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Goetterdaemmerung WWV 86 D, Der Ring des Nibelungen, vocal/piano score
Goetterdaemmerung WWV 86 D, Der Ring des Nibelungen, vocal/piano score
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Goetterdaemmerung WWV 86 D, Der Ring des Nibelungen, vocal/piano score

  • ISBN: 978-3-7957-9875-8
  • Código del editor: ED 20550
  • Editorial: Schott Musik International
  • Encuadernación: Rústica
  • Páginas: 480
  • Idiomas: alemán
  • Tipo: PARTITURA
  • código del editor: ED 20550

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ISMN: 979-0-001-15828-2 Götterdämmerung WWV 86 D, Der Ring des Nibelungen, Klavierauszug Edición de / Edited by: Döge, Klaus / Klein, Eva Katharina 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.GÖTTERDÄMMERUNGThis piano reduction corresponds to the edition of the score of Götterdämmerung contained in the complete critical edition of the musical works of Richard Wagner (Richard Wagner, Sämtliche Werke, Vol. 13, I-III, edited by Hartmut Fladt, Mainz 1980ff. [Richard Wagner, Complete Works]). The first printed edition of the score was published by B. Schott’s Söhne, Mainz (plate number 21953) in the summer of 1876, but was supervised by the conductor Hermann Levi and not by Wagner himself. This edition displays deviations from the autograph which cannot be considered as adhering to Wagner’s intentions. For this reason, the critical edition is largely based on Wagner’s autograph score. Individual changes made during the first performances of the work in Bayreuth in 1876 have been identified in the footnotes.