Vincenzo Bellini: I Puritani - Opera Vocal Score

I Puritani

Sonatina I : per violoncello (2019)

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.

Studi per violino - Fasc. I: I-III posizione : Dal grado elementare agli Studi di Kreutzer

Stanze : versione originale per arpa

Milan, 1990 I was writing a series of piano pieces. I had a goal: to remove, and leave space. The title refers to the poetic stanzas but also to invisible spaces to be inhabited with the mind. One day my friend Cecilia Chailly calls me and asks me if I have a harp piece for her to play. I give her Vega to try. Two days later I go to her house to listen and, with mutual enthusiasm, I give her all the pieces that we will soon be recording. Cecilia will perform them in concert on various and memorable occasions. Here, I would like to express my profound thanks for her heartfelt help in correcting this new harp edition. (L. Einaudi)

Proesie : testi di Federico Maria Sardelli per voce sola - LIBRO I (2020)

Stanze : versione originale per pianoforte

Milan, 1990 I was writing a series of piano pieces. I had a goal: to remove, and leave space. The title refers to the poetic stanzas but also to invisible spaces to be inhabited with the mind. (L. Einaudi)

I due Foscari - Tragedia lirica in tre atti : Commento critico a cura di Andreas Giger

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).

Il libro delle posizioni - Fasc. I: II, III e IV : Impostazione e progresso nella tecnica violinistica

La strada : I: Strada costiera, baracche e lampioni (Rielaborazione per fIauto e pianoforte di C. Tabarelli)

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

Ludovico Einaudi: The Best Of

A compilation featuring all the pieces from the albums Le Onde, I Giorni and Eden Roc. The pieces in this beautifully presented collection are organised in order of increasing difficulty.

Suonate da camera a tre op. I : RV 73, 67, 61, 66, 69, 62, 65, 64, 75, 78, 79, 63 - Edizione critica a cura di Fabrizio Ammetto

2 Violins and Basso continuo. UMPC Critical Editions

Ludovico Einaudi: Eden Roc (Ricordi Edition)

The music to the popular album from the contemporary Milanese composer. The composer writes Eden Roc is the name of a place in the south coast of France where the writer Francis Scott Fitzgerald lived and where he located the beginning of his novel 'Tender is the night'. From that book I partially took the inspiration for Eden Roc, as well as the name itself recall me the idea of an ideal place where you can find your inner balance in the world.

Ludovico Einaudi: Le Onde

Solo Piano work written in 1996 by the acclaimed Milanese composer. Einaudi writes "The idea of Le Onde was to write something inspired by Virginia Woolf's novel The Waves. I was really intrigued by the form of the novel, which is very complex and interesting because some parts are written in italics and others in normal text. The parts in italics are like a cadence running through the book. The book is a description of what people see during one day, starting from the light of the morning and by the end of the book night has fallen. Every time the italic chapters come back, you see a different change of light on what's happening on the shore." He started writing all the pieces for Le Onde inspired by this idea, but reached a point when he felt there was still a piece lacking from the overall picture. "I said 'yes, it's missing Le Onde', which had in its opening the cadence of a wave. The idea was that the music flowed and was developing by itself, from the opening arpeggio, like when you see a wave developing in its space, it's developing because it has to. It's perpetual motion."

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.

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.

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.

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.