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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

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

Ludovico Einaudi: Le Onde

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

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

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

SEK 1364.00
1

W.A. Mozart: Opera Arias - Soprano

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