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Patrizia Ciofi - Patrizia Ciofi & Joyce Di Dona...
1,16 € *
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Stand: 30.09.2020
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The Vocal Duets of G. F. Handel and His Italian...
29,90 € *
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The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706-1724) ab 29.9 € als Taschenbuch: Dissertationsschrift. Aus dem Bereich: Bücher, Kunst & Musik,

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The Vocal Duets of G. F. Handel and His Italian...
29,90 € *
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The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706-1724) ab 29.9 EURO Dissertationsschrift

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Handel: Arcadian Duets, Lamenti
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The Vocal Duets of G. F. Handel and His Italian...
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Im Vergleich mit den Duetten seiner Zeitgenossen zeichnen sich jene Georg Friedrich Händels durch eine größere musikalische und dramaturgische Vielfalt aus. In der musikwissenschaftlichen Forschung wurde diese Diversität bisher noch nicht systematisch in ihren verschiedenen Kontexten betrachtet. Die vorliegende Arbeit untersucht sie in zwei Gattungstraditionen, jener des Kammerduetts und jener des sogenannten „dramatischen Duetts“ (als Teil einer Oper, einer Kantate oder einer Serenata). Die Untersuchung konzentriert sich auf das Londoner Umfeld des Komponisten in den Jahren 1706 bis 1724 mit dem Ziel herauszufinden, inwiefern sich Händels Behandlung der Duette von den Beiträgen seiner italienischen Zeitgenossen, die entweder in London zeitgleich mit ihm tätig waren (wie G. Bononcini) oder deren Werke parallel aufgeführt wurden, unterscheidet.

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Warner Music Philippe Jaroussky - Ombra mai fu ...
12,60 € *
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“Beyond the great musical interest that Cavalli offers, his operas are notable for their richness and modernity, and for the diversity and complexity of their characters,” says countertenor Philippe Jaroussky. “Stage directors and opera houses are increasingly keen to stage his works. His operas are full of fantasy, craziness, humour and emotion. They offer a variety we don’t find in the opera seria of the 18th century.”Francesco Cavalli (1602–76) is an important figure in the history of opera and his works, which first experienced a revival in the 1960s, have been growing in currency in recent years. The most prominent successor to Monteverdi, Cavalli was active in Venice at a time when opera was moving out of aristocratic palaces and into public theatres. Musically, his operas are notable for the fluid expression of their recitar cantando (“acting in song”), and dramatically for their variety of tone, combining noble, mythical or tragic drama with teasing or bawdy comedy.As Philippe Jaroussky explains: “Cavalli played a major role in establishing opera – the new genre created by Monteverdi and others – as popular entertainment. He composed many operas for the Teatro San Cassiano, which was the first theatre in Venice to stage opera.” Cavalli was also active in the field of religious music. As a boy, he had sung under Monteverdi’s direction in the choir of St Mark’s Basilica. He went on to become the cathedral’s organist and eventually, in 1668, to follow in Monteverdi’s footsteps and become its maestro di cappella, the equivalent of a modern-day music director.When preparing this album, Ombra mai fù, Jaroussky was able to study the manuscripts of most of Cavalli’s 37 surviving operas. “I really wanted to use the album’s playing time to show all the variety and all the qualities of Cavalli’s music. It can sometimes appear disarmingly simple, but it has a very special and distinctive melodic and harmonic flavour. The album is designed to illustrate the contrasts in his operas as they move from one scene to the next, where a lamento might be directly followed by something very humorous.”Jaroussky has included vocal and instrumental numbers from more than a dozen of Cavalli’s operas, ranging from comparatively well-known works such as Calisto, Ercole amante, Ormindo and Giasone through Eliogabalo, which was recently staged in both Paris and Amsterdam, to such rarities as Statira, principessa di Persia and La virtù dei strali d'Amore. He is joined for the love duets by soprano Emőke Baráth (whose recent Erato recital, Voglio cantar, highlighted the music of Barbara Strozzi, a student of Cavalli) and contralto Marie-Nicole Lemieux, who spars with him in the comical duet ‘Ninfa bella’ from Calisto. The title track is taken from the opera Xerse, which dates from 1654 and is set to the same libretto that Handel used for his Serse more than 80 years later. Outside the world of opera, Handel’s version of Emperor Xerxes’ ode to a plane tree is known simply as ‘Handel’s Largo’. Cavalli’s version, while less famous and less dignified, is more graceful and lilting. “Curiously there are similarities between Cavalli’s and Handel’s settings of Ombra mai fù,” explains Philippe Jaroussky. 'Both are quite short and in triple time. Did Handel knew Cavalli’s Xerse? It’s a possibility. An interesting difference between the two arias is that in Handel’s version the first violin plays along with the voice. In Cavalli’s version the violin parts are higher and fill in the harmonies, changing constantly and creating a very beautiful effect of iridescence and colour.” On this recording those violins belong to Ensemble Artaserse, which Jaroussky launched in 2002 in collaboration with other leading musicians in the field of Baroque music.

Anbieter: Dodax
Stand: 30.09.2020
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Warner Music Philippe Jaroussky - Ombra mai fu ...
21,99 € *
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“Beyond the great musical interest that Cavalli offers, his operas are notable for their richness and modernity, and for the diversity and complexity of their characters,” says countertenor Philippe Jaroussky. “Stage directors and opera houses are increasingly keen to stage his works. His operas are full of fantasy, craziness, humour and emotion. They offer a variety we don’t find in the opera seria of the 18th century.”Francesco Cavalli (1602–76) is an important figure in the history of opera and his works, which first experienced a revival in the 1960s, have been growing in currency in recent years. The most prominent successor to Monteverdi, Cavalli was active in Venice at a time when opera was moving out of aristocratic palaces and into public theatres. Musically, his operas are notable for the fluid expression of their recitar cantando (“acting in song”), and dramatically for their variety of tone, combining noble, mythical or tragic drama with teasing or bawdy comedy.As Philippe Jaroussky explains: “Cavalli played a major role in establishing opera – the new genre created by Monteverdi and others – as popular entertainment. He composed many operas for the Teatro San Cassiano, which was the first theatre in Venice to stage opera.” Cavalli was also active in the field of religious music. As a boy, he had sung under Monteverdi’s direction in the choir of St Mark’s Basilica. He went on to become the cathedral’s organist and eventually, in 1668, to follow in Monteverdi’s footsteps and become its maestro di cappella, the equivalent of a modern-day music director.When preparing this album, Ombra mai fù, Jaroussky was able to study the manuscripts of most of Cavalli’s 37 surviving operas. “I really wanted to use the album’s playing time to show all the variety and all the qualities of Cavalli’s music. It can sometimes appear disarmingly simple, but it has a very special and distinctive melodic and harmonic flavour. The album is designed to illustrate the contrasts in his operas as they move from one scene to the next, where a lamento might be directly followed by something very humorous.”Jaroussky has included vocal and instrumental numbers from more than a dozen of Cavalli’s operas, ranging from comparatively well-known works such as Calisto, Ercole amante, Ormindo and Giasone through Eliogabalo, which was recently staged in both Paris and Amsterdam, to such rarities as Statira, principessa di Persia and La virtù dei strali d'Amore. He is joined for the love duets by soprano Emőke Baráth (whose recent Erato recital, Voglio cantar, highlighted the music of Barbara Strozzi, a student of Cavalli) and contralto Marie-Nicole Lemieux, who spars with him in the comical duet ‘Ninfa bella’ from Calisto. The title track is taken from the opera Xerse, which dates from 1654 and is set to the same libretto that Handel used for his Serse more than 80 years later. Outside the world of opera, Handel’s version of Emperor Xerxes’ ode to a plane tree is known simply as ‘Handel’s Largo’. Cavalli’s version, while less famous and less dignified, is more graceful and lilting. “Curiously there are similarities between Cavalli’s and Handel’s settings of Ombra mai fù,” explains Philippe Jaroussky. 'Both are quite short and in triple time. Did Handel knew Cavalli’s Xerse? It’s a possibility. An interesting difference between the two arias is that in Handel’s version the first violin plays along with the voice. In Cavalli’s version the violin parts are higher and fill in the harmonies, changing constantly and creating a very beautiful effect of iridescence and colour.” On this recording those violins belong to Ensemble Artaserse, which Jaroussky launched in 2002 in collaboration with other leading musicians in the field of Baroque music.

Anbieter: Dodax
Stand: 30.09.2020
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Belwin Master Duets (Clarinet), Vol 1: Easy
17,90 CHF *
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A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Allegro (Mozart) * Andantino (Haydn) * Bouree in F from 'The Water Music' (Handel) * Bouree (Handel) * Bransle de la Torche (Praetorius) * Cavatine (Mozart) * Down in the Willow Gardens (American Traditional) * The Eddystone Light (British Folk Song) * English Ballad (Traditional) * Etude in D (Snell) * Four Little Dances (Snell) * German Dance (Beethoven) * Hopscotch (Snell) * The Hunt (Snell) * The Keeper (British Folk Song) * Landler from 'Hommage aux Belles Viennoises' (Schubert) * Macpherson's Farewell (Scottich Folk Song) * March (Handel) * Marsch (Bach) * Minuet (Telemann) * Passepied (Handel) * Rigaudon (Fischer) * Road Runner (Snell) * Slurs & Ties (Snell) * Summer Song (Snell).

Anbieter: Orell Fuessli CH
Stand: 30.09.2020
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Belwin Master Solos (Alto Saxophone), Vol 1: Easy
9,90 CHF *
zzgl. 3,50 CHF Versand

Part of the Belwin Master Solos series and prepared under the direction of Keith Snell, each of these folios contains a collection of graded solos that should prove to be a useful source for both student and teacher. Each folio contains works from the Renaissance, Baroque, and Classical periods, folk songs and traditional tunes, and a section of original compositions. For the student, these solos will provide material with specific challenges in rhythm, range, and key signatures in music that is both instructive and enjoyable to perform. Each solo has been selected and arranged to challenge the student in different areas of technique and musicianship while providing exposure to a variety of musical styles that are enjoyable to perform. In addition, special attention has been given to creating accompaniments that are easy to play yet at the same time add interest to the solo parts. Available in easy, intermediate, and advanced levels as are the Belwin Master Duets. Contains: Abendlied (Kolher) * Andante (Zollner) * Aria from the Oratorio Belshazzar (Handel) * Fandango (Terego) * Gavotte (Handel) * Gavotte (Purcell) * Little Suite for Alto Saxophone (Fanfare/Adagio/Dance/Allegro) (Snell) * Rigaudon (Fischer) * Three Renaissance Pieces (Fanfare/The Nightingale/The King's Dance) (Snell) * Two German Dances (Quadrille/Deutscher Tanz) (Anonymous) * Winter Dreams (Soderstromm).

Anbieter: Orell Fuessli CH
Stand: 30.09.2020
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