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Ariadne auf Naxos

Klassische Musik/Oper • 1916 • Texter: Hugo von Hofmannsthal
 
 
   
 

Grossmächtige Prinzessin (Zerbinetta's Aria, Complete)

Titel nach Uploader: Grossmächtige Prinzessin (Zerbinetta's Aria, Complete) from Ariadne auf Naxos - Accessible Accompaniments Edition


11.99 USD

Verkäufer Nicole DiPaolo
PDF, 612.9 Kb ID: SM-000379573 Datum des Uploads: 20 Jan 2020
Instrumentierung
Klavier, Sopran
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Klavierauszug mit Singstimmen
Arrangeur
Nicole DiPaolo
Verleger
Nicole DiPaolo
Sprache
Deutsch
Schwierigkeitsgrad
Sehr schwer
The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of "Grossmächtige Prinzessin," Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.

This aria is also available to purchase in smaller sections, as commonly offered in auditions, at reduced prices. They include a score beginning at "Noch glaub' ich" and one beginning at "So war es mit Pagliazzo." To see previews of those sections within the aria, please visit their respective MusicaNeo pages. The edition you are viewing here is the complete aria, covering rehearsal nos. 100-130.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
  • Kommentare

Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich)

Titel nach Uploader: Grossmächtige Prinzessin (Zerbinetta, from Noch glaub' ich) from Ariadne auf Naxos - Accessible Accompaniments Edition


8.99 USD

Verkäufer Nicole DiPaolo
PDF, 493.1 Kb ID: SM-000379574 Datum des Uploads: 20 Jan 2020
Instrumentierung
Klavier, Sopran
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Klavierauszug mit Singstimmen
Arrangeur
Nicole DiPaolo
Verleger
Nicole DiPaolo
Sprache
Deutsch
Schwierigkeitsgrad
Sehr schwer
The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of "Grossmächtige Prinzessin," Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from "Noch glaub' ich" and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.

In addition to the current cut, one beginning at "So war es mit Pagliazzo" is also available. To see previews of those sections within the aria, please visit their respective MusicaNeo pages.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
  • Kommentare

Grossmächtige Prinzessin (Zerbinetta, from So war es)

Titel nach Uploader: Grossmächtige Prinzessin (Zerbinetta, from So war es) from Ariadne auf Naxos - Accessible Accompaniments Edition


7.49 USD

Verkäufer Nicole DiPaolo
PDF, 416.1 Kb ID: SM-000379575 Datum des Uploads: 20 Jan 2020
Instrumentierung
Klavier, Sopran
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Klavierauszug mit Singstimmen
Arrangeur
Nicole DiPaolo
Verleger
Nicole DiPaolo
Sprache
Deutsch
Schwierigkeitsgrad
Sehr schwer
The first of its kind, and the sixth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of "Grossmächtige Prinzessin," Zerbinetta's famous aria from Strauss's Ariadne auf Naxos (second version, 1916). Please note that the version on this page is a cut beginning from "So war es mit Pagliazzo" and the complete aria, from rehearsal nos. 100-130, is available separately. Coloratura sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.

In addition to the current cut, one beginning at "Noch glaub' ich" is also available. To see previews of that section within the aria and a preview of the complete aria, please visit their respective MusicaNeo pages.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
  • Kommentare

Sein wir wieder gut (Composer's Aria)

Titel nach Uploader: Sein wir wieder gut (Composer's Aria) from Ariadne auf Naxos - Accessible Accompaniments Edition


7.49 USD

Verkäufer Nicole DiPaolo
PDF, 345.0 Kb ID: SM-000379564 Datum des Uploads: 20 Jan 2020
Instrumentierung
Klavier, Sopran, Mezzosopran
Partitur für
Solo, Klavierbegleitung
Art der Partitur
Klavierauszug mit Singstimmen
Tonart
C-Dur
Arrangeur
Nicole DiPaolo
Verleger
Nicole DiPaolo
Sprache
Deutsch
Schwierigkeitsgrad
Schwer
The first of its kind, and the first in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Sein wir wieder gut," the Composer's Aria from Richard Strauss's Ariadne auf Naxos (1912, rev. 1916). Mezzo-sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the cluttered and difficult-to-decipher vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury or constantly worrying that they may be drowning out the singer.

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias).
  • Kommentare

Es Gibt Ein Reich

Druckbare Notendatei, 1 Kopie • 8 Seiten, ID: SM-000480937
3.99
 
USD
Instrumentierung
Klavier, Stimme
Genre
Klassische Musik
  • Kommentare

Grossmatige Prinzessin

Druckbare Notendatei, 1 Kopie • 21 Seiten, ID: SM-000480942
4.99
 
USD
Instrumentierung
Klavier, Stimme
Genre
Klassische Musik
  • Kommentare

Sein wir wieder gut

Druckbare Notendatei, 1 Kopie • 5 Seiten, ID: SM-000480957
4.99
 
USD
Instrumentierung
Klavier, Stimme
Genre
Klassische Musik
  • Kommentare
 
 
   
 
 
   
 
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