German Settings of Ossianic Texts, 1840–1880
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- Editor: Sarah Clemmens Waltz
- Instrumentation: Piano, Voice
- Work Language: German
- ISBN:
- Size: 9.1 x 12.0 inches
Description
The ten solo German settings on texts attributed to the Celtic bard Ossian contained in this edition reflect the nineteenth-century Romantic or gothic interest in Scotland. Their composers range from the well-known (Loewe and Donizetti) to the obscure (Bürgel, Taubert, and Hill). These works fracture the unitary conception of the German lied in their borrowing from the melodrama and romance genres, illustrating various strategies for setting a ballad text and often communicating through conventionally defined musical styles or topics. Yet particularly through the obsessive re-setting of Herder's translation of "Darthula's Burial Song," the composers of these settings show themselves to be concerned with preserving a German patrimony established by eighteenth-century views of Ossian as a window to a Germanic culture lost to an illiterate past. The settings themselves are both singable and emotionally moving, and their variable and flexible performance contexts help us reimagine nineteenth-century performance practice and would enrich modern recital programs. Moreover, new editions of this music contribute to the slow rehabilitation of Ossian's fraught reception history and to the overcoming of the post-Romantic rejection of excess emotionalism.
Contents:
- Die Schlacht auf Lora: Fragment aus Ossian, Joseph Klein
- Alpin's Klage um Morar: Gesang Ossians von Goethe, als Fortsetzung der Colma, Carl Loewe
- Malvina: Scène dramatique, Gaetano Donizetti
- Colma's Klage, August Walter
- Das Mädchen von Kola: Von Ossian, Ernst Otto Lindner
- Das Mädchen von Kola: Ossian, Constantin Bürgel
- Darthula's Grabgesang, Wilhelm Taubert
- Das Mädchen von Kola: Aus Ossian's Darthula, Wilhelm Hill
- Colma's Klage: Nach Ossian, Ferdinand Hiller
- Darthula's Grabesgesang (Aus Ossian), Adolf Jensen
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Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
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Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
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Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
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Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
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With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
German Settings of Ossianic Texts, 1840–1880
