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Bezig met laden... Der Rosenkavalier [vocal score]door Richard Strauss
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This inexpensive edition of Richard Strauss's Der Rosenkavalier, one of the greatest masterpieces in the operatic repertoire, is reprinted directly from the definitive vocal score prepared by Otto Singer, approved by Strauss, and published by Adolph F#65533;rstner in 1911, the year of the opera's Dresden premiere. Der Rosenkavalier is the Bavarian composer's most popular operatic work. In his operas, songs, and symphonic poems, the aesthetics of the Romantic movement were to reach their ultimate expression. A radiant and bittersweet celebration of love, the opera was Strauss's most successful collaboration with the illustrious Austrian poet Hugo von Hofmannsthal, and an immediate sensation. The vocal score consists of the verbal text, the vocal parts, and a reduction for piano of the full orchestral score of the opera, printed in an easy-to-read format, with wide margins, large noteheads, and many other helpful features. Moreover, this edition makes the score available for far less than the cost of any comparable vocal score. Carefully printed and sturdily bound, it will provide a lifetime of pleasurable use by both professional and amateur singers in the study, practice, and performance of the opera. Geen bibliotheekbeschrijvingen gevonden. |
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 Google Books — Bezig met laden...GenresDewey Decimale Classificatie (DDC)782.1The arts Music Vocal music Operas and related dramatic vocal formsLC-classificatieWaarderingGemiddelde: (4.5)
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The first was the piano-vocal version by Otto Singer. That was followed up by this one, a piano-vocal reduction by Carl Besl, which evidently was meant to be a simplified version aimed at less accomplished pianists. (Singer can be quite demanding, as he tries to reproduce as much of Strauss's orchestral detail as he can.)
But it's only by comparison that Besl can be described as "simplified." An informal A/B check suggests that Besl took over Singer's version, only sometimes making the left-hand part easier, e.g. replacing octaves with single notes, and paring down very fast passages, such as runs and arpeggios. But it still requires a very adept player. Given Strauss's style, it could hardly be otherwise.
(There also exists a reduction for piano solo--no vocal parts, though the words are printed above the piano part. That one may be the most pianistic of all--but it is very rare.)