Strauss: Mir ist die Ehre/Presentation of the Rose (Duet Version) from Der Rosenkavalier
$5.00 USD
8 pages. Includes a slightly recomposed ending.
The first of its kind, and the tenth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mir ist die Ehre," the famous Presentation of the Rose scene from Strauss's beloved opera Der Rosenkavalier (1911). This version contains both Sophie's and Octavian's parts in the original duet configuration. Thus, sopranos and mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.
In addition to the current version, a solo version for Sophie auditions is available as a separate PDF. To see a preview of the Sophie cut, please visit its separate listing.
In this particular reduction, numerous extraneous octave doublings have been removed, allowing the pianist to more easily project the clarity in the orchestral score's texture. The flute triads that end most phrases in this aria have also been reduced to two-note dyads to aid in sightreading and some of the fatiguing (and unpianistic) tremolos have been reduced out.
The first of its kind, and the tenth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mir ist die Ehre," the famous Presentation of the Rose scene from Strauss's beloved opera Der Rosenkavalier (1911). This version contains both Sophie's and Octavian's parts in the original duet configuration. Thus, sopranos and mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.
In addition to the current version, a solo version for Sophie auditions is available as a separate PDF. To see a preview of the Sophie cut, please visit its separate listing.
In this particular reduction, numerous extraneous octave doublings have been removed, allowing the pianist to more easily project the clarity in the orchestral score's texture. The flute triads that end most phrases in this aria have also been reduced to two-note dyads to aid in sightreading and some of the fatiguing (and unpianistic) tremolos have been reduced out.
