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so-313 Grade 2 (ME) of Vienna .for STR I NG ORCHESTBR P lRNO (Optional) bg frank M. Rod,gets INSTRUMENTATION r Conductor Score r Piano I rstViolin 8 znd Violin 2 Treble ClefViola S Viola S Cello S Bass Extra Score $L0.00/Extra Part $4.00 @ Copyright 2015 MSB Publishing Co. 18416 Crownsgate Circle Germantown MD 20874-4416 ALL RIGHTS RESERVED $48.00 MSB Publishing

STR NG ORCHESTBR P MSB Publishing - · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

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Page 1: STR NG ORCHESTBR P MSB Publishing -  · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

so-313 Grade 2 (ME)

of Vienna.for

STR I NG ORCHESTBR

P lRNO (Optional)

bg

frank M. Rod,gets

INSTRUMENTATION

r Conductor Scorer PianoI rstViolin8 znd Violin2 Treble ClefViolaS ViolaS CelloS Bass

Extra Score $L0.00/Extra Part $4.00

@ Copyright 2015 MSB Publishing Co.18416 Crownsgate Circle

Germantown MD 20874-4416ALL RIGHTS RESERVED

$48.00

MSB Publishing

Page 2: STR NG ORCHESTBR P MSB Publishing -  · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

Mists of Vienna

FORFWOR[)

Here is a truly outstanding work meticulously crafted for your 2nd year string orchestra, guaranteed to excite your students

and enthrall your audiences. Can't you already hear the screams of 'tsravo!" and witness the Standing "O" from your listeners

as you conclude a superb reading of this work. The Mists o f Vienna will have your students waltzing with musical

delight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann

Strauss. You will even get to smell the roses, the "southem Roses", beginning at meas. no. 41, which features the violas,

cellos, and yes, the basses. I am so glad I did not have to call Johann to get his permission to use his famous theme, but

Elvis stopped by the other day and said it was OK to use it.

Surprisingly, the biggest challenge in this work is not the notes or rhythms. Even more unusual is the fact that the lstViolin part is the easiest part of all. Now doesn't that just blow your socks off! Dynamic contrast and musical style are the

real challenges of this delightful waltz. Bowing styles are also extremely important. The score and string parts have been

carefully edited to reflect the desired character of this piece. You may want to d a few little "goodies" of your own. For

example, at the end of some of the phrases you may want to try a slight ritard and a retum to 'a tempo" at the start of a new

phrase. I leave that up to you. I say experiment and have some fun with it.

ITnaltered & Alfered Notes That May Challenge Yortr Shrdents

lst Violins: C naturals on the "A" Strg., "High F#" on the "E" string2nd Violins: F naturals on the "D" Strg., Eb on the "D" Strg., Ab (low 4) on the "D" Strg., Bb on the "A" strg.

Violas: Unaltered notes on the "G" Strg., Low Ab (low lst finger on "G" String), Ab (low 4) on the "D" Strg.

Cellos: Notes in the one octave "D" Major scale, C natural on the "A" strg., "Low A" (lst finger on the "G" Strg)

Basses: Notes using lst & 4th fingers on the A, D, and G strings, 3rd Position notes on the "G" Sttg. (C# & D)

Five Rasic Rowing Styles Ilsed In This Work

(l)Detache, (2) Staccato, (3) Accented Bow, (4) Hooked Bow, (5) Slur (lst Violin Only)

Familiar & Ilnfamiliar Musical Terms Used

t'Subito" (ndicates a "sudclen" change as in dynamics;, 6tDivisi" lDividing of a part as in meas. nos. 3l - 36 in the

violapart), pp, p, mp, f, poco d poco dccel (meas. no.73), ttTempo di Valse" (Tempoof awaltz), Frog

Odds & F.nds

Bass Part: It is prefemd that all basses play the 3d Position notes where indicated. However, if some of your basses are

not that familiar with those notes or shifting, I wrote an optional lst Position part using smaller noteheads. In measures 73

- 75, I highly recommend that basses keep their lst finger down on the "G' Strg (high "A') as they cross between the 'D"and "G' strings. I notated this in the bass paft. Quarter notes on beat no.1 should not be heavy. They need to be clean, crisp,

somewhat light, but not overly accented. I recommend having your basses slightly lift the bow off the string after each bow

stroke.Poco a poco accel (meas. no. 73): You may consider it as "optional" if your students cannot increase the speed of an

already brisk tempo. As a suggestion, you may want to drop the dynamic level here a bit and crescendo as you accelerando.

That's entirely up to you.Hooked Bow (meas. no. 55): It's very important that your students DO NOT RETAKE TIIE BOW to play the note on

beat no. 3. On beat no. I I recommend taking a half bow (beginning near the frog), stopping the bow at the middle for the

rest. After the rest the bow should continue from that point and should be pulled all the way to the tip.Tempo di Valse: Performance tempo should be brisk and at the tempo indicated. It should have a distinct feel of "ONE"Staccato Notes: The after beats in the 2nd Vlns. and violas should be light and crisp. Ideally, they would be played as a

"brush" stroke near the middle of the bow. However, it would be highly unusual to have a Zrd yeu group proficient in the

"brush" stroke. The same effect can be achieved by having them play short bows slightly above the middle, and on the string.The Accented Last Note: After the fermata in meas. no.79, the bow should be at the tip, poised for a very rapid up bow

to achieve the final accent. For show biz purposes, you may want to have the students liti the bow slightly above the

strings and "hold the pose" (as the pros do) at the completion of the last note. This will get your audience a jump'nl

In Conclusion

I sirrcerely hope you hnd this piece to be well within the technical and musical grasp of your students. While there are indeed

some challenges, they will easily be overcome with a little diligence and some TLC. The waltz is one of the many great

styles of light classical music. I am a fan of doing whatever it takes to get our young people excited about the great classical

styles as well as a variety of other styles. Here's hoping this piece will have you and your orchestra waltzing your way

towards an unbridled musical experience that exudes a sense of pride and a tremendous sense of artistic accomplishment.

MSB Publishing

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Conductor Score Mists of ViennaFor String Orchestra and Piano (Optional)

@ Copyright 2(J16by MSB Publishing Co.18416 Crowasgate Circle

cerma.nto\pn MD 2O8764-44LALL RIGHTS RESERVED

By Frank M. RodgersTempo di Valse J = lsz

mp

n

mP

n

Tempo di Valse

7l subito

MSB Publishing

Page 4: STR NG ORCHESTBR P MSB Publishing -  · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

Mists of ViennaConductor Score

MSB Publishing

Page 5: STR NG ORCHESTBR P MSB Publishing -  · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

Mists of ViennaConductor Score

-23 -

SOFT!

l,rl n

2nd Vln.

2nd Vln.

-

PPsubito

III Pos.rt,t I Pos{.

2Low

fF

MSB Publishing

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"Southern Roses" J. Strauss

Mists of ViennaConductor Score

"Southern Roses" J. StraussIrv

MSB Publishing

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Mists of ViennaConductor Score

n,. E V47.10 lrVl'rE

Hooked Bowl-Ir IlEl--i

2nd Vln.

MSB Publishing

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Mists of ViennaConductor Score

2nd Yln.

MSB Publishing

Page 9: STR NG ORCHESTBR P MSB Publishing -  · PDF filedelight while at the same time leaming the basic style of the walZ made famous by the "WalZ King" himself, Johann Strauss

Mists of ViennaConductor Score

Keeo lst finser

lY

poco a poco accel,

Play on Ctre from your Director!

v

,, Play on Cue from your Director!

n FROG, 1,,^ I

MSB Publishing