Par MAHLER GUSTAV. 'The songs are conceived as a whole, as if a wayfarer, with his destiny, is now looking out into the world and is wandering from place to place. … The most painful experiences were bound to come…' (Gustav Mahler, 1885) Mahler's famous set of four songs for voice and orchestra is newly available in the handsome UE Study Scores format. Gustav Mahler's 'Lieder eines fahrenden Gesellen' ('Songs of a Wayfarer') occupy a special position in his song oeuvre. Subsequent to the 'Frühe Lieder und Gesänge' ('Songs and Airs') which - with the exception of the 'Serenade' and 'Phantasie' from Don Juan - were composed between 1880 and 1882 as songs for piano and voice, the 'Gesellenlieder' ('Wayfarer Songs') were the first works to be presented in the dual versions (songs for piano and voice / orchestral songs) that were so significant for Mahler's song compositions. The 'Gesellenlieder' were initially written as songs for piano and voice between late 1884 / early 1885 and 1890, and Mahler's orchestration only followed in the years between 1890 and 1893. Another unique feature is that they were explicitly conceived as a song cycle and together with the 'Kindertotenlieder' ('Songs on the Death of Children') and possibly also the 'Lied von der Erde' ('Song of the Earth') - although the latter is far more akin to a symphony - these are the only song cycles in Mahler's song oeuvre. The 'Gesellenlieder' ultimately express the subjective experience of suffering in a particularly remarkable way./ Répertoire / Voix et Orchestre

L'incoronazione di Poppea, Claudio Monteverdi's final opera, had a formative impact on the evolution of this genre. Yet its convoluted source situation makes it one of music history's great enigmas. There are practically no references to the original version that Monteverdi performed in Venice in 1643, as the score has not survived.To celebrate the 450th anniversary of Monteverdi's birth, this operatic masterpiece is appearing in an edition close to the presumed original. The new edition is based on the score prepared in Venice and found among the possessions of Francesco Cavalli. This scholarly edition came about due to a remarkable project at the University of North Texas - it was compiled and edited by Hendrik Schulze and his students on the basis of the latest research findings concerning source evaluation, performance practice and the historical context. - Detailed Introduction to questions regarding sources and interpretation (Eng/Ger) - Extensive critical apparatus (Eng) - Libretto edited by Nicola Badolato with text translations (Ital/Eng/Ger) - Appendix with alternative readings from the Naples source / Voix Et Orchestre