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.

Scivias : per quartetto d'archi

Disiecta Membra : per 6 voci

Abri : per trio d'archi (2019)

Musica doppiata : per due pianoforti

Movimento di quartetto : per quartetto d'archi

Sax Quartet : per quartetto di sassofoni (1995)

Stiri slovenske ljudske za prst palec : per pianoforte

Come un lasciapassare : per elettronica ed orchestra (2014)

Night : per baritono (o coro maschile), archi e percussione

Sesto trio : per flauto in sol, viola e arpa

Gaetano Donizetti: Maria Stuarda - Opera Vocal Score

Opera Completa Per Canto E Pianoforte Edizione Critica A Cura Di Anders Wiklund.

Preludio, Corale, Doppia Fuga e Finale, op. 19 : per grande organo (1984)

I due Foscari : Ed. critica di Andreas Giger - Riduzione per canto e pianoforte

Composed by Verdi in 1843-44, I due Foscari was first performed at Teatro Argentina, Rome, in November 1844. In his libretto, Piave paints the tragic destiny of the old doge of Venice Francesco Foscari and his son Jacopo in dark colours. The vocal score derives from the critical edition based on Verdi’s autograph score and on the first manuscript exemplar corrected by the composer himself, thus restoring powerful passages that had been excised by Roman censors. Moreover, the Appendix presents sketches, fragments, discarded excerpts, as well as an alternative cabaletta for Jacopo’s cavatina. Enriched by an introduction and a detailed critical commentary, this vocal score provides a unique and in-depth research tool for performers and conductors, as well as students and scholars.

Lucrezia Borgia : Ed. crit. R. Parker-R. Ward – Riduzione per canto e pianoforte

Donizetti’s Lucrezia Borgia was premiered at Milan’s Teatro alla Scala on 26 December 1833 and is considered one of the composer’s most important and innovative operas of the 1830s. Although, because of censorship issues, particularly in the south of Italy, it was initially slow to become popular, by the late 1830s it had become one of the composer’s most popular operas, both in Italy and abroad, and remained an essential part of the composer’s oeuvre until at least the end of the nineteenth century. Remarkable for its daring subject matter (with an unconventional, forceful heroine), it is also renowned for its challenging mixture of the comic and the tragic, something very unusual at the time and clearly an important influence on Giuseppe Verdi’s middle period masterpieces. The present reduction for voice and piano derives from the critical edition of the score, recently published in this catalog: is based on Donizetti’s autograph manuscript (housed in the Ricordi Archives in Milan), on the libretto for the premiere, on several printed editions of voice and piano, and on numerous additional scores of the period. It presents for the first time all the numerous additions that the composer made to the score over the course of ten years: a fascinating record of his changing music dramatic attitudes during this period. There is also a synthetic historical reconstruction of the genesis of the opera and of the description of the Sources as well as a selection of most interest to singers of Critical Commentary Notes.

La fille du régiment : Ed. Critica di Claudio Toscani - Riduzione per canto e pianoforte

Concerto per Violino e Archi a Cinque Parti RV 813 : a cura di Federico Maria Sardelli

This concert in five parts for violin and strings has a curious and rather controversial history. Excluded from the Vivaldi’s catalogue on account of doubts raised by its musical language and by its preservation in two different manuscripts that carried conflicting attributions to Torelli and Vivaldi, it’s with this edition that it finally attributed to Vivaldi. Set of Parts: PR 00145200

Lucia di Lammermoor : Ed. Critica di Gabriele Dotto e Roger Parker - Riduzione per canto e pianoforte

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on September 26th, 1835. It has remained in the repertory without interruption as one of Donizettis most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. The critical edition restores the original keys, thus maintaining Donizettis overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. What is presented here is the reduction for voice and piano.