"Tristan und Isolde - Piano Reduction" Sheet Music by Richard Wagner

$54.99 USD 
Scored For: Assorted Instruments
Composers: Richard Wagner
Pages: 415
This product does NOT support transposition or digital playback
SKU: 483550
Publisher: Schott Music
Series: Wagner Urtext Piano/Vocal Scores
Publisher ID: Q17773

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. TRISTAN UND ISOLDE Performance directions by the singer Ludwig Schnorr von Carolsfeld are incorporated in the vocal score from the Complete Edition’s Tristan und Isolde volume. He entered these directions into his own copy of the Tristan part which he used at the 1865 Munich premiere. Richard Wagner was deeply impressed by his interpretation of the title role. For the first time in a vocal score of Tristan und Isolde all cuts are incorporated—with the corresponding transitional bars—which Wagner himself made, and approved, in two cases, were actually declared by him to be final. These cuts strikingly document Wagner’s struggle with the final form of the work. For the first time in a single edition all of Wagner’s own suggestions for ossias are found; ossias which evolved from performances under his own direction. Egon Voss writes about this in his foreword to the vocal score: “Such ‘pointers’, as you might say, were current practice in the 19th century which Wagner, as the example shows, did not evade. He was enough of a practical man of the theatre to know