Schumann Oratorio Score, Rose’s Pilgrimage in Rare 1874 Constance Bache Version

Description: Schumann Oratorio Score, Rose’s Pilgrimage in Rare 1874 Constance Bache Version Click to Enlarge Click to Enlarge Click to Enlarge Click to Enlarge Description: The Roses’s Pilgrimage A Fairy Tale Taken from a poem by Moritz Horn For Solo Voices Chorus and Orchestra Composed by ROBERT SCHUMANN Opus 112 Third Edition Vocal Score In German and English The English Translation by Constance Bache Fr. Kistner, Leipzig / Stanley Lucas, Weber & Co., London, Third Edition. Undated but 1874. First edition with the English translation. Paper covered boards with leather spine, 10.5 x 6.75 inches, 136 pages. Schumann originally composed the work for piano and voices; he later orchestrated the score. In this volume, the orchestral part is a piano reduction, or perhaps the original piano version. “In the English edition of Schumann's fine cantata, “ The Rose’s Pilgrimage,” our choral societies, and especially the numerous bodies of amateur vocalists of intelligence, have gained a real treasure. Moritz Horn’s poem has, in the edition before us (Stanley Lucas, Weber and Co.) been translated by Constance Bache with much care and ability; though the translation, perhaps inevitably, lacks something of the pointed picturesqueness of the original. The first movement for soprani voices is redolent with freshness and melodic beauty; nothing indeed can be more charming than the initial figure to the words, " The balmy spring’s awaiting.” An elegant tenor solo follows, which is dovetailed on to the chorus of elves by means of the continued graceful figure for the violins. Several characters enter upon the scene of action in the next movement, which is well sustained and admirably coloured by the interesting accompaniment. ln Nos. 5 and 6 the music assumes a more sober hue. No. 7 is full of dramatic power, notably in the dialogue sentences between the Rose and the Gravedigger, and in the subdued chorus with intermingled soli parts. There is much grace and character in the chorus of elves in No. to. Another charming number for soprano and contralto is No. I2, “Through the forest trees." “Hast wandered in the forest,” No. I5, is a capital specimen of a male chorus, after the true German part-song fashion. The orchestration includes a very effective and suggestive use of the horns. A duet, “A cottage by the mill-pool,” for sopranoand contralto, has an accompanying figure of singular boldness and simplicity. There is much vigour in No. I2, “What wondrous sound of bugles,” in which the horns and other wind instruments are well employed. The courageous chords with the double pedal (tonic and dominant) at the commencement of No. 22 were obviously suggested by the opening notes of the Finale of Beethoven’s Pastoral Symphony. This movement is full of life and accent. in delightful contrast are the following luscious sentences for tenor and soprano, leading into the final chorus of angels for soprani and contralti, which has long drawn tender harmonies, gently accompanied by the swinging triplets of the orchestra. The work is divided into two parts, but in length it measures the space of time usually occupied by one part of an English concert. Our societies will do well to turn their attention to this eloquent, artistic, and characteristic work, which will not only be useful in the concert room, but will also be found of great service in the small drawing-room societies so plentiful in modern London, especially where, as is generally the case, the ladies predominate over the gentlemen in numbers. We trust to see other works by the same great composer, still in the background, brought before the English public; and the admirably prepared edition of “ The Rose’s Pilgrimage” and “ Manfred " by the new publishers, promises well for future enterprise and real service to be rendered to the cause of music.” From a review in The Musical Standard: A Newspaper for Musicians, Professional and Amateur, August 22, 1874. Constance Bache From Wikipedia, the free encyclopedia “Constance Bache ( 11 March 1846 – June 1903) was an English composer, pianist and teacher. Bache was born in Edgbaston, the daughter of Samuel Bache (1804-1876), a Unitarian minister at the Church of the Messiah, Birmingham; an uncle on her mother's side was James Martineau. After learning from her brother Walter Bache, she studied at the Munich Conservatorium and subsequently under Karl Klindworth and Frits Hartvigson. After an injury to her right hand, Bache gave up public performance excepting occasional Birmingham concerts. In 1883 she moved to London, where she took up teaching and writing - especially translation from German.” CONDITION: Very Good- Covers and Very Good+ Contents. (Covers have edgewear, wear and some tearing of leather st spine ends. Contents are complete, clean and intact.) Check our other auctions and store listings for additional unusual items. (Click here to view all of our auctions) Shipping and Payment Information Shipping : DOMESTIC Domestic Media Mail shipping, including Delivery Confirmation and Insurance, is standard. This applies to any address in the US and Puerto Rico, as well as to APO addresses. Media Mail, available only for domestic shipping, is trucked to its destination, and shipped by boat to Alaska, Hawaii and Puerto Rico, On the average it takes 3 to 10 days to arrive, depending on the distance and the vagaries of the US Postal Service. 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Price: 120 USD

Location: NJ

End Time: 2025-01-30T03:19:46.000Z

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