siegfried's rhine journey

Wagner’s Siegfried’s Rhine Journey from Götterdämmerung

Notes by TŌN violist Leonardo Vásquez Chacón

The Ring They say that a river cuts through rock not because of its power, but its persistence. Such a virtue is exemplary of Richard Wagner, the composer of the titanic tetralogy of operas (who actually used the term music dramas) known as  Der Ring des Nibelungen  or “The Ring of the Nibelung.” The fourth in the saga,  Götterdämmerung  or “Twilight of the Gods,” was completed in 1874 and is the opera from which  Siegfried’s Rhine Journey  comes.

The Themes The music starts with a somber line in the cellos, depicting Siegfried and Brünnhilde waking up after their first intimate encounter. As the fog dissipates, we hear four French horns proudly announcing the hero Siegfried’s theme. This is answered by the clarinet, which brings a different and much more tender musical idea: Brünnhilde’s theme. Wagner keeps developing these two themes throughout the piece by changing their character, instrumentation, and the harmony around them, almost like the two lovers dancing or having a discussion. At some point we also hear the sinuous and ever-flowing music that represents the Rhine river in  Das Rheingold , the very first opera of the cycle.

From Darkness to Heroism The composer’s mastery in orchestration and use of drama always impacts me. The piece depicts an epic journey filled with contrasts between darkness and heroism, while other parts remind me of the most innocent and tender moments in Debussy or Ravel, composers of a later generation. Wagner’s music is something that even musicians in a professional symphony orchestra do not always get to perform because it is mostly in the field of opera companies, so being able to perform it today is really a great opportunity.

Thank You, Wagner Like the Rhine river that knows no rest, Richard Wagner’s relentlessness gave us a work comprised of four operas that needs four days to be performed—almost 17 hours of music. His use of Norse mythology, along with plots that involve romance, murder, magic, etc. are what inspired much of our modern epic sagas like  The Lord of the Rings  and  Game of Thrones . Next time you find yourself awestruck by the latest episode of your favorite show, remember you have Wagner to thank.

Wagner’s “Götterdämmerung”: Siegfried’s Rhine Journey

Completed in 1874,  Götterdämmerung  (“Twilight of the Gods”) is the fourth and final opera in Richard Wagner’s epic Ring cycle. Wagner composed the Ring cycle, which is based on Norse mythology, over the course of 25 years. Its themes include the conflict between love and the pursuit of power, the violation of nature, self-sacrifice, annihilation, and rebirth.

Dramatic orchestral sequences occur throughout Götterdämmerung . In these moments, we move beyond the literal meaning of the libretto into a vast world of tonal color and instrumental voices. Siegfried’s Rhine Journey  is the orchestral interlude which links the Prologue and Act I. Brünnhilde has sent Siegfried off to new, heroic adventures. Before mounting her horse and bearing her shield, he gives her the ring of power as a pledge of his faithfulness.

Siegfried’s Rhine Journey  begins with a solemn statement of the “Fate motif” in the trombones and tuba. The darkness of night carries the hushed anticipation of dawn, which gives way to a majestic sunrise. Siegfried’s horn call alternates with Brünnhilde’s leitmotif in the bass clarinet. The music dances with a delirious joy which is interrupted only by the mythic, ever-flowing waters of the Rhine.

This performance, recorded on April 29, 2022, features conductor Alain Altinoglu and the Frankfurt Radio Symphony:

Featured Image: “ Richard Wagner, Götterdämmerung, Act I, Siegfried’s Rhine Journey,” Ferdinand Leeke

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Just plain gorgeous music, expertly performed. Belated happy birthday Maestro Wagner!

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Excerpts from Götterdämmerung

Richard WAGNER

About this Piece

Composed: 1869-1874 Length: c. 45 minutes Orchestration: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, 8 horns (2 = Wagner tubas), 3 trumpets, bass trumpet, 3 trombones, bass trombone (= contrabass trombone), tuba, timpani, percussion (cymbals, glockenspiel, side drum, triangle), 4 harps, strings, and soprano First Los Angeles Philharmonic performances: Siegfried’s Rhine Journey – January 12, 1923, Walter Henry Rothwell conducting; Siegfried’s Funeral Music – February 13, 1921, Rothwell conducting; Brünnhilde’s Immolation – August 19, 1927, Eugene Goossens conducting, with soprano Elsa Alsen)

Nearly 30 years separated the start of Götterdämmerung (The Twilight of the Gods) from its completion and premiere. Wagner completed the first draft of the scenario for the work, which he originally called Siegfrieds Tod (Siegfried’s Death), the fourth and final installment in his massive tetralogy Der Ring des Nibelungen (The Ring of the Nibelungs), on October 20, 1848; Götterdämmerung premiered on August 17, 1876 at the Bayreuth Festival Theater, specially built for the occasion.

As the last chapter in a four-night, 15-hour operatic experience, Götterdämmerung resolves much of what has unfolded in the previous operas, both dramatically and musically. At the beginning of The Ring ’s first opera, Das Rheingold (The Rhine Gold), Alberich, a twisted, gnome-like creature hailing from a people who mine for precious metals underground, swims into the Rhine and steals a chunk of magic gold from the three Rhine Maidens. He forges a ring of power from it, and, over the succeeding two operas, mortals and gods fight over the ring, which Alberich cursed when the god Wotan took it from him.

In Die Walküre , a child is born to Siegmund and Sieglinde, children of Wotan’s alliance with a mortal woman who were separated when young and thus unaware of their sibling relationship. This is Siegfried, who is to become Wotan’s needed hero. Before the child is born, Siegmund is killed in spite of the intercession of Brünnhilde, Wotan’s favorite of his nine Valkyrie daughters. Because her efforts to help Siegmund were put forth against Wotan’s orders, Brünnhilde is banished from Valhalla and put to sleep, surrounded by a circle of flames.

In the third opera, Siegfried, Wotan’s grandson, kills the dragon Fafner, who claimed the ring from Wotan as payment for building a magnificent dwelling for the gods, Valhalla. Siegfried uses the ring to pass through the circle of magic fire and win Brünnhilde.

At the beginning of Götterdämmerung , Brünnhilde, now a mortal, sends Siegfried off to heroic deeds. Between the prologue and the first act occurs the orchestral interlude depicting Dawn and Siegfried’s Rhine Journey. The young warrior’s horn call is sounded, often, at times combined with other motifs from earlier portions of The Ring : Brünnhilde’s motif, the Fire Music, the motif of the Ring, etc. Toward the end of the excerpt, the mood darkens, prefiguring the tragic events about to be played out in the drama. Indeed, the tragedy is centered upon Siegfried, for in the course of his adventures, through a series of deceits and treacheries in which Brünnhilde ironically shares the guilt, he is slain. The Funeral Music that accompanies the procession in which his body is borne contains some of the most powerful and profoundly affecting music in all of Wagner. In it the warrior’s life is recalled, his heroic motifs and the motifs of those associated with him pass in review, ultimately to be clothed in the robes of tragedy.

Finally the Ring cycle closes with the Immolation Scene, a magnificent monologue in which Brünnhilde orders a funeral pyre built to consume the body of the slain Siegfried. In the same pyre she will immolate herself, and in the process cleanse the powerful but cursed Ring, for whose possession the gods have caused their own doom. The Ring is returned to the Rhine Maidens, who swim away rejoicing, as in the distance Valhalla and its inhabitants are consumed by flames. The orchestral coda, ending with the breathtaking theme of Redemption by Love, crowns The Ring with purest Wagnerian gold.

— from notes by John Mangum and Orrin Howard

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Wagner - Götterdämmerung: Siegfried's Rhine Journey and Funeral March

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Götterdämmerung : Rhine Journey

Richard WAGNER

At-A-Glance

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Composed: 1874

Length: c. 10 minutes

Orchestration: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, 8 horns (2 = Wagner tubas), 3 trumpets, bass trumpet, 3 trombones, bass trombone (= contrabass trombone), tuba, timpani, triangle, cymbals, side drum, glockenspiel, 4 harps, and strings

First Los Angeles Philharmonic performance: April 16, 1922, Walter Henry Rothwell conducting

About this Piece

“Siegfried’s Rhine Journey” functions as an orchestral interlude between the Prologue and Act I of Götterdämmerung , as Brünnhilde sends Siegfried off to seek new adventures, riding her horse and carrying her shield toward the Rhine and his fate. The music progresses from the near silence of the dawn (in the brass) to moments of intense string writing that gives way to the “Hero” motive as Siegfried sets out on his river journey.

ABOUT GÖTTERDÄMMERUNG

In the beginning was Siegfried: that is, the poem Siegfrieds Tod (Siegfried’s Death). This long, lyrical poem that Wagner completed in November of 1848 eventually became the fourth and last “music drama” of his monumental tetralogy Der Ring des Nibelungen. Little did Wagner know at the time that Siegfrieds Tod was the substantial seed from which the other three operas would spring and that this poem/libretto was itself the first draft of what would be renamed Götterdämmerung (Twilight of the Gods). For upon completion of Siegfrieds Tod , Wagner realized that the poem he’d penned assumed too great a knowledge of the Nibelungen myth on the part of his audience. As a consequence, and to fill in the gaps, he wrote the poem/libretto Der junge Siegfried , (The Young Siegfried, later to become simply Siegfried), to which he then appended Die Walküre (The Valkyrie) and Das Rheingold (The Rhinegold) in that order, extending backward through time. As Thomas Mann would write in the opening line of his own tetralogy, Joseph and His Brothers , “Very deep is the well of the past.”

Wagner completed the massive poem Der Ring des Nibelungen on December 15, 1852, as an exile in Switzerland, resulting from his anarchist activities and participation in the Dresden rebellion of May 1849. Importantly, and prior to completing the three opera librettos following Siegfrieds Tod , Wagner interrupted that work to produce three theoretical essays on the nature of opera that shaped his aesthetic/compositional approach to the genre and the articulation of his concept of “music drama” for the rest of his career: Art and Revolution (1849), The Art Work of the Future (1850), and Opera and Drama (1852). These essays encompassed drama, music, politics, myth, religion, et al. Wagner wrote them while under the spell of the greatly influential German philosopher Ludwig Feuerbach (1804-1872). Here is Feuerbach’s philosophy, stated very briefly and simplified to the nth degree: humans are the creators of gods, thus religion is a construct of the human mind that reveals fundamental truths about ourselves; the very essence of human life is love; since there are no gods in reality, humans are responsible for their own actions; god-like characteristics that human beings have regarded as divine for millennia are in fact human – we are divine.

Feuerbach’s was not the only philosophy that informed Wagner’s thoughts at this time; he was deeply influenced by philosophical anarchism as well. Aspects of this philosophy in The Ring were that the original state of nature is idyllic and harmless; an imposition of law-governed orders such as marriage, property, and money are evil; and that property is theft, etc. On the flip side, however, it is by means of love that human beings can live harmoniously with each other, and nature without property, money, laws, or government – love will hold it all together.

These are several non-musical themes [artistically] transformed by Wagner in The Ring : the rejection of love and the pursuit of power as embodied in the possession of the ring (Alberich and Wotan); the violation of the natural order through imposed contractual law (Wotan’s spear). Possession of power and gold usurps love at every level of The Ring. This is true even for Siegfried and Brünnhilde in Götterdämmerung , until the very end, when Brünnhilde, in the ultimate act of self-sacrifice [for love of Siegfried], rides horseback onto his funeral pyre with the ring, thereby cleansing it of its curse and destroying the old order of the gods.

-Steven Lacoste

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Götterdämmerung: Dawn and Siegfried's Rhine Journey (Toscanini)

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Siegfried Horn Calls from Götterdämmerung

To wrap up my series on the Siegfried horn calls within Richard Wagner’s Ring of the Nibelung, today’s article features the calls in Wagner’s final opera in the cycle, Götterdämmerung .  The short call of course is something that most horn players are familiar with. The Prelude and Siegfried’s Rhine Journey is a fairly common staple in orchestra concerts.

It should be noted that in the full operatic version the short call appears on page 10 of the Horn I part. There is quite a bit to play before the famous call sounds.

Gone is the sleeping dragon and magical bird from the previous opera Siegfried. When performing this call this is something to bear in mind.

Our mythical hero is on a journey, carrying Brünnhilde’s shield and riding her horse Grane. The spirit in these calls is without a doubt, heroic.

Pages 17 and 18 are interesting to look at. Horn calls are peppered throughout.

Act II Scene II

One final excerpt to consider is this segue from Scene I into Scene II of Act II. This is perhaps the final sounding of Siegfried’s horn call within the Ring cycle.

The beginning of this excerpt until the hand-written rehearsal number 8 has been on Arizona Opera auditions. It encompasses a wide range and requires smooth control over long phrases.

The entire Horn I and II combined part for Götterdämmerung by the way, adds up to a whopping seventy-seven pages!

Previously in this series:

• Siegfried – the back story A video that gives the story.
• Slaying the dragon The music that precedes and follows the Long Call.
• Forging the sword The end of Act I.
• An Interpretive Approach to the Long Call A boy, a bird and a sleeping giant.

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Gary D. Lloyd – Piano Lessons

Online piano lessons for beginners to advanced players, 1874: wagner: siegfried’s rhine journey.

SUNDAY, August 2, 2020

Siegfried’s Rhine Journey: 1874

This is yet another miracle recording from the late 50s and early 60s. For the most part I’m only posting about music that is loved or at least appreciated by people who have no interest in opera – which includes me. Strangely, this is not from Siegfried, the 3rd opera in the Ring Cycle. It is from the last one.

From Twilight of the Gods…

Siegfried is actually a main character in the last two operas from The Ring. I won’t bother with the story here except to say that “Dudley Do Right” from The Adventures of Rocky and Bullwinkle and Friends was a genius compared to Siegfried.

It’s all about Siegfried…

It really is, to a large extent, since Siegfried eventually brings down all of Valhalla. But in another sense it’s also all about him, because he has an ego the size of Jupiter to go along with his pea-sized brain. His story crosses over from Siegfried – which literally is all about him – and into Twilight of the Gods.

Did Wagner write it his way?

Apparently not, but I’m still checking. This popular selection is actually two parts spliced together from the Prologue of Twilight of the Gods.

I just found that out a couple days by listening to the whole thing. For those of you who don’t want to be tortured by more than four hours of very bad German written by Wagner for singers who mostly can’t hold a steady pitch to save their lives, please thank me. You have to be very patient to find the great music in the middle of so much nonsense.

What we know is from two sections he wrote in the opera…

In the opera there are two parts: one is Day Break and the other is Siegfried’s Rhine Journey. They are separated by about 11 minutes of very loud, pointless singing in German that you can’t understand if you are German. It’s all one long “vowel movement”.

The two parts blended together…

Someone finally had a good idea: let’s take these two really great instrumental sections and combine them. This is the famous music I’ve known all my life. The question remains: did Wagner come up with this idea of putting them together? Or someone else? I’m still trying to answer that question. But I love this music.

It really is, to a large extent, since Siegfried eventually brings down all of Valhalla. But in another sense it’s also all about him because he has an ego the size of Jupiter to go along with his pea-sized brain. His story crosses over from Siegfried – which in this case literally is all about him – and into Twilight of the Gods.

Did Wagner write it his way, as a splice?

Apparently not, but I’m still checking. This popular selection is actually two parts of spliced together from the Prologue of Twilight of the Gods.

What we know he wrote in the opera…

In the opera there are two parts: one is Day Break and the other is Siegfried’s Rhine Journey. They are separated by about 10 minutes of very loud, pointless singing in German that you can’t understand if you are German. It’s all one long “vowel movement”.

Someone finally had a good idea: let’s take these two really great instrumental sections and combine them. This is the great music I’ve known all my life. The question remains: did Wagner come up with this idea, or someone else? I’m still trying to answer that question. But I love this music.

Read on if you are interested in how it sounds in the original opera…

This is for people who just have to know how things happened. I’m a teacher, and I’m supposed to know about music. So I did the research. Here’s the complete story:

Twilight of the Gods, Prologue, Orchestral interlude – Daybreak (Tagesanbruch): stop at 18:59

At 18:59 there is around 10-11 minutes of heavy duty German opera. For now skip that, although the singer is Kirsten Flagstad, and she had an unbelievable voice. This is actually a small part of the whole opera that interests me, but wait later to try it.

https://www.youtube.com/watch?v=9_TKIStwoQI&feature=youtu.be&t=946s

Twilight of the Gods, Prologue, Orchestral interlude – Siegfried’s Rhine Journey (Siegfrieds Rheinfahrt): stop at 35:25

This is the second part of the orchestral music most serious musicians know. Around  11 minutes of singing get cut. It’s spliced together.

https://www.youtube.com/watch?v=9_TKIStwoQI&feature=youtu.be&t=1729s

Now, the rest, for brave souls who are not allergic to very loud German!

https://www.youtube.com/watch?v=9_TKIStwoQI&feature=youtu.be&t=952s

Here is the whole section, starting with Daybreak and ending with Siegfried’s Rhine Journey. It includes over 11 minutes of singing and ends at 35:25…

The whole section is around 20 minutes long. I don’t like anything that comes earlier, and I don’t like too much that comes later, but I do like all of this. It is in all ways larger than life, and none of us will ever hear anyone sing like Kirsten Flagstad.

The fat lady sings..

Actually, Flagstad was not heavy. She looked stunning on stage, so with her good looks and gigantic voice she was enormously popular all over the world. She was known as “the” Brünnhilde:

A character in Norse mythology, also known by the name Brynhild. Brünnhilde, a Valkyrie, or woman servant of Odin, loved the hero Siegfried.

Flagstad was born in 1895…

So by the time of this recording she was nearly 60. I don’t have the exact date of this recording, but many people think she was the greatest opera singer of all time. Hype? I would say no this time. Her voice was miraculous.

I can’t understand any of her words, but I also don’t care. Anyone who ever heard he live said that in these recordings we only get a very dim idea of what she sounded like. I love her voice, and for the most part I loathe opera, so that’s a pretty amazing thing for me.

I like this in spite of the length:

Try to imagine that if you went to this opera you would at this point be through around 36 minutes of music in an opera that takes over four hours. If you understand this, you’ll also understand why sitting through these operas is a profile in patience.

The words don’t really matter…

I will mention again that Germans can’t understand the words. It’s all about the big sound, the vocal experience, so every vowel is modified for maximum power and effect, and that makes the vowels utterly impossible to understand. In other words, if you don’t have the words in front of you, or if you have not memorized them, you can’t understand anything they are singing about.

But that’s really a very minor problem…

The story is so simplistic that a  child could easily understand it, and Wagner’s German writing is utterly awful. (Yes he WROTE all the words.) It’s old German, so it’s as difficult for Germans to understand as Shakespeare is for us. The difference is that Shakespearean English is utterly brilliant, and Wagner’s German is moronic. It’s so awful that I can’t understand the English translations, and I read German fluently.

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Sheet Music

• Full Scores ( 5 )
• Parts ( 48 )
• Vocal Scores ( 31 )
• Arrangements and Transcriptions ( 35 )
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Full Scores

  Act I * #41251 - 43.34 MB, 165 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 14384 × ⇩ - Daphnis

PDF scanned by Unknown Daphnis (2009/10/11)

  Act II * #41252 - 28.69 MB, 115 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 9926 × ⇩ - Daphnis

  Act III * #41253 - 41.31 MB, 159 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 10117 × ⇩ - Daphnis

Waldweben (Act II, Sc.2)

  Complete Score * #322341 - 4.34MB, 36 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1333 × ⇩ - Emblyadell

PDF scanned by US-R Emblyadell (2014/4/18)

  Conductor Score * #746843 - 0.82MB, 40 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 780 × ⇩ - Justus

PDF typeset by editor Justus ( 2021/11/23 )

  Flute 1/2, 3, Piccolo 1/2 * #65862 - 7.38MB, 77 (46, 15, 16) pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1466 × ⇩ - Perlnerd666

PDF scanned by Unknown Perlnerd666 (2010/6/1)

⇒ 21 more : Oboe 1/2 • Oboe 3, English Horn • Clarinet 1/2 (A/B♭) • Clarinet 3 (B♭/A) • Bass Clarinet (B♭/A) • Bassoon 1/2 • Bassoon 3, Contrabassoon • Horn 1/2 • Horn 3/4 • Horn 5/6, 7/8 • Trumpet 1/2, 3, Bass Trumpet • Wagner Tuba 1/2, 3/4 • Trombone 1, 2, 3, 4 • Tuba • Timpani 1, 2, Cymbals, Tam-Tam, Triangle, Glockenspiel (?) • Harp 1/2/3, 4/5/6 • Violins I • Violins II • Violas • Cellos • Basses

  Oboe 1/2 * #65863 - 7.35MB, 75 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 907 × ⇩ - Perlnerd666

  Oboe 3, English Horn * #65864 - 5.78MB, 30, 28 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 783 × ⇩ - Perlnerd666

  Clarinet 1/2 (A/B ♭ ) * #65865 - 8.33MB, 79 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1476 × ⇩ - Perlnerd666

  Clarinet 3 (B ♭ /A) * #65866 - 3.47MB, 35 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 636 × ⇩ - Perlnerd666

  Bass Clarinet (B ♭ /A) * #65867 - 2.81MB, 27 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 885 × ⇩ - Perlnerd666

  Bassoon 1/2 * #65868 - 8.37MB, 80 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 757 × ⇩ - Perlnerd666

  Bassoon 3, Contrabassoon * #65869 - 4.01MB, 39, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 773 × ⇩ - Perlnerd666

  Horn 1/2 * #65870 - 7.72MB, 75 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 6260 × ⇩ - Perlnerd666

  Horn 3/4 * #65871 - 7.39MB, 73 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1328 × ⇩ - Perlnerd666

  Horn 5/6, 7/8 * #65872 - 3.84MB, 24, 16 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1197 × ⇩ - Perlnerd666

  Trumpet 1/2, 3, Bass Trumpet * #65873 - 6.17MB, 39, 12, 12 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2018 × ⇩ - Perlnerd666

  Wagner Tuba 1/2, 3/4 * #65874 - 3.28MB, 15, 21 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1309 × ⇩ - Perlnerd666

  Trombone 1, 2, 3, 4 * #65875 - 9.33MB, 27, 27, 23, 20 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2012 × ⇩ - Perlnerd666

  Tuba * #65876 - 1.85MB, 19 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1804 × ⇩ - Perlnerd666

  Timpani 1, 2, Cymbals, Tam-Tam, Triangle, Glockenspiel (?) * #65877 - 4.19MB, 23, 12, 4, 3, 4, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1848 × ⇩ - Perlnerd666

  Harp 1/2/3, 4/5/6 * #65878 - 2.05MB, 12, 8 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 972 × ⇩ - Perlnerd666

  Violins I * #65879 - 8.06MB, 78 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 3175 × ⇩ - Perlnerd666

  Violins II * #65880 - 8.09MB, 75 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1076 × ⇩ - Perlnerd666

  Violas * #65881 - 8.84MB, 87 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1145 × ⇩ - Perlnerd666

  Cellos * #65884 - 8.38MB, 79 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1119 × ⇩ - Perlnerd666

  Basses * #65885 - 4.56MB, 43 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 911 × ⇩ - Perlnerd666

  Violins I * #301866 - 11.40MB, 82 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 221 × ⇩ - M.kowalski49

PDF scanned by Unknown M.kowalski49 (2013/11/4)

  Flute 1 * #746844 - 0.09MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 127 × ⇩ - Justus

⇒ 24 more : Flute 2/Piccolo • Oboe 1 • Oboe 2 • Clarinet 1 (A) • Clarinet 2 (A) • Bassoon 1 • Bassoon 2 • Horn 1 (F) • Horn 2 (F) • Horn 3 (F) • Horn 4 (F) • Trumpet 1 (B♭) • Trumpet 2 (B♭) • Trombone 1 • Trombone 2 • Bass Trombone • Timpani • Glockenspiel • Triangle • Violins I • Violins II • Violas • Cellos • Basses

  Flute 2/Piccolo * #746845 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 72 × ⇩ - Justus

  Oboe 1 * #746846 - 0.10MB, 3 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 82 × ⇩ - Justus

  Oboe 2 * #746847 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 61 × ⇩ - Justus

  Clarinet 1 (A) * #746848 - 0.11MB, 4 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 90 × ⇩ - Justus

  Clarinet 2 (A) * #746849 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 65 × ⇩ - Justus

  Bassoon 1 * #746850 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 69 × ⇩ - Justus

  Bassoon 2 * #746851 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 66 × ⇩ - Justus

  Horn 1 (F) * #746852 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 217 × ⇩ - Justus

  Horn 2 (F) * #746853 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 81 × ⇩ - Justus

  Horn 3 (F) * #746854 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 74 × ⇩ - Justus

  Horn 4 (F) * #746855 - 0.07MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 76 × ⇩ - Justus

  Trumpet 1 (B ♭ ) * #746856 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 94 × ⇩ - Justus

  Trumpet 2 (B ♭ ) * #746857 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 65 × ⇩ - Justus

  Trombone 1 * #746858 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 89 × ⇩ - Justus

  Trombone 2 * #746859 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 68 × ⇩ - Justus

  Bass Trombone * #746860 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 91 × ⇩ - Justus

  Timpani * #746861 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 80 × ⇩ - Justus

  Glockenspiel * #746862 - 0.06MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 137 × ⇩ - Justus

  Triangle * #746863 - 0.04MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 73 × ⇩ - Justus

  Violins I * #746864 - 0.20MB, 11 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 143 × ⇩ - Justus

  Violins II * #746865 - 0.20MB, 11 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 105 × ⇩ - Justus

  Violas * #746866 - 0.18MB, 11 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 99 × ⇩ - Justus

  Cellos * #746867 - 0.16MB, 9 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 104 × ⇩ - Justus

  Basses * #746868 - 0.08MB, 4 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 78 × ⇩ - Justus

Vocal Scores

  Act 1 * #139167 - 27.42 MB, 120 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1948 × ⇩ - Cypressdome

PDF scanned by D-Ju Cypressdome ( 2011/10/18 )

⇒ 6 more : Act 1 • Act 2 • Act 2 • Act 3 • Act 3 • Color Cover

  Act 1 * #335945 - 12.71MB, 122 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 288 × ⇩ - Afp0815

PDF scanned by US-R Afp0815 (2014/7/24)

  Act 2 * #139168 - 19.33MB, 89 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1239 × ⇩ - Cypressdome

  Act 2 * #335946 - 9.33MB, 91 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 188 × ⇩ - Afp0815

  Act 3 * #139169 - 20.36 MB, 92 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1324 × ⇩ - Cypressdome

  Act 3 * #335947 - 10.06MB, 96 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 273 × ⇩ - Afp0815

  Color Cover * #335948 - 2.86MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 83 × ⇩ - Afp0815

  Overture, Act 1 Scene 1 * #613903 - 12.17MB, 51 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 22 × ⇩ - IgorCello

PDF scanned by Unknown IgorCello (2020/3/18)

⇒ 8 more : Act 1 Scene 2 • Act 1 Scene 3 • Act 2 Scene 1 • Act 2 Scene 2 • Act 2 Scene 3 • Act 3 Scene 1 • Act 3 Scene 2 • Act 3 Scene 3

  Act 1 Scene 2 * #613904 - 6.63MB, 27 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - IgorCello

  Act 1 Scene 3 * #613905 - 13.23MB, 57 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 20 × ⇩ - IgorCello

  Act 2 Scene 1 * #613906 - 5.83MB, 25 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 23 × ⇩ - IgorCello

  Act 2 Scene 2 * #613907 - 9.23MB, 39 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - IgorCello

  Act 2 Scene 3 * #613908 - 9.67MB, 40 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 20 × ⇩ - IgorCello

  Act 3 Scene 1 * #613909 - 5.39MB, 23 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 22 × ⇩ - IgorCello

  Act 3 Scene 2 * #613910 - 5.93MB, 24 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - IgorCello

  Act 3 Scene 3 * #613911 - 13.63MB, 55 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 20 × ⇩ - IgorCello

  Complete Score * #515494 - 30.24 MB, 358 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 180 × ⇩ - Music Addict

PDF scanned by Unknown Music Addict (2018/3/14)

  Act I * #33851 - 12.06MB, 142 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2320 × ⇩ - Alaric

PDF scanned by Unknown Alaric (2009/7/1)

  Act II * #33852 - 9.07MB, 108 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1499 × ⇩ - Alaric

  Act III * #33853 - 9.09MB, 108 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1795 × ⇩ - Alaric

  Complete Score * #225681 - 24.26 MB, 341 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1493 × ⇩ - Afp0815

PDF scanned by US-R Afp0815 (2012/5/27)

  Act 1 * #336112 - 10.02MB, 139 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 196 × ⇩ - Afp0815

PDF scanned by US-R Afp0815 (2014/7/25)

  Act 2-3 * #336113 - 15.09MB, 203 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 169 × ⇩ - Afp0815

  Complete Score * #14097 - 59.18 MB, 342 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2075 × ⇩ - Pelleas

PDF scanned by piano.ru Pelleas ( 2007/9/18 )

  Complete Score * #16816 - 19.06MB, 351 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2822 × ⇩ - Daphnis

PDF scanned by Unknown Daphnis (2008/5/3)

  Act 1 * #310954 - 14.78MB, 154 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 30 - 383 × ⇩ - Emblyadell

PDF scanned by US-R Emblyadell (2014/1/10)

  Act 2 * #310955 - 10.83MB, 112 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 30 - 291 × ⇩ - Emblyadell

  Act 3 * #310956 - 10.55MB, 112 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 30 - 352 × ⇩ - Emblyadell

  Complete Score * #33850 - 25.47 MB, 339 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 582 × ⇩ - Alaric

  Complete Score * #33854 - 26.72 MB, 340 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 684 × ⇩ - Alaric

  Complete Score * #554295 - 35.63 MB, 355 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 173 × ⇩ - Ilynov

PDF scanned by Unknown Ilynov (2018/12/27)

Arrangements and Transcriptions

For orchestra (abbass).

  Flute 1/2 (also Piccolo 2) * #770290 - 4.62MB, 53 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - M.kowalski49

PDF scanned by Unknown M.kowalski49 (2022/3/15)

⇒ 21 more : Flute 2/Piccolo 1 • Oboe 1/2 (also English Horn) • Clarinet 1/2 (also Bass Clarinet) • Bassoon 1/2 • Horn 1/2 • Horn 3/4 • Trumpet 1/2 • Trombone 1 • Trombone 2 • Trombone 3 • Tuba • Timpani • Cymbals/Tam-Tam • Triangle/Glockenspiel/Tam-Tam • Harp 1/2/3 • Harp 4/5/6 • Violins I • Violins II • Violas • Cellos • Basses

  Flute 2/Piccolo 1 * #770291 - 1.91MB, 25 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 19 × ⇩ - M.kowalski49

  Oboe 1/2 (also English Horn) * #770292 - 6.24MB, 81 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Clarinet 1/2 (also Bass Clarinet) * #770293 - 7.24MB, 94 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 21 × ⇩ - M.kowalski49

  Bassoon 1/2 * #770294 - 8.01MB, 81 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 16 × ⇩ - M.kowalski49

  Horn 1/2 * #770295 - 6.32MB, 71 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Horn 3/4 * #770296 - 5.39MB, 67 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Trumpet 1/2 * #770297 - 4.12MB, 45 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - M.kowalski49

  Trombone 1 * #770298 - 2.41MB, 31 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 16 × ⇩ - M.kowalski49

  Trombone 2 * #770299 - 2.31MB, 30 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 16 × ⇩ - M.kowalski49

  Trombone 3 * #770300 - 2.32MB, 30 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - M.kowalski49

  Tuba * #770301 - 2.27MB, 29 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Timpani * #770302 - 1.84MB, 25 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Cymbals/Tam-Tam * #770303 - 0.32MB, 7 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 16 × ⇩ - M.kowalski49

  Triangle/Glockenspiel/Tam-Tam * #770304 - 0.30MB, 6 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 15 × ⇩ - M.kowalski49

  Harp 1/2/3 * #770305 - 0.99MB, 14 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - M.kowalski49

  Harp 4/5/6 * #770306 - 0.67MB, 10 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

  Violins I * #770307 - 6.31MB, 87 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 22 × ⇩ - M.kowalski49

  Violins II * #770308 - 5.49MB, 77 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 16 × ⇩ - M.kowalski49

  Violas * #770309 - 6.61MB, 89 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 18 × ⇩ - M.kowalski49

  Cellos * #770310 - 6.27MB, 86 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 19 × ⇩ - M.kowalski49

  Basses * #770311 - 3.46MB, 45 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 17 × ⇩ - M.kowalski49

For Piano (Kleinmichel)

  Complete Score (superlinear text) * #485125 - 19.20MB, 239 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 161 × ⇩ - Sallen112

PDF scanned by Sallen112 Sallen112 (2017/7/31)

  Complete Score (superlinear text) * #251447 - 19.39MB, 237 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2183 × ⇩ - Coulonnus

PDF scanned by US-R Coulonnus (2012/9/21)

Introduction (Act II, Sc.3)

For 2 cellos (körner).

  Complete Score * #762612 - 0.10MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 133 × ⇩ - Bröckel

PDF typeset by arranger Bröckel (2022/2/6)

For Cello (Körner)

  Complete Score * #762611 - 0.05MB, 1 pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 73 × ⇩ - Bröckel

Stimme des Waldvogels (Act II)

For 2 violins, viola, cello and piano (pringsheim).

  Complete Score * #280480 - 4.94MB, 20 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 508 × ⇩ - Jurabe

PDF scanned by jurabe Jurabe ( 2013/5/8 )

  String Parts * #280486 - 4.10MB, 19 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 273 × ⇩ - Jurabe

  Cover Pages * #280387 - 0.87MB, 4 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 128 × ⇩ - Jurabe

PDF scanned by jurabe Jurabe (2013/5/8)

For Piano (Brassin)

  Waldweben (Forest Murmurs) - Complete Score * #13528 - 0.66MB, 12 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 2418 × ⇩ - Mcroskell

PDF scanned by Unknown Mcroskell (2007/9/8)

  Siegfried und der Waldvogel - Complete Score * #08807 - 0.12MB, 2 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 1334 × ⇩ - Daphnis

PDF scanned by Unknown Daphnis (2007/6/26)

Le Chant de La Forge

For theatre orchestra (mouton).

  Condensed Score and Parts * #628677 - 33.77 MB, 36 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / 25 - 14 × ⇩ - Davidlhardie

PDF scanned by Unknown Davidlhardie (2020/5/28)

Waldweben (Act II)

For theatre orchestra (haensch).

  Condensed Score and Parts * #632759 - 42.01 MB, 44 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 31 × ⇩ - Davidlhardie

PDF scanned by Unknown Davidlhardie (2020/6/23)

For Piano (Stradal)

  Complete Score * #872258 - 0.68MB, 8 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / C / V - 15 × ⇩ - Zoingeroing

PDF scanned by Unknown Zoingeroing (2023/8/28)

Love Duet: Ewig war ich, ewig bin ich (Act III)

  Complete Score * #871411 - 30.03 MB, 19 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 13 × ⇩ - Rosie27

PDF scanned by D-Hs Rosie27 (2023/8/24)

  Complete Libretto * #335422 - 1.98MB, 88 pp. -  0.0/10 2 4 6 8 10 ( - )  - V / V / V - 164 × ⇩ - Afp0815

PDF scanned by US-R Afp0815 (2014/7/21)

Braille Scores

  Complete Score * #892964 - 0.05MB, ? pp. -  0.0/10 2 4 6 8 10 ( - )  - ! N / ! N / ! N - 18 × ⇩ - Feduol

BRF typeset by editor Feduol (2024/1/5)

General Information

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