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: KN.37861
UPC: 822795378610.
A leading German composer of both instrumental and vocal music during the late Romantic era and 20th century, Richard Strauss achieved his fame with his tone poems for large orchestras, including Don Juan, Death And Transfiguration, Till Eulenspiegel's Merry Pranks, and Also Sprach Zarathustra. This accessible arrangement for string orchestra of famous themes from his tone poems offers an opportunity for young musicians to experience the power and beauty of Strauss' music. Duration 6:10.
SKU: VD.ED27520
ISBN 9790202015209. 12 x 9 inches.
SKU: TM.03910SET
Key of Eb. For voice and orchestra. PC = VS; 1 copy in set.
SKU: HL.48009463
UPC: 073999546644. 7.25x10.25x0.185 inches.
HPS 65.
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: 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: BR.PB-5710
ISBN 9790004216477. 10.5 x 14 inches.
Richard Strauss's last completed tone poem is regarded as the pinnacle of his art of orchestration: Now I've finally learned to orchestrate, he himself is once supposed to have said about it after the dress rehearsal. The single-movement Alpine symphony that we know today ultimately evolved - over almost 15 years - from the original drafts of an artist's tragedy, titled Der Antichrist. Eine Alpensinfonie [The Antichrist. An Alpine Symphony] up to the stage of the last sketches. With unprecedented plasticity, the work showcases a (metaphysical?) mountain hike with stops in the forest, at the waterfall, on the alpine pasture and, of course, at the summit. Apropos alpine pastures: up to the score's fair copy stage, Strauss envisaged a high and a low alphorn for the section Auf der Alm [On the Alpine Pasture] and the well-known Dulioh theme, though for various reasons first detailed in our new Urtext edition, these exotic instruments did not find their way into the printed version. In the new edition, the editor, Nick Pfefferkorn, reproduces the alphorn passages in small print, also adding two alphorn parts to the performance material, besides evaluating the corrections made by Walter Seifert at Strauss's request.First Urtext edition since the first editionEvaluation of all available sources, including sketches and the score corrected by Walter Seifert Extensive preface on the work's compositional history and receptionDetailed Critical ReportFacsimile pages.
