The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

The Beautiful Mess takes a deep dive into the practical and artistic elements of composition and creativity, drawing on Eric Whitacre's thirty years of experience writing music and lyrics. This comprehensive course provides online access to video content, lesson plans, reference sheets, perusal scores and a personalized certificate upon completion. Materials are customized at three levels so they can be used from middle school through college and are ideal for both individual and classroom instruction. The strategies and creative solutions discovered in this course can also be applied to many aspects of life, so are suitable for general music education, composers, performing ensembles, or individual music-lovers. Instructions for online access will be sent within one business day to the email address provided when you place your order.

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)

Contains Le Roi Lear: Pr�lude,Premi�re Fanfare, and La Mort de Cord�lia,Toomai des �l�phants, Rodrigue et Chim�ne: Pr�lude � l?acte 1p. Le Martyre de Saint S�bastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septi�me regrettent!!!, Petite Valse,F�tes galantes, and Pr�lude � ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

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)

The Austrian clarinettist and composer Alfred Uhl (1909-92), born and trained in Vienna, has gained an international reputation for his film music scores, orchestral and chamber music works. His works move in a tonal framework, combining a differentiated rhythm and catchy melody. Thus, Uhl developed his own personal humorous style which he also realized in his studies. His study cycle is a standard work of teaching literature for clarinet. Almost every aspect of clarinet playing technique is .covered in Uhl's study work. Apart from the technical educational goal, the musical content gets its fair share too: each study work is a little character piece which helps the clarinettist to effectively express his musical imagination independently of technical obstacles. A new edition in one volume with practising tips by Prof. Reiner Wehle.