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Mosè In Egitto (Volume 1 + 2)

Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte

INSTRUMENT GROUP: Vokal
KOMPONIST: Gioachino Rossini
VERLAG: Ricordi
PRODUKTFORMAT: Bücher-Set
Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III. "Mosè in Egitto (1818) is the fourth
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Spezifikationen
Subtitle Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte
Instrument Group Vokal
Komponist Gioachino Rossini
Verlag Ricordi
Instrumentierung Vocal and Piano Reduction
Language IT-ENG(UK)
Schwierigkeitsgrad INTERMEDIATE
Produktformat Bücher-Set
Style Period Romantic
Erscheinungsjahr 2018
Genre Oper/Operette
ISBN 9788881920334
ISMN 9790041394008
Style Period Romantic
Serie UMPC Critical Editions
Seitenzahl 392
No. CP 13940000
Release Date 27.03.2018
Beschreibung
Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III.

"Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show, Rossini was very proud of this opera, considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact, it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano, in two volumes, derives from the critical edition of the score, published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in the Bibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini, the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini, also not in Rossini’s hand is the Aria Amaltea, although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera, since the first performance in Naples (1818, 1819) to the Parisian ones (1822 1840). In particular in the appendices are included the original Aria Faraone which, composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819, was later replaced by the Aria Faraone Rossini himself composed in 1820 and, in Appendix II, the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances, after 1822."

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