Also Sprach Zarathustra Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Belwin
Composed by Richard Strauss (1864-1949). Arranged by Jeffrey E. Turner. Masterwo...(+)
Composed by Richard
Strauss (1864-1949).
Arranged by Jeffrey E.
Turner. Masterworks;
Part(s); Score; String
Orchestra. Belwin Concert
String Orchestra. Form:
Transcription. 20th
Century; Fall; Halloween;
Masterwork Arrangement;
Romantic. 64 pages.
Published by Belwin Music
(AP.44812).
Piano - early intermediate SKU: BT.FORFSS19 Composed by Richard Strauss. ...(+)
Piano - early
intermediate
SKU:
BT.FORFSS19
Composed
by Richard Strauss.
Arranged by Heller
Nicholls. Book Only.
Forsyths Publications
#FORFSS19. Published by
Forsyths Publications
(BT.FORFSS19).
Festival Procession Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Belwin
Composed by Richard Strauss (1864-1949). Arranged by Douglas E. Wagner. Concert ...(+)
Composed by Richard
Strauss (1864-1949).
Arranged by Douglas E.
Wagner. Concert Band.
Concert Band;
Masterworks; Part(s);
Score; SmartMusic. Belwin
Concert Band. Form:
Transcription. 20th
Century; Masterwork
Arrangement; Romantic.
Grade 3. 120 pages.
Published by Belwin Music
SKU: HL.49015495 Edited by Giselher Schubert. This edition: Hardback/Hard...(+)
SKU: HL.49015495
Edited by Giselher
Schubert. This edition:
Hardback/Hard Cover.
Book. Edition Schott.
Beitrage zu einer
aktuellen
musikasthetischen
Diskussion. Classical.
326 pages. Schott Music
#ED 8547. Published by
Schott Music
(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.
Book/Online Audio Oboe SKU: HL.400061 Music Minus One Oboe. Compos...(+)
Book/Online Audio Oboe
SKU: HL.400061
Music Minus One
Oboe. Composed by
Various. Sheet music with
CD. Music Minus One.
Classical and Play Along.
Softcover Audio Online.
29 pages. Music Minus One
#MMO3411. Published by
Music Minus One
(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.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.49046442 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.49046442
Cello
and Piano. Composed
by Richard Strauss.
String Solo. Classical.
Softcover. 80 pages.
Duration 1560 seconds.
Schott Music #CB301.
Published by Schott Music
(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.
Woodwinds (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp - p...(+)
Woodwinds (Picc.3.3.Eh.3
(3. in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-30
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Set of
parts. 196 pages.
Duration 15'. Breitkopf
and Haertel #OB 5653-30.
Published by Breitkopf
and Haertel
(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.
Violin 1 (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp - pe...(+)
Violin 1 (Picc.3.3.Eh.3
(3. in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-15
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Part. 12
pages. Duration 15'.
Breitkopf and Haertel #OB
5653-15. Published by
Breitkopf and Haertel
(BR.OB-5653-15).
ISBN
9790004348260. 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.
Violoncello (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp -...(+)
Violoncello
(Picc.3.3.Eh.3 (3. in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-23
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Part. 8
pages. Duration 15'.
Breitkopf and Haertel #OB
5653-23. Published by
Breitkopf and Haertel
(BR.OB-5653-23).
ISBN
9790004348291. 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.
Double bass (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp -...(+)
Double bass
(Picc.3.3.Eh.3 (3. in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-27
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Part. 8
pages. Duration 15'.
Breitkopf and Haertel #OB
5653-27. Published by
Breitkopf and Haertel
(BR.OB-5653-27).
ISBN
9790004348307. 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.
Viola (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp - perc ...(+)
Viola (Picc.3.3.Eh.3 (3.
in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-19
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Part. 8
pages. Duration 15'.
Breitkopf and Haertel #OB
5653-19. Published by
Breitkopf and Haertel
(BR.OB-5653-19).
ISBN
9790004348284. 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.
Violin 2 (Picc.3.3.Eh.3 (3. in D/E flat).B-clar.3.dble bsn - 4.3.3.1 - timp - pe...(+)
Violin 2 (Picc.3.3.Eh.3
(3. in D/E
flat).B-clar.3.dble bsn -
4.3.3.1 - timp - perc -
str)
SKU:
BR.OB-5653-16
Tone
Poem for Large Orchestra
- Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Early modern. Part. 12
pages. Duration 15'.
Breitkopf and Haertel #OB
5653-16. Published by
Breitkopf and Haertel
(BR.OB-5653-16).
ISBN
9790004348277. 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.
Concert Band; Orchestra
Detailed Instrumentation:
2+Picc.2.2.2: 4.2.0.0:
Timp: Str (9-8-7-6-5 in
set): Solo Piano
SKU:
AP.36-A212602
Composed by Richard
Strauss. This edition:
Kalmus Orchestra Library.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Edwin F. Kalmus.
Masterwork. Score and
Part(s). LudwigMasters
Publications #36-A212602.
Published by
LudwigMasters
Publications
(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.
(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.
Orchestra Detailed
Instrumentation:
2+Picc.2.2.2: 4.2.0.0:
Timp: Str (9-8-7-6-5 in
set): Solo Piano
SKU:
AP.36-A212601
Composed by Richard
Strauss. This edition:
Kalmus Orchestra Library.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Edwin F. Kalmus. Score.
LudwigMasters
Publications #36-A212601.
Published by
LudwigMasters
Publications
(AP.36-A212601).
ISBN
9798888520987. UPC:
676737611651.
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.
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss'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.
Detailed Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): S...(+)
Detailed Instrumentation:
2+Picc.2.2.2: 4.2.0.0:
Timp: Str (9-8-7-6-5 in
set): Solo Piano
SKU:
AP.36-A212648
Composed by Richard
Strauss. This edition:
Kalmus Orchestra Library.
Performance Music
Ensemble; Piano, Solo
with Piano; Single
Titles. Kalmus Edition.
Form: Sonata. 20th
Century; Masterwork.
Book. LudwigMasters
Publications #36-A212648.
Published by
LudwigMasters
Publications
(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.
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.