Richard Wagner etait un compositeur de musique qui aurait voulu, dans sa jeunesse, etre Shakespeare avant d'etre Beethoven. Ce livre regroupe ses uvres litteraires (des nouvelles) evoquant la musique et la vie d'un musicien."

La vie d'un musicien

While Wagner is a key figure in the world of opera, this 'Fantasie in fis moll' for solo piano offers a rare chance to glimpse into his compositional development. Written at 18, this was the first work Wagner presented to a composition teacher. Despite lacking the mature compositional voice present in his later works, one can see the raw, creative talent of a master in the making, including references to a great composer he admired, Beethoven.

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Während Wagner in der Welt der Oper als zentrale Figur bekannt ist, bietet diese 'Fantasie in Fis Moll' für das Soloklavier eine seltene Gelegenheit, Einblick in seine kompositorische Entwicklung zu erhalten. Geschrieben im Alter von 18 Jahren war dies die erste Arbeit, die Wagner seinem Kompositionslehrer vorstellte. Trotz der noch fehlenden Reife seiner kompositorischen Stimme scheint hier das rohe, kreative Talent eines sich heranbildenden Meisters durch, mit vielen Verweisen auf einen grossen, von ihm bewunderten Komponisten, Beethoven.

Fantasie in fis-moll - Piano Solo

Ce livre rassemble de rares écrits de Wagner devenus aujourd'hui introuvables. Tout d'abord, les textes qu'il a consacrés à Beethoven, le grand intercesseur, entre 1840 et 1870, et publiés tardivement en français en 1937. En 1851, âgé de trente-huit ans, le compositeur y définit sa conception du drame musical, qu'il oppose à l'opéra, à travers le récit de son propre itinéraire et une vision très juste de son avenir musical, notamment de L'Anneau du Nibelung. On trouvera dans cette nouvelle édition les textes de Wagner suivants : 

- De la musique allemande

- Stabat mater, de Pergolèse (revue critique)

- Du métier de virtuose et de l'indépendance des compositeurs

- Une visite à Beethoven

- Un musicien étranger à Paris

- Le musicien et la publicité

- Le Freischütz

- Halévy et la reine de Chypre

- etc.

Ecrits sur la musique

Samtliche briefe band 14 livre sur la musique

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

An important addition to the newly produced orchestral materials by Schott Music is the fi rst publication of vocal scores of Richard Wagner's ten great operas in every important version. For the first time, we are able to offer theatres and interested opera-lovers vocal scores as urtext editions conceived following uniform editorial criteria : The score corresponds to the performance materials from the Complete Edition. For practical use in rehearsal and study, every vocal score includes rehearsal cues and bar numbers throughout. The publisher has secured the services of renowned 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. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition's Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated-with the corresponding transitional bars-which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner's struggle with the final form of the work. For the first time in a single edition all of Wagner's own suggestions for ossias are found ; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score : "Such 'pointers', as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know that a badly sung top note is worse than doing without it. Wagner even tolerated the transposition of lengthier passages because he was less concerned with the letter of the score than with theatrical effectiveness. [... ] The present vocal score goes beyond the Complete Edition [... ] in that the ossias mentioned above are indicated in the vocal part itself, in small notes. They concern principally the role of Tristan, but also those of Isolde, Brangäne and Kurwenal. They rest in part on the Tristan edition within the Complete Edition but for the greater part go back to a source which could not be consulted for the Complete Edition because it was not yet accessible. This relates to a vocal score from the estate of the composer Peter Cornelius who was engaged by Wagner as repetiteur at the Vienna rehearsals in 1861-63. That the ossia bars go back to Wagner can be taken as certain, since in some places they are notated in his own hand. " (Egon Voss, quoted from the foreword to the vocal score) The transpositions mentioned by Egon Voss-two by Hans von Bülow for the revival of the work which he conducted in Munich in 1869 and the third suggested by Wagner himself in 1861-are printed in the appendix to the vocal score. The ossias, transpositions, and cuts are available for practical use in the theatre and in rehearsal. The cuts are also incorporated into the orchestral materials for Tristan und Isolde. This is also the case with ossias which affect the orchestral parts. WWV 90

Wagner Urtext-Klavierauszüge

'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

A special kind of birthday song by the comedian and pianist from Munich, Dietrich Paul, called 'Piano Paul'. To mark the 200th birthday of Richard Wagner on 22 May 2013 he prepared a humorous 'piano mixture' of various themes, from the Tristan prelude to the song 'Happy Birthday'. Even Wagner's father-in-law, Franz Liszt, has his say, and Richard Strauss sends his regards in the form of several of his immortal melodies. A cheerful serenade for Wagner lovers and those who wish to be. Suitable as an encore for open-minded pianists. Instrumentation : piano

Happy Birthday, Richard Wagner! - A cheerful birthday song with Wagner, Liszt and Strauss. piano.

A Norwegian brig is driven out of her course on the homeward voyage, and near the rockbound Norwegian Coast meets with the phantom ship of the "Flying Dutchman." Daland, the captain of the Norwegian vessel, enters into a compact with the "Flying Dutchman" whose identity, however, is unknown to him, to give him a home and his daughter, Senta, for a wife, in consideration of the rich treasures stored away in the "Flying Dutchman's" ship.

La vie d'un musicien

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