SKU: CA.5281000 Edited by Knud Breyer, Stefan König. Gesamt- und Werka...(+)
SKU: CA.5281000
Edited by Knud Breyer,
Stefan König. Gesamt-
und Werkausgaben: Max
Reger. Hybrid Edition of
works. Songs III
(1901–1903). Full
score (complete edition /
selected edition). Carus
Verlag #5281000.
Published by Carus Verlag
(CA.5281000).
ISBN
9790007297220.
The
third volume in the Songs
and Choral Works Series
of the Reger Complete
Works (RWA) contains the
songs Max Reger composed
(almost entirely in
Munich) between 1901 and
February 1903. With these
compositions, Reger not
only entered into direct
competition with the
so-called “Munich
School†around
Ludwig Thuille, Max von
Schillings, and Richard
Strauss, but also
attempted to establish
himself more widely as an
uncompromising renewer of
the genre. The songs
contrast with the
Romantic song aesthetic
through their
forward-looking
declamatory style and
they display a treatment
of the piano which goes
far beyond conventional
song
accompaniment.
In
January 2008 the
Max-Reger-Institut (MRI)
in Karlsruhe began
publishing a
scholarly-critical
edition of the works of
Reger (RWA). This is
supported by the Mainz
Academy of Sciences and
Literature, and as a
Hybrid Edition is
exploring new approaches
in editorial
techniques.
The
digital offer belonging
to the volume is
published in an online
portal.
By Ludwig Thuille (1861-1907). Winds and Piano. For 2 clarinets and piano or cla...(+)
By Ludwig Thuille
(1861-1907). Winds and
Piano. For 2 clarinets
and piano or clarinet,
viola (cello/basset-horn)
and piano. This edition:
Facsimile Editions. Most
well-known composition
for wind quintet and
piano.. Romantic. Parts.
Published by Rosewood P
(Death
& Transfiguration)
Clothbound Score,
Complete Edition in
G. Edition Schott.
Classical. Hardcover.
Duration 1440 seconds.
Schott Music #RSW306.
Published by Schott Music
(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.
