ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗΣ

ΒΙΒΛΙΑ ΦΩΝΗΤΙΚΗ

  • Parisotti – 30 Arie Antiche, Volume 1

    Affanni Del Pensier [Handel, George Frideric]
    Ah, Mio Cor, Schernito Sei [Handel, George Frideric]
    Che Fiero Costume [Le Grenzi, Giovanni]
    Chi Vuol Comprar [Jommelli,Niccola]
    Chi Vuol La Zingarella [Paisiello, Giovanni]
    Come Raggio Di Sol [Caldara, Antonio]
    Consolati E Spera! [Scarlatti, Domenico]
    Dal Tuo Sogno Luminoso [Leo, Leonardo]
    Deh, Piu A Me Non V’ascondete [Bononcini, Giovanni Maria]
    Il Mio Ben Quando Verra [Paisiello, Giovanni]
    Intorno All’idol Mio [Cesti, Marco Antonio]
    Nel Cor Piu Non Mi Sento [Paisiello, Giovanni]
    O Cessate Di Piagarmi [Scarlatti, Alessandro]
    O Del Mio Dolce Ardor [Gluck, Christoph Willibald]
    Ogni Pena Piu Spietata [Pergolesi, Giovanni Battista]
    Ombra Cara, Amorosa [Traetta, Tommaso]
    Piacer D’amor [Martini, Giovanni]
    Pur Dicesti, O Bocca Bella [Lotti, Antonio]
    Quella Fiamma Che M’accende [Marcello, Benedetto]
    Se Florindo E Fedele [Scarlatti, Alessandro]
    Se Tu Della Mia Morte [Scarlatti, Alessandro]
    Se Tu M’Ami [Pergolesi, Giovanni Battista]
    Sebben, Crudele [Caldara, Antonio]
    Selve Amiche [Caldara, Antonio]
    Son Tutta Duolo [Scarlatti, Alessandro]
    Spesso Vibra Per Suo Gioco [Scarlatti, Alessandro]
    Stizzoso, Mio Stizzoso [Pergolesi, Giovanni]
    Un Certo Non So Che [Vivaldi, Antonio]
    Vittoria Vittoria [Carissimi, Giacomo]

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  • Faure – Requiem, Op.48

    Gabriel Faure’s unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score, for Soloists and SATB Choir with Piano Accompaniment, as edited by Desmond Ratcliffe. Gabriel Faure’s unconventional composition Requiem has become a firm favourite in the repertoire and available here is the vocal score, for Soloists and SATB Choir with Piano Accompaniment, as edited by Desmond Ratcliffe.
    The Requiem is probably the most famous of Gabriel Faure’s long works, taking him around 20 years to compose. The entire piece consists of seven movements with a total playing time of around 35 minutes. Although Faure’s mother and father both passed away in the early stages of composition, these tragic events were not the motivation for him to create the piece.Equally interestingly, this Requiem is not set to the standard liturgical text, with the wrathful ‘Dies Irae’ and ‘Tuba Mirum’ being omitted, and a lyrical ‘Pie Jesu’ and transcendent ‘Paradisum’ being added. The omissions were ordinarily opportunities for composers to showcase the dramatic possibilities of a chorus and orchestra to symbolise damnation, and so their deliberate exclusion by Faure creates a relatively calm and peaceful atmosphere, with sublime vocal harmonies and heavenly melodies.
    The work begins softly before dynamic volume and tempo changes are made throughout the piece, enhancing the solemn beauty of the voices. Stunning interplay between the Sopranos and Baritones gives way to some excellent opportunities for soloists that are perfectly married with the uplifting unison climaxes. Faure himself spoke eloquently about the Requiem, stating that his work was accurately called a ‘lullaby of death’, and that this speaks to his view that death is a positive transition, rather than a painful experience. It is this sentiment that informs the music, being melancholy but not depressing, heart-wrenching but not heart-breaking.
    Introitus: Requiem aeternam und Kyrie (Chor)
    Offertorium: Domine Jesu Christe (Baritonsolo und Chor)
    Sanctus (Chor)
    Pie Jesu (Sopransolo)
    Agnus Die (Chor)
    Responsorium: Libera me (Baritonsolo und Chor)
    In paradisum (Chor).

    Faure – Requiem, Op.48

    10,1011,20

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  • Celletti – Geschichte Des Belcanto

    Belcanto, Virtuosentum, Hedonismus
    ​Die Vokalen Aspekte des Barocken Musiktheaters:
    ​Vom “recitar cantando” zur römischen Oper
    ​Monteverdi
    ​Cavalli und Cesti
    ​Legrenzi, Sartorio, P. A. Ziani und Pollarolo
    ​C. Pallavicino und Steffani
    ​Scarlatti
    ​Das goldene Zeitalter: Von Lotti bis Händel
    ​Einige Besonderheiten der Barocken Oper
    ​Die Kastraten und die Gesangskunst ihrer Zeit
    ​Die Sturm-Arien
    ​Die Buffo-Rollen
    ​Rossini:
    ​Rossinis Vorstellungen von Melodie und Gesang
    ​Einige Merkmale von Rossinis Vokalstil
    ​Die Gesangstypen Rossinis
    ​Der Gesang in der Ära Rossinis. Aufführungspraxis. Der Gesang aus der Sicht Stendhals
    ​Tod und Auferstehung des Belcanto
    ​Verzeichnis der Namen und Werke

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  • Roald Dahl’s Matilda the Musical (Movie Edition)

    Music from Netflix movie
    Following the 1996 film adaptation of the successful children’s novel ‘Matilda’ by Roald Dahl, a musical version is now being released, which will also be available on Netflix from December 25, 2022. The story about the highly gifted little girl with telekinetic abilities is also receiving the best reviews in the musical version.
    Roald Dahl’s Matilda – The Musical presents 12 songs from the soundtrack provided to fans in this sheet music book for piano, voice and guitar. Written and composed exclusively for the film, the pieces here include sheet music, lyrics, chords and fingering charts.
    Contents:
    Bruce
    The Hammer
    I’m Here
    Miracle
    My House
    Naughty
    Quiet
    Revolting Children
    School Song
    The Smell or Rebellion
    Still Holding My Hand
    When I Grow Up

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  • Sturm – Singen auf den ersten Blick & CD

    This book is aimed at singers who wish to acquire sound knowledge of music-reading and improve their sight-singing skills.It is possible to approach this subject on all levels. This is why this book is suitable for absolute beginners and advanced singers alike. A navigation system facilitates fast orientation and ‘picks’ every user up exactly where he or she stands at the moment.
    In addition, the book contains recapitulatory exercises as well as an accompanying CD which enables the singer to review the acquired knowledge at any time.
    Vorwort
    Einstieg: Hallo und herzlich willkommen
    Am Anfang steht der Rhythmus
    Der Ton macht die Musik
    Das kleine 1×1 des Übens
    Noch Fragen
    Auf dem Sprungbrett: Vom Marsch bis zur Disko
    Der dritte Ton und die ersten Tonsprünge
    Der Dreiklang: Der vierte Ton der Tonleiter
    Achtung Taktwechsel
    Fünf Töne und ein Dreiklang
    Das Hexachord: Ein halbes Dutzend Töne
    Mach mal Pause
    Kunstspringen für Fortgeschrittene
    Ganz oder gar nicht
    Das Hexachord
    Die vollständige Tonleiter: Keine halbe Sache
    Der hat nocht gefehlt
    Kann man den Grundpuls weiter unterteilen
    Weitere Dreiklänge innerhalb der Tonleiter
    Dur und Moll: Zum Auftakt
    “Unter” dem Grundton
    Die Moll-Tonleiter
    Das Gegenstück zu “alla breve”
    So viele Noten
    Dur und Moll im Kreuzverhör
    Teuflischer Tonsprung
    Hoch hinaus: In den höchsten Tönen
    Nochmal ein Taktwechsel
    Und halten
    Gegen den Strich
    Weitsprung
    Weiterleitung
    Zwischentöne: Umleitung
    Weitere Leittöne durch zusätzliche Vorzeichen
    Wie die Tonarten zu ihren Vorzeichen kamen
    Was Vorzeichen am Anfang einer Zeile mit denen vor einer Note zu tun haben
    Und was ist das
    Zum Finale
    Anhang: Tonhöhen und Notennamen
    Dur oder Moll? Wie man Tonarten und Grundton eines Stückes erkennt
    Übersicht über die Tonarten bis fünf Vorzeichen
    Lösungen zu den Rätseln
    Übersicht der Tracks auf der CD

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  • Russland In Seinen Liedern

    Content
    Abendglocken
    Ach Nastassja
    Auf dem Berg
    Das Glöckchen
    Der Hausierer
    Der rote Sarafan
    Die Birke
    Die Post-Troika
    Ej uchnjem! (Lied der Wolgaschiffer)
    Es jagt die Troika geschwinde
    Kalinka
    Schwarze Augen
    Stenka Rasin
    Steppe ringsumher
    Troikafahrt
    Wir Soldaten sind nie allein
    Pages: 32
    Language: English / German
    Publisher: Sikorski

    Russland In Seinen Liedern

    12,1013,50

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  • Mozart – Cosi Fan Tutte KV588

    In the space of a few months, in the autumn and winter of 1789, Mozart filled more than 650 pages of a score that shows practically no signs of mental or physical exertion. The result was one of his most profound operas, Così fan tutte , which has held listeners spellbound with its blend of bitterness and comedy to the present day.Our new easy-to-play vocal score is based on the volume edited by Faye Ferguson and Wolfgang Rehm for the “New Mozart Edition” (NMA II/5/18) and on the latest scholarly findings from the critical commentary published by Henning Bey and Faye Ferguson in 2003.
     
     
    Pages:441Language: English,GermanPublisher:Barenreiter

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  • Mendelssohn – Elias Op.70

    Immediately after completing “St. Paul” in 1836, Mendelssohn mulled over the idea of composing a further oratorio. However a whole decade elapsed before the composition of “Elijah” which takes as its theme the story of the Biblical prophet from the 1st Book of Kings. When he received the invitation to write a major work for the Birmingham Music Festival, Mendelssohn finally embarked on work on the oratorio. “Elijah” was premiered in 1846 in Birmingham with great success and has enjoyed great popularity ever since.Following the first performance, Mendelssohn undertook a revision of the oratorio in which whole numbers were removed and new ones substituted. This is the version which was first heard in 1847 in London and which is still performed today.This Urtext edition of the oratorio edited by the Mendelssohn specialist Douglass Seaton is based on all critical sources. The edition reflects the latest research findings and includes both English and German singing texts.A critical commentary completes the new edition.
     
    Pages:311Language:English,GermanPublisher:Barenreiter

    Mendelssohn – Elias Op.70

    21,6024,00

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  • Haydn – Missa St Bernardi Von Offida Spartitoba

    Bernard of Offida, 1604–1694, was a Capuchin monk, whose saintly life and devotion to the sick and poor, caused him to be beatified by Pope Pius VI on 19 May, 1795. St. Bernard’s name day falls on the 11th of September (a Saturday in 1797), and it is generally thought that Haydn combined doing honour to the Capuchin monk with the production of a new Mass for his patron the day thereafter.Apparently later performances in Eisenstadt added horns to double the trumpets in the tuttis, and – just as in the previous Mass – the clarinet parts were enlarged; it is almost certain that the new clarinet parts are either by Haydn, or (shall we say) “supervised” by him. As in the Mass in Time of War conductors have the choice of two orchestrations: with or without doubling horns and with or without the supplementary clarinet parts.The Heiligmesse has always been one of Haydn’s most admired works. Its dignity, its strength (we draw special attention to the extraordinary “Gratias”, with its brilliant contrapuntal writing), the subdued orchestral grandeur to which the B-flat trumpets contribute a silvery but unmartial weight – all these have made it one of Haydn’s most serious and most deeply sensitive church works: its constant popularity in Viennese churches is quite deserved.
     
    Pages:125Language:English,GermanPublisher:Barenreiter

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  • Haydn – Schopfungsmesse Spartito

    The Creation Mass was composed and first performed during the last decade ofHaydn’s life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt, on the occasion of the nameday of Princess Maria Hermenegild. The nickname ‘Creation’ stems from Haydn’s incorporating into the Gloria movement (at the words ‘Qui tollis peccata mundi’) a quotation from Adam and Eve’s duet in his oratorio The Creation.
     
    Pages:161Language:English,GermanPublisher:Barenreiter

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  • Haydn – Missa In Tempore Belli “Mass in Time of War”

    Haydn was in England, in 1795, when he received word from his new Prince, Nicolaus II Esterházy, that the Esterházy orchestra was to be reformed, and Haydn was to serve again as active Capellmeister.Prince Nicolaus II demanded little from his Capellmeister, except the usual routine of administration; but Haydn was to compose, every year, a new Mass for the name day of the Princess Josepha Maria, which was celebrated the Sunday afterwards in the Bergkirche at Eisenstadt. It is known that a new Haydn mass was performed before a packed congregation in the Piaristenkirche in Vienna on St. Stephen’s Day (26 December) 1796. The writer of these notes examined – when preparing this edition – the music archives of the church, and found contemporary parts on the Missa in tempore belli in the church; and it seems certain that this (and not the Heiligmesse) was the work performed on that occasion, and thus also the work which Haydn had just finished and performed in Eisenstadt.
     
    Pages:151Language:English,GermanPublisher:Barenreiter

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  • Bach – Missa In F Major (Lutheran Mass) BWV233

    Pages:43Language:English,GermanPublisher:Barenreiter

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  • Bach – Missa In A Major (Lutheran Mass) BWV234

    Pages:45Language:English,GermanPublisher:Barenreiter

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  • HAL LEONARD In the Mood – 17 Popular Classics

    An anthology of 17 sophisticated arrangements of popular classic songs. The collection includes accompanied and unaccompanied numbers, in a variety of styles: smoky blues, up-tempo scat, sentimental swing, exuberant Dixieland, sophisticated close-harmony, plus an opulent show-stopper or two.
    Ain’t Misbehavin’ [Waller, Fats] [Brooks, Harry] [Razaf, Andy]
    Autumn Leaves (Les Feuilles Mortes) [Kosma, Joseph] [Mercer, Johnny]
    Begin The Beguine [Porter, Cole]
    Blue Moon [Rodgers, Richard] [Hart, Lorenz]
    Deep Purple [Parish, Mitchell] [De Rose, Peter]
    I Got Rhythm [Gershwin, George] [Gershwin, Ira]
    In The Mood [Garland, Joe]
    Laura [Raksin, David]
    Let’s Do It [Porter, Cole]
    Night And Day [Porter, Cole]
    Over The Rainbow [Arlen, Harold]
    She Was Beautiful [Myers, Stanley] [Laine, Cleo]
    Smoke Gets In Your Eyes [Kern, Jerome]
    Summertime [Gershwin, George] [Gershwin, Ira]
    S’Wonderful [Gershwin, George] [Gershwin, Ira]
    Tea For Two [Youmans, Vincent] [Caesar, Irving]
    The Continental [Conrad, Con] [Magidson, Herbert]
    184 pages

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