An irresistible elemental power emanates from the eleven pieces of the Musica Ricercata composed between 1951 and 1953. The early piano work by the famous Hungarian Gyorgy Ligeti arose from experiments with minimalist structures of rhythm and sound in order to build a New Music from nothing, so to speak, according to Ligeti himself. The effect that he achieves with just a few tones is inspiring. In the first piece, he uses one tone to which is added another tone at the end. In the second piece, the music consists of three tones, in the third of four, up to twelve tones in the eleventh piece. The second piece of the Music Ricercata served as soundtrack for the film Eyes Wide Shut by Stanley Kubrick.

Song List: Hunger Cries

Eines vor allem macht die ungarische Musik aus: Es ist der Rhythmus. Das gleiche kann man auch ü.ber Rockmusik sagen - denn Rock ohne Rhythmus ist nichts! Was passiert aber, wenn man beide Musikrichtungen miteinander kombiniert? Wer die Antwort haben mö.chte, hö.rt sich am besten den phä.nomenalen Hungarian Rock des ungarischen Komponisten Gyö.rgy Ligeti an. Wie der jung gebliebene Altmeister der zeitgenö.ssischen Musik es schafft, aus einem einfachen Cembalo einen solchen Gitarrensound herauszuholen, wird wohl sein Geheimnis bleiben. Auf jeden Fall zaubert er eine solche Energie aus diesem Instrument, dass es einem direkt in die Beine geht. Also: Warum nicht einmal ungarische Rockmusik?

German.

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.

The score corresponds to the performance materials from the Complete Edition.

For practical use in rehearsal cues and bar numbers throughout.
The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.
The forewords are given in three languages (German, English, French)
Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.
DAS RHEINGOLD

"This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)

German.

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.

The score corresponds to the performance materials from the Complete Edition.
For practical use in rehearsal cues and bar numbers throughout.
The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.
The forewords are given in three languages(German, English, French).
Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.

DIE WALKURE

In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.

The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.

(Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)

The work Selbstbildnis [Self Portrait] was composed in 1989 at the suggestion of the viola player Gunter Pretzel who was in search of compositions reflecting other pieces of music. The Prelude from Bach's first Suite for violoncello solo should be included in my composition. As a starting point, I chose a theme from my opera Sturmnacht [Stormy Night], thus combining two very significant personal things: the story of my first full-length opera and my love of Johann Sebastian Bach whose music I, as son of a church musician, grew up with. Back then, his portrait hung above my piano. Wolfgang-Andreas Schultz

It is fascinating how the famous Hungarian composer skilfully superimposes rhythms which, with shifted accents and different speeds, create a third dimension of hearing, like an optical illusion. The breathtaking whirling of the keys in 'Desordre', the first of 18 etudes for piano altogether, is a sign of Ligeti's enthusiasm for Central African music which later was to become so important to him.