SKU: BT.FORFSS19
SKU: TE.TEP10876
SKU: HL.49015495
ISBN 9783795703202. German.
Die mittlerweile gangige Kontrastierung von biographischer und philologischer Forschung tauscht einen Gegensatz vor, der in Wirklichkeit nicht besteht. Philologische Arbeit ist mit biographischen Fragen eng verbunden, setzt im Einzelfall sogar die Auseinandersetzung mit derartigen Daten in einer Fulle und Detailliertheit voraus, wie sie fur biographische Darstellungen gar nicht zwingend erscheint, und hat nicht zuletzt zu spektakularen Revisionen scheinbar gesicherter Biographien gefuhrt. Andererseits finden sich Beispiele, die deutliche philologische Defizite gegenuber der biographischen Forschung erkennen lassen. Das vom Paul-Hindemith-Institut, der Hochschule fur Musik und Darstellende Kunst und dem Institut fur hermeneutische Sozialforschung in Frankfurt/Main veranstaltete Symposium hat sich einerseits einer Bestandsaufnahme des Verhaltnisses von Philologie und Biographik anhand spezieller Forschungsbereiche (u.a. zu Liszt, Strauss, Mahler, Schonberg, Strawinsky, Hindemith, Messiaen und Stockhausen) gewidmet, andererseits aber auch versucht, allgemein den derzeitigen Stand der Diskussion zum Autonomiestatus von Musik als emphatischer Kunst zu betrachten und auf mogliche aktuelle Konsequenzen zu untersuchen.
SKU: HL.400061
ISBN 9781596153585. UPC: 077712334112. 9x12 inches.
Performed by Elaine Douvas, oboe Accompaniment: Erik Nielsen, piano This wonderful album for the beginning to early intermediate oboe player includes thirteen pieces ranging from Boccherini to Grieg to Richard Strauss to William Walton. Says James Roe of The Double Reed: “With the poise of a great virtuoso, [Ms. Douvas] approaches these 'easy' pieces as she would a solo line in a great symphony...the richness of her tone, the variety in her articulation, and the beauty and clarity of her line all represent the very best example for students as they develop their concept of playing. And it's all pretty inspiring for us professional oboists as well.†Ms. Douvas's extensive performance notes “are a delight, and will be inspiring to students and an important aid to teachers.†Includes a complete printed solo part annotated with performance suggestions and access to online recordings with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist.
SKU: HL.49046442
ISBN 9781540094780. UPC: 842819113003.
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.
SKU: BR.OB-5653-30
ISBN 9790004348314. 10 x 12.5 inches.
Richard Strauss was aware (especially following the success of his Don Juan) of his reputation and above all of his value as a composer, which led him to rewrite several of his successful works by hand and leave them to his descendants as valuable Christmas gifts. In the case of the Eulenspiegel score, however, it was a genuine revision, which he marked with the instruction: [...] with the second fair copy October 1944 | once again revised and | to be regarded as a new print (especially in the complete edition of my works). | Dr. Richard Strauss. Hundreds of more precisely defined indications for articulation, dynamics and tempo, but especially an altered scoring at the end of the work (waiver of additional horns and trumpets) present the Till Eulenspiegel in this Urtext edition for the first time in the version bequeathed by Strauss as the final version. The dedicatee of the work changed as well. Whereas the first edition was dedicated to the dear friend Dr. Arthur Seidl, Strauss dedicated his revision to the good Till on his 50th birthday.
SKU: BR.OB-5653-15
ISBN 9790004348260. 10 x 12.5 inches.
SKU: BR.OB-5653-23
ISBN 9790004348291. 10 x 12.5 inches.
SKU: BR.OB-5653-27
ISBN 9790004348307. 10 x 12.5 inches.
SKU: BR.OB-5653-19
ISBN 9790004348284. 10 x 12.5 inches.
SKU: BR.OB-5653-16
ISBN 9790004348277. 10 x 12.5 inches.
SKU: AP.36-A212602
UPC: 676737597597. English.
Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a complicated piece of nonsense and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
SKU: AP.36-A212601
ISBN 9798888520987. UPC: 676737611651. English.
SKU: HL.49045561
ISBN 9783901974045.
Strauss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.
SKU: AP.36-A212648
ISBN 9798888520994. UPC: 676737744748. English.
Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a complicated piece of nonsense and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano. This is the solo piano and orchestra piano reduction.
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