published at www.batonmusic.nl

Rossini’s ‘La Gazza Ladra’ (The Thieving Magpie) is a melodrama or ‘opera semiseria’ in two acts on a libretto by Giovanni Gherardini based on ‘La pie voleuse’ by Jean-Marie-Theodor Badouin d’Aubigny and Louis-Charles Caigniez.

‘La Gazza Ladra’ is best known for the overture, which is musically notable for its use of snare drums. The unique inspiration in the melodies is extreme and invokes the image of the opera’s main subject: a clever, devilishly thieving magpie.

Publisher: → Baton Music

explanation text: © batonmusic

In 1880, Tschaikowsky composed the ‘Capriccio Italien, Opus 45’, as a fantasy for orchestra. He was inspired by a trip he took to Rome, during which he saw the Carnival in full swing, and is reminiscent of Italian folk music and street songs. As these  elements are treated rather freely initially he intended this piece to be called ‘Italian Fantasia’. Tschaikowsky even uses as the introduction a bugle call that he overheard from his hotel played by Italian cavalry regiment. Even nowadays, ‘Capriccio Italien’ is still one of Tschaikowsky most popular compositions.

Publisher: → Baton Music
Demo score: → Capriccio Italien

As a composer Lehár started with contributions to the opera-genre but the great triumph of his first operetta ‘Die lustige Witwe’, (The merry widow), in 1905 made him clear that he had to give his talents to the operetta.

‘Die lustige Witwe’ was not only the start of a new flourishing period, it is also one of the absolute highlights in the whole operetta-repertoire.

The operetta originally had no overture but Lehár wrote one for the Vienna Philharmonic to perform at his 70th birthday concert in April 1940.

Publisher: → Baton Music
Demo score: → Die Lustige Witwe Overture

Many see Wagner’s ‘Tristan und Isolde’ as the beginning of the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. The ‘Prelude and Liebestod’ is a concert version of the overture and Isolde’s aria ‘Mild und leise’ in the 3rd act. The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The ‘Liebestod’ can be performed either in a purely orchestral version, or with a soprano singing Isolde’s vision of Tristan resurrected.

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(explanation text: © Baton Music Eindhoven)

Belgian composer César Franck Composed his Mass, Opus 12 in 1872. In the fifth movement of this mass he incorporated the strophe of ‘Sacris solemniis’ that begins with the words ‘Panis Angelicus’ (‘bread of Angels’). Franck did set this strophe for tenor voice, harp, cello, and organ.

Later, ‘Panis Angelicus’, became very popular in all kind of settings and is performed  by tenors Luciano Pavarotti, José Carreras, Plácido Domingo, and Roberto Alagna, as well as by the sopranos Elisabeth Schwarzkopf, Jessye Norman, Magda Olivero, and Renata Scotto.

In this edition ‘Panis Angelicus’ is transcribed for a Tenor, Symphonic Band and a Mixed Choir (ad lib.).

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The ‘Naughty Limericks’ (Concerto for Orchestra No. 1) from Russian composer Rodion Shchedrin creates striking impressions. This one-movement piece is not a ‘Concerto’ in the ‘Bartokian’ sense. ‘Naughty Limericks’ lives up to its title, with a scampering pace and satirical harmonies strongly reminiscent of Shostakovich in his ironic mode, and to a lesser extent of Prokofiev. ‘Naughty Limericks’ is an imprecise translation of Shchedrin’s title – but it captures the concerto irreverent zest. It’s a brilliantly composed work which is well worth of concert exposure.

Publisher: → Baton Music
Demo score: → Naughty Limericks

‘La forza del destino (The Power of Fate) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, ‘Don Álvaro o la fuerza del sino’, by Ángel de Saavedra.

‘La forza del destino’ is frequently performed and in addition, the overture (to the revised version of the opera) is part of the standard repertoire for orchestras, often played as the opening piece at concerts.

Publisher: → Baton Music

The ‘Duetto buffo di due gatti’ (Comic duet for two cats) is a popular performance piece for two sopranos which is often performed as a concert encore. The ‘lyrics’ consist entirely of the repeated word ‘miau’ (‘meow’).

While the piece is typically attributed to Gioachino Rossini, it was not actually written by him, but is instead a compilation written in 1825 that draws principally on his 1816 opera, Otello.

Sometimes the duet is also performed by a soprano and a tenor, or a soprano and a bass.

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