Tannhauser poche

Un Musicien Etranger A Paris

The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages. This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions ; these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions.

Bearbeitungen - Klavierauszug zu "Tannhäuser". Partition et notes critiques.

Lyriques

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

Le vaisseau fantôme

La correspondance échangée entre Richard et Cosima Wagner et Arthur Gobineau est largement inédite. Elle l'est en une bonne part pour ce qui concerne le courrier adressé par les Wagner. Elle l'est surtout en totalité pour ce qui vient de Gobineau. Ces lettres sont aussi d'un grand intérêt. Elles traduisent d'une façon bien particulière la confrontation intellectuelle qui a opposé le compositeur de Parsifal (qui - on l'ignore trop souvent - avait dénoncé le racisme gobinien) et l'auteur de l'Essai sur l'inégalité des races humaines. Dans ce débat nous n'avions pas la position du Français. Comment avait-il réagi aux dénégations wagnériennes ? Ces lettres apportent la réponse très subtile de Gobineau. Sans vouloir se fâcher avec le maître de Bayreuth - le seul avec lequel il pouvait encore avoir des échanges intellectuels - il comprit où Wagner voulait porter le fer et sans renoncer à la moindre de ses convictions racistes, rejeta les accusations courtoises, mais franches, qui lui étaient adressées. Présentant au lecteur des pièces en très grande partie originales, ce document est essentiel à la connaissance des pensées de Wagner et de Gobineau. Il est important également si l'on veut comprendre l'enjeu des débats du siècle suivant.

Correspondance (1880-1882)

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. DER FLIEGENDE HOLLÄNDER (1842-1880 version) "This piano reduction is based on the edition of Der fliegende Holländer from the Critical Complete Edition of Richard Wagner's works (Richard Wagner, Sämtliche Werke [Collected works], Vol. 4, III-VI, edited by Egon Voss, Mainz, 2000f.) The primary source for this edition was the first print of the score dating from 1845 which had however been augmented utilising the sources of additions undertaken after 1845, meaning that this edition is actually a compilation of the final versions of all individual sections or relevant details. The overture for example dates back to 1860 whereas No. 1 appears in the version from 1864. What is however most significant is that the versions from the Collected Editions based on new sources is without doubt closer to the original than the score from 1897 edited by Felix Weingartner which had previously formed the basis for all editions and logically also for all performances. " (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of "Romantic Opera in One Act and Three Scenes". This version is set in Scotland, taking as the literary model for the opera Heinrich Heine's novel fragment "From the Memoirs of Mr. Schnabelewopski", and the protagonists have English names. This version was never performed in Wagner's lifetime. Beginning in 1842, the work went through a tale of constant revision : Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character's names as appropriate, divided the opera into three acts - not least due to considerations of scene changes - and transposed Senta's Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called 'Tristan' or 'Redemption' ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score : it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531). WWV 63

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.

Tannhauser poche

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