| +++ Bärenreiter News May 2025 +++ |
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| Bärenreiter News – (May 2025) |
Dear musicians
The voice is the most human “instrument”. We all carry it with us, we all can sing. The German State Music Councils have therefore declared the voice the “Instrument of the Year 2025”.
Bärenreiter's very first edition was a folk song, and since then thousands of editions of vocal music have been published.
In this newsletter, we would like to introduce you to some lesser-known editions for the voice.
You are also welcome to browse our new website for opera vocal scores, editions for solo voice or vocal scores of choral works.
Please find detailed information and sample pages of all our new publications on our homepage. You can order all editions directly in our webstore.
Best regards
Your international sales and marketing team |
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| | New critical performing edition at the forefront of Beethoven scholarship
German lied texts printed separately with an English translation by the editor
Extensive and informative Introduction (Eng/Ger) |
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| Beethoven, Ludwig van | | An die ferne Geliebte for Voice and Piano op. 98 | BÄRENREITER URTEXT
Editor: Cooper, Barry | | BA 7862 | EUR 15.50 | Singing Score | 9790006566976 | “My angel, my all, my self”. With these words Beethoven, in July 1812, began his passionate love letter to a woman whose identity has eluded discovery to the present day. Was he perhaps addressing the same woman four years later when he composed “An die ferne Geliebte”, his song cycle on poems by Alois Jeitteles?
Barry Cooper discusses this and many other questions in the Introduction to his new edition of Beethoven’s only song cycle. Not only does he present a meticulously edited musical text, he also delves into questions of performance practice that previous critical editions have overlooked. | | |
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| | With the Urtext of the "New Berlioz Edition"
First scholarly-critical edition
Detailed preface (Eng ./ Ger.)
English translation to each song |
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| Berlioz, Hector | | Songs for High Voice and Piano | BÄRENREITER URTEXT
Editor: Rumbold, Ian | | BA 5984 | EUR 39.95 | Singing Score | 9790006533053 | Berlioz composed songs while still a child and in 1819, at the age of sixteen, he had a romance published at his own expense. Though he later turned primarily to large-scale forms, he never entirely abandoned the art song, for he was constantly inspired by poetry. His settings reveal a wealth of luxuriant melody that he viewed with pride to the end of his days. Many of his songs were subsequently scored for full orchestra.
This volume contains songs from Berlioz’s early and middle periods. It is based on the scholarly -critical New Berlioz Edition which gathers together all of his songs for the very first time and presents them in a reliable text at the cutting edge of scholarship. A detailed preface discusses the genesis and transmission of each song and outlines its source materials. Each song is preceded by its words in the original language and in English translation.
Thus, the volume provides an ideal foundation for rediscovering this romantic repertoire. | | | | |
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| | Opera arias for soprano in French
Suitable for professional opera singers and voice students
Practical, well manageable piano reduction
Ideal for singing lessons, auditions and recitals |
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| Gluck, Christoph Willibald | | French Operatic Arias | BÄRENREITER URTEXT
Editor: Dratwicki, Benoît | | BA 8166 | EUR 44.95 | Vocal Score | 9790006563340 | This edition contains French operatic arias for soprano from the works which opera reformer Christoph Willibald Gluck composed on commission for the Paris Opera.
These include:
– Iphigénie en Aulide
– Cythère assiégée
– L’Arbre enchanté
– Écho et Narcisse
About the series:
In collaboration with the Centre de musique baroque de Versailles (CMBV) all arias from Christoph Willibald Gluck’s French operas will be published for the first time in a collection of four volumes, ordered by voice type. With their wide variety of arias and informative texts these volumes constitute a valuable resource of works by one of the preeminent composers of the 18th century for singing lessons, auditions and recitals. In addition to the bilingual Foreword (Fr/Eng), the informative text section covers, for each aria, a brief dramaturgical placement into the context of the respective plot as well as a literal English translation.
Also available:
BA08167 | Airs d'opéra français / French Operatic Arias – Dessus et grand dessus / Soprano and Mezzo-soprano
BA08169 | Airs d'opéra français / French Operatic Arias – Basse-taille / Baritone | | |
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| | Unbeatable collections of Handel’s most beautiful arias and ensembles
Detailed foreword (Eng/Ger) by Donald Burrows on Handel’s singers and on the arias in the context of the operas
Translations of the Italian aria texts (Eng/Ger) |
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| Händel, Georg Friedrich | | Duets, Trios and Ensemble Scenes from Handel's Operas | BÄRENREITER URTEXT
| | BA 4297 | EUR 35.50 | Singing Score | 9790006537297 | Italian opera was at the centre of Handel’s output for over 35 years with solo arias constituting one of the most important elements in Baroque opera. Dramatic roles, with their various moods and reactions, are characterised through arias. A large number of Handel’s operas also contain at least one entire scene for two to three voices. These numbers make use not only of similar lyrical or expressive forms of expression such as the arias, but also employ contrapuntal elements as found in Handel’s chamber music.
Based on the Bärenreiter vocal scores, three volumes were published which contain some of Handel’s best-known arias, duets and trios, together with less well-known numbers of equally high musical quality. The arias are arranged chronologically, reflecting the order in which the operas were composed.
The three volumes:
Female roles for high voice (BA 4295)
Male roles for high voice (BA 4296) | | |
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| | The edition contains two inserted scores with the musical text, one for the harmony instrument, the other for the low string instrument
An extensive Foreword (Ger/Eng) is only available online, under “Extras”
Libretto edition by Sara Elisa Stangalino with translations (Eng/Ger) |
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| Monteverdi, Claudio | | Lamento d'Arianna (Monodia) / Pianto della Madonna (Contrafactum) for Solo Voice and Basso continuo | BÄRENREITER URTEXT
Editors: Schulze, Hendrik / Stangalino, Sara Elisa | | BA 8796 | EUR 26.95 | Full Score and two Performance Scores | 9790006567126 | | Claudio Monteverdi’s 1608 opera “Arianna” is best-known for the title character’s lament sung by Virginia Ramponi Andreini. Contemporary voices praised the depth of expression and the power of affect in this continuo-accompanied piece for solo voice. The interest in this operatic scene now known as the “Lamento d’Arianna” led to many transcriptions and finally also printed versions and contrafacts being circulated, such as the Marian lament “Pianto della Madonna” from 1640/41, which is available in this edition. | | |
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| | Urtext edition based on the New Schubert Edition
Trilingual texts (Ger/Eng/Fr) with an informative Foreword, notes on the arias’ dramatic context, and literal translations of the aria texts into English and French
Idiomatic, playable piano part |
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| Schubert, Franz | | Selected Opera Arias for Baritone | BÄRENREITER URTEXT
Editor: Radelet, Patrick | | BA 5655 | EUR 32.50 | Vocal Score | 9790006562152 | | Schubert’s operas contain a wealth of magnificent music. This anthology of opera arias for baritone with piano accompaniment presents a delightful selection from Des Teufels Lustschloss D 84, Adrast D 137, Die Freunde von Salamanka D 326, Alfonso und Estrella D 732, and Fierabras D 796. An enclosed violoncello part for the aria “Wo find ich nur den Ort, mein Haupt zur Ruh zu legen” (Alfonso und Estrella) makes it possible to perform this piece in a chamber music setting. | | |
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| | All songs in their original key
Comprehensive foreword (Eng/Ger) and critical commentary (Ger)
Includes an English translation of the lied texts by Richard Stokes (The Book of Lieder) printed separately |
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| Schumann, Robert | | Song Cycle op. 24 | BÄRENREITER URTEXT
Editor: Ewert, Hansjörg | | BA 7852 | EUR 20.50 | Singing Score | 9790006539673 | After a long time spent writing only for piano, Schumann produced a true outburst of lieder, inspired by the poetry of Heinrich Heine: “What a blessing it is, to write for the voice!” Schumann wrote to his beloved Clara. It is as though a knot was untied while he was writing the Heine-Liederkreis, op. 24. Retrospectively, Schumann wrote that this new poetic spirit had inspired the composition of lieder to such an extent that it had become the only genre to make significant progress since the time of Beethoven.
Indeed these nine songs, which represent the only complete setting of the underlying Heine cycle, came so close to the spirit of the poet that a new epoch of lied composition was founded. This new edition of Schumann’s first collection of lieder is based primarily on the first publication under consideration of the autograph manuscript. | | |
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| | Hugo Wolf's songs for voice and organ
Sensitive arrangements by Max Reger
Welcome addition to the church music repertoire
Urtext edition |
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| Wolf, Hugo | | Songs for Solo Voice and Organ | BÄRENREITER URTEXT
Arranger: Reger, Max | | BA 8418 | EUR 34.50 | Singing Score | 9790006523658 | The great veneration that Max Reger (1873–1916) bestowed on a fellow-composer thirteen years his senior, Hugo Wolf (1860–1903), is evident in the many arrangements he produced between 1898 and 1914. Reger seems to have spent large parts of his relatively brief career researching and re-interpreting Wolf’s music.
This Urtext edition contains ten songs from the Spanish Songbook and four songs to poems by Eduard Mörike , all in arrangements by Reger that are noteworthy for their highly sensitive approach to the originals. What was originally chamber music with a spiritual inclination has become church music suitable for performance in services and sacred concerts. The organ arrangements from the Spanish Songbook were reviewed in “Die Musik ” by no less than Karl Straube , the cantor at St. Thomas ’s in Leipzig .
However, the 1908 publication was marred by many mistakes that necessitated the present thoroughly revised scholarly-critical edition. | | |
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| | Revised and newly engraved
Detailed foreword (Ger/Fr/Eng) on the work’s genesis and reception history, together with a summary of the plot
Practical, easy-to-play piano reduction |
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| Gluck, Christoph Willibald | | Iphigénie en Aulide | BÄRENREITER URTEXT
Editor: Flothuis, Marius | | BA 5849-90 | EUR 78.00 | Vocal Score | 9790006562169 | “Iphigénie en Aulide” is the first of six operas that Gluck composed for the Académie Royale de Musique. In keeping with his plans for operatic reform, he sought to create noble, expressive and natural melodies that did justice to every language and every national spirit while eliminating the “ridiculous distinction” between national styles of music. Although the première was coolly received at first by the contemporary press, “Iphigénie” developed into a tremendous success. The onrush of listeners was said to have been so great that the management of the Paris Opéra considered placing guards in front of the theatre.
Now Bärenreiter are issuing the carefully revised and corrected vocal score in a new engraving adapted to meet their current standards. | | |
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| | Urtext edition based on the full score published in the series „L’Opéra français“
Informative preface by the editor (French/Ger/Eng)
Practical, playable piano reduction
With singable German translation |
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| Gounod, Charles | Faust
Version with recitatives | BÄRENREITER URTEXT
Editor: Prévost, Paul | | BA 8713-90 | EUR 71.00 | Vocal Score | 9790006537952 | Charles Gounod’s international renown is based on the success of his opera „Faust“ after Goethe’s drama: The aging Faust makes a pact with the devil. He sells his soul to Mephistopheles and in return gets back his youth – and he experiences new happiness in love when he meets the young Marguerite.
The vocal score to Gounod’s masterpiece (completely sung version) assembles many popular numbers such as Marguerite’s “Jewel Aria” and the “Lied of the King in Thule” as well as Mephistopheles’s “Rondo of the Golden Calf” and Faust’s Cavatina “Salut ! demeure chaste et pure”. | | |
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| | Urtext edition based on the “Halle Handel Edition”
Includes a singing translation in German
Extensive bilingual Foreword (Ger/Eng)
Idiomatic uncluttered piano reduction |
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| Händel, Georg Friedrich | | Agrippina HWV 6 | BÄRENREITER URTEXT
Editor: Sawyer, John E. | | BA 4092-90 | EUR 67.00 | Vocal Score | 9790006543717 | Handel’s “Agrippina” HWV 6 was performed with great success at the 2015 International Handel Festival in Göttingen (Germany) using the new Bärenreiter edition including the performance material and this vocal score.
“Agrippina” is the last opera that Handel completed and premiered in Italy. The excellent libretto is one of the few original opera libretti that he set to music. The plot is tightly constructed, the characters sharply etched and equipped with a wide range of human emotions.
Agrippina is married to her third husband, the Roman emperor Claudius. After he is presumed dead, she attempts with deception and intrigue to place her son Nero on the throne.
The vocal score includes all the numbers from the appendix of the full score. These were used either during the successful Venetian series of performances in 1709/10 or were deleted or replaced by other numbers, versions and variants. | | |
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| | Urtext edition based on the “Halle Handel Edition” (HHA)
With literal German and English translations
Comprehensive Foreword (Ger/Eng)
Idiomatic uncluttered piano reduction |
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| Händel, Georg Friedrich | | La Bellezza ravveduta nel trionfo del Tempo e del Disinganno HWV 46a | BÄRENREITER URTEXT
Editor: Pacholke, Michael | | BA 10721-90 | EUR 39.50 | Vocal Score | 9790006568680 | Handel composed his first Italian oratorio “La Bellezza ravveduta nel trionfo del Tempo e del Disinganno” in 1707. It is based on an allegorical moral libretto written by Cardinal Benedetto Pamphili who also commissioned this work.
Disinganno (Illumination) and Tempo (Time) try to get the young, beautiful and frivolous Bellezza (Beauty) to recognise the true values of life and to act accordingly. The audience accompanies Bellezza in her spiritual development, in which she increasingly distances herself from Piacere (Pleasure) and listens more and more to Tempo and Disinganno.
The oratorio contains some of the most beautiful music Handel ever composed. This includes the enchanting aria “Lascia la spina”, in which he uses the music of the sarabande from the opera “Almira”, composed in Hamburg in 1704, and which then achieved immortal fame in “Rinaldo” (1711) as “Lascia ch’io pianga”. | | |
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| | Original French text with an underlying singable German translation
Clear musical notation, practice-orientated piano reduction
Detailed preface (Fr/Ger/Eng)
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| Halévy, Fromental | | La Juive / The Jewess | | Editor: Leich-Galland, Karl | | AE 340-90 | EUR 133.00 | Vocal Score | 9790500071341 | Against the backdrop of the July Revolution of 1830, two libretti were written for the Grand Opéra in Paris by Eugène Scribe, probably the most famous poet of the July Monarchy: “La Juive” and “Les Huguenots”. In this way, Fromental Halévy's opera “La Juive” (1835) and Giacomo Meyerbeer's opera “Les Huguenots” (1836) are closely linked to the political history of France, and the libretti of the two works contain almost identical passages due to their almost simultaneous creation.
Already during the several months of rehearsals, “La Juive” was subject to changes and, above all, cuts, possibly not always with the authors' consent. A detailed comparison of the sources leads to the conclusion that the opera existed in Paris and during the lifetime of its authors in a variety of changing guises. The distribution of roles was also initially different.
“La Juive” is part of a long tradition of operas dating back to the 17th century, in which the misdeeds of the powerful were presented as a lesson and deterrent. The premiere took place on 23 February 1835. The work developed into a steadily growing success with audiences, with over 500 performances in Paris alone by the end of the 19th century.
The vocal score is based on the full score revised and re-edited by Karl Leich-Galland in 2004 (AE00340). This new edition renders the work as it survived in contemporary vocal scores (M. Schlesinger, Brandus et Cie. and H. Lemoine) including “preventive” cuts made by the composer himself. | | |
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| Haydn, Joseph | | Orlando paladino Hob.XXVIII:11 | Urtext edition
Editor: Geiringer, Karl | | BA 4663-90 | EUR 63.00 | Vocal Score | 9790006537310 | On 6 December 1782, Haydn's opera “Orlando Paladino” was performed for the first time in the opera house of Eszterháza Castle on the occasion of Prince Nicholas of Eszterházy's name day. It was such an immediate success that twenty more performances followed in Eszterháza before the triumphal march across European stages began with performances in more than twenty cities.
The story of the knight Roland, an (unhistorical) nephew of Charlemagne, has been a popular literary source since the time of the minstrels, and its numerous variants have been set to music just as often, among others by Lully and Handel. In his musical setting, Haydn primarily highlights the cheerful and buffonesque elements of the source and shows his artistic humour anew in every bar of the work.
The vocal score is based on volume XXV/11 of the G. Henle Complete Edition “Works of Joseph Haydn”. | | |
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| | Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice
Comprehensive critical commentary (Eng) in the score
Idiomatic piano reduction |
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| Monteverdi, Claudio | | L'Orfeo | BÄRENREITER URTEXT
Editor: Alessandrini, Rinaldo | | BA 8793-90 | EUR 45.50 | Vocal Score | 9790006533121 | Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua.
When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”.
Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary.
This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. | | |
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| | | Easy-to-play practical piano score |
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| Mozart, Wolfgang Amadeus | | Ascanio in Alba K. 111 | BÄRENREITER URTEXT
Editor: Tagliavini, Luigi Ferdinando | | BA 4504-90 | EUR 65.00 | Vocal Score | 9790006449200 | On the occasion of the marriage of her son Archduke Ferdinand of Austria to the Princess Maria Ricciarda Beatrice of Modena , the Empress Maria Theresia commissioned the young Mozart to compose the work, Serenata Teatrale “ Ascanio in Alba”. The librettist the Viennese Abate Guiseppe Parini , one of the most outstanding poets of the 18th century, wrote a baroque-designed libretto, which paid homage to and congratulated the royal couple.
Mozart wrote the music in only a few weeks, from the end of August until 23 September 1771. The first performance took place on 17 October 1771 in Milan to rousing success. Shortly thereafter, Leopold Mozart wrote that his son's composition had so overpowered the main performance of Hasses opera, “Il Ruggierio ” from the previous day, that he could hardly describe it. The vocal score is based on the Urtext of the New Mozart Edition. | | |
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| | Urtext edition based on the Tatton Park manuscript
With a preface on the genesis of the work and an act-by-act summary of the plot (Eng/Ger)
With Dido's song "Ah! Belinda" in the version of "Orpheus Britannicus" from 1698 in the appendix |
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| Purcell, Henry | | Dido and Aeneas | BÄRENREITER URTEXT
Editor: Shay, Robert | | BA 8744-90 | EUR 25.95 | Vocal Score | 9790006563128 | The vocal score of Henry Purcell's famous opera "Dido and Aeneas" is based on the Bärenreiter Urtext edition of the full score. As its main source served the Tatton Park manuscript (National Trust), which was produced in the second half of the 18th century by Philip Hayes, who is known for his meticulous copies of Purcell's music. In addition, the sources from the Bodleian Library Oxford (Great Britain) and the Wakayama Prefectural Library (Japan) have been re-evaluated for this edition.
The piano arrangement was done by Timothy Roberts, who was harpsichordist in the Gabrieli Consort & Players under the direction of Paul McCreesh for many years and has published numerous editions, including for Faber Music and Oxford University Press.
The text section includes an informative preface by the editor Robert Shay on the work’s history with an account of the sources and an act-by-act summary of the plot.
The appendix to the vocal score contains Dido's song "Ah! Belinda" in the version of "Orpheus Britannicus" from 1698. | | |
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| | Urtext edition based on the full score published in the “L’Opéra français” series
Singable German translation from the Weimar premiere
Informative Foreword by the editor (Ger/Fr/Eng)
Idiomatic managable piano reduction |
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| Saint-Saëns, Camille | | Samson et Dalila | BÄRENREITER URTEXT
Editors: Jacob, Andreas / Guilloux, Fabien | | BA 8710-90 | EUR 52.00 | Vocal Score | 9790006537891 | Saint-Saëns’ setting of the biblical story of Samson, a hero equipped with superhuman powers, and his seduction by the Philistine Dalila is considered his magnum opus for the musical stage. It stands alongside Gounod’s “Faust” and Bizet’s “Carmen” among the most popular operas in the French repertoire.
Lust, hate, frailty and religious war are the ingredients of the plot. Among other things, the sensual music includes Dalila’s famous arias “Mon coeur s’ouvre à ta voix” and “Printemps qui commence”. The Bärenreiter vocal score, newly engraved with a clear presentation, contains Richard Pohl’s authentic singable translation of the libretto used at the Weimar premiere in 1877. | | |
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| | Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions” edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).
Original Italian libretto with singable German translation
Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.
Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabino”
Idiomatic piano reduction |
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| Salieri, Antonio | | Prima la musica e poi le parole | BÄRENREITER URTEXT
Editors: Betzwieser, Thomas / La Salvia, Adrian | | BA 8811-90 | EUR 41.50 | Vocal Score | 9790006542826 | A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart’s “Schauspieldirektor” whilst Antonio Salieri’s “Prima la musica e poi le parole” was performed by the Italian court singers and musicians. This charming opera satire belongs to the genre of “metamelodramma” in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the librettist, composer and prima donna, appear as characters on the stage and are presented in a humorous self-reflection. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s “Giulio Sabino” in his insert arias, thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be an early forerunner to Richard Strauss’s “Capriccio”.
The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editions”. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino” have also been incorporated. | | |
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| | Urtext edition based on the “New Schubert Edition”
Detailed foreword (Ger/Eng) by Christine Martin, including information on the work’s genesis, reception and performance history
Uncluttered idiomatic piano reduction |
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| Schubert, Franz | | Fierabras D 796 | BÄRENREITER URTEXT
Editors: Denny, Thomas A. / Martin, Christine | | BA 5557-90 | EUR 83.00 | Vocal Score | 9790006544479 | Composed in 1823 but not performed during his lifetime, Franz Schubert’s Fierabras is a “number opera” with spoken dialogue in the manner of opéra comique. It is based on the medieval legends associated with Charlemagne, including that of Eginhard and Emma, and draws on the old French heroic epic (chanson de geste).
Emma, the daughter of Charlemagne secretly loves the knight Eginhard who is not befitting of her rank. The heathen Moorish prince Fierabras who, after being defeated by Charlemagne, falls into French captivity and converts to Christianity, is also in love with Emma. His sister Florinda on the other hand loves the Franconian knight Roland who is being held prisoner by the Moors and whom she helps to escape. After several military conflicts where Charlemagne’s army finally conquers the Moors, the lovers reunite. Only Fierabras who is reprieved, renounces his love and accepts the liaison between Emma and Eginhard. | | |
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| Isherwood, Nicholas | | The Techniques of Singing | |
| BVK 1861 | EUR 67.00 | Book and CD | 9783761818619 | The music of the 20th and 21st centuries demands a notably larger spectrum of abilities than traditional vocal literature. Nicholas Isherwood describes these techniques with numerous examples, gives practice tips and demonstrates the techniques on the CD included with this book.
Using Berio’s “Sequenza III” as an example, Isherwood shows how a singer can learn such a work, step by step. The book also includes an overview of solo vocal repertoire and makes reference to pieces that might be suitable for a singer with little experience in the music of the 20th and 21st centuries.
Composers will also benefit from this book, thanks in particular to information on vocal registers, their limits and possibilities. In addition, the musical examples provide an insight into various notation possibilities.
Includes chapters on the following themes:
- From whispering to screaming
- The use of electronic amplification
- Micro-intervals
- Multiphonics
- Vibrato
- Register
- Flexibility
- Singing and acting
- Improvisation
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Errors excepted; price changes and delivery terms subject to change without notice.
Responsible for content (i.S. des § 10 Abs. 3 MDStV): Ivan Dorenburg.
Your contact at Barenreiter: Carolin Jetter · [email protected] · Fax +49 (0)561 3105310
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