L'Avant-Scène Opéra no 270 : Rienzi

This new publication presents Wagner's much-loved opera in its entirety with a detailed preface by Egon Voss. The new Urtext Edition replaces the familiar edition by the conductor Felix Weingartner, published in 1897, and it was this version that which all later editions were based upon. Throughout its creation both during Wagner's lifetime and thereafter, The Flying Dutchman has gone through many revisions, making this new edition essential to any opera lover and a welcome addition to the repertoire. Instrumentation : Soprano, Alto, 2 Tenors, 2 Basses, Mixed Chorus and Orchestra WWV 63

Eulenburg Miniature Scores

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 Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time.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.

Although 'Rhinegold', like any of the following three parts, is a drama on its own, it reveals its entire meaning only as introduction to the complete work. In 'The Nibelung's Ring', Wagner used his own word creations the principal characteristics of which are effective alliterations. For the first time, this first part of the 'Ring' also contains the 'reminiscence motifs' (it was not until after Wagner's death that Hans von Wolzogen invented the expression of the 'leitmotif' as it is used today). 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 A

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.

Hagen, fils d'Alberich, convoite toujours l'anneau. Il promet Brünnhilde à son demi-frère Günther sans lui dire qu'elle est l'épouse de Siegfried. Celui-ci, ayant bu un philtre qui lui a fait perdre la mémoire, ne sait plus que Brünnhilde est sa femme. Il va lui-même l'enlever à son rocher pour l'offrir à Günther. Hagen propose alors à Bünnhilde de la venger de cet affront et tue Siegfried d'un coup de lance dans le dos, mais ne peut prendre l'anneau que le héros tient serré dans sa main. Brünnhilde, qui a compris la machination du traître, fait dresser un bûcher où elle dépose le corps de Siegfried et se précipite elle-même dans les flammes. Le feu s'étend jusqu'au Walhalla, qui s'écroule.
Un crépuscule éternel va commencer pour les dieux ; l'univers restera sans maîtres, mais conservera un bien précieux entre tous qu'il devra chérir plus que l'or : l'amour. Et l'anneau retrouvera sa place dans les profondeurs du Rhin.
Après le prologue de L'Or du Rhin, La Walkyrie et Siegfried, Crépuscule des dieux est la troisième et dernière journée de L'Anneau du Nibelung.

Crepuscule des dieux - - bilingue allemand

During his time in Weimar (1848-1861), Liszt developed a then entirely new organ style which stands out for both orchestral and pianistic elements. Together with the choirmaster Alexander Wilhelm Gottschalg (1827-1908) from Tiefurt, he regularly initiated so-called 'organ conferences'. And it was at the suggestion of Gottschalg that the present arrangement of the Pilgrim's Choir from the opera 'Tannhäuser' was written. With his version for organ, Liszt, by means of this example, laid the foundations for the (not always undisputed) tradition, extending to the present day, of organ transcriptions from the operas of Wagner. 'Organistic' elements in the Pilgrims' Choir are the classical chorale theme, the solemn 'sacred' atmosphere of the solemn tempo as well as the expressive cantability. The linear intensification, from the antiphonal-organ-like piano dolce of the beginning to the 'full organ', can be realized in a convincing manner with an orchestrally conceived three-manual organ, with the sensitive use of the swell box and the successive, seamless build-up of the crescendo pedal being of particular significance. Important repertoire piece marking the 200th birthday of Richard Wagner in 2013. Instrumentation : organ WWV 70

Edition Schott

'Siegfried' now completes the new edition of piano scores of Richard Wagner's 10 canonical operas based on the scientific complete edition. They are actually the first urtext editions of Wagner's operas. Apart from the critically revised musical text, the editions are characterized by challenging notation and practical aids such as rehearsal and bar numbers. Prefaces provide information on the genesis and early history of reception while further annotations document important rehearsal instructions of Wagner. WWV 86 C

Wagner Urtext-Klavierauszüge

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.

L'Avant-Scène Opéra no 270 : Rienzi

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