Two Album Leaves
In stock
SKU
EM1210
Maker/Manufacturer/Artist
EDITIONS MARGAUX
Arranger/Editor
Alexander Lotzow
Composer
WAGNER, RICHARD
$21.95
[Solo Guitar]
Wagner, master of monumentally sublime musical drama, on guitar – this sounds like a ludicrous prospect. This edition faces it, however, by arranging two of Wagner’s piano album leaves for guitar. Their slender dimensions and the meagre artistic attention towards them could let them appear as mere marginalia. However, their private, intimate, casual character can be convincingly exhibited on the guitar. What emerges are miniatures of a very special quality, sounding like Wagner alright, but at the same time removed from him by a few paces: the "Song without words" WWV 64, characterised by lyrical cantabile, rhythmic overlays and charming harmonic turns, and the “Arrival at the Black Swans” WWV 95, a piece full of unsatisfied longing, that can almost be considered a kind of Tristan “in nuce” – albeit, of course, considerably scaled down aesthetically. It is possible, though, that such a rendering results in a “lowering”, associated with the guitar per se, which sometimes can Wagner, the most difficult of 19th century’s composers, do good.
| Featured Product | Yes |
|---|---|
| Maker/Manufacturer/Artist | EDITIONS MARGAUX |
| Arranger/Editor | Alexander Lotzow |
| Composer | WAGNER, RICHARD |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Level of Difficulty | 4 |
| Description | Wagner, master of monumentally sublime musical drama, on guitar – this sounds like a ludicrous prospect. This edition faces it, however, by arranging two of Wagner’s piano album leaves for guitar. Their slender dimensions and the meagre artistic attention towards them could let them appear as mere marginalia. However, their private, intimate, casual character can be convincingly exhibited on the guitar. What emerges are miniatures of a very special quality, sounding like Wagner alright, but at the same time removed from him by a few paces: the "Song without words" WWV 64, characterised by lyrical cantabile, rhythmic overlays and charming harmonic turns, and the “Arrival at the Black Swans” WWV 95, a piece full of unsatisfied longing, that can almost be considered a kind of Tristan “in nuce” – albeit, of course, considerably scaled down aesthetically. It is possible, though, that such a rendering results in a “lowering”, associated with the guitar per se, which sometimes can Wagner, the most difficult of 19th century’s composers, do good.
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