Description
M. Witmark & Sons [Published date: 1937]. Sheet Music, full score. Paper covers, 29 pp.
Rare, out-of-print & unusual books · Since 1997
14
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Condition & notes
In good condition. Black and tan decorated covers have a 1" slit along the bottom of the spine and a few other small nicks and tears along the edges. Light bumping and creasing to edges and corners. Binding tight (staple bound). Pages have light markings and notes in both black and red pencil. Previous owner's name and address stamped on inside front cover. Does NOT include individual parts. Includes 2 pages of Introduction and performance notes by the transcribed, Max T. Krone. [From Introduction] This FESTIVAL PRELUDE consists of the following portions of Wagner’s Die Meistersinger: 1) The last eleven measures of the original orchestral Prelude to the music drama, which lead directly to 2) The fine chorale of the first act, which takes place in St. Catherine's church in Nuremberg. This chorale is considered by some to be one of the few, if not the only, first-rate German chorales written since the seventeenth century. The orchestral interludes between the lines of the chorale are built on material from the love motive which accompanies Walther's expression of his love for Eva throughout the music drama. During these interludes Eva and Walter exchange glances and gestures of love. The chorale is followed by 3) The procession of the Mastersingers (from Act 3) to the open meadows where the contest of song is to be held. As the procession approaches, the populace greets its beloved Hans Sachs with exclamations of affection leading to 4) The thrilling "Awake!" chorale which concludes this arrangement. The original words of this chorale, "The Wittenberg Nightingale," were written by the real Hans Sachs (1523) as a greeting to Martin Luther and the German Reformation. FESTIVAL AND ORIGINAL VERSIONS Since the original text derives its significance from its place in the music drama, a festival version has been added which consists of a paraphrase of the sixteenth century hymn, "Wachet Auf!," which is in keeping with the spirit of the music, and which provides a measure of continuity for the whole work. When the festival version is used the choral exclamations in measures one hundred twenty to one hundred thirty-four should be omitted, or played by the instruments for which they are cued, at the discretion of the conductor. The first chorale has been conceived as the song of praise of the wedding guests, assembled, according to the parable, to await the coming of the bridegroom. The procession following, which has been foreshadowed in the short introduction to the first chorale, typifies the wedding party coming from afar through the night. The choral exclamations in measures one hundred twenty- one to one hundred thirty-five are the distant cries of shepherds and of the watchman to the sleeping guests, to summon them from the slumber into which they have fallen during the night of waiting. Quickly the word reaches the city, and from every housetop comes the cry, "Awake! Arise! Go forth thy Lord to meet!"