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Gaspard de la nuit
Product Details
Description
Maurice Ravel's Gaspard de la nuit is one of the most important piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine, Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus, too, the work is in a tradition, represented by composers such as Schumann and Liszt in the 19th century, that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition, the editors consulted not only the first edition used almost exclusively up to now, but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition, the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.
Content
Notes on interpretation
Facsimile
Ondine
Le Gibet
Scarbo
Glossary - Critical Notes
More Information
Technical Details
More from this series
Standard works of music literature in the original text
The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):
Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.
In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.
