Ermanno Wolf-Ferrari: Otto cori - Sheet music | Carus-Verlag

Ermanno Wolf-Ferrari Otto cori

a quattro e più voci dispari 1897

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The German-Italian composer Ermanno Wolf-Ferrari (a pupil of Josef Rheinberger) enjoyed great success with his comic operas at the beginning of the 20th century. His early work Die neugierigen Frauen (Inquisitive Women), which premiered in Munich in 1903, was later performed under Toscanini at New York’s Met. Wolf-Ferrari’s work reflects that fact that he grew up with two nationalities. The Otto cori for mixed choir display his attachment to the traditional forms of Italian music (madrigals, stornello, rispetto etc.) and are largely based on Tuscan folksong texts. Exploring love, longing, and death, Wolf-Ferrari’s Otto cori are both humorous and sophisticated, featuring piquant harmonies and varied instrumentation. Into this collection of Italian poems, Wolf-Ferrari smuggled a German-language song, which he had already composed in Munich when studying under Rheinberger.

Carus is presenting these songs as a collection – in print and digital versions. All songs are available as separate editions.

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Score, foreword in German and English Carus 9.313/00, ISMN 979-0-007-35639-2 32 pages, DIN A4 Minimum order quantity: 20 copies
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from 20 copies 15,00 € / copy
from 40 copies 13,50 € / copy
from 60 copies 12,00 € / copy
Score digital (download), pdf file Carus 9.313/00-010-000, ISMN 979-0-007-35640-8 28 pages, DIN A4 Minimum order quantity: 20 copies
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from 20 copies 13,50 € / copy
from 30 copies 12,15 € / copy
from 50 copies 10,80 € / copy
from 100 copies 10,13 € / copy
  • Ermanno Wolf-Ferrari was born in Venice in 1876. He studied in Rome (1891–92) and Munich (1892–95), where he was a pupil of Joseph Rheinberger. In Munich, he celebrated his greatest successes in the years before the outbreak of the First World War, mainly with his compositions of comic operas. After the First World War, he was unable to build on his pre-war successes, perhaps because his music, written in a late or post-Romantic style, had no connection to the contemporary musical language of modernism. Personal details

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