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Berlioz, Hector: Les Troyens

Grand Opéra en cinq actes

vocal/choral score

Edited by Macdonald, Hugh
Transcribed by Wernhard, Eike
Translated by Werle, Simon
Zasedba: Vocal
Zasedba: 3SSolo/2MezSolo/ASolo/4TSolo/2BarSolo/7BSolo/Mixed choir: SSTTBB/Fl-Picc/2Fl/Fl-Picc/2Ob/2clarinet/4bassoon/4Hn/2Trp/2Pist/3trombone/Op/Tb/timpani/percussion/6/8harp/Str/Bühnenmusik: 3Ob/3trombone/9Saxhorns/timpani/percussion
Serija: Bärenreiter Urtext
Obdobje: Romantic
Trajanje: 2:30
Weight: 1.789 kg
Založba: Bärenreiter
Številka artikla: BA5442-90
Založniška številka: BA05442-90
ISMN: 9790006506484
The vocal score to 'Les Troyens ' presents the text Berlioz conceived as a great five act opera. During the composition of this work between 1856 and 1858 and up until June 1863, Berlioz perceived 'Les Troyens ' as one opera. Because of performance difficulties, the composition had to be divided into two operas, 'La Prise de Troie ' and 'Les Toyens ŕ Carthage '.
Berlioz began to write the libretto in Paris in April 1856 and completed it on June 26th of that same year. The dramatic material of acts III-V is taken from books 1 and 4 of Virgil's ' Aeneid '.
The two trojan acts are loosely based on books 1 and 2 by Virgil.
Berlioz wrote in May 1861: 'I am sure that I have created a great work, greater and superior to anything I have ever written before'.
The vocal score is based on the three-volume New Berlioz Edition and also on the one-volume vocal score edition that under Berlioz's supervision, was privately printed in 1861-62 and then distributed. The appendix contains two complete scenes: The Sinon scene from the first act and the original finale from the fifth act.
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

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