A repertoire anthology of opera arias from roles specific to the lyric-dramatic tenor, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical

A repertoire anthology of opera arias from roles specific to the tenor, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical aspects of

A repertoire anthology of opera arias from roles specific to the dramatic mezzo-soprano, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the

A repertoire anthology of opera arias from roles specific to the alto, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical aspects of

Whether the voice is lyric light or heavy, whether it can master coloratura, perhaps even has dramatic potential, singers with a lower voice and a special talent for the trouser role through to the heroine

Felix Mendelssohn Bartholdy, who was so frequently self-critical, apparently held his setting of the 42nd Psalm in very high esteem, as can be inferred from a letter of 5 August 1837 to Breitkopf

A repertoire anthology of opera arias from roles specific to the dramatic bass, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical aspects

A repertoire anthology of opera arias from roles specific to the lyric-dramatic bass, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical

A repertoire anthology of opera arias from roles specific to the lyric bass, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical aspects of

A repertoire anthology of opera arias from roles specific to the dramatic-coloratura soprano, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the

A repertoire anthology of opera arias from roles specific to the dramatic soprano, with special attention to the appropriate vocal criteria (range, tessitura, specifics, type of aria) and the practical

There are many composers of whom it is said today that they had gone back in time or had composed against contemporary taste. Camillo Schumann is one of these nearly forgotten composers. Schumann's tonal

There are many composers of whom it is said today that they had gone back in time or had composed against contemporary taste. Camillo Schumann is one of these nearly forgotten composers. Schumann's tonal

Tio, the little keyboard man, is just about to get to know his instrument properly – since his friends with their other instruments would like him to accompany them at the piano! That works, in fact,

Edited by Klaus Uwe Ludwig. For voice & organ. Preface in Ger. and Eng. Ten songs originally composed in Czech, for voice and piano. Score, 35 p.

Edited by Nick Pfefferkorn. Piano reduction by Gunther Ludwig. For bass trombone & orchestra (piano reduction). Urtext Edition based on the first edition, published by Breitkopf in 1832. Preface

For flute & piano reduction. First printing. Four movement work. Duration: ca. 21'. Score, 28 p. and part.

One of the best-known lieder cycles of the 19th-century, the Winterreise, composed in 1827 by Franz Schubert and ranked everywhere as one of the high points of the Romantic art lied, presents a

The clarinet in Clifford Odets's comedy Night Music is directly involved in the stage plot: it is played by the main character and characterizes his moods and actions. The composer Hanns Eisler's

Can Jews, Christians, and Muslims share their sacred music? The interreligious songbook Trimum, edited by Bettina Strubel, choir leader of the same-named society TRIMUM, says “yes!”

The thoroughbass was the basis of composed music for an entire music-history period. To anyone starting to deal with the music of the "continuo age" in terms of study and practice today, the new

Primo or Secondo? That makes hardly any difference in the new music book Primo & Secondo for piano students, first-year and beyond. The experienced piano pedagogue Martin Reich makes certain that his