Wagner: Du bist der Lenz from Die Walküre
$5.00 USD
4 pages. Includes a slightly recomposed ending.
The first of its kind, and the eleventh entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Du bist der Lenz," Sieglinde's aria from Richard Wagner's beloved opera Die Walküre (The Valkyrie) from 1870. Sopranos 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 this particular reduction, the running 16ths have been replaced with much less mobile tremolos to aid in sightreading situations (where the pianist cannot look down at the keyboard to guide the arm shifts). Additionally, the time signatures have been unified so that the entire aria is cast in 3/4 time, eliminating the probable confusion that constantly switching between 9/8 and 3/4 (when the singer is entirely in 3/4) can cause for a sightreading pianist. This reduction also includes an approximate tempo marking, missing in the originally published vocal score, and has two additional key signature changes that more accurately reflect the tonal palette in certain sections.
The first of its kind, and the eleventh entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Du bist der Lenz," Sieglinde's aria from Richard Wagner's beloved opera Die Walküre (The Valkyrie) from 1870. Sopranos 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 this particular reduction, the running 16ths have been replaced with much less mobile tremolos to aid in sightreading situations (where the pianist cannot look down at the keyboard to guide the arm shifts). Additionally, the time signatures have been unified so that the entire aria is cast in 3/4 time, eliminating the probable confusion that constantly switching between 9/8 and 3/4 (when the singer is entirely in 3/4) can cause for a sightreading pianist. This reduction also includes an approximate tempo marking, missing in the originally published vocal score, and has two additional key signature changes that more accurately reflect the tonal palette in certain sections.