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I Vespri Siciliani : Ouverture

I Vespri Siciliani : Ouverture

In 1854, Verdi was in Paris to compose I vespri siciliani (1855), a commission from the Theatre of the Opera. The composer soon became intolerant to the requests of the French “Grand Opéra” as he considered them too restrictive and cunning. “I’ll be very happy when I have finished I vespri siciliani. An opera at the Opéra is as tiring as killing a bull. Five hours of music?…Hauf!” Verdi declared. Following the first performance, the French composer Hector Berlioz wrote in the “Journal des Débats” an article that read “We have to admit that in I vespri siciliani, the penetrating intensity of the melodic expression, the sumptuous variety of theinstrumentation, the fullness, the poetical sonority of the whole, the warm vivacity that shines everywhere and the passionate strength, although slow in disclosing (a characteristic feature of Verdi’s talent), give the entire work a mark of greatness, a sort of majestic sovereignty more underlined than in Verdi’s previous theatre productions.”

SEK 484.00
1

I Vespri Siciliani : Ouverture

I Vespri Siciliani : Ouverture

In 1854, Verdi was in Paris to compose I vespri siciliani (1855), a commission from the Theatre of the Opera. The composer soon became intolerant to the requests of the French “Grand Opéra” as he considered them too restrictive and cunning. “I’ll be very happy when I have finished I vespri siciliani. An opera at the Opéra is as tiring as killing a bull. Five hours of music?…Hauf!” Verdi declared. Following the first performance, the French composer Hector Berlioz wrote in the “Journal des Débats” an article that read “We have to admit that in I vespri siciliani, the penetrating intensity of the melodic expression, the sumptuous variety of theinstrumentation, the fullness, the poetical sonority of the whole, the warm vivacity that shines everywhere and the passionate strength, although slow in disclosing (a characteristic feature of Verdi’s talent), give the entire work a mark of greatness, a sort of majestic sovereignty more underlined than in Verdi’s previous theatre productions.”

SEK 1852.00
1

Preludio all' atto I : dall' opera Ernani

Preludio all' atto I : dall' opera Ernani

Ernani (1844), Giuseppe Verdi’s fifth opera, is based on the homonymous tragedy by Victor Hugo. Verdi’s success with Ernani, as well as Nabucco and I lombardi alla prima crociata, can be ascribed to two distinct ideas: the melodic idea and the patriotic idea. The melodic idea is very important to move and touch the audience, while the patriotic idea is the source of enthusiasm and emotions. Approximately ten years elapse between two similar stories: the one of the outlaw Ernani and the one of Manrico, the troubadour. In the prelude to Act I, in only three minutes, Verdi has succeeded in skillfully concentrating the main elements of the entiredrama. One can clearly observe the themes of love, oath, and death.

SEK 1207.00
1

Preludio all' atto I : dall' opera Ernani

Preludio all' atto I : dall' opera Ernani

Ernani (1844), Giuseppe Verdi’s fifth opera, is based on the homonymous tragedy by Victor Hugo. Verdi’s success with Ernani, as well as Nabucco and I lombardi alla prima crociata, can be ascribed to two distinct ideas: the melodic idea and the patriotic idea. The melodic idea is very important to move and touch the audience, while the patriotic idea is the source of enthusiasm and emotions. Approximately ten years elapse between two similar stories: the one of the outlaw Ernani and the one of Manrico, the troubadour. In the prelude to Act I, in only three minutes, Verdi has succeeded in skillfully concentrating the main elements of the entiredrama. One can clearly observe the themes of love, oath, and death.

SEK 236.00
1

Romanian Dances I - Romanian Overture : Meleaguri mistice

Romanian Dances I - Romanian Overture : Meleaguri mistice

Romania boasts an endless wealth of folk music and culture. Whilethe music of the north still sounds familiar to West-European ears,it becomes gradually faster and fierier towards the south. The sixmovements of Romanian Dances consist of various folk songs, whichthe composer collected and arranged, and represent a cross sectionof styles from dances with stomping and drumming to dancesassociated with prayer. Each movement can be performed separatelyensuring you will find something for all occasions.

SEK 484.00
1

Romanian Dances I - Romanian Overture : Meleaguri mistice

Romanian Dances I - Romanian Overture : Meleaguri mistice

Romania boasts an endless wealth of folk music and culture. Whilethe music of the north still sounds familiar to West-European ears,it becomes gradually faster and fierier towards the south. The sixmovements of Romanian Dances consist of various folk songs, whichthe composer collected and arranged, and represent a cross sectionof styles from dances with stomping and drumming to dancesassociated with prayer. Each movement can be performed separatelyensuring you will find something for all occasions.

SEK 2040.00
1

Aroldo

Aroldo

Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

SEK 1852.00
1

Aroldo

Aroldo

Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

SEK 1852.00
1

Aroldo

Aroldo

Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

SEK 414.00
1

Mantra

Mantra

Mantra was commissioned by Fanfare Concordia Middelstum on the occasion of its 100th anniversary. As in Spiriti, my composition for brass band, I used an existing quote as the basis for this work: namely, the Dutch melody of Psalm 150. This theme is repeated in fragments in the manner of a mantra. This protective mantra leads us through life’s perilous rocks and untamed waters, through tranquil islands of refuge and places of calm meditation, eventually leading to a full chorale that brings the composition to an elegant close.

SEK 484.00
1