![]() Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. This edition is the first text-critical one of the work on a scientifically sound basis. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fuessl, many questions remained unanswered, while other were answered in a dubious way. It is therefore all the more regrettable that he was neither able to perform his "Symphony in Songs" himself nor that he was involved in its printing. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. Reflecting drastic changes in his life, its immense emotional density is very moving. The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Boulogne, Chevalier de - Symphony Concertante in E-flat, Op. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Koeln, Chorwerk Ruhr and Florian Helgath ("Le Disque classique du jour" from and three nominations for Opus Klassik 2021 in the categories "Ensemble", "Choral Recording" and "Editorial Achievement") Tried and tested on many occasions, e.g. Detailed Critical Commentary (Eng), partly available on the Baerenreiter website Extensive foreword (Ger/Eng) on the work's history, reception and modern completions, with analytical stylistic critique ![]() Alternative performance options for the "Lacrimosa", "Sanctus" and "Benedictus" Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment Missing sections were completed by drawing from other fragmentary sacred works by Mozart With performance material for presentation ofĢ) a version with completions of the authentic Mozart sections orģ) a full completion consistent with Mozart's musical idiom Scholarly-critical edition of the "Requiem" fragment Mass, Requiem (K.626) (Completion Michael Ostrzyga). BA11310 / soli(SATB), chor(satb), orch / Dur 55
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