Strauss: Wie Du warst from Der Rosenkavalier
$5.00 USD
6 pages. Includes additional introductory material beginning at rehearsal 12 and a recomposed ending.
The first of its kind, and the third entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Wie Du warst," Octavian's famous aria from Strauss's Der Rosenkavalier (1911). 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 unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.
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. Additional key signature changes have also been provided to clarify the tonal trajectory and reduce the clutter that extra flats and canceled sharps create on the page.
The first of its kind, and the third entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Wie Du warst," Octavian's famous aria from Strauss's Der Rosenkavalier (1911). 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 unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.
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. Additional key signature changes have also been provided to clarify the tonal trajectory and reduce the clutter that extra flats and canceled sharps create on the page.
