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Il Teuzzone RV 736 : Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte

Il Teuzzone RV 736 : Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

SEK 509.00
1

Il Flaminio : 2 Volumes, edizione critica a cura di Ivano Bettin

Il Flaminio : 2 Volumes, edizione critica a cura di Ivano Bettin

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 is based basically on the Pergolesi’s autograph full score, for the third act, (kept in Naple, Conservatorio di San Pietro a Majella Library) and on a complete manuscript full score copy today in the Abbazia di Montecassino Library. The critical edition is in two volumes and includes a historical Introduction, a detailed description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. There is also the facsimile reproduction of the printed libretto.

SEK 3301.00
1

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

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.

SEK 444.00
1

Composizioni per viola e chitarra : a cura di Simone Gramaglia

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.

SEK 286.00
1

Alla spagnola : Per violino solo | For solo violin - A cura di | Edited by Italo Vescovo

Alla spagnola : Per violino solo | For solo violin - A cura di | Edited by Italo Vescovo

The autograph composition entitled Alla spagnola is a fleeting piece, similar, in size, to other small works that Paganini called “capricci”, that he gave, on more than one occasion, to friends, colleagues and other figures he encountered during his travels: a piece which gives us a clear sense of the spirit of the Genoese master of brief compositions. The publication of this pleasant piece will add to his significant and varied body of pieces for solo violin.

SEK 147.00
1

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

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.

SEK 296.00
1

Opera completa per pianoforte : a cura di Giuseppe Filianoti

Opera completa per pianoforte : a cura di Giuseppe Filianoti

From his earliest Scherzo (1883) to the Piccola suite Danza (1947), the complete piano compositions of Francesco Cilea (1866-1950) are presented in this volume for the first time in full version, collated with the source material, by Giuseppe Filianoti. Conceived in part for pedagogical purposes, these compositions are embued with the essence of the noble Italian tradition of “Salon music,” from the modest little descriptive sketch to the album leaf of moderate difficulty, to the more technically demanding pages with an old-fashioned or impressionist flavor. Cilea’s works for the piano are enhanced by a simplicity and beauty designed to instruct young learners, delight refined pianists, and be appreciated by the most savvy listeners. The volume includes an introductory essay and a chronology of Cilea’s life and works in Italian and English.

SEK 405.00
1

Il Teuzzone, RV 736 : Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese)

Il Teuzzone, RV 736 : Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese)

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

SEK 1874.00
1

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

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.

SEK 509.00
1

Le Willis : Edizione critica a cura di Martin Deasy

Le Willis : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

SEK 2078.00
1

Le Villi : Edizione critica a cura di Martin Deasy

Le Villi : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

SEK 2587.00
1

La Dorilla RV 709 : Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé

La Dorilla RV 709 : Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé

The present reduction derives from the critical edition of the score, published in this catalog in November 2019. Antonio Vivaldi’s La Dorilla, a heroic-pastoral opera on a libretto by Antonio Maria Lucchini, was premiered at the Teatro Sant’Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant’Angelo, where, despite being greatly revised, it was once again successful. Many of its recitatives had been shortened and several arias replaced, some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers, such as Johann Adolf Hasse, Geminiano Giacomelli, Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi, who adjusted the libretto with the precise aim of satisfying the demands of the public, which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context, the description of the main source employed and a choice of the critical Notes to the musical text.

SEK 414.00
1