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.

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.

Cosý fan tutte - Mozart, Wolfgang Amadeus

Facsimile of Mozart's autograph score Project of the Packard Humanities Institute (PHI, Los Altos, California) Opera set (two facsimile volumes and critical commentary) facsimile half-leather binding

Le Lion de Belfort : Un hommage au sculpture Frédéric Auguste Bartholdi

Le Lion de Belfort was composed for the official inauguration of the sculpture Le Lion de Belfort: an enormous red sandstone lion that dominates the landscape of the French city of Belfort. This 22 metre long and 11 metre high lion symbolises the heroic French resistance during the Prussian siege of Belfort in 1870-1871. The composer added a narrator and three-part choir to the concert band instrumentation, who utilise texts written specially for the occasion by Jean Ehret.The work’s première took place at the inauguration of Le Lion de Belfort on 28 November 2010, 130 years after sculptor Frédéric Auguste Bartholdi (1834-1904) completed the statue.

Trios con brio

Cosi fan tutte K.588 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique'     - Kent Nagano (Conductor)

The Graces of Love : Le Gratie d'Amore

“The Graces of Love” (Le Gratie d’Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milan court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune Il bianco fior (The White Flower) on which the first movement of my piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune Vaghe bellezze ... (Veiled Beauty …). Widely spaced melodic parts surround two solos during which the tune is varied anddeveloped. Finally, the third movement contains a Saltarello based on a tune by Vincenzo Galilei, the father of the famous astronomer, Galileo Galilei. It brings the work to a close with a hypnotic rhythm which is noble and virtuosic at the same time. “The Graces of Love” (Le Gratie d’Amore) is the title of a book published in 1602 by Cesare Negri, the famous dance master of the Milanese court in the Renaissance. It contains numerous dance tunes and precise descriptions of courtly dances. It also includes the tune 'Il bianco fior' (The White Flower) on which the first movement of Oliver Waespi's piece is based. A vigorous dance in three-four, it leads to an acceleration and a sudden shift to an even meter towards the end. The second movement, calm and contemplative in character, features the tune 'Vaghe bellezze ...' (Veiled Beauty …). Widely spaced melodic parts surround two solos during which the tune is varied anddeveloped. Finally, the third movement contains a Saltarello based on a tune by Vincenzo Galilei, the father of the famous astronomer, Galileo Galilei. It brings the work to a close with a hypnotic rhythm which is noble and virtuosic at the same time.

Le Pescatrici - Dramma Giocoso : Le Pescatrici - Dramma Giocoso

Le Petit Chaperon Rouge

Le Divertissement de Chambord

Le comte Ory - Rossini, Gioachino

Opera in two acts edition of selected works, study score Paperback

Le Cadi dupé - Gluck, Christoph Willibald

Opéra-comique in einem Akt complete edition, score, Urtext edition 2SSolo/2TSolo/2BarSolo/speaker/Orch Indbundet udgave

Piano Works - Händel, Georg Friedrich

Suites de Pièces pour le Clavecin. Zweite Sammlung von 1733 Revidierte Neuausgabe von BA 4009 complete edition, Performance score, Anthology, Urtext edition piano Indbundet udgave

Le Sacre Stimmate di San Francesco d'Assisi

Georges Migot: Le Rossignol en Amour (Opera)

Chamber Opera (for 3 singers, wind quintet, string quintet, 2 pianos and 8 chorus)

UFO Concerto : for euphonium & wind orchestra

Ufo Concerto, the first solo work by Johan de Meij for euphonium solo, is not a traditional concert work in the classical sense. It is comprised of five movements that are thematically interconnected: Andante - Con moto , Giocoso - Vivo, Andante cantabile, Vivace, and Alla Marcia - Vivace.

Le nozze d'Ercole e d'Ebe - Gluck, Christoph Willibald

Dramma per musica in zwei Teilen Pillnitz bei Dresden Generalbassaussetzung: Eckhart Kuper complete edition, score, Urtext edition 2SSolo/ASolo/TSolo/2Fl/2Ob (2bassoon)/2Hn/Str/harpisc. Indbundet udgave

Le Navire Aux Voiles Mauves - Une Autre Odyssée

Prima la musica e poi le parole - Salieri, Antonio

Divertimento teatrale in one act The enclosed credit-card style USB flash drive contains the sources, the text and music editions as well as the critical reports (Edirom) edition of selected works, score, study score, Datenträger (USB-Karte), Urtexta 2SSolo/2BSolo/2Ob/2clarinet/2bassoon/2Hn/2Trp/2V/Va/Basso/Bc Indbundet udgave

L'Arbre enchanté ou Le Tuteur dupé - Gluck, Christoph Willibald

OpÚra-comique in one act Vienna complete edition, score, Urtext edition 2SSolo/2TSolo/BarSolo/BSolo/Fl/2Ob/2FnglHn/bassoon/2Hn/2V/Va/Vc/double bass/harpisc. Indbundet udgave

Euphonium Concerto

This three-movement concerto (Allegro con brio, Espressivo and Vivacissimo) was commissioned by the famous Japanese euphonium player Tamao Araki. It demands a high level of instrumental proficiency from the soloist, while the accompaniment is less demanding and accessible for a band of an average level. Yagisawa’s clever use of the euphonium’s colourful sound palette with its beautiful melodic lines makes this composition a rare jewel. This three-movement concerto (Allegro con brio, Espressivo and Vivacissimo) was commissioned by the famous Japanese euphonium player Tamao Araki. It demands a high level of instrumental proficiency from the soloist, while the accompaniment is less demanding and accessible for a band of an average level. Yagisawa’s clever use of the euphonium’s colourful sound palette with its beautiful melodic lines makes this composition a rare jewel.

Le nozze di Figaro K.492 : Facsimile of Mozarts autograph score

The Packard Humanities Institute, Los Altos, Ca, in association with the International Mozarteum Foundation, Salzburg, present a facsimilie edition of the autograph scores of the seven great Mozart operas. Mozart's seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Now Mozart scholars, libraries and lover'sof Mozart's stage works have the oppertunity to acquire these priceless manuscripts in flawless reproductions. All volumes include essays on the history of the work and introduction by leadingMozartscholars in English and German Consolidation of Mozart manuscripts held in different places Highest level of precision in reproduction and authenticity of colour through use of thelatest technology 'I regard it as a true privilege to be able to read and study Mozart's scores in his manuscript hand... The commanding clarity and the characteristicappearance of Mozart's handwriting are unique'     - Kent Nagano (Conductor)

Le Diable à quatre, ou La Double Métamorphose - Gluck, Christoph Willibald

Opéra-comique in 3 Akten complete edition, score, Urtext edition 4SSolo/2ASolo/3TSolo/BarSolo/speaker/2Fl ad lib./2Ob/2Hn/Str/harpisc. Indbundet udgave

Armonici entusiasmi di Davide : Salmi concertati a 2, 3 e 4 voci con 2 violini, Opera nona Pian & Forte Vol. 134

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.