Die Fledermaus [Large instrumentation]

Die Fledermaus [Large instrumentation]

Printed set (Score & Parts)
Flute 1
Flute 2
Oboe 1/2
Bassoon 1/2
Eb Clarinet
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Eb Alto Clarinet
Bb Bass Clarinet
Bb Soprano Saxophone
Eb Alto Saxophone 1
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone

Bb Trumpet 1 (doubling Bb Flugelhorn)
Bb Trumpet 2/3
F Horn 1/2
F Horn 3/4
Trombone 1/2
Trombone 3
Euphonium (div.)
Tuba (div.)
String Bass


[Percussion 1] Snare Drum, Triangle, Vibraphone
[Percussion 2] Suspended Cymbal, Crash Cymbals, Wind Chime
[Percussion 3] Triangle, Bass Drum, Wind Chime, Tubular Bells
[Percussion 4] Glockenspiel, Wind Chime, Triangle
[Percussion 5] Marimba

Perform this arrangement with lightness and joy. Please study the score to understand different expressions indicated in each section. For example, forte could mean a light forte or piano-like soft yet resonant forte depending on the ideal effect. It is impossible to list all of the potential expressiveness for this work, and indeed there is an abundance of artistry and style not mentioned in the original score. Therefore, this work demands performers'creative musical support in its interpretation. When constructing this arrangement, I considered the difference between wind ensemble and orchestral settings. Since it is difficult for winds to completely imitate the Viennese flavor, I have excluded those parts of music requiring excessive orchestral artistry. Also, be aware that the famous melody from its overture is also a part of the operetta. For that reason, do not superimpose the impression of the overture over the actual image of the operetta.

Introductions can become very "heavy". Perform with lighter dynamics and articulation than stringed instruments might. To emphasize a lighter style, begin with mezzo forte. Keep in mind that measures 1-4 are introductory. In measures 5-8, do not let alternating forte and piano dynamics get in the way of the musical drive and momentum. Focus on the flow of this section. The accelerando before "B" does not have to be full and may be interpreted as piu mosso. From "B", don't let the march style fragment the melody. It is a melody with lyrics. Instead of doing actual poco piu mosso before "C" as indicated, it is more of an indication for style change that signals the feel of duple simple meter to alla breve feel in quadruple simple meter. For the 3/4 time signature section after "E", I intentionally omitted the ritardando. Keep the same tempo and let the natural flow created by the 16th note rhythms (6 measures after "E") of bassoons and tenor saxophone drive the music. In this section, sparingly use rubato. Instead, use melodic color for expression. Play "H" with a little forward drive.

The most challenging section starts from "J". Make the most of rubato here. The primary melody should sing as though there is a tenuto on the first 8th note of each measure. The bass line should connect the 3rd to the 1st beat in each measure. To help the flow, accompaniment including string bass should not use rubato. Saxophone section is encouraged to use vibrato and balance within the section. To do this, bring out the mid-voices and "sing" with much brilliance. As indicated, play with much resonance at mezzo forte.

Try different forte styles at "K" to produce a variety of impressions. Use a strong forte for more impressive results. Poco accelerando nine measures after "L" can be interpreted as piu mosso. From the fermata before "M" to "M", no break. From "M" forward, emphasize a lighter style instead of overworking the dynamics. Take care to not overly interpret this fascinating section of musical intrigue. What is important is to perform freely to reveal the existing artistry as it builds to its climax.

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