o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

In the summer of 1888 while also working on his tone poem Don Juan Richard Strauss composed this brief Andante for his father Franz Strauss a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement ???of a still unfinished??? sonata that Strauss however never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece. In the summer of 1888 while also working on his tone poem Don Juan Richard Strauss composed this brief Andante for his father Franz Strauss a member of the Munich Court Opera and one of the greatest horn players of his age. The Andante was intended as the slow movement ???of a still unfinished??? sonata that Strauss however never did complete (to the chagrin of all horn players). The piece thus remained unpublished until 1973. For the new Urtext edition by G. Henle Publishers the original autograph manuscript held at the Munich Public Library was able to be examined directly. The Andante is of only moderate difficulty and is ideally suited for teaching purposes and as aneffective Romantic performance piece.

Originaltonarten für hohe Stimme. Written in 1885, the eight songs after texts by the now little-known poet Hermann von Gilm have a special place in Richard Strauss? corpus of Lieder. For the first time, he composed an entire set of songs on texts by a single poet, collecting them into one opus that was also to appear in print. Some of the numbers in it, like ?Zueignung,? ?Die Nacht,? and ?Allerseelen,? are among the most popular Strauss songs of all time, but the entire cycle with its well-planned structure is also worthy of closer examination and performance. The aspiring composer quite consciously aligns himself with the tradition ranging from Schubert to Wolf, choosing the highly Romantic subject of unrequited love and illuminating its most diverse facets. The primary source for the Henle Urtext edition is the first edition from 1887, which Strauss furnished with a dedication to the Royal Bavarian chamber singer Heinrich Vogl - a serious invitation to today?s male singers not to leave these wonderful Strauss songs solely to female singers!

Richard Strauss is one of the great song writers. He was one of first true 'modernist' composers and many of his vocal works feature extended tonalities and challenging harmonies. This is the third volume in Strauss' Song Album and is scored for Meduim Voice and Piano Accompaniment.

Lieder is Volume 2 of the complete edition of Richard Strauss' songs. With 4 Volumes altogether they include in chronological order each of Strauss' songs in their original setting. This edition has been edited by Dr. Franz Trenner. The pieces have been written for voice and piano accompaniment.

The symphonic poem by Richard Strauss musically depicts the emotional and physical suffering of a dying person. In 1889 his symphonic poem Don Juan had made him the leading German composer of his generation and the world premiere of Tod und Verklärung in Eisenach in 1890 too was a great success for Strauss.

Richard Strauss (1864-1949) est surtout connu pour ses poèmes symphoniques comme Don Juan Also Sprach Zarathustra Ein Heldenleben... à côté de cela il a pourtant écrit de nombreux opéras dont ?Der Rosenkavalier? (1911 Dresde) avec libretto de Von Hofmannsthal est sans doute le plus connu. Dans notre ?Jan Cober Series? nous vous présentons cette adaptation particulière de la suite issue de ?Der Rosenkavalier?. Jan Cober a longtemps travaillé à cette adaptation. Il a reconstruit cette suite avec le plus grand soin pour que la musique de Strauss garde le caractère et la vitalité dont elle a besoin pour pouvoir s?exprimer pleinement lorsqu?elle est jouée par un orchestreharmonique. Tout cela sans perdre de vue le grand arc de tension musicale.

Lieder is Volume 1 of the amazing complete edition of Richard Strauss' songs. With 4 Volumes altogether they include in chronological order each of Strauss' songs in their original setting. This edition has been edited by Dr. Franz Trenner. The pieces have been written for voice and piano accompaniment.

This collection brings together all 18 of Richard Strauss' stage works including eight which are available in study score format for the very first time. Each volume includes information on the orchestration and the original cast together with a facsimile page of the autograph full score of each work. The set includes: The early works Guntram and Feuersnot The ballets Josephs Legende and Schlagobers The complete stage music Der Bürger Als Edelmann (originally written as part of the first version of Ariadne Auf Naxos) The rarely performed operas DieAgyptische Helena Friedenstag and Die Liebe Der Danae.

Richard Strauss' Stimmungsbilder Op.9 for Piano solo. Contents: Auf stillem Waldespfad · An einsamer Quelle · Intermezzo · Träumerei · Heidebild

The first volume of Richard Strauss' Song Album arranged for High Voice and Piano.

This romance for clarinet is an important work because it is the composer's first attempt at writing a concert piece with orchestra. Richard Strauss wrote it in 1879 for a fellow pupil. In a letter to Ludwig Thuille he remarked: 'I have been very industrious - maybe I have told you already - composing a romance in E flat major for clarinet and orchestra which has turned out quite well; the continuous theme turns after the cantilena into a 6-part orchestral fugato.'

Richard Strauss's Also Sprach Zarathustra (Introduction Only) Op. 3 for Concert Band.