Strauss: Ein Heldenleben, Op. 40
'A Hero's Life'
Expected to ship in about a week.
- Composer: Richard Strauss (1864-1949)
- Editors: Clinton Nieweg, Stuart Serio
- Instrumentation: Orchestra
- Work: Ein Heldenleben (A Hero's Life), TrV 190, Op. 40
- UPC:
- Urtext / Critical Edition
Description
Written in a Bavarian mountain resort in 1898, Richard Strauss' (1864-1949) eighth tone poem Ein Heldenleben (A Hero's Life) was a response to Beethoven's Symphony No. 3 ('Eroica'). Although he played a bit coy when asked the question, many believe that Strauss had cast himself as the hero given the numerous musical references to his own previous works and his acknowledgement that the violin solo depicted his own wife.
This likely self-reference was described by one critic as "a monstrous act of egotism and as revolting a picture of this revolting man as one might ever encounter. He is, then, honest." But Strauss' swipe at his critics in "The Hero's Adversaries" section, where he portrayed them unflatteringly with both chattering woodwinds and leaden brass shows that he took his critics' dislike for him in stride. While the work is through-composed, it originally had six titled sections: 1. The Hero, 2. The Hero's Adversaries, 3. The Hero's Companion, 4. The Hero's Battlefield, 5. The Hero's Works of Peace, and 6. The Hero's Retreat from the World and Fulfillment.
While the music has not changed in anyway, this critical edition by Clinton Nieweg and Stuart Serio, which consults six different sources, does not show the section titles as the composer himself had requested that they be removed.
Instrumentation: 3+Picc.4(4dEH).2+Eb+BCl.3+CBsn: 8.5.3.2: Timp.Perc(4). 2Hp: Str(9-8-7-6-5 in set).
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
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.
Facsimile
Reproductions of the original hand-written scores from the composer.
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.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
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
For ensemble music, this indicates that there are separate individual parts for each player.
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
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
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.
Strauss: Ein Heldenleben, Op. 40
