“Der Rosenkavalier” — now available as purchase edition
The following materials are available in the highest typesetting and offset printing quality as hardcover with sew binding:
- Full score (big format, three volumes)
- Study score (in one volume)
- Vocal Score
- Set of orchestra parts (25*35 cm, soft cover)
- Choir score (excerpt)
- Stage music
Our new materials are fully compatible with the existing material, as the original rehearsal numbers have been kept and bar numbers added.
The New Edition
For this expressly practical edition, the performance materials of the three opera houses Berlin (Staatsoper), Dresden and Munich were first analysed. All corrections from historical rehearsals and performances were marked and verified in a digital synopsis. This procedure resulted in so-called superparts — representing what had become musically established since the premiere. The full score was then corrected against this result. Of course, corrections only present in the full score were also taken into account. Editorial decisions are documented as annotations in the PDF files. Unlike a conventional critical report on paper, these searchable scans are easy to handle and show all editorial decisions directly in the music. A tagging system also allows queries according to custom search criteria. In February 2020, the orchestral material was used for the first time: “Der Rosenkavalier”, staged by André Heller and conducted by Zubin Mehta, celebrated its premiere at the Staatsoper Unter der Linden, Berlin.
By 1911 Strauss had already achieved veritable artistic and commercial successes with “Salomé” and “Elektra”, but his latest opera was to surpass these by far. Everyone was talking about “Rosenkavalier”; Berliners travelled to Dresden on special trains, and the work found its permanent place in the worldwide repertoire: even today, 110 years after its premiere, the “Komödie für Musik” (subtitle) is one of the most popular operas. Strauss had set the libretto by Hugo von Hofmannsthal and Harry Graf Kessler to music in no time at all: the authors began working on the text in the spring of 1909 and less than two years later, in January 1911, the opera was already on stage. During this time, Strauss not only wrote three and a half hours of dense orchestral music with a chorus and large ensemble of soloists, but also copyists, engravers, proofreaders and printers in Berlin and Paris feverishly produced over 500 pages of score and more than 1.500 pages of orchestral parts in parallel. According to the autograph, Strauss composed Act 1 from October to December 1909, Act 2 from January to April 1910 and Act 3 from July to September 26th, 1910. The printed score was handed over by the publisher Fürstner to the Staatskapelle in Dresden on November 19th, just two months before the first performance!
The time pressure is clearly noticeable in some details, e.g. in the increasing lack of dynamic indications in the third act. Surprisingly, however, the graphic quality is not affected — the engraving by C.G. Röder is state-of-the-art from the first to the last page. An other detail is confirming the rush: the stage direction “discret, vertraulich” (discreet, confidential), which Strauss put to music in his zeal and which made its way from the autograph via the engraving to the print — unnoticed by any proofreading.
The fact that under these circumstances only a few hundred errors remained in the materials is indeed astonishing. Thus, the correction already began during the rehearsals for the premiere, which were conducted by Ernst von Schuch (and some of them even by Strauss himself). Further corrections accumulated during the numerous performances over the years.
In the 1930s, Clemens Krauss criticised the extent of the errors and undertook a correction, which was then incorporated into a reprint by Kalmus:
Unfortunately, this revision is not documented, but a comparison of both editions turn out rather disappointing, as a lot of errors have not been addressed.