Johann Strauss (Sohn)
Im Krapfenwald'l op. 336 RV 336AB/C
Polka française arrangiert für Kammerorchester: nach Fassung C - Serie II - Werkgruppe 4 - Abteilung 2 - Band 3 - Neue Johann Strauss Gesamtausgabe
Johann Strauss (Sohn)
Im Krapfenwald'l op. 336 RV 336AB/C
Polka française arrangiert für Kammerorchester: nach Fassung C - Serie II - Werkgruppe 4 - Abteilung 2 - Band 3 - Neue Johann Strauss Gesamtausgabe
- Instrumentation Chamber Orchestra
- Composer Johann Strauss (Sohn)
- Editor Michael Rot
- Edition Score
- Publisher Schott Musik
- Order no. VGH3109-12
ships within 2-4 weeks
Description:
Arrangements in modular instrumentation for 12 to 35 players.
The arrangements in this series are based on the respective critical editions of Strauss Edition Wien and guarantee maximum balance and authentic sound in each of the possible instrumentations of 12 to 30 instruments.
Instrumentation: The scores are notated in maximum instrumentation throughout, with 2nd flute, 2nd clarinet, 2nd horn, 2nd trumpet, trombone and timpani and occasionally other percussion instruments marked (ad lib.). In principle, three scoring variants are suggested: 1 / 1 / 1 / 1 / 1 - 1 / 1 / 1 / 0 / 0 - 1 percussion (ad lib. with perc.) - strings (possibly also solo) 1 / 1 / 2 / 1 - 2 / 1 / 1 / 0 - 1 percussion (ad lib. with perc.) - strings 2 / 1 / 2 / 1 - 2 / 2 / 1 / 0 - perc., 1 perc. - strings. However, the complete notation in the scores also allows other variations. Tunings: The clarinets are always notated in Bb or A, trumpets in Bb and the horns in F. There are no changes of tuning within a work. Trumpet: The part of the 1st trumpet is obligatory in every conceivable instrumentation, but can be played by the 2nd clarinet if desired. Percussion: The orchestral material contains a combined part for timpani and percussion, so that it is possible to change between the instruments at will, even when performed by one person. Snare drum and bass drum with cymbals are always notated as a drum set. Strings: In the case of solo or very small string sections, the upper part is always to be played for chords or div. passages that cannot be performed. In the absence of instruments: Conventional cue notes in the sense of an orientation aid have generally not been notated in the modular arrangements. On the other hand, small engraved notes represent instrumentation changes which, in the absence of the instrument indicated there, must be played in any case. Any large notes notated in parallel are then omitted. The lower-case notes do not necessarily correspond exactly to those that the missing instrument would have to play. The absence of an instrument can also occasionally necessitate further changes to the instrumentation, for example if the 1st clarinet replaces the missing 2nd horn and then has to be replaced by the oboe, which would otherwise be resting. In such a case, the small engraved notes of all the instruments involved in the changeover (here, for example, 1st clarinet, oboe) are marked with the name of the missing instrument (here 2nd horn).
The arrangements in this series are based on the respective critical editions of Strauss Edition Wien and guarantee maximum balance and authentic sound in each of the possible instrumentations of 12 to 30 instruments.
Instrumentation: The scores are notated in maximum instrumentation throughout, with 2nd flute, 2nd clarinet, 2nd horn, 2nd trumpet, trombone and timpani and occasionally other percussion instruments marked (ad lib.). In principle, three scoring variants are suggested: 1 / 1 / 1 / 1 / 1 - 1 / 1 / 1 / 0 / 0 - 1 percussion (ad lib. with perc.) - strings (possibly also solo) 1 / 1 / 2 / 1 - 2 / 1 / 1 / 0 - 1 percussion (ad lib. with perc.) - strings 2 / 1 / 2 / 1 - 2 / 2 / 1 / 0 - perc., 1 perc. - strings. However, the complete notation in the scores also allows other variations. Tunings: The clarinets are always notated in Bb or A, trumpets in Bb and the horns in F. There are no changes of tuning within a work. Trumpet: The part of the 1st trumpet is obligatory in every conceivable instrumentation, but can be played by the 2nd clarinet if desired. Percussion: The orchestral material contains a combined part for timpani and percussion, so that it is possible to change between the instruments at will, even when performed by one person. Snare drum and bass drum with cymbals are always notated as a drum set. Strings: In the case of solo or very small string sections, the upper part is always to be played for chords or div. passages that cannot be performed. In the absence of instruments: Conventional cue notes in the sense of an orientation aid have generally not been notated in the modular arrangements. On the other hand, small engraved notes represent instrumentation changes which, in the absence of the instrument indicated there, must be played in any case. Any large notes notated in parallel are then omitted. The lower-case notes do not necessarily correspond exactly to those that the missing instrument would have to play. The absence of an instrument can also occasionally necessitate further changes to the instrumentation, for example if the 1st clarinet replaces the missing 2nd horn and then has to be replaced by the oboe, which would otherwise be resting. In such a case, the small engraved notes of all the instruments involved in the changeover (here, for example, 1st clarinet, oboe) are marked with the name of the missing instrument (here 2nd horn).