Camera

Low Voice. A new edition designed especially for American musicians, with these beautiful bel canto songs available for the first time in two keys, with new line-by-line English translations for study. Includes an introductory article on Bellini's songs. Contents: Almen Se Non Poss'io · Bella Nice, Che D'amore · Dolente Immagine Di Fille Mia · Il Fervido Desiderio · L'abbandono · L'allegro Marinaro · La Farfalletta · Ma Rendi Pur Contento · Malinconia, Ninfa Gentile · Per Pieta. Bell'idol Mio · Quando Incise Su Quel Marmo · Sogno D'infanzia · Torna Vezzosa Fillide · Vaga Luna, Che Inargenti · Vanne, O Rosa Fortunata.

New Songs of Lada without words : for Oboe, Cor anglais, Oboe d'amore (ad libitum) and String Orchestra

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.

Stanze : versione originale per arpa

Milan, 1990 I was writing a series of piano pieces. I had a goal: to remove, and leave space. The title refers to the poetic stanzas but also to invisible spaces to be inhabited with the mind. One day my friend Cecilia Chailly calls me and asks me if I have a harp piece for her to play. I give her Vega to try. Two days later I go to her house to listen and, with mutual enthusiasm, I give her all the pieces that we will soon be recording. Cecilia will perform them in concert on various and memorable occasions. Here, I would like to express my profound thanks for her heartfelt help in correcting this new harp edition. (L. Einaudi)

W.A. Mozart: Opera Arias - Baritone/Bass

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

W.A. Mozart: Opera Arias - Soprano

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

Il Teuzzone RV 736 : Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

Tchaikovsky : 14 original pieces with performing notes

At spille de store komponisters største værker er nu blevet lettere takket være en række udgaver, hvor stykker er udskilt, organiseret efter progressive sværhedsgrader og forsynet med en hel række nyttige støttematerialer såsom historiske og litterære introduktioner til hvert værk, tekniske retningslinjer for pianister, fingersætninger osv. En glimrende måde at opdage det store klaverrepertoire og et nyttigt læremiddel. Denne her samling begynder med værker hentet fra Children's Album, såsom The Sick Doll og The March of the Wooden Soldiers, specielt velegnet til begynderelever. Dette efterfølges af et udvalg hentet fra The Seasons, som omfatter et af Tchaikovsky's mesterværker, the Barcarolle (June). Udgivelsen slutter med et særligt interessant tilbud til klaverfirehændere. SONGLIST 1. The Sick Doll [Pjotr Iljitsj Tchaikovsky] 2. March of the Wooden Soldiers [Pjotr Iljitsj Tchaikovsky] 3. The New Doll [Pjotr Iljitsj Tchaikovsky] 4. Playing Hobby Horses [Pjotr Iljitsj Tchaikovsky] 5. April: Snowdrops [Pjotr Iljitsj Tchaikovsky] 6. October: Autumn Song [Pjotr Iljitsj Tchaikovsky] 7. May: Starlit Night [Pjotr Iljitsj Tchaikovsky] 8. June: Barcarolle [Pjotr Iljitsj Tchaikovsky] 9. December: Christmas [Pjotr Iljitsj Tchaikovsky] 10. The Pine-Tree Swings by the Gate [Pjotr Iljitsj Tchaikovsky] 11. Merry Katya [Pjotr Iljitsj Tchaikovsky] 12. Under the Green Apple Tree [Pjotr Iljitsj Tchaikovsky] 13. Song of the Volga Boatmen [Pjotr Iljitsj Tchaikovsky] 14. There Was No Wind [Pjotr Iljitsj Tchaikovsky]

Le Willis : Ed. critica di Martin Deasy - Riduzione per canto e pianoforte

Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546). The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number pages that were later removed, in order to make space for the new material produced for Le Villi are also proposed as the principal text. Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor proves that the vocal material produced for the first performance of Willis was not copied from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score.

Lucia di Lammermoor : Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII)

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizettis most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere musicological curiosity some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composers preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composers autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizettis music. The critical edition restores the original keys, thus maintaining Donizettis overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces which may have had Donizettis approval will be made available available in the material for hire to theatres.

La fille du régiment : Edizione critica a cura di Claudio Toscani (testi in italiano e inglese)

La fille du régiment, always one of Donizetti’s most popular stage works, was first performed at the Thé tre de l’Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success at the Opéra-Comique alone, more than one thousandperformances were given between 1840 and 1917 , and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France , the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio’s romance «Pour me rapprocher de Marie» from Act Two, included