Johann Strauss (Sohn)

Tausend und eine Nacht op. 346 RV 346

Arrangements in modular instrumentation The arrangements of this series are based on the respective critical editions of the Strauss Edition Vienna and ensure maximum balance and authentic sound in each of the possible instrumentations of 12 to 30 instruments. Instrumentation: The scores are notated throughout in maximum instrumentation, with 2nd flute, 2nd clarinet, 2nd horn, 2nd trumpet, trombone and timpani as well as occasionally other percussion instruments marked with (ad lib.). Basically, three instrumentation variants are proposed: 1 / 1 / 1 / 1 – 1 / 1 / 0 / 0 – 1 perp. (ad lib. with timp.) – strings (possibly also soloistic) 1 / 1 / 2 / 1 / 1 / 1 – 1 perp. (ad lib. with timp.) – strings 2 / 1 / 2 / 1 / 1 – 2 / 2 / 1 / 0 – timp., 1 perp. – stringsHowever, the complete notation in the scores also allows for other variants. Tunings: The clarinets are always notated in B flat or A, trumpets in B flat and the horns in F. There are no changes of mood within a work. Trumpet: The voice of the 1st Trp. is obligatory in every conceivable instrumentation, but can be played at will by the 2nd Cl. can be carried out. Percussion: The orchestral material contains a combined part for timpani and percussion, so that even when performed with one person, it is possible to switch between the instruments at will. Snare drum and bass drum with cymbals are always notated as a drum set. Strings: In the case of solo or very small string ensembles, the upper part must always be played in the case of chords or various passages that cannot be performed. In the absence of missing instruments: Conventional cue notes in the sense of an orientation aid were generally not notated in the modular arrangements. On the other hand, small engraved notes depict instrumentation changes that must be carried out in any case in the absence of the instrument specified there. Any large notes notated in parallel are then omitted. The small engraved notes do not necessarily correspond exactly to those that the missing instrument would have to perform itself. Also, the absence of an instrument may occasionally necessitate further changes to the instrumentation, for example when the 1st Clar. the missing 2nd horn must be replaced and then replaced by the oboe that would otherwise be paused. In such a case, the small engraved notes of all instruments involved in the changeover (here for example 1st clar, oboe) are marked with the name of the missing instrument (here 2nd horn).