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Books : Entertainment : Sheet Music & Scores : Composers : Purcell
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John F. Runciman (1866-1916) was the author of Old Scores and New Readings (1901), Wagner (1905), Haydn (1908), Purcell (1909) and Richard Wagner (1913). "We once had a glorious school of composers. It departed, with no sunset splendour on it, nor even the comfortable ripe tints of autumn. The sun of the young morning shone on its close; the dews of dawn gleam for ever on the last music; the freshness and purity of the air of early morning linger about it. It closed with Purcell, and it is no hyperbole to say the note that distinguishes Purcell's music from all other music in the world is the note of spring freshness. The dewy sweetness of the morning air is in it, and the fragrance of spring flowers."
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Based on Shakespeare’s A Midsummer Night’s Dream, this work by one of England’s greatest composers features all the fine qualities for which Henry Purcell is celebrated—wonderful invention, keen dramatic instinct, and lively characterizations. Highlights include the lovely soprano air, "O let me weep," a series of songs about the seasons, and the magnificent bass solo, "Next winter comes slowly." Reproduced from an early authoritative score, it is certain to be prized by musicians and music lovers alike.
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Henry Purcell's only Opera proper, Dido and Aeneas is a magnificent example of English Baroque music, with lively dances and passionate aria sections that demonstrate Purcell's masterful compositional and choral writing skill. Based on a libretto by Nahum Tate it was first performed in 1689, comprises three acts and lasts about an hour. Filled with dramatic lyricism with a wide range of musical and emotional content, it is a monumental Baroque composition considered to be one of England's foremost operatic works. Dido and Aeneas contains all the elements for a successful opera including a shipwreck, sorcery, love and lost love and death. This is the Vocal and Full Operatic Score, edited by Margaret Laurie and Thurston Dart. With its interesting and imaginative realization and authentic editorial process this is an excellent edition that features some performing choices and variants and also includes the reconstructed prologue.
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Near-complete collection of great English composer's keyboard compositions, including the 8 suites, the core of his keyboard works. Also included are many miscellaneous one-movement pieces: airs, trumpet tunes (for harpsichord solo), grounds, preludes, dances, etc. Edited with a preface by noted music scholar William Barclay Squire.
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Most of the distinctive Purcell realizations by Benjamin Britten, vocal parts edited by Peter Pears, have been out of print for sone years. This new edition collects 49 selections for high voice and 45 selections for medium/low voice. Includes 9 songs from Harmonia Sacra, 24 solo songs and six duets from Orpheus Britannicus, "The Queen's Epicedium," and selections from Dido and Aeneas and The Fairy Queen.
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Most of the distinctive Purcell realizations by Benjamin Britten, vocal parts edited by Peter Pears, have been out of print for some years. This new edition collects 49 selections for high voice and 45 selections for medium/low voice. Includes 9 songs from Harmonia Sacra, 24 solo songs and six duets from Orpheus Britannicus, "The Queen's Epicedium," and selections from Dido and Aeneas and The Fairy Queen.
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Sparkling miniature opera, filled with intense drama and elegant song, lasts no more than an hour, yet unfolds a virtuoso range of expressive music, from a high-spirited sailors' dance to Dido's touching lament "When I am laid in earth." First presented in 1689, it remains the oldest operatic work still popularly performed. Authoritative early edition.
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Laurindo Almeida (1917-1995) belongs to an elite group of Brazilian/American guitarists, who by composing important works for the guitar reinstated the instrument in his native country as worthy of serious musical study. Stylistically, his compositions synthesize his classical background, Afro-Brazilian rhythms, traditional Brazilian music, and American jazz. This collection presents Almeida's solos preserving the original left and right hand fingerings. The fingering is unique and tells us something about his skills as a professional guitarist. It also reflects the Brazilian school of guitar technique in the 1930's. Written in standard notation only.
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An original concept: in one volume, a study-size score of a major musical work, and a comprehensive body of tools for the study of that work.
Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.
A score embodying the best available musical text.
Historical background-what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.
A detailed analysis of the music, by the editor of the volume or another well-known scholar.
Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.
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Songs by the great English Baroque composer Henry Purcell, realized by Britten, most suitable for student singers have been selected for this collection. Contents: Fairest Isle * Hark the ech'ing air * How blest are shepherds * I attempt from love's sickness to fly * I'll sail upon the Dog-star * If music be the food of love (1st version) * Man is for the woman made * Music for a while * On the brow of Richmond Hill * There's not a swain of the plain * Turn then thine eyes * We sing to him.
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An opera with instrumental parts for strings, keyboard continuo, plus optional guitar for dances
This edition, with English and German texts, is based on that by Edward Dent (first published in 1925), but includes more recent scholarship. The preface presents a history of the work. The score is both scholarly and practical for performers.
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Songs by the great English Baroque composer Henry Purcell, realized by Britten, most suitable for student singers have been selected for this collection. Contents: Fairest Isle * Hark the ech'ing air * How blest are shepherds * I attempt from love's sickness to fly * I'll sail upon the Dog-star * If music be the food of love (1st version) * Man is for the woman made * Music for a while * On the brow of Richmond Hill * There's not a swain of the plain * Turn then thine eyes * We sing to him.
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Fifteen Songs and Airs for Soprano or Tenor from the Operas and the Odes Book Brand: Alfred Publishing Model Number: 00-K06851
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This collection presents guitar duets by Laurindo Almeida and musical friends plus related photographs of historical interest. Features Radames Gnattali, "Pixinguinho" (Alfredo da Rocha Viana Filho - "Father of the Samba"), Heitor Villa-Lobos, Charlie Byrd, Ernesto Nazareth, and "Garoto" (Anibal Augusto Sardinha). In addition to music from Brazil this collection addresses a variety of Latin American styles with arrangements of melodies from Venezuela, Cuba and Mexico. A piece by the American film composer, Stanley Wilson is introduced here for the first time. The collection ends with captivating duet arrangements of the haunting Intermezzo Melanc lico by Manuel Maria Ponce and Tango Español by Isaac Alb niz.
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This collection of 16 guitar duets offers professionals, teachers or students a wide variety of styles from the Baroque to the Post-Romantic periods. Some of this music is unique to the guitar repertoire. For example, the six Serenades introduce some of the most popular music of the late 19th century by Georges Bizet, Franz Drdla, Enrico Toselli, Moritz Moszkowski, Ricardo Drigo and Sigmund Romberg. The collection ends with selected works by Tchaikovsky and Brahms. These arrangements are skillfully crafted and will delight the intermediate student.
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Downloadable sheet music file
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This book, the first general survey of Purcell's music in a generation, is published to coincide with the tercentenary of his death. It is the first book to explore in detail the historical context of Purcell's music, dealing fully with the institutions he worked for, the origin and development of the various genres to which he contributed, and the sources of his music. In the process, a new picture of Purcell's creative personality emerges: a composer obsessed with formal counterpoint, extraordinarily well-versed in English music of the previous century, yet eager to embrace up-to-date features of the Italian style in the 1680s.
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The drama in this work is adapted from Shakespeare's A Midsummer Night's Dream. The work may be perfomed with a minimum of five soloists: Soprano I, Soprano II, Alto or countertenor, or Tenor, Tenor, Bass. The orchestral scoring consists of two recorders, two oboes, two trumpets, timpani, strings and continuo.
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This book was the first comprehensive survey of Purcell's dramatic music. It is concerned as much with the London theatre world - playhouses, poets, actors, singers, producers - as with the music itself. Purcell wrote music for more than fifty plays of various types, most of them produced at the Theatre Royal, Drury Lane, between 1690 and 1695. The songs, dialogues, choruses, act tunes and larger musical scenes are often active participants in the spoken drama, not simply grafted-on entertainments. The extraordinary semi-operas - Dioclesian, King Arthur, and The Fairy-Queen - are placed in the context of a theatre that thrived mainly on plays that, though less lavish, were no less musical. The traditional picture of a composer trapped within a degraded musical society, his natural predilection for opera ignored, is redrawn to show a consummate dramatist exploiting a remarkably musical theatre.