Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Digital Download

SKU: A0.839017

Composed by Christoph Willibald Von Gluck. Arranged by Kenneth Martin. Classical,Concert. Score and parts. 15 pages. Martin Music Editions #5214107. Published by Martin Music Editions (A0.839017).

Orfeo ed Euridice (French: Orphée et Eurydice; English: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama. The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot-the underground rescue-mission in which the hero must control, or conceal, his emotions-can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.839015

Composed by Christoph Willibald Von Gluck. Arranged by Kenneth Martin. Classical,Concert. Score and parts. 11 pages. Martin Music Editions #5214105. Published by Martin Music Editions (A0.839015).

Orfeo ed Euridice (French: Orphée et Eurydice; English: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama. The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot-the underground rescue-mission in which the hero must control, or conceal, his emotions-can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.

Piano,Vocal,Voice - Digital Download

SKU: A0.884744

Composed by Claudio Monteverdi. Arranged by Jonathan Prentice. Baroque,Opera. Score. 2 pages. Jonathan Prentice #5797293. Published by Jonathan Prentice (A0.884744).

Monteverdi's short but emotionally charged, Ariadne's Lament, from his opera L'Arianna. Sadly the only music to survive but despite it's brevity highly influential on the Italian operatic style (Here in E Minor suitable for mezzos).

Concert Band - Level 3 - Digital Download

SKU: A0.759867

Composed by Wolfgang Amadeus Mozart. Arranged by Raymond Fenech. Classical,Easter,Multicultural,Opera,Standards,World. Score and parts. 68 pages. Raymond Fenech #3405407. Published by Raymond Fenech (A0.759867).

Là ci darem la mano (Italian for There we will give each other our hands) is a duet for the characters Don Giovanni (baritone) and Zerlina (soprano) in Mozart's 1787 opera Don Giovanni.

This is arranged to Soprano (voice), Baritone (voice) and Concert Band. The level is Intermediate and the duration is 2.5 minutes.

This duet aria could either be played by the voices and concert band or just only Concert Band. With the parts for the Soprano and Baritone to be played by the Trumpet and Baritone respectively (parts are supplied).

Concert Band - Level 3 - Digital Download

SKU: A0.759868

Composed by Wolfgang Amadeus Mozart. Arranged by Raymond Fenech. Classical,Easter,Multicultural,Opera,Standards,World. 56 pages. Raymond Fenech #3406813. Published by Raymond Fenech (A0.759868).

Là ci darem la mano (Italian for There we will give each other our hands) is a duet for the characters Don Giovanni (baritone) and Zerlina (soprano) in Mozart's 1787 opera Don Giovanni.

This is arranged to Soprano (voice), Baritone (voice) and Brass Band. The level is Intermediate and the duration is 2.5 minutes.

This duet aria could either be played by the voices and Brass band or just only Brass Band. With the parts for the Soprano and Baritone to be played by the Cornet and Baritone respectively (parts are supplied).

Piano - intermediate to difficult - Digital Download

SKU: S9.Q53307

WoO 65. Composed by Ludwig van Beethoven. Edited by Robert Schafer and Wilhelm Ohmen. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Volume WoO 65. 18 pages. Schott Music - Digital #Q53307. Published by Schott Music - Digital (S9.Q53307).

The virtuoso 24 variations on a theme by the Mainz court Kapellmeister Vincenzo Righini were the first of Beethoven’s works to be published by Schott in 1791 (plate number 145). The theme comes from the collection ‘XII Ariette Italiane’ for voice and piano (plate number 92), published by Schott in 1788. The collaboration with Beethoven did not continue until around 35 years later with the operas 121b to 128 and 131 (including the Missa solemnis and the 9th Symphony). Beethoven’s last words, according to Anton Schindler, also connected Beethoven with the publishing house (‘Too bad, too late’): the delivery of the Rhein wine, ordered from Schott following his doctor’s advice, only reached him on his deathbed.

Choral Choir (SATB) - Level 2 - Digital Download

SKU: A0.934267

Composed by Nicola Vaccaj. Arranged by Antonio Cericola. Instructional,Opera,Standards. Octavo. 200 pages. Antonio Cericola #6328707. Published by Antonio Cericola (A0.934267).

La nuovissima edizione di questo metodo storico include i componimenti scritti per tutte le estensioni vocali in tre tonalità diverse. Questa comodità sarà senz’altro utile non solo ai pianisti accompagnatori (che avranno a portata di mano la stessa aria già trasposta), ma anche agli insegnanti. Gli allievi, inoltre, potrebbero esercitare la stessa lezione in tonalità diverse per fini didattici e musicali. Ogni arietta è corredata da note storiche, da consigli interpretativi e da note autografe (ove presenti indicate in corsivo) del Vaccaj stesso. Al fine di suggerire ai cantori la giusta dizione italiana, tutti versi del Metastasio sono stati riscritti con gli accenti ortoepici correttamente segnati su tutte le parole di dubbia pronuncia italiana. Sono altresì indicati i raddoppiamenti fonosintattici. Una legenda ortoepica precede il metodo. Nell’appendice sono incluse sia le note storiche dettagliate di ciascuna opera da cui sono tratti i versi, sia la serie degli intervalli da cantare che il Vaccaj scrisse per le storiche edizioni. Di questi solfeggi cantati è stato realizzato anche il basso continuo per agevolarne l’esecuzione ai giovani pianisti. Questa nuova edizione completa dell’opera, curata nella veste grafica ed impaginata ex novo per una lettura più agevole e chiara, è arricchita ulteriormente dalla preziosa presentazione del M°Antonio Juvarra.

This new edition of this historical method includes compositions written for all vocal extensions in three different keys.
This convenience will certainly be useful not only to accompanying pianists, but also to teachers. Pupils also could practice the same lesson in different keys for educational and musical purposes. Each arietta is accompanied by historical notes, interpretative advice and handwritten notes (where present indicate in italics) by Vaccaj himself. All the verses of Metastasio have been rewritten with the orthoepic accents correctly marked on all words of dubious Italian pronunciation. The phonosyntactic doublings are also indicated. An orthoepic legend precedes the method. The appendix includes both the detailed historical notes of each work from which the verses are taken, and the series of intervals to be sung that Vaccaj wrote for the historical editions. The basso continuo has also been made of these sung solfeggios to facilitate their performance by young pianists. This new complete edition of the work, edited in the graphics and paginated from scratch for easier and clearer reading, is further enriched by the precious presentation of Maestro Antonio Juvarra.