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Nicola Vaccai: Practical Vocal Method (Mezzo-Soprano Baritone)

Nicola Vaccai: Practical Vocal Method (Mezzo-Soprano Baritone)

Nicola Vaccai's Practical Vocal Method (Mezzo-Soprano Baritone) 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. The CD contains a recording of the whole method for both female and male voice.

DKK 221.00
1

Studi di tecnica per trombone e congeneri Vol. 1 : Technical Studies for trombone and brass 1st volume

Studi di tecnica per trombone e congeneri Vol. 1 : Technical Studies for trombone and brass 1st volume

The aim of this work is to propose a serious and innovative teaching in the study of trombone (and brass) technique, to develop a suitable lip setting (mouthpiece) and fill gaps in technique, speed and agility. The structure is very agile and flexible, so it adapts optimally to each teacher’s own approach, leaving ample room for didactic proposal and interaction. The volumes are enriched with an introduction by the author and a preface by Enzo Turriziani, principal trombone of the Vienna Philarmonic, in both Italian and English

DKK 189.00
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the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).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.

DKK 332.00
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.

DKK 356.00
1

Into Sound : fifty etudes to make the flute be your voice

Into Sound : fifty etudes to make the flute be your voice

Into Sound stems from the need to provide the basics and technique of flute sound emission, through a pragmatic approach that analyses all aspects related to posture, lip support and breathing. The author emphasises the importance of the different parts of the body involved, highlighting the areas used to execute certain techniques (the throat for vibrato, legato and modulation, the diaphragm for staccato, the mouthpiece for arpeggios, tremolos and chromatism). The aim is to offer daily training to improve these aspects through 50 studies, “... for making the flute your voice”. Giampaolo Pretto’s work has the merit of being enjoyable, avoiding the repetitiveness of technical exercises and exploiting the student’s musical sense. Aimed mainly at students have intermediate or advanced grade, it can also be useful for beginners, who can use it to carry out exercises prior to playing.

DKK 221.00
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

DKK 3711.00
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."

DKK 200.00
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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.

DKK 408.00
1