By Richard Strauss, Opera and Choral Scores

ISBN-10: 0486265382

ISBN-13: 9780486265384

Essentially the most frequently played of Strauss' musical works, this landmark of contemporary opera scandalized early 20th-century audiences with its startling dissonance and unconventional harmonics. at the present time, it truly is favourite for virtuosic invention of musical rules and using instrumental sonorities to signify either individuals and activities. Reprinted without delay from the authoritative F?rstner version.

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71 The choice of theme was seldom novel. Precedents for the librettists' subjects (besides their immediate sources, for which see Appendix 1) can be found among Italian oratorios, Italian sacred cantatas, German Passions, European sacred drama, recent and contemporary English drama and verse - including fair-booth drolls - or English oratorios by other composers, or a combination of these. Deborah, David and Jonathan, Jephtha and the choice of Hercules had all been subjects of English oratorios before Handel treated them.

As Dean points out, the autograph scores provide further proof of Handel's tendency to compose settings of the text before the libretto took its final shape, and then to cut, retrench or adapt. 80 A final piece of evidence which fills out the picture of his collaborations most tellingly comes in another letter from Jennens, this time to his young cousin Lord Guernsey, about work in progress on Saul and Handel's various 'maggots' (aberrations) which are obstructing it: His third Maggot is a Hallelujah which he has trump'd up at the end of his Oratorio since I went into the Country because he thought the conclusion of the Oratorio not Grand enough; tho' if that were the case 'twas his own fault, for the words would have bore as Grand Musick as he could have set 'em to: but this Hallelujah Grand as it is, comes in very nonsensically, having no manner of relation to what goes before.

As Dean points out, the autograph scores provide further proof of Handel's tendency to compose settings of the text before the libretto took its final shape, and then to cut, retrench or adapt. 80 A final piece of evidence which fills out the picture of his collaborations most tellingly comes in another letter from Jennens, this time to his young cousin Lord Guernsey, about work in progress on Saul and Handel's various 'maggots' (aberrations) which are obstructing it: His third Maggot is a Hallelujah which he has trump'd up at the end of his Oratorio since I went into the Country because he thought the conclusion of the Oratorio not Grand enough; tho' if that were the case 'twas his own fault, for the words would have bore as Grand Musick as he could have set 'em to: but this Hallelujah Grand as it is, comes in very nonsensically, having no manner of relation to what goes before.

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Elektra in Full Score by Richard Strauss, Opera and Choral Scores


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