(Vocal Score). German/English. Translated by MacFarren.

L'Avant-Scène Opéra N° 63/64 : Tannhäuser

Deux ans après la disparition prématurée du ténor Ludwig Schnorr von Carolsfeld (1836-1865), lors des répétitions de son opéra Les Maîtres-Chanteurs à Munich, Wagner publia cet hommage. Où il est question de la puissance de jeu de l'organe vocal du ténor et de l'épuisement en lequel celui-ci se trouva après quatre représentations de Tristan et Isolde. Mais aussi de ses interprétations dans Lohengrin : un véritable prodige selon le compositeur qui trouva un double dans l'interprétation de ses rôles démesurés.

Mes souvenirs sur Ludwig Schnorr von Carosfeld

Wagner's Wesendonck Lieder consist of a five songs for female voice and piano. The songs are settings of five of Mathilde Wesendock's poems. This edition contains sheet music for both the Vocal and Piano accompaniment. Instrumentation : Soprano and Orchestra or Piano WWV 91 A

Edition Schott

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

Wagner Urtext-Klavierauszüge

Crépuscule des dieux

"Le génie n'aime pas le génie contemporain, c'est un fait", affirmait Péguy. Sans doute n'est-il pas de démenti plus éclatant à cette formule que l'amitié de Liszt et Wagner : une amitié de près de quarante ans, orageuse parfois, entrecoupée de refroidissements, et même frôlant la rupture, telle que permet de la retracer leur correspondance, unique entre deux compositeurs. Publiée pour la première fois en France, aux Editions Gallimard, il y a plus d'un demi-siècle, cette correspondance est ici présentée dans une nouvelle édition, revue, augmentée et pourvue d'un appareil critique et biographique très riche, comportant de nombreux documents en partie ou tout à fait inédits. Couvrant principalement les années 1850, elle permet de suivre la genèse des travaux théoriques de Wagner et de plusieurs de ses chefs-d'œuvre : L'Anneau du Nibelung, Tristan et Isolde, tandis que Liszt a renoncé aux lauriers du virtuose pour devenir Kapellmeister à Weimar et se métamorphoser en un compositeur fécond et inventif. Comme tous deux étaient en relation avec nombre d'autres musiciens : Berlioz, Schumann, Bülow, Joachim, notamment et qu'ils furent de grands voyageurs, leurs lettres constituent une source d'informations précieuses sur la vie musicale de leur temps en Allemagne et dans la plupart des pays d'Europe où ils se sont produits à la fois en tant que créateurs et interprètes. Ce livre comblera donc les wagnériens, les lisztiens, mais aussi tous les mélomanes désireux de mieux connaître une des époques les plus florissantes de l'histoire de la musique occidentale.

Correspondance

This new edition is the first critical edition of the score. It is based on the original evidence of the work going to press, i. e. the first impression of the score and the engraver's draft, which is fortunately still in existence today. After the end of the first Bayreuth Festival in the autumn of 1876 Wagner gave it to the violinist Friedhold Fleischhauer, who with August Wilhelmj was leader of the Ring orchestra. For more than 125 years the document remained in private hands, until it was made accessible to the public for the first time in 1999. WWV 86 B

Die Walküre - The Nibelung's Ring (WWV 86) A Theatre Festival Play for Three Days and a Preliminary Evening (Vols. 10-13). WWV 86 B. Partition.

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : orchestra WWV 75

Eulenburg Miniature Scores

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

L'Avant-Scène Opéra N° 63/64 : Tannhäuser

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