Richard Wagner. A complete orchestral score for Wagner's music drama "Das Rheingold," part of the Nibelung's Ring cycle. All lyrics and text in this edition are in the original German.

L'Or du Rhin. Das Rheingold

Tous les chrétiens ne sont pas catholiques mais tous les catholiques sont chrétiens ! Vous voulez en savoir plus sur les chrétiens orthodoxes, les protestants, les anglicans, les méthodistes et les anabaptistes ? Vous êtres chrétiens et vous voulez mettre en pratique les enseignements de la Bible ? Vous n'êtes pas chrétien mais vous désirez enfin comprendre quelque chose à cette religion ? Vous voulez savoir pourquoi un Dieu d'amour, tout-puissant, autorise parfois que les pires choses arrivent ? Le Christianisme pour les Nuls est fait pour vous ! Fondé sur la vie et les enseignements de Jésus, le christianisme est certes universel, mais complexe ! Familiarisez-vous avec les traditions, la doctrine et les rites des Eglises chrétiennes. Découvrez ce qu'être chrétien veut dire dans le monde d'aujourd'hui. La foi chrétienne, les fêtes religieuses, les jours fériés et les passages essentiels de la Bible n'auront bientôt plus de secret pour vous !

Le Christianisme pour les nuls

Lettre sur la musique" de Richard Wagner. Compositeur, directeur de theatre, polemiste et chef d'orchestre allemand de la periode romantique (1813-1883).

Lettre sur la musique

'Twilight of the Gods', the Third Day, brings Wagner's Ring cycle with an evening and three days, all full-length performances lasting for hours, to an end. Everything that has happened in the parts before is now brought to a close. Brunhilde and Siegfried burn to death together 'in a purifying fire' ; they are redeemed in the highest union. A whole epoch is inevitably nearing its end : The world of men and the realm of the gods are hopelessly corrupt, only a new beginning after the total breakdown can lead to a whole new world. Apart from the libretto, this edition contains introductory commentaries of Kurt Pahlen who also adds information on the compositional structure and context to the musical as well as external and internal dramatic action of the opera. A short synopsis and a brief outline of the genesis bring the work into relation with the composer's entire oeuvre and life, thus offering a comprehensive, richly illustrated introduction. WWV 86 D

Operas of the world

Richard Wagner beschreibt in seiner Autobiographie »Mein Leben« die Zeit von seiner Geburt 1813 bis zum Jahr 1868. Wagner lebte bis 1883. 

Die Autobiographie zeigt einen schwierigen Aufstieg unter widrigen Bedingungen. Sein Vater verstarb sehr früh. Verschiedene Verwandte übernahmen die Erziehung.

Wagner wechselte in seinem Leben sehr häufig den Wohnort. Einige Male nahm er in anderen Städten berufliche Chancen wahr, mitunter war auch auf der Flucht vor seinen Gläubigern. Sein bewegtes Leben führte ihn unter anderem nach Leipzig, Dresden, Riga, Paris, Bayreuth, Zürich, und Tribschen bei Luzern. Hinzu kamen zahlreiche mehrwöchige und mehrmonatige Auslandsaufenthalte, deren inspirierende Kraft Richard Wagner zur Vollendung seiner Kompositionen nutzte.

Wagners unterhaltsame Autobiographie »Mein Leben« zeigt einen Menschen, der trotz zahlreicher Rückschläge stets weiter komponierte, mutig neue Chancen wahrnahm und schließlich mit dem ganz großen Durchbruch belohnt wurde.

Mein Leben - Autobiographie

Le ring Coffret 4 volumes : Volume 1, L'Or du Rhin. - Volume 2, La Walkyrie. Volume 3, Siegfried. Volume 4, Crépuscule des Dieux

Edition enrichie de Jean-François Candoni comportant une préface et un dossier sur le roman. 

Richard Wagner s'est voulu tout autant écrivain et penseur que compositeur, homme de théâtre et chef d'orchestre. Son autobiographie est une fresque haute en couleur, riche en événements et en rencontres exceptionnelles. C'est aussi un formidable témoignage sur la vie artistique et intellectuelle du XIXe siècle. 

Artiste polymorphe, Wagner a épousé toutes les tendances de son siècle, et il en résume toutes les contradictions : se côtoient chez lui cosmopolitisme et nationalisme, goût de la provocation et soif de reconnaissance sociale, amour du prochain et pulsions racistes, mysticisme religieux et sensualisme, goût pour le monumental et fascination pour le détail. La lecture de Ma vie permet de cerner cette personnalité paradoxale, excessive et fascinante.

Ma vie

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition. The score corresponds to the performance materials from the Complete Edition. For practical use in rehearsal cues and bar numbers throughout. The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. The forewords are given in three languages(German, English, French). Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DIE MEISTERSINGER VON NÜRNBERG "Die Meistersinger von Nürnberg is today still considered a German festival and national opera : this evaluation is borne out by the opera's performance history, the history of its reception and customary performance practice. Critical minds will perhaps recall the quotation from Friedrich Nietzsche's publication "Jenseits von Gut und Böse" [Beyond Good and Evil] in which the Vorspiel [Prelude] to Meistersinger is described as 'magnificent, ornate and ponderous art' and Wagner's music in general as being 'rough and coarse'. This music according to Nietzsche possesses 'no trace of the fine southern clarity of the sky and nothing of grace', but instead 'a cumbersome garb, with a touch of licentious barbarism and solemnity' and 'even a certain degree of ungainliness'. Nietzsche's evaluation is regarded by many as an insight into the essence of the matter, although it is evident that Nietzsche was exaggerating in order to be provocative. What is more important today is however that this characterisation appears to have been the result of an approach to the performance of Meistersinger which had neglected or even gone as far as to misappropriate elements of this work. This is also the conclusion reached in the Meistersinger Edition of the Critical Complete Edition of the Musical Works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 9, I-III, edited by Egon Voss, Mainz 1979-1987). It has in fact been established that the first print of the score published by B. Schott's Söhne in Mainz in 1868 contained numerous errors and omissions, particularly with regard to dynamic markings and articulation. The difference between staccato dots and dashes which has an influence on the tone was simply ignored. The substantial omission of these staccato markings unambiguously draws attention to the fact that Wagner intended a lighter-weight sound than was produced in adherence the first edition. The same also holds true for the dynamic markings which were submitted to a general levelling process in the first edition, thereby entirely masking their original broad scope of differentiation. [... ] When the saying 'the music sets the tone' is cited, it is in actual fact tempo, dynamics which are implied. If the new findings incorporated into the Meistersinger edition of the Critical Complete Edition are taken seriously, this will inevitably produce a new Meistersinger sound. " (Egon Voss, quoted from the foreword of the new Meistersinger vocal score ; translated by Lindsay Chalmers-Gerbracht) WWV 96

L'Or du Rhin. Das Rheingold

Résumé

Plus de livres de Richard Wagner

Critiques

Ce livre n'a pas encore de critiques