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Opera und lyrische Musik
Sheet music for Werner Egk
Violin and viola - difficult
Full Score and Set of Parts. Composed by Werner Egk (1901-1983). This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score and Parts. Composed 1926. 32 pages. Duration 15'. Schott Music #ED 9283. Published by Schott Music (HL.49013022).
4 cellos (String Parts) - advanced
Composed by Werner Egk (1901-1983). Arranged by Lutz Dreyer. This edition: Saddle stitching. Sheet music. Cello-Bibliothek (Cello Library). Classical. Score and Parts. Composed 1926/2003. 24 pages. Duration 7'. Schott Music #CB 180. Published by Schott Music (HL.49012918).
Alto, string quartet and string orchestra (Study Score)
Nach Weisen und Versen des 18. Jahrhunderts. Composed by Werner Egk (1901-1983). Sheet music. Edition Schott. Classical. Study Score. Composed 1945. 72 pages. Duration 25'. Schott Music #ED 4559. Published by Schott Music (HL.49004988).
Orchestra (2 (auch Picc.) * 2 * 2 * 2 - 4 * 3 * 3 * 0 - P. S. (kl. Tr. * Tamt. * Glspl.) (1 Spieler) - Hfe. - Str.)
Orchestra Score. Composed by Werner Egk (1901-1983). Sheet music. Edition Schott. Classical. Conductor's/study score. Composed 1979. 78 pages. Duration 20'. Schott Music #ED 6919. Published by Schott Music (HL.49006799).
2 violins and cello - difficult
Composed by Werner Egk (1901-1983). This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Score and Parts. Composed 1921. 54 pages. Duration 15'. Schott Music #ED 9282. Published by Schott Music (HL.49008365).
(3 (3. auch Picc.) * 3 (3. auch Engl. Hr.) * 3 Klar. in B (2. auch Es-Klar., 3. auch Bassklar.) * 2 * Kfg. - 4 * 3 * 3 * 1 - P.S. (2 Messklingeln * Rohrengl. * Plattengl. * 2 hohe Gongs * Beck. * Tamt. * Ruhrtr. * kl. Tr. [moglichst mehrere] * gr. Tr. * 2 )
Bericht und Bildnis in drei Teilen. Composed by Werner Egk (1901-1983). This edition: Saddle stitching. Book. Edition Schott. Classical. Text book/libretto. 23 pages. Duration 90'. Schott Music #BN 3190-90. Published by Schott Music (HL.49013463).
(contributed by Peter Hopper <Historics@msn.com>)
Egk was essentially a man of the theatre. He began writing incidental music while he was still a pupil of Orff in Munich, and established himself with the operas Die Zaubergeige (1935) and Peer Gynt (1938). He then remained in Germany during the war, though his only major work of this period was the ballet Joan von Zarissa (1940), followed after the war by more ballets (Abraxas, 1948; Die chinesische Nachtigall, 1953) and operas (Der Revisor, 1957), always written to his own scenarios or librettos.
La Tentation do Saint Antoine, a concert work for contralto and string quartet written in 1945 (and adapted for contralto, quartet and string orchestra in 1952) stands therefore rather apart from his main output in its genre, though not in its ironic tone. According to its title-page, the piece is "Based on airs and verses of the 18th. cent.", so that the demons besetting the saint wear curiously charming masks out of ancien régime pastoral, and the apocalyptic uproar mentioned in the first song is rendered by the musical means of a classical cantata. There is room, though, for Egks playful musical personality to excert itself, rather in the manner of Stravinsky in Pulcinella. The vocal lines seem to have been kept pretty much intact, if rhythmically altered, but the strings, almost always used to provide homogeneous textures, are in a spikier harmonic world, and Egk evidently revelled in the inappropriateness of his chosen airs, which often have a nursery-rhyme simplicity, to the expression of spiritual crisis. In doing so, however, he was contributing to the strong tradition of comedy in the St. Anthony story, a tradition which deals with the last things not as the dire threat everyman felt himself to face, but as so much absurdity.
(Notes by Paul Griffiths.)