Je consacre un mouvement de ce travail pour chacun des deux personnages. J'ai interprété le personnage de Nietzsche aussi énergique, douloureux et difficiles. En revanche, le second mouvement 'Wagner' avec son atmosphère calme et méditative est une improvisation porté sur les motifs en paraphrasant le compositeur de son opéra Tristan et Isolde.Au-delà de l'échange philosophique et artistique intense entre Wagner et Nietzsche, un lien supplémentaire a été fournie par la fille Cosima Liszt, l'épouse de Wagner, qui a été grandement vénéré par Nietzsche. Elle est la source de l'amour et la nostalgie qui est perceptible dans les deux mouvements.- Fazil Say / Piano

Par WAGNER RICHARD. Cet ouvrage constitue tout à la fois une suite et un complément aux précédents volumes déjà consacrés par L'Avant-Scène Opéra à L'Anneau du Nibelung et à ses quatre parties, publiés en 2005 : le Prologue L'Or du Rhin (no 227), La Walkyrie (no 228), Siegfried (no 229) et Le Crépuscule des dieux (no 230)./ Livre / Livre

/ Flûte Traversière (Flûte Traversière Alto, Piccolo), Hautbois (Hautbois D'Amour), Clarinette, (Clarinette (En Mib)/Clarinette De Basset (B)), Cor (Ad Libitum Aussi Wagner Tuba) Et Basson (Contrebasse)

in Full score. Par WAGNER RICHARD. Richard Wagner put his supreme effort, as well as his earnings, into constructing the perfect festival theater in the Bavarian town of Bayreuth where his masterpiece, the four-opera cycle Der Ring des Nibelungen, could be performed in a manner which would conform to his vision of how the drama should unfold. Wagner's own perception was that the unique and revolutionary character of his monumental tetralogy necessitated a special theater — one where the difficulties of staging an expansive drama could be surmounted, where changes of scene could be effected without halting the performance for vast lengths of time. Der Ring des Nibelungen, which is based on a medieval German epic, the Nibelungenlied, and Norse mythology, enlarged the expressive powers of German Romantic opera; today it also gives testimony to Wagner's willingness to venture into new areas for inspirational material. The third opera of the cycle, Siegfried, reproduced here in full score, presents the story of a youthful Germanic hero of legendary proportions, a young man without experience of fear, who slays the reptilian hoarder of ill-gotten, powerful golden treasures and rescues a banished goddess from fiery captivity. Performed during the heyday of Bismarck's Realpolitik, following decades of revolutionary and anarchic fervor, Siegfried is reputed to have social and political implications. In The Perfect Wagnerite, George Bernard Shaw discusses the opera in allegorical terms, and describes the heroic Siegfried as 'a born anarchist, the ideal of Bakoonin, an anticipation of the 'overman' of Nietzsche. ' Whether or not the political import of Richard Wagner's alleged revolutionary thought is of concern to the music lover of modern times, the influence and power of the operas of Der Ring des Nibelungen are indisputable. The crowning achievement of German music of the Romantic era, the Ring forged a new synthesis of music and drama on the largest scale, drawing on rich literary and philosophical resources to expand the dramatic possibilities of the opera as a musical form. Reproduced from the first edition (1876), which received Wagner's final approval, this full-size full score brings Siegfried, an important opera in the Ring and one of the most performed, recorded, studied, and admired operas of the Romantic era, to Wagner enthusiasts, opera lovers, and musicians at a moderate, affordable price. Reproduced from first 1876 edition. The third Ring opera, 'Siegfried' is here carefully reproduced from the authoritative edition of 1876 which Wagner himself approved. / Opéra-opérette / Répertoire / Opéra Full Score

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Arr. Wil Van Der Beek. Par WAGNER RICHARD. Der Aufzug der Meistersinger stammt aus dem dritten Akt von Die Meistersinger von Nürnberg, Wagners einziger 'leichter' Oper. Rund zwanzig Jahre lang hat er an einer stimmigen dramatischen Handlung, gut gefügten musikalischen Linien und einer ausgewogenen Partitur gefeilt. Im Aufzug, einem flammenden Marsch, stehen die ersten siebzehn Takte für die Sammlung und Ernennung der 'Meistersinger' (man beachte das Trompetensignal!). Die letzten Takte beschreiben eine feierliche Prozession, bei der die 'Meistersinger' unter dem Jubel und Fahnenschwingen des Volkes zum Festplatz schreiten. / Niveau : 3 / Répertoire / Concert Band ou Harmonie

Features 15 brilliant compositions (1842–1882) on themes from Rienzi, Flying Dutchman, Tannhauser, Lohengrin, and other Wagnerian favorites. Content : Fantasy on Themes from Rienzi [Phantasiestück über Motive aus Rienzi (Santo spirito cavaliere)] Spinning Chorus from The Flying Dutchman [Spinnerlied aus Der Fliegende Holländer] Ballad from The Flying Dutchman [Ballade aus Der Fliegende Holländer: Transcription] Overture to Tannhäuser [Overtüre zu Tannhäuser: Konzertparaphrase] Pilgrims' Chorus from Tannhäuser [Pilgerchor aus der Oper Tannhäuser: Paraphrase] Recitative and Romance Evening Star from Tannhäuser [O, due mein holder Abendstern: Rezitativ und Romanze aus der Oper Tannhäuser] Two Pieces from Tannhäuser and Lohengrin [Zwei Stücke aus Tannhäuser und Lohengrin] I. ENTRY OF THE GUESTS FROM TANNHÄUSER [Einzug der Gäste auf der Wartburg] II. ELSA'S BRIDAL PROCESSION FROM LOHENGRIN [Elsas Brautzug zum Münster] From lohengrin [Aus Lohengrin] I. FESTIVAL AND BRIDAL SONG [Festspiel und Brautlied] II. ELSA'S DREAM [Elsas Traum] III. LOHENGRIN'S ADMONITION [Lohengrin's Verweis an Elsa] Isolde's Liebestod from Tristan und Isolde [Isolden's Liebestod: Schluß-Szene aus Tristan und Isolde] Am stillen Herd from Die Meistersinger [Am stillen Herd: Lied aus Die Meistersinger von Nürnberg: Transcription] Valhalla from Der ring des Nibelungen {Wallhall aus Der Ring des Nibelungen: Transcription] Solemn March to the Holy Grail from Parsifal [Feierlicher Marsch zum heilgen Graal aus Parsifal

The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions - these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions. / Divers

The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions - these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions. / Opéra

Arr. James L. Hosay. Par WAGNER RICHARD. Wagner on Stage met en scène des extraits de quatre opéras de Wagner : Tannhäuser, Le crépuscule des dieux, Lohengrin et Les maîtres chanteurs de Nurenberg. Richard Wagner a probablement écrit les opéras les plus dramatiques de son temps. Ses compositions, pleines de passion, de dynamisme, mais également de sentimentalité, ont inspiré James L. Hosay. Wagner on Stage est un arrangement fidèle donnant un large aperçu de la grande créativité de Richard Wagner, dont le 200e anniversaire sera célébré en 2013. / Niveau : 4 / Répertoire / Concert Band ou Harmonie

Große Tragische Oper In 5 Akten - Dritter Akt. Par WAGNER RICHARD. L'édition complète de Richard Wagner présente toute production du compositeur pour la première fois dans un formulaire fiable. Le chef d'orchestre Michael Balling, dans les premières années du XXe siècle, a tenté de faire oeuvre de Wagner plus accessibles pour la recherche et de la performance, mais l'édition seulement atteint 10 volumes - certains à des manquements graves - et a été abandonnée après la mort du Balling en 1925. Une autre tentative à une édition complète par Otto Strobel a été abandonnée au cours des étapes préliminaires.Cette troisième tentative d'une édition complète sera la première édition savante, critique, basée sur une évaluation de toutes les matières de source accessible et les derniers résultats de la recherche sérieuse de Wagner. L'édition est également destinée à rendement pratique, le texte musical a été maintenu gratuitement les insertions philologiques - elles sont énumérées dans les annexes de chaque volume dans le commentaire critique. Nombreuses, en partie inédits - certaines versions relativement inconnues - et variantes sont publiées ici pour la fi.../ Répertoire / Conducteur Opéra

En 1876, Liszt confessait rétrospectivement, mais avec franchise, à la maison Breitkopf and Härtel que ses 'transcriptions de Wagner' n'auraient servi 'que de modeste propagande, sur un pauvre piano, en faveur du sublime génie de Wagner'. De fait, Le Vaisseau fantôme, Tannhäuser et Lohengrin, ces opéras de Wagner qui connurent par la suite un si grand succès, furent donnés vers 1850 au théâtre de la cour de Weimar exclusivement sous la direction de Liszt. Pour la composition de la paraphrase d'après Tannhäuser, Liszt s'est inspiré des exécutions de l'ouverture en novembre 1848 ainsi que de l'ensemble de l'opéra en février 1849 à Weimar. L'adaptation au piano de cette ouverture est une pièce de bravoure de tout premier plan. Elle marque une nouvelle étape dans la série des arrangements lisztiens d'oeuvres de Wagner publiée par la maison d'édition Henle. / Piano

Contents : Verdi: Rittorna vincitor! (Aida) - Oh patria mia (Aida) - Tu che le vanita (Don Carlo) - Ernani, involami (Ernani) - Madre, pietosa Vergine (La Forza del Destino) - Pace, pace Mio Dio (La Forza del Destino) - Salce, Salce and Ave Maria (Otello) - Come in quest' ora bruna (Simon Boccanegra) - Tacea la Notte placida (Il Trovatore) - D'amor sull'ali rosee (Il Trovatore) - Gluck: Divinites du Styx (Alceste) - Smetana: Marenka's Aria (The Bartered Bride) - Puccini: Mi chiamano Mimì (La Bohème) - In quelle trine morbide (Manon Lescaut) - Bizet: Je dis que rien ne m'epouvante (Carmen) - Massenet: Pleurez! pleurez, mes yeux! (Le Cid) - Il est doux, il est bon (Herodiade) - Obeissons quand leur voix appelle (Manon) - Offenbach: Elle a fui, la tourterelle (Les Contes D'Hoffmann) - Mozart: Come scoglio (Così fan tutte) - Non mi dir (Don Giovanni) - Deh vieni, non tardar (Le Nozze di Figaro) - Porgi, amor, qualche ristoro (Le Nozze di Figaro) - Ach, ich fühl's (Die Zauberflöte) - Tchaikovsky: Tatiana's Letter Scene (Eugene Onegin) - Gounod: The King of Thule and the Jewel Song (Faust) - Beethoven: Abscheulicher! wo eilst du hin? (Fidelio) - J. Strauss: Klange der Heimat (Die Fledermaus) - Mein Herr Marquis (Adele's Laughing Song) (Die Fledermaus) - Wagner: Traft ihr das Schiff? (Der Fliegender Hollander) - Einsam in truben Tagen (Lohengrin) - Euch Luften (Lohengrin) - Dich, theure Halle (Tannhäuser) - Allmacht'ge Jungfrau (Tannhäuser) - Mild und leise (Tristan und Isolde) - Der Manner Sippe (Die Walkure) - C.M. von Weber: Und ob die Wolke (Der Freischütz) - Wie nahte mir der Schlummer (Der Freischütz) - Ozean! du Ungeheuer (Oberon) - Meyerbeer: Parmi les pleurs (Les Huguenots) - Leoncavallo: Stridono lassu (Pagliacci) - Monsigny: Il regardait mon bouquet (Le Roi et le Fermier).