As if looking back on his youth toward the end of his life Richard Strauss wrote a second concerto for horn and orchestra again in Eb major around sixty years after his first concerto for horn. This sublimely beautiful late work which gives no indication of the oppressive circumstances of Strauss' poor health and the Second World War was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss' death that the concerto appeared in print in London making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor Hans Pizka former principal horn of the BavarianState Opera in Munich learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances the especially playable piano reduction by Johannes Umbreit is a great help. As if looking back on his youth toward the end of his life Richard Strauss wrote a second concerto for horn and orchestra again in Eb major around sixty years after his first concerto for horn. This sublimely beautiful late work which gives no indication of the oppressive circumstances of Strauss' poor health and the Second World War was premiered in 1943 by Gottfried von Freiberg under the direction of Karl Böhm. It was not until after Strauss' death that the concerto appeared in print in London making a critical new edition on the basis of the autograph sources and performance material more than overdue. The editor Hans Pizka former principal horn of the BavarianState Opera in Munich learned first-hand about the performance tradition and genesis of the concerto as a pupil of Gottfried von Freiberg. For use in lessons and for performances the especially playable piano reduction by Johannes Umbreit is a great help.

Early Piano Music. Par STRAUSS RICHARD. These previously unpublished piano pieces will appear in print for the first time in three volumes. Volume I contains fairly short individual pieces (1872-83) of widely varying difficulty. Volume II will contain four Sonatinas in several movements and a Fantasia (1874), which is about as demanding as the Sonatinas of Kuhlau and Clementi or early pieces by Mozart. Volume III contains two Sonatas (1877 and 1879) and a cycle of variations (1884) whose technical demands approach those of the Beethoven Sonatas. The tonal language of the young Richard Strauss was still firmly under the influence of nineteenth-Century traditions, with the figures of Schubert, Mendelssohn and Schumann dominating the musical landscape. The wealth of different forms and the varying levels of difficulty in StraussÂ’ early piano music make it well suited for teaching purposes; admirers and connoisseurs of StraussÂ’ music may also discover a few surprises here./ Recueil / Piano

Originaltonarten für hohe Stimme. Written in 1885, the eight songs after texts by the now little-known poet Hermann von Gilm have a special place in Richard Strauss? corpus of Lieder. For the first time, he composed an entire set of songs on texts by a single poet, collecting them into one opus that was also to appear in print. Some of the numbers in it, like ?Zueignung,? ?Die Nacht,? and ?Allerseelen,? are among the most popular Strauss songs of all time, but the entire cycle with its well-planned structure is also worthy of closer examination and performance. The aspiring composer quite consciously aligns himself with the tradition ranging from Schubert to Wolf, choosing the highly Romantic subject of unrequited love and illuminating its most diverse facets. The primary source for the Henle Urtext edition is the first edition from 1887, which Strauss furnished with a dedication to the Royal Bavarian chamber singer Heinrich Vogl - a serious invitation to today?s male singers not to leave these wonderful Strauss songs solely to female singers!

Piano Sonata in b minor op. 5-During his youth Richard Strauss composed a large number of works for piano solo among them numerous sonatas. Yet it was only the Sonata in b-minor that he obviously considered important enough to want to see in print. It was composed in two versions presumably between winter of 1880 and spring of 1881 and published one year later. Here Strauss still plainly follows his compositional forebears from German Romanticism. The two middle movements of this demanding sonata in particular directly recall Mendelssohn???s Songs Without Words??? and scherzi. This is the first Urtext edition of this piano sonata.

Don Juan stands out among Richard Strauss' early tone poems for its almost faultless structure and concise design. This elaborate and considered work helped to establish him as one of the Great German composers when he conducted the premiere of the work himself in November 11 1889. At twenty-four he had written the first masterpiece for which he will be remembered. Taking Nikolaus Lenau’s play as his starting point Strauss fashioned a Symphonic poem which would convey the story of the legendary womanizer. It is a perfect characterisation with exceedingly vivid orchestration use of short motives and intense lyricism. Eulenberg's celebratedand highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Richard Strauss (1864-1949) est surtout connu pour ses poèmes symphoniques comme Don Juan Also Sprach Zarathustra Ein Heldenleben... à côté de cela il a pourtant écrit de nombreux opéras dont ?Der Rosenkavalier? (1911 Dresde) avec libretto de Von Hofmannsthal est sans doute le plus connu. Dans notre ?Jan Cober Series? nous vous présentons cette adaptation particulière de la suite issue de ?Der Rosenkavalier?. Jan Cober a longtemps travaillé à cette adaptation. Il a reconstruit cette suite avec le plus grand soin pour que la musique de Strauss garde le caractère et la vitalité dont elle a besoin pour pouvoir s?exprimer pleinement lorsqu?elle est jouée par un orchestreharmonique. Tout cela sans perdre de vue le grand arc de tension musicale.

Richard Strauss' Andante was composed in 1888 for the occassion of the Silver Wedding Anniversary of his parents. For the first time the piece has been published for the enjoyment of others by the request of the Strauss family.

In 1880 Richard Strauss began composing the 'Sonata for cello and piano' op. 6. Before it went to print in 1883 he revised the complete piece. Only the first movement remained unaltered. Strauss dedicated the 'Sonata for cello and piano' in F major to his friend Hans Wihan (at that time solo cellist with the court orchestra of Munich) who also took part in the premiere of the piece in Nuremberg.

Eulenburg edition of Richard Strauss' fantastic symphonic poem Also Sprach Zarathustra Op.30. Eulenberg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Eulenburg Miniature Score for Burleske For Piano And Orchestra In D Minor Op. AV 85 by Richard Strauss

Richard Strauss' Song Album 1 for Medium Voice with Piano accompaniment with English words by John Bernhoff.

The first volume of Richard Strauss' Song Album arranged for High Voice and Piano.

This romance for clarinet is an important work because it is the composer's first attempt at writing a concert piece with orchestra. Richard Strauss wrote it in 1879 for a fellow pupil. In a letter to Ludwig Thuille he remarked: 'I have been very industrious - maybe I have told you already - composing a romance in E flat major for clarinet and orchestra which has turned out quite well; the continuous theme turns after the cantilena into a 6-part orchestral fugato.'

Richard Strauss's Also Sprach Zarathustra (Introduction Only) Op. 3 for Concert Band.

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano