La tecnica basilare del violino

Due canzoni popolari slovene : del territorio di Trieste

Pratica e lettura pianistica - Volume 1 : Brani del repertorio pianistico di diverso grado di difficoltà per lo studio del pianoforte

L'Arte E La Tecnica Del Vibrato Sul Violino E : Sulla Viola

Dentro il suono : Cinquanta studi per fare del flauto la tua voce

Le ceneri del prog : Quel che resta di un genere della popular music

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).

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).

La strada : VI: Numero del Matto sul filo (Rielaborazione per fIauto e pianoforte di C. Tabarelli)

La scuola del flauto op. 51 : Divisa in quattro gradi ed esposta in duettini originali e progressivi

The Flute School Op. 51 by Luigi Hugues, originally published by Ricordi in four separate parts, is now finally available in a single volume in the historic Revision by Alberto Veggetti. This is a didactic work of basic importance for the study of the transverse flute composed of 80 duets of increasing difficulty aimed at developing technical and expressive sensitivity.

Cara Topisia - Tomo I : Il carteggio tra Elvira Bonturi e Giacomo Puccini nell'Archivio di Torre del Lago

La strada : III: Debutto di Gelsomina nel numero del "Ciufile" (Rielaboraz. per fI e pianof. di C. Tabarelli)

Liriche italiane scelte - Voce grave : 15 liriche del XIX e XX secolo con lezioni di dizione e accompagnamenti

15 Songs from the 19th and 20th Centuries with recorded Diction Lessons and Recorded Accompaniments. Texts in Italian and English.

Liriche italiane scelte - Voce acuta : 15 liriche del XIX e XX secolo con lezioni di dizione e accompagnamenti

15 Songs from the 19th and 20th Centuries with recorded Diction Lessons and Recorded Accompaniments. Texts in Italian and English.

Caro Ferro : Il carteggio tra Ferruccio Pagni e Giacomo Puccini nell'Archivio di Torre del Lago a cura di Frances

Caro Mi'ele : Il carteggio tra Michele e Giacomo Puccini nell'Archivio di Torre del Lago a cura di Ivano Bettin

Bagatelle : da Péchés de vieillesse di Gioachino Rossini

50 Petits Solfèges pour le médium de la voix : per canto e pianoforte - for voice and piano

La fille du régiment : Edizione critica a cura di Claudio Toscani (testi in italiano e inglese)

La fille du régiment, always one of Donizetti’s most popular stage works, was first performed at the Thé tre de l’Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success at the Opéra-Comique alone, more than one thousandperformances were given between 1840 and 1917 , and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France , the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio’s romance «Pour me rapprocher de Marie» from Act Two, included

W.A. Mozart: Opera Arias - Soprano

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

W.A. Mozart: Opera Arias - Baritone/Bass

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

Inno Patriottico M.S. 81 per violino solo : Edizione critica di Italo Vescovo

Paganini’s Inno patriottico con variazioni for solo violin M.S. 81 is a composition dating back to the period between 1796 and 1800, during which he also composed works such as the Carmagnola con variazioni M.S. 1 for violin and guitar, the Grande Concerto M.S. 75, the Tema variato for violin M.S. 82 and the Sonata a violin solo M.S. 83. There is not very much background material regarding the piece: the only certainties we have about it are that it dates from his early period, springs from a Genovese environment and has numerous similarities to the Carmagnola con variazioni M.S. 1: both compositions are based on a sprightly popular theme in 6/8 that can be traced back to the Perigordino, a French dance that first appeared in the Ligurian Apennines during the Napoleonic period. The structure of the Inno patriottico con variazioni substantially follows that of the Carmagnola and Tema variato: a theme followed by a series of variations in which Paganini demonstrates his personal concept of variation. This edition is based on a recently rediscovered, non-autograph source owned by the descendants of Eredi Sivori, in combination with the copy held by the Archivio Storico del Comune di Genova and printed sources.

Tchaikovsky : 14 original pieces with performing notes

Att spela de stora kompositörernas största verk har nu blivit lättare tack vare en serie upplagor, där stycken separeras, organiseras efter progressiva svårighetsgrader och förses med en hel rad värdefullt stödmaterial som historiska och litterära introduktioner till varje verk, tekniska riktlinjer för pianister, fingersättning etc. Ett utmärkt sätt att upptäcka den stora pianorepertoaren och ett användbart läromedel. Den aktuella samlingen inleds med verk hämtade från Children's Album, som The Sick Doll och The March of the Wooden Soldiers, speciellt lämpliga för nybörjarelever. Detta följs av ett urval hämtat från The Seasons, som inkluderar ett av Tchaikovsky's mästerverk, the Barcarolle (June). Volymen avslutas med ett särskilt intressant erbjudande för pianobrandmän. SONGLIST 1. The Sick Doll [Pjotr Iljitsj Tchaikovsky] 2. March of the Wooden Soldiers [Pjotr Iljitsj Tchaikovsky] 3. The New Doll [Pjotr Iljitsj Tchaikovsky] 4. Playing Hobby Horses [Pjotr Iljitsj Tchaikovsky] 5. April: Snowdrops [Pjotr Iljitsj Tchaikovsky] 6. October: Autumn Song [Pjotr Iljitsj Tchaikovsky] 7. May: Starlit Night [Pjotr Iljitsj Tchaikovsky] 8. June: Barcarolle [Pjotr Iljitsj Tchaikovsky] 9. December: Christmas [Pjotr Iljitsj Tchaikovsky] 10. The Pine-Tree Swings by the Gate [Pjotr Iljitsj Tchaikovsky] 11. Merry Katya [Pjotr Iljitsj Tchaikovsky] 12. Under the Green Apple Tree [Pjotr Iljitsj Tchaikovsky] 13. Song of the Volga Boatmen [Pjotr Iljitsj Tchaikovsky] 14. There Was No Wind [Pjotr Iljitsj Tchaikovsky]

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).