Vores kunder ligger øverst på Google

Google Ads Specialister fra Vestjylland

Vi er 100% dedikerede til Google Annoncering – Vi har mange års erfaring med Google Ads og den bruger vi på at opsætte, optimere & vedligeholde vores fantastiske kunders konti.

100% Specialiseret i Google Ads
Vi har mange års erfaring fra +300 konti
Ingen lange bindinger & evighedskontrakter
Jævnlig opfølgning med hver enkelt kunde
Vi tager din virksomhed seriøst
KONTAKT OS
LÆS UDTALELSER & SUCCESHISTORIER

26 resultat (0,21867 sekunder)

Visa alla filter

Märke

Butik

Pris (EUR)

Visa alla

Nollställ filter

Produkter
Från
Butiker

Duetti per violino e viola

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.

SEK 216.00
1

Vincenzo Bellini: Il Pirata

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.

SEK 486.00
1

Alla spagnola : Per violino solo | For solo violin - A cura di | Edited by Italo Vescovo

Alla spagnola : Per violino solo | For solo violin - A cura di | Edited by Italo Vescovo

The autograph composition entitled Alla spagnola is a fleeting piece, similar, in size, to other small works that Paganini called “capricci”, that he gave, on more than one occasion, to friends, colleagues and other figures he encountered during his travels: a piece which gives us a clear sense of the spirit of the Genoese master of brief compositions. The publication of this pleasant piece will add to his significant and varied body of pieces for solo violin.

SEK 147.00
1

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

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.

SEK 216.00
1

Lucia di Lammermoor : Ed. Critica di Gabriele Dotto e Roger Parker - Riduzione per canto e pianoforte

Lucia di Lammermoor : Ed. Critica di Gabriele Dotto e Roger Parker - Riduzione per canto e pianoforte

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on September 26th, 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. 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. What is presented here is the reduction for voice and piano.

SEK 509.00
1

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

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

What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020. The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike. The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider 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 demonstrates that the vocal material realized for the first performance of Willis was not derived 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.

SEK 444.00
1

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

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.

SEK 509.00
1

Stanze : versione originale per arpa

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)

SEK 276.00
1

Gioacchino Rossini: La Cenerentola - Opera Vocal Score

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.

SEK 436.00
1

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

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.

SEK 276.00
1

Il Flaminio : Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé

Il Flaminio : Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé

Some few months after returning to Naples from Rome, where he had gone to follow the premiere of L’Olimpiade at the Teatro Tordinona during the 1735 carnival season, Giovanni Battista Pergolesi –– notwithstanding the quickened pace of the disease that would soon bring his brief life to a close — presented the public with a new work, Il Flaminio, a “commedeja pe’ mmuseca” set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues, together with the Teatro dei Fiorentini and the Teatro della Pace, dedicated to the production of opere bu e), where it met with a generally favorable reception. The edition includes a historical Introduction, a description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice.

SEK 444.00
1

Le Willis : Edizione critica a cura di Martin Deasy

Le Willis : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

SEK 2078.00
1

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

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.

SEK 4627.00
1

Le Villi : Edizione critica a cura di Martin Deasy

Le Villi : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

SEK 2587.00
1

Capriccio per violino solo M.S. 54 : Edizione critica di - Critical edition by Italo Vescovo

Capriccio per violino solo M.S. 54 : Edizione critica di - Critical edition by Italo Vescovo

This Capriccio per violino solo M.S. 54 should be considered as part of the group of short musical dedications that Paganini was in the habit of giving away to friends, colleagues and the personalities he met during his travels. Dated 1828, dedicated to Count Maurizio Dietrichstein, is a truly unique work, not only for the way in which the music is organised (notated on four staves, one for each string) but also because of the way in which it was conceived musically. The concept of polyphony is brought to an extreme level, at least in conceptual and visual terms, in this composition. Its brief structure is reminiscent of a kind of four-part chorale written in score. It is characterised by its lyrical and elegant writing style, where the four voices move in polyphonic fashion, giving birth to an extremely refined harmonic texture. This critical edition is based on the manuscript kept in the Österreichische Nationalbibliothek of Vienna compared with the modern editions.

SEK 216.00
1

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

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

SEK 4627.00
1

Ludovico Einaudi: Le Onde

Ludovico Einaudi: Le Onde

Solo Piano work written in 1996 by the acclaimed Milanese composer. Einaudi writes "The idea of Le Onde was to write something inspired by Virginia Woolf's novel The Waves. I was really intrigued by the form of the novel, which is very complex and interesting because some parts are written in italics and others in normal text. The parts in italics are like a cadence running through the book. The book is a description of what people see during one day, starting from the light of the morning and by the end of the book night has fallen. Every time the italic chapters come back, you see a different change of light on what's happening on the shore." He started writing all the pieces for Le Onde inspired by this idea, but reached a point when he felt there was still a piece lacking from the overall picture. "I said 'yes, it's missing Le Onde', which had in its opening the cadence of a wave. The idea was that the music flowed and was developing by itself, from the opening arpeggio, like when you see a wave developing in its space, it's developing because it has to. It's perpetual motion."

SEK 257.00
1

Il Flaminio : 2 Volumes, edizione critica a cura di Ivano Bettin

Il Flaminio : 2 Volumes, edizione critica a cura di Ivano Bettin

Some few months after returning to Naples from Rome, where he had gone to follow the premiere of L’Olimpiade at the Teatro Tordinona during the 1735 carnival season, Giovanni Battista Pergolesi –– notwithstanding the quickened pace of the disease that would soon bring his brief life to a close — presented the public with a new work, Il Flaminio, a “commedeja pe’ mmuseca” set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues, together with the Teatro dei Fiorentini and the Teatro della Pace, dedicated to the production of opere bu e), where it met with a generally favorable reception. The edition is based basically on the Pergolesi’s autograph full score, for the third act, (kept in Naple, Conservatorio di San Pietro a Majella Library) and on a complete manuscript full score copy today in the Abbazia di Montecassino Library. The critical edition is in two volumes and includes a historical Introduction, a detailed description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. There is also the facsimile reproduction of the printed libretto.

SEK 3301.00
1

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

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.

SEK 414.00
1

Gioacchino Antonio Rossini: Adina

Gioacchino Antonio Rossini: Adina

Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition.

SEK 365.00
1

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

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.

SEK 509.00
1