SKU: A0.1176334

The first of its kind, this is a genuinely playable piano/vocal reduction of Largo al factotum,� the show-stopping first aria from Gioachino Rossini’s famous opera Il barbiere di Siviglia (The Barber of Seville). Most reductions of this aria pose a physical hazard to audition and other collaborative pianists who risk injury by trying to grab every fast repeated note and chord in this extremely long aria, nor do the repeated notes tend to come out properly or sound right on pianos compared to the string instruments for which they were written. With this reduction—which was specifically created to be more ergonomic at the piano and safer to get through on long audition-playing days—pianists may now enjoy playing this aria comfortably, without risking strain/injury. However, it’ll still be a tour de force for the baritone!

Note that this score does not make any cuts to the aria; therefore, it is also suitable for recital settings without time limits.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
 
3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. 

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.
 
6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß� with “ss� in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity. I’ve also replaced some text “cresc.� and “dim.� markings with hairpins, which are easier to see in high-pressure sight-reading situations.

About the Arranger:

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

SKU: LV.1533

Rossini's Grand March, From the Opera Il Barbiere De Seviglia. n. Published [1826-1829] by J.L. Hewitt & Co. in Boston. Composition of aba with piano instrumentation.

About The Lester S. Levy Collection

The Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.

WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

SKU: A0.533354

One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in
1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of
music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.

While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in
London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave
mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began
touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the
«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through
China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was
during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He
subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages
were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known
as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.

Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he
performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial
Family. After 1865, nothing more is known about him.

Fantaisie sur Le Barbier de Séville begins with the Count's 1st act cavatina Ecco ridente in cielà This is followed by a series
of variations sur Rosina's Cabaletta Io sono docile. The second act finale Fredda ed immobile is then presented in a number of variations. Finally, the second part of the Count and Figaros first act duo (Ah che d'amore) brings the work to a brilliant finish.

SKU: A0.1485676

When arranging the overture of Rossini's opera  Il barbiere di Siviglia (The Barber of Seville) the choice of the original source  is an important question, as there exist more versions in different scorings, with or without piccolo flute, with or without trombones. In this case the arranger was to be chosen the scientific original text edition published by the Rossini foundation. The arrangement  is transposed from the original key E to E flat. The ad libitum parts of Euphonium and Tuba are only recommended to be used,  if there is a lack of low winds and double bass players in the orchestra performing. This arrangement was first time performed by  Mozarteum Wind Philharmonic Salzburg conducted by Hansjoerg Angerer at their Three Kings' Concert on 6th January 2010  in the Grosses Festspielhaus (Large Festival Hall) in Salzburg, Austria and broadcasted live by Austrian television.  A live recording of this concert is available at https://www.salzburg-windphilharmonic.at/de/le-rendez-voud-de-chasse/ or  https://www.jpc.de/jpcng/classic/detail/-/art/le-rendez-vous-de-chasse/hnum/10428700.

SKU: A0.1012077

  The famous Ouverture from Il Barbiere di Siviglia by Gioachino Rossini it could be played now by a small group of  beginners, students or even professionals of  2 trumpets and 2 horns players. I did not include the slow introduction part. Contains 16 pages of parts score.