Johann Strauss (Sohn)

Die Göttin der Vernunft - Ouverture RV 516A/B/C-OU.ABC

Arrangements for varied scoring The arrangements in this series are based on the respective critical editions from Strauss Edition Wien and offer maximum balance and authentic sound in each of the possible scorings from 12 to 35 instruments. Scoring: The scores are notated throughout in the full scoring, with 2nd flute, 2nd clarinet, 2nd horn, 2nd trumpet, trombone and timpani, as well as occasional further percussion instruments marked (ad lib.) In principle, three scoring variants are suggested: 1 / 1 / 1 / 1 - 1 / 1 / 0 / 0 - 1 perc. (ad lib. with timp.) - strings (possibly also solo) 1 / 1 / 2 / 1 - 2 / 1 / 1 / 0 - 1 perc. (ad lib. with timp.) - strings 2 / 1 / 2 / 1 - 2 / 2 / 1 / 0 - timp., 1 perc. - strings However, the complete notation in the scores also enables other variants. Keys: The clarinets are always notated in B flat or A, trumpets in B flat and the horns in F. Within a work there is no change of key. Trumpets: The 1st trumpet part is obbligato in all conceivable scorings, but can be performed by the 2nd clarinet as desired. Percussion: The orchestral material contains a combined part for timpani and percussion, so in performances with one player it is possible to change between the instruments as desired. The side drum and bass drum with cymbals are always notated as a drum set. Strings: In the case of solo strings, or very small string forces, in chords which cannot be played or in divisi passages, the upper part should always be played. Where instruments are lacking: conventional cue notes intended as an orientation aid have basically not been notated in the different arrangements. However, cue-sized notes show alterations in the orchestration which should be played in the absence of the given instrument. Any full-size notes notated in parallel are then omitted. The cue-sized notes do not necessarily correspond exactly with those which the missing instrument would have played. A missing instrument can also occasionally make more far-reaching alterations in the orchestration necessary; for example, when the 1st clarinet replaces the missing 2nd horn and then in turn has to be replaced by the oboe, which would otherwise have rests. In such a case the cue-sized notes of all the instruments affected by the change (here, for example, 1st clarinet, oboe) are marked with the name of the missing instrument (here the 2nd horn).