Volume 4 - Sez. Seconda - Partitura + c.c. / Ed. Crit. I. Narici M. Beghelli S. Castelvecchi

Volume 1- Sez. Settima - Partitura + Commento Critico / Ed. Critica M. Tartak

Volume 11 - Sez. Prima - Partitura In 2 Vol. e Commento Critico / Ed. Critica A. Corghi

Libretto - Testo Inglese

Libretto

Libretto

per contralto archi e basso continuo

Ed. Critica M. Talbot Softcover

Dalla Tecnica Base Alle Interpretazioni Piu' Complesse Dei Ritmi

Sistema Rapido: Dalle Scale ai Giri Armonici. Ritmi Principali Sistema Tab e Diagrammi degli Accordi

528 Posizioni Per Tutti I Bassisti

Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera – his second dramma serio for San Bartolomeo in less than two years – the young composer (who had already acquired considerable professional stature in the city’s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one’s betrothed. Inserted between the opera’s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica “San Pietro a Majella” in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto’s complicated literary lineage and illustrates the circumstances of the opera’s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.

Ed. A. Cavuoto - Trascrizioni Per Violoncello E Pianoforte-Seven great themes from classical works compiled and edited for cello and piano.

Per 2 S. E T. Solisti 2 Cori A 4 Voci Miste E 2 Orch. - Riduzione Per Coro E Pianoforte

ED. G.F. Malipiero - Piano reduction

Riduzione Per 2 Trombe E Pianoforte

Nell'Estensione Di 5 Note

10 Pezzi Facilissimi Per Pianoforte

25 studi op.176 - 15 studi op.120-Jean-Baptiste Duvernoy was a French pianist and composer of the Romantic period. He is best known for his Elementary Studies Op. 176 and The School of Mechanism Op. 120 designed to improve finger coordination and agility. Now availablein one volume two of the works of his most appreciated works.

Gesangschule-Spontini's Singing Method (original title: A Compendium of Exercises for the Best Way to Learn Singing and Lessons in Portamento Embellishment and Expression ) is contained an oblong shaped manuscript with 40 leaves kept at the Bibliothèque Nationale de France. Written in roughly 1798-1800 the manuscript is listed as one of Gaspare Spontini's teaching compositions in major encyclopaedias and biographies. This compendium was written for the public and not his private use as we can deduce from the notes addressed to the singer. We cannot exclude the possibility Spontini might have wished to publish it given that it was an established practice for music teachers to publishtheir singing methods. Spontini's method focuses on dealing with the problems frequently met by pupils and can be summed up as follows: · eight exercises for perfect intonation and confident skipping. · eight exercises for flexibility · thirteen exercises for voice delivery and expression · three exercises for embellishment and cadence.