Robert Schumann placed great importance on the genre of the "overture", as can be seen in the chronology of the genesis of his sole opera Genoveva. In his "Haushaltbuch" the composer entered as his first idea "thoughts of an overture", then produced the score even before having begun working on the actual opera. Schumann was right on the mark when he suspected that "the overture alone should enjoy a favorable reception". The Overture appeared in print at about the same time that the opera was pre...
Schumann had already worked on Byron's Manfred as a law student, and the topic fascinated him from that time on. Perhaps he discovered a spiritual affinity to himself in the romantic hero's inner conflict? In any event, he decided on a stage rendition ofthe drama with incidental music, an entirely new genre that he had been dreaming of for some time already. He conducted the overture - it dates from 1848 - for the first time as a separate piece in March 1852. In addition, he followed the preparat...
The Overture to Hermann and Dorothea is the only compositional result that Schumann reaped from Goethes epic poem. He had originally planned an entire opera, then a Singspiel, and finally an oratorio. In the end (1851), he quickly produced an orchestral score that remained unprinted during his lifetime. The striking thematic use of the Marseillaise is multiply motivated: Goethes poem unfolds in 1796, when the two eponymous lovers are fleeing from the French revolutionary troops; Schumann had dire...
That Schumann truly dug his heels into symphonic creation becomes clear at the latest when we look not only at his four well-known symphonies, but also at the works between the genres, such as the Overture, Scherzo and Finale. Unlike the traditional symphonic form, this work has no slow movement. Schumann spoke of it as a suite which hints at a loose connection of movements and as a sinfonietta. Ultimately, he decided to name it after the headings of the three movements which also share common tr...
The question "Why add music to such perfect poetry?" preoccupied Schumann long and intensively. His first compositional approach to Goethes "Faust" began in 1844, but it was not until 1851 that he finally completed the Scenes. At Liszts suggestion, Schumann added an overture in 1853, a symphonic "instrumental introduction" which atmospherically evokes the action of the Scenes but has no direct thematic reference to them. As an independent overture, the work has been played relatively rarely in co...
New Collected Works edition, published by DSCH (official Russian edition authorized by the Shostakowich estate). Cloth/hard cover. Volume 1 includes Symphony No 1. Full score only - parts not included.
Category: Orchestra Full Scores Item: 045851 Grade: Price: $80.95 Availability: Usually Ships in 24 Hours
Masterly compositions reveal the Finnish composer's great gifts for thematic development and formal structure, as well as his ability to infuse his music with strong, tightly reined emotion. Reproduced directly from authoritative German editions. Table of contents. List of instruments. Reprint of the Breitkopf & H„rtel, Leipzig; Schlesinger, Berlin; and State Music Publishers, Moscow, editions. Full orchestral scores of: • Finlandia • Valse Triste • The Swan of...
FINLANDIA was written by Jean Sibelius, one of the most celebrated Finnish composers. Originally written in 1899 for a Finnish press fund-raising gala under the name "Finland Awakens," this piece, along with a few other works performed at the gala, were written to covertly oppose Russia's increasing censorship. Sibelius revised and renamed this work to its current title in 1900. It premiered on July 2, 1900, in Helsinki by the Helsinki Philharmonic Society conducted by Robert Kajanus. At times, F...
20th Century (1985). The "New Carnival of Venice" was written in 1985 for a July 4th concert celebrating American Independence Day by the Los Angeles Philharmonic Orchestra at the Hollywood Bowl. Two weeks before the event, the General Director of the Philharmonic and famed impresario, Ernest Fleischmann, told me the scheduled soloist for the concert had cancelled and asked if I could do a trumpet solo or had any other ideas for something that would be appropriate for an outdoor July 4th "Pops" c...
With his first horn concerto, the merely eighteen-year-old Richard Strauss succeeded in producing a captivating masterstroke. To this day, the concerto is beloved throughout the world (not only) by horn players, and together with Mozarts masterworks numbers among the essential pieces in the instrument's repertoire. Peter Damm, former principal horn for the Staatskapelle Dresden and world-class soloist, has not only performed the concerto publicly over 170 times himself, but has also presented piv...