The musical portion of the score was finished some months ago. The text also had been entered in the full score as well as in the vocal score. Proofing of music and text had been done as well as I could do it. Only I wanted the German text that I wrote myself proofed by somebody having German as his/hers first language.
Today I got a reply from a German musician living in Rostock, who had read through the text as it is presented in the score.
Her comments were about these points:
The German text was correct, only it clearly was written with an ironic distance (which was my intention).
The adaption of three nouns to the music moved them from high German to a southern dialect. I can live with that, as it has been important for me to match rhythm and stress patterns exactly to the music.
In one case she suggested the use of the present rather than the past tense. As both forms only have one syllable, it was easy for me to follow her suggestion.
This alteration has been entered in the full and vocal scores, which have been uploaded to my Yahoo-based project. I still have to write the preface, but for those planning their upcoming season it may be of interest to know that the music is ready by now.
The brass parts all are very close to Strauss' original score, only the trumpets and to some degree the two upper trombones have a heavier workload.
The choir is distributed in sopranos, mezzo's, altos, tenors, and basses. The singers need to read music very well, or the learning of the score will take quite a bit of time, as all parts are subdivided when needed. With strong and secure voices, the vocal score can be performed by down to 2 sopranos, 2 mezzos, 3 altos, 3 tenors, and 2 basses.
When I was a choir director the coaching was done from the piano. I am aware that many choirs now use various electronic formats to support non-reading singers' home practicing. I never have made such learning tools, but I am willing to try producing them on basis of the score. I imagine mp3 being the most relevant format for me to come up with. Choir directors may contact me via the mail button to the right of here. Please no personal messages, as my inbox runs full.
There are substitute/support parts allowing the vocal score to be performed by various common band woodwinds.
http://launch.groups.yahoo.com/group/Yo ... %20Einzug/
Klaus
Feierlicher Einzug for 14-piece brass Preface is up
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Feierlicher Einzug for 14-piece brass Preface is up
Last edited by imperialbari on Fri Sep 06, 2013 3:26 pm, edited 1 time in total.
-
Trevor Bjorklund
- bugler
- Posts: 159
- Joined: Mon Oct 31, 2011 10:07 pm
- Location: North of the Golden Gate
- Contact:
Re: Feierlicher Einzug for 14-piece brass, timpani, & choir
Klaus - your arrangement is big and awesome.
I had my band read it tonight and it shook the church.
Well done and thank you!
I had my band read it tonight and it shook the church.
Well done and thank you!
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass, timpani, & choir
Thank you very much for the kind words, Trevor!Trevor Bjorklund wrote:Klaus - your arrangement is big and awesome.
I had my band read it tonight and it shook the church.
Well done and thank you!
This project has taken a long time to get going, partially because I have sought external support for the proofing of the German text. That matter cleared, I started on the preface and also completed a couple of optional parts. However I had to turn my attention towards changes in the format of Yahoo Groups. Their storage capacity has been drastically increased, so that my material now may be presented in one single group rather than in four of them. All material from the 3rd group and about half of the material from the 2nd group has been moved to the original group by now. The original groups will stay operative via older versions of the index, but no new material will be added. The revised index is still found via the address in my signature.
Taking the occasion from Trevor's posting I completed the introduction and uploaded it. I will post it right below here.
Richard Strauss: Feierlicher Einzug - Majestic procession originally for 15 trumpets, 4 horns, 4 trombones, 2 tubas, and timpani. Here arranged for 14-piece brass ensemble with timpani and SMzATB vocalists. Optional woodwind parts substituting or supporting the vocalists:
http://groups.yahoo.com/neo/groups/York ... %20Strauss
Klaus
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass, timpani, & choir
Richard Strauss
Feierlicher Einzug
Setting for 14-piece brass ensemble, timpani, and SMzATB vocalists with optional woodwind support/substitution
by Klaus Smedegaard Bjerre (2013)
Richard Strauss wrote this monumental procession for a 25-piece brass ensemble with timpani in 1909. The employment of 15 trumpets makes present day performances in the original orchestration next to impossible outside of a certain very large conservatories or military bands. Back in Strauss’ era opera houses like the one in Leipzig had stage bands, which combined with the pit orchestras could provide such large numbers of trumpets.
As the music is worthwhile there already right from 1909 were several arrangements for orchestra, band, or combinations of organ with a lesser number of brasses. Since then several arrangements have been made combining various numbers of brasses with organ.
In my ears the organ with is many high range stops tends to blur the special sonic effect of several trumpets playing in unison. Strauss never allocates the 15 trumpets to each their own line at the same time. Either there are few trumpets playing or they are doubled in various permutations.
Aside of the number of trumpets Strauss’ instrumentation is very close to the 14-piece brass ensemble. Strauss has 2 tenor trombones and 2 bass trombones. The 14-piece brass has 3 tenors and 1 bass. As Strauss gives prominent lines to the 1st bass trombone, the 3rd tenor part in this present arrangement preferably should be played on a large symphonic tenor instrument. Strauss has two tubas. The 14-piece brass has euphonium and tuba. All notes from the two original tuba parts are presented, but they have to some degree been redistributed between the euphonium and tuba parts of this arrangement.
The 4 horn parts are the same as the original ones. The same goes for the trombone parts aside from bars #82 trough 85 where the 1st and 2nd trombones have been given a trumpet fanfare, where the original parts have rests. Very high in the 1st part, but all trumpet are busy here. The 1st trombone also fills in for a missing trumpet in bar #86.
Aside from this change all melodic trumpet lines and entries are played by the trumpets of the 14-piece ensemble, only not always by the numbers of players wanted by Strauss. Many long harmony notes could not be played for lack of trumpets. Another project of mine was for 14-piece brass with SATB vocalist, so I again chose vocalists as supplements for the brasses.
However the vocal lines had to be written in a way to let the singers combine to a full sound. The sopranos support the very exposed trumpet top line, whereas the mezzos and the altos support the inner lines. The tenors very often sing harmony notes with no obvious melodic line, only they are given a recurring horn and trombone motive. The vocalists do not support the unison horns in the loud passages. The tenors preferably should be very strong readers, but then all vocal parts split into 2 or 3 divisi lines or chord notes at various points. The basses cannot fill in for the missing trumpets but for one or two places in the upper of the bass divisi lines. They follow the trombones and euphonium/tuba lines. Their main function is about creating foundation for the said fullness of the vocal soundscape. As I don’t like vocal lines with no text, I wrote one myself. It will be presented in the preface for the vocal score.
Strauss uses counterpoint, fairly simple homophonic settings, fanfare patterns, and then also a more complex 4 part setting, where the melody is played in octaves by the horns and by the upper trumpets. In between Strauss writes 2 harmony lines in the lower trumpets in a fashion sometimes closer to the thickened line known from big band writing than to classical styles of voicing.
Instrumentalists as well as vocalists are likely to benefit from planned for staggered breathing in certain passages. Whether this is organized by the director or by the section leaders may depend on local traditions. For best effects the planning should coordinate the breathing of the instrument and vocalist sections presenting the same musical lines.
To support the vocalists there are several versions of the vocal score transposed for various woodwind instruments common in band contexts. With good taste and with good sense of balance it is possible to let a sufficient, but not overwhelming, number of these woodwinds substitute the vocalists. Please be aware that all parts should be played loco (in the exact octave indicated). That excludes instruments with an inherent octave transposition up or down like piccolo flutes, contrabass clarinets, contrabassoons, or string basses. If you want these extreme octaves, please choose one of the many other arrangements. This somewhat rigorous point of view is read from the original score: in some places, where Strauss takes the bass line very high, he lets the tubas rest. He knew exactly, what he wrote.
In contrast practical work in the field of school and community music-making rarely commands ensembles fitting the exact demands of any given score. This present arrangement cannot at all be performed with less than the specifically indicated 14 brasses. Having been out in that field this editor however already hears the question about what to do with trumpet players #5 or #6? Hence two more optional parts have been written. They are not documented in this present score and they are to be played in a supportive rather than in a soloist manner, as they to some degree present voicing not found in the original score. Only in the bars #82 trough #85, they should be prominent, as they have been given the said original trumpet fanfare. If these two optional parts are played, the 1st and 2nd trombones may omit the fanfare.
Korsør - September 6th - 2013
Klaus Smedegaard Bjerre Bassbone Music
Feierlicher Einzug
Setting for 14-piece brass ensemble, timpani, and SMzATB vocalists with optional woodwind support/substitution
by Klaus Smedegaard Bjerre (2013)
Richard Strauss wrote this monumental procession for a 25-piece brass ensemble with timpani in 1909. The employment of 15 trumpets makes present day performances in the original orchestration next to impossible outside of a certain very large conservatories or military bands. Back in Strauss’ era opera houses like the one in Leipzig had stage bands, which combined with the pit orchestras could provide such large numbers of trumpets.
As the music is worthwhile there already right from 1909 were several arrangements for orchestra, band, or combinations of organ with a lesser number of brasses. Since then several arrangements have been made combining various numbers of brasses with organ.
In my ears the organ with is many high range stops tends to blur the special sonic effect of several trumpets playing in unison. Strauss never allocates the 15 trumpets to each their own line at the same time. Either there are few trumpets playing or they are doubled in various permutations.
Aside of the number of trumpets Strauss’ instrumentation is very close to the 14-piece brass ensemble. Strauss has 2 tenor trombones and 2 bass trombones. The 14-piece brass has 3 tenors and 1 bass. As Strauss gives prominent lines to the 1st bass trombone, the 3rd tenor part in this present arrangement preferably should be played on a large symphonic tenor instrument. Strauss has two tubas. The 14-piece brass has euphonium and tuba. All notes from the two original tuba parts are presented, but they have to some degree been redistributed between the euphonium and tuba parts of this arrangement.
The 4 horn parts are the same as the original ones. The same goes for the trombone parts aside from bars #82 trough 85 where the 1st and 2nd trombones have been given a trumpet fanfare, where the original parts have rests. Very high in the 1st part, but all trumpet are busy here. The 1st trombone also fills in for a missing trumpet in bar #86.
Aside from this change all melodic trumpet lines and entries are played by the trumpets of the 14-piece ensemble, only not always by the numbers of players wanted by Strauss. Many long harmony notes could not be played for lack of trumpets. Another project of mine was for 14-piece brass with SATB vocalist, so I again chose vocalists as supplements for the brasses.
However the vocal lines had to be written in a way to let the singers combine to a full sound. The sopranos support the very exposed trumpet top line, whereas the mezzos and the altos support the inner lines. The tenors very often sing harmony notes with no obvious melodic line, only they are given a recurring horn and trombone motive. The vocalists do not support the unison horns in the loud passages. The tenors preferably should be very strong readers, but then all vocal parts split into 2 or 3 divisi lines or chord notes at various points. The basses cannot fill in for the missing trumpets but for one or two places in the upper of the bass divisi lines. They follow the trombones and euphonium/tuba lines. Their main function is about creating foundation for the said fullness of the vocal soundscape. As I don’t like vocal lines with no text, I wrote one myself. It will be presented in the preface for the vocal score.
Strauss uses counterpoint, fairly simple homophonic settings, fanfare patterns, and then also a more complex 4 part setting, where the melody is played in octaves by the horns and by the upper trumpets. In between Strauss writes 2 harmony lines in the lower trumpets in a fashion sometimes closer to the thickened line known from big band writing than to classical styles of voicing.
Instrumentalists as well as vocalists are likely to benefit from planned for staggered breathing in certain passages. Whether this is organized by the director or by the section leaders may depend on local traditions. For best effects the planning should coordinate the breathing of the instrument and vocalist sections presenting the same musical lines.
To support the vocalists there are several versions of the vocal score transposed for various woodwind instruments common in band contexts. With good taste and with good sense of balance it is possible to let a sufficient, but not overwhelming, number of these woodwinds substitute the vocalists. Please be aware that all parts should be played loco (in the exact octave indicated). That excludes instruments with an inherent octave transposition up or down like piccolo flutes, contrabass clarinets, contrabassoons, or string basses. If you want these extreme octaves, please choose one of the many other arrangements. This somewhat rigorous point of view is read from the original score: in some places, where Strauss takes the bass line very high, he lets the tubas rest. He knew exactly, what he wrote.
In contrast practical work in the field of school and community music-making rarely commands ensembles fitting the exact demands of any given score. This present arrangement cannot at all be performed with less than the specifically indicated 14 brasses. Having been out in that field this editor however already hears the question about what to do with trumpet players #5 or #6? Hence two more optional parts have been written. They are not documented in this present score and they are to be played in a supportive rather than in a soloist manner, as they to some degree present voicing not found in the original score. Only in the bars #82 trough #85, they should be prominent, as they have been given the said original trumpet fanfare. If these two optional parts are played, the 1st and 2nd trombones may omit the fanfare.
Korsør - September 6th - 2013
Klaus Smedegaard Bjerre Bassbone Music
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass, timpani, & choir
Already the original score issued in 1909 indicated issues of I don't know how many alternative arrangements likely made or at least agreed upon by Richard Strauss. He had sold the copyright to the editor company, which is why this music already is in the public domain. Strauss died after I was born, and I am not 70 yet.
I will not say that performances by full bands haven't been on the fringe of my thinking about this project, but is wasn't my main focus. My interest for the 14-piece brass ensemble isn't new, but I didn't really write for this format until the Joy to the World project made for Juneau last fall.
My fear about the full band performances is about just having made a variant of the organ performances possible thereby once more killing the brass concept by adding too many high real notes (if piccolos or the deadly octave-up's by flutists) or high foreign overtones.
Reading Trevor's posting I wondered which parts he had given to his alto saxes. But then there are tenor substitution parts for alto clarinet. To get some reign on wild fantasies by baritone saxophonists I just made a part for contralto clarinet, so that the bull saxists don't feel too much at home.
These disclaimers aside I remember watching a YouTube video of a 30+ piece USAF band playing the 1812-overture. Their brass sections added up to something very close to the 14-piece brass. Bands of that size and quality might very well suit this arrangement.
Klaus
I will not say that performances by full bands haven't been on the fringe of my thinking about this project, but is wasn't my main focus. My interest for the 14-piece brass ensemble isn't new, but I didn't really write for this format until the Joy to the World project made for Juneau last fall.
My fear about the full band performances is about just having made a variant of the organ performances possible thereby once more killing the brass concept by adding too many high real notes (if piccolos or the deadly octave-up's by flutists) or high foreign overtones.
Reading Trevor's posting I wondered which parts he had given to his alto saxes. But then there are tenor substitution parts for alto clarinet. To get some reign on wild fantasies by baritone saxophonists I just made a part for contralto clarinet, so that the bull saxists don't feel too much at home.
These disclaimers aside I remember watching a YouTube video of a 30+ piece USAF band playing the 1812-overture. Their brass sections added up to something very close to the 14-piece brass. Bands of that size and quality might very well suit this arrangement.
Klaus
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass, timpani, & choir
Already the original score issued in 1909 indicated issues of I don't know how many alternative arrangements likely made or at least agreed upon by Richard Strauss. He had sold the copyright to the editor company, which is why this music already is in the public domain. Strauss died after I was born, and I am not 70 yet.
I will not say that performances by full bands haven't been on the fringe of my thinking about this project, but they weren't my main focus. My interest for the 14-piece brass ensemble isn't new, but I didn't really write for this format until the Joy to the World project made for Juneau last fall.
My fear about the full band performances is about just having made a variant of the organ performances possible thereby once more killing the brass concept by adding too many high real notes (if piccolos or the deadly octave-up's by flutists) or high foreign overtones.
Reading Trevor's posting I wondered which parts he had given to his alto saxes. But then there are tenor substitution parts for alto clarinet. To get some reign on wild fantasies by baritone saxophonists I just made a part for contralto clarinet, so that the bull saxists don't feel too much at home.
These disclaimers aside I remember watching a YouTube video of a 30+ piece USAF band playing the 1812-overture. Their brass sections added up to something very close to the 14-piece brass. Bands of that size and quality might very well suit this arrangement. The smallest tuba on the euphonium part, and the euphonium on the 4th horn part might be a relevant option.
Klaus
I will not say that performances by full bands haven't been on the fringe of my thinking about this project, but they weren't my main focus. My interest for the 14-piece brass ensemble isn't new, but I didn't really write for this format until the Joy to the World project made for Juneau last fall.
My fear about the full band performances is about just having made a variant of the organ performances possible thereby once more killing the brass concept by adding too many high real notes (if piccolos or the deadly octave-up's by flutists) or high foreign overtones.
Reading Trevor's posting I wondered which parts he had given to his alto saxes. But then there are tenor substitution parts for alto clarinet. To get some reign on wild fantasies by baritone saxophonists I just made a part for contralto clarinet, so that the bull saxists don't feel too much at home.
These disclaimers aside I remember watching a YouTube video of a 30+ piece USAF band playing the 1812-overture. Their brass sections added up to something very close to the 14-piece brass. Bands of that size and quality might very well suit this arrangement. The smallest tuba on the euphonium part, and the euphonium on the 4th horn part might be a relevant option.
Klaus
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass Preface is up
As hinted it wasn't my main focus to write a version for band, but as it is possible to do so with the music provided, I as well may get the best out of it.
As seen from the material first provided, I imagine flutes, clarinets, and bassoons best filling the vocalists' functions without stealing the prominence of the trumpets. I like oboes and English Horn very much, but I am less sure about them in this present context.
So I made a score for 2 oboes and an English horn, where the tenor solos were removed, whereas the important harmony notes, originally for the low trumpets, in my setting given to the tenor vocalists, stay to be played by the upper double reeds. There are many low Bb's in the second oboe. If the 2nd player has one of the oboes without a key for that note, then the 1st and 2nd players swap their lines.
This last addition is in the Tenor subfolder among the support/substitution parts.
Klaus
As seen from the material first provided, I imagine flutes, clarinets, and bassoons best filling the vocalists' functions without stealing the prominence of the trumpets. I like oboes and English Horn very much, but I am less sure about them in this present context.
So I made a score for 2 oboes and an English horn, where the tenor solos were removed, whereas the important harmony notes, originally for the low trumpets, in my setting given to the tenor vocalists, stay to be played by the upper double reeds. There are many low Bb's in the second oboe. If the 2nd player has one of the oboes without a key for that note, then the 1st and 2nd players swap their lines.
This last addition is in the Tenor subfolder among the support/substitution parts.
Klaus
-
erikrjester
- lurker
- Posts: 1
- Joined: Mon Jan 12, 2015 2:32 pm
Re: Feierlicher Einzug for 14-piece brass Preface is up
Hi Klaus,
Is this arrangement available for purchase?
Erik Jester
California State University
Is this arrangement available for purchase?
Erik Jester
California State University
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Feierlicher Einzug for 14-piece brass Preface is up
As with all of my editions this one is available for free via my Yahoo-based project. If you send me an email address via the mail button to the right of here, I will send you an invitation from where may join directly.
And don’t forget browsing the index for other relevant stuff.
Klaus
And don’t forget browsing the index for other relevant stuff.
Klaus