Wagner: Tannhäuser, WWV 70
Imported and often ships in 2-3 weeks, but may take up to three months.
- Composer: Richard Wagner (1813-1883)
- Format: Vocal Score
- Instrumentation: Opera
- Work: Tannhäuser, WWV 70
- Work Languages: French, German
- ISMN:
- Size: 8.3 x 11.7 inches
- Pages: 592
- Urtext / Critical Edition
Description
An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten Major operas by Richard Wagner in all Major versions. for the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria. • The score is aligned with the performance material of the Complete Edition. • All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. • The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces. • The prefaces are printed in three languages (German, English, French). • The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition. TANNHÄUSER "For the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina Urchueguía have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. with the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice." (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)
The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability. All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work "On the Performance of Tannhäuser", published in 1852. for example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that "[…] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved." (piano reduction, p. 221) in the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance: "The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra." (piano reduction, p. 367)
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.
Wagner: Tannhäuser, WWV 70
