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Ivan Muller: 30 Studies In All Tonalities For Clarinet

Ludovico Einaudi: The Best Of

A compilation featuring all the pieces from the albums Le Onde, I Giorni and Eden Roc. The pieces in this beautifully presented collection are organised in order of increasing difficulty.

Giacomo Puccini: Nessun Dorma (Tenor Voice)

Popularised by Pavarotti in 1994, Puccini's Nessun Dorma from his Opera Turandot has become one of the most well known of all Tenor Arias. This version for Tenor Voice in F and Piano accompaniment includes lyrics in Italian and English.

The Best Of Nino Rota

Nino Rota was behind some of the greatest film soundtracks, including 'The Godfather', 'War and Peace', and all of Federico Fellini's films. This compilation includes themes from Fellini's warming memory piece 'Amarcord', and 'Il Bidone'. The compilation comes with a sample CD.

Sonatine e sonate facili per pianoforte

A complete collection of Beethoven’s Sonatinas and easy Sonatas from all stages of his career. Contents: Zwei Sonatinen: Ahn. 5/1-2 Zwei Sätze einer Sonatine Leichte Sonate op. 49/1 Leichte Sonate op. 49/2 Leichte Sonate WoO 51 Drei Sonaten: WoO 47/1-2-3

Salve Regina RV 616, RV 617, RV 618 : Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé

The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi’s first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994.

Luigi Anzaghi: Complete Method For Accordion

A comprehensive tuition book for Piano and button 'C' system Accordion, which covers all elements of theory and practical Accordion playing. Everything from components and how they fit together, to hand positions and posture, to arpeggios, scales and exercises, to a selection of varying music at different difficulties should keep you busy for quite a while.

Brazilian Portrait : Villa-Lobos, J. S. Bach

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Brazilian Portrait is a selection of works of the foremost Latin American composer Heitor Villa-Lobos (1883-1959) and the great genius of the Eurpean Baroque Johann Sebastian Bach (1685-1750).

Italian Portrait : Boccherini, Respighi, Mascagni, Spazzoli

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Italian Portrait is a selection of works of the Italian composers Luigi Boccherini (1743-1805), Ottorino Respighi (1879-1936), Pietro Mascagni (1863-1945) and Alessandro Spazzoli (1964).

French Portrait : Bizet, Massenet, Debussy, Ravel

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. French Portrait is a selection of works of the French composers Georges Bizet (1838-1875), Jules Massenet (1842-1912), Claude Debussy (1862-1918) and Maurice Ravel (1875-1937).

Georges Bizet: Carmen (Vocal Score)

Bizet died on 3rd June 1875, exactly three months after the first performance of his Carmen, which had met with a cool reception. This caused the already undermined composer to fall into a depression which, most probably, led him to take his own life. The following October, Carmen was a triumph in Vienna and ever since this opera has been considered an all-time classic. Inspired by the tale of the same name by Prosper Mérimée (1845), the opera tells the story of the gypsy girl Carmen: a free passionate spirit, she generously gives herself in love, yet fights off all attempts to tie her down. Bizet invented music to suit her character: impetuous and passionate. And he turns Spain (a country he never actually visited) into a land of violent passion. Speaking of this opera, the philosopher Nietzsche said "When we listen to Carmen, we too become a masterpiece".

Spanish portrait : Vol. 2: Albéniz, Granados, Turina, De Falla

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Spanish Portrait is an anthology of the works of the most important Iberian composers of the late eighteenth and mid-nineteenth century: Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel De Falla (1876-1946), and Joaquín Turina (1882-1949).

Spanish portrait : Vol. 1: Albéniz, Granados, Turina, De Falla

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Spanish Portrait is an anthology of the works of the most important Iberian composers of the late eighteenth and mid-nineteenth century: Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel De Falla (1876-1946), and Joaquín Turina (1882-1949).

Composizioni per viola e chitarra : a cura di Simone Gramaglia

Paganini’s Sei Sonate op. 2 (M.S. 26), his Cantabile (M.S. 109) and his Sonata concertata (M.S. 2) bring out all of the timbral and sonic possibilities of both the viola and the guitar. In these pieces, the two voices blend together in a natural way, creating a compelling and well-balanced duo. These three transcriptions make up a perfect introduction to Paganini by way of his chamber compositions and give the violists the opportunity to enrich their concert repertoire by adding the works of an author who is still too rarely performed on the viola.

Sonate per clavicembalo - Volume 10 : Essercizi per gravicembalo - A cura di M. Moiraghi (supervisione E. Fadini)

The 10th volume of Domenico Scarlatti’s Sonate per clavicembalo represents a crucial landmark of this series, i.e. the thirty Essercizi per gravicembalo (London, 1738-39) at the heart of the composer’s production. For a long time, the style of these sonatas and their role in the history of keyboard music has been debated. But nobody had ever examined thoroughly the key aspects of textual criticism, intended not only as a detailed reconstruction of the text, but as a philological study with a full scope. This volume is the first step in such direction. The musical text of this edition is the result of a systematic comparison of all the eighteenth century printed and manuscript sources preserving Scarlatti’s treasured Essercizi. In some cases, the edition presents an alternative version of the same sonata, based on the sources’ examination and sometimes showing an intricate web of authorial variants. The detailed Critical Notes take into account all the variants handed down by the sources. Many topics are discussed in the rich Introduction, first and foremost the historical context and the genesis of Scarlatti’s sonatas. Furthermore, other important topics are investigated, such as: the relationship between the Essercizi and the rival Londonese edition by Roseingrave: the role and chronology of the contemporary French editions, known under the name of Boivin: the early interventions of anonymous performers.

Guiseppe Verdi: La Traviata (Vocal Score)

Ricordi, the well-known printer of classical opera, presents the works of the great opera composers in its Critical Edition practical series. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions, in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical, easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast, the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish, the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music, transforming her individual fate into a universal representation of human suffering. His compassion for her, however, met with bigoted censure: the bourgeois public, scandalized by the presence of a kept woman as a character on the stage, gave the opera an icy reception at its premiere in Venice (Teatro La Fenice, 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year, when La Traviata was revived for another production in Venice (Teatro San Benedetto), did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves.

Giuseppe Verdi: Aida - Opera Vocal Score

Full Vocal score of Giuseppe Verdi's successful and resoundingly popular opera Aida. With Italian and English lyrics and synopsis in Italian, English, French and German. Commissioned by the khedive of Egypt to celebrate the opening of the Suez Canal, Aida was first performed at the Cairo Opera Theatre on the 24th of December 1871. The following year it received its Italian premiere at the Teatro alla Scala in Milan. Verdi set the narrative with a variety of theatrical and musical solutions that effectively illustrate the love story in all its intricate excess, resulting in unavoidable tragedy when the volatile and entangled dimension of personal passions clashes with the power of patriotic conscience.

Stanze : versione originale per arpa

Milan, 1990 I was writing a series of piano pieces. I had a goal: to remove, and leave space. The title refers to the poetic stanzas but also to invisible spaces to be inhabited with the mind. One day my friend Cecilia Chailly calls me and asks me if I have a harp piece for her to play. I give her Vega to try. Two days later I go to her house to listen and, with mutual enthusiasm, I give her all the pieces that we will soon be recording. Cecilia will perform them in concert on various and memorable occasions. Here, I would like to express my profound thanks for her heartfelt help in correcting this new harp edition. (L. Einaudi)

La musica vocale da camera per voce e pianoforte : A cura di Chiarastella Onorati

This volume brings together all of Giuseppe Martucci’s (1856-1909) works for vocal ensemble: from the Romanza he composed as a young man in 1872 (dedicated to the tenor Gaetano Fraschini), to his Canzone dei ricordi from 1887 (dedicated to the mezzo-soprano Alice Barbi); from the Sogno d’amore, Sogno di morte and Pagine sparse written in 1888 to his Tre pezzi op. 84 of 1906 by way of the 1889 Ballando! These pieces are marked by a constant search for new musical solutions, from both a harmonic and formalistic point of view, drawing some inspiration from the Lieder repertoire north of the Alps while still maintaining a natural, completely Italian, lyricism that manages to generate intense emotions without giving in to decadent excesses.

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.

Studi (tratti dal "Metodo per contrabbasso") : Revisione di Piermario Murelli

Giovanni Bottesini (1821-1889) is certainly the most famous of all double bass virtuosi; his compositions are an essential pillar of the literature on this instrument. His Metodo, published in 1870 by Ricordi, is remarkable for the exceptional beauty of its studies which, with effectiveness, good taste and imagination, develop an extraordinarily modern pedagogical vision. For this reason, on the bicentenary of the composer's birth, it seems most opportune to re-propose the studies in the method, appropriately fingered according to the current system, which is different from the one used in Italy in the mid-19th century. These short pieces not only help the student to acquire an excellent technique in a short time, but they are also extremely useful to better understand the instrumental language of Bottesini; in particular the second part, constitutes an excellent propaedeutic base for the study of his famous pieces.

Il Flaminio : Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé

Some few months after returning to Naples from Rome, where he had gone to follow the premiere of L’Olimpiade at the Teatro Tordinona during the 1735 carnival season, Giovanni Battista Pergolesi –– notwithstanding the quickened pace of the disease that would soon bring his brief life to a close — presented the public with a new work, Il Flaminio, a “commedeja pe’ mmuseca” set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues, together with the Teatro dei Fiorentini and the Teatro della Pace, dedicated to the production of opere bu e), where it met with a generally favorable reception. The edition includes a historical Introduction, a description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice.

Lucia di Lammermoor : Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII)

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizettis most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere musicological curiosity some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composers preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composers autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizettis music. The critical edition restores the original keys, thus maintaining Donizettis overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces which may have had Donizettis approval will be made available available in the material for hire to theatres.

Antonio Vivaldi: La Gloria E Imeneo RV 687 (Vocal Score)

The present reduction derives from the critical edition of the score of La Gloria E Imeneo , published in this catalogue. The opera belongs to a group of the so-called ‘French serenatas’ by Antonio Vivaldi , namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It includes a brief Introduction and a critical apparatus that records all the variants between the autograph score and the secondary collate sources.

First Book of Classical Violin : 100 Progressive Melodies of 3 to 8 Notes with Piano Accompaniment

Level: Beginner The First Book of Classical Violin offers a selection of 100 melodies from classic repertoire, the result of Andrea Cappellari's many years of research and experience in music teaching. Students of any age will be able to perform melodies by classical composers from the very first lessons. All 100 short melodies consist of a minimum of three and a maximum of eight notes. Only basic rhythmic note values are used, from the eighth note to the whole note. The pieces are presented in progressive order of difficulty, and are in the most appropriate keys for the instrument. The simple piano accompaniments encourage ensemble playing at a beginner level and the recorded piano accompaniments are an excellent tool for practicing. A few selected melodies also have a second violin part as part of the recorded accompaniment. The book also includes a separate instrumental pull-out part. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.Level: Beginner The First Book of Classical Violin offers a selection of 100 melodies from classic repertoire, the result of Andrea Cappellari's many years of research and experience in music teaching. Students of any age will be able to perform melodies by classical composers from the very first lessons. All 100 short melodies consist of a minimum of three and a maximum of eight notes. Only basic rhythmic note values are used, from the eighth note to the whole note. The pieces are presented in progressive order of difficulty, and are in the most appropriate keys for the instrument. The simple piano accompaniments encourage ensemble playing at a beginner level and the recorded piano accompaniments are an excellent tool for practicing. A few selected melodies also have a second violin part as part of the recorded accompaniment. The book also includes a separate instrumental pull-out part. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.