Die Walkuere: Ride of the Valkyries (Act 3, Sc. 1) Cover Image

Die Walkuere: Ride of the Valkyries (Act 3, Sc. 1): Full Orchestra Conductor Score & Parts

$145.00 USD
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Die Walkuere: Ride of the Valkyries (Act 3, Sc. 1) Cover Image

Die Walkuere: Ride of the Valkyries (Act 3, Sc. 1): Full Orchestra Conductor Score & Parts

By Richard Wagner / arr. William Ryden

Grade: 5

Item: 36-M987390

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Description
The Ride of the Valkyries refers to the beginning of act 3 of Die Walküre, the second of the four operas constituting Richard Wagner's Der Ring des Nibelungen. As a separate piece, the "Ride" is often heard in a purely instrumental version, as in this edition by William Ryden. Together with the Bridal Chorus from Lohengrin, the Ride of the Valkyries is one of Wagner's best-known pieces. The main theme of the Ride, the leitmotif labelled Walkürenritt, was first written down by the composer on 23 July 1851. The preliminary draft for the "Ride" was composed in 1854 as part of the composition of the entire opera, which was fully orchestrated by the end of March 1856.

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Additional Details
Series: LudwigMasters Concert Masters
Publisher: Keiser Productions, Inc.
UPC: 654690684691
SKU: 36-M987390
Instrumentation: Full Orchestra: 2+1.2.2(in Bb or A)+BCl.2: 4.3.3.1: Timp.Perc(2): Str

More about this title

About the Composer: Richard Wagner

Richard Wagner (1813-1883) revolutionized opera by fusing music, drama, and visual spectacle into unified artistic statements. His operas, particularly the four works of Der Ring des Nibelungen, demanded orchestral sophistication and harmonic innovation that shaped the future of classical music. Wagner's influence extends far beyond the operatic stage; his compositional techniques and leitmotif system remain central to music education and orchestral literature.

Why we love this

Orchestras at this level rarely get to perform a piece with this much musical substance and immediate impact. The Ride of the Valkyries is instantly recognizable, energizes audiences, and showcases full orchestral color without requiring virtuosic soloists. Ryden's arrangement preserves Wagner's orchestral writing while remaining accessible to Grade 5 ensembles.

What to expect

Exhilaration and forward momentum. The piece gallops relentlessly forward, waves of strings and brass surging beneath a driving percussion foundation. There's a quality of Norse mythology made tangible: fierce, powerful, and visually alive even in purely instrumental form.

Who it's for

This score and parts work for high school orchestras, youth orchestras, and community ensembles ready to tackle music with real dramatic weight and orchestral complexity. Directors preparing groups for concert festivals or community performances will find an arrangement that delivers professional-level results without excessive technical demands.

How to get the most out of it

  • Establish a unified pulse early in rehearsals. The relentless forward momentum that makes this piece thrilling depends on rhythmic precision across all sections, particularly the percussion foundation.
  • Balance the brass chorale sections carefully; the Wagner tubas and horns need to sing through the string accompaniment without obscuring the melodic line.
  • Shape the dynamic peaks and valleys throughout. Ride of the Valkyries builds energy through repetition, so subtle changes in articulation and weight prevent the piece from flattening into one sustained fortissimo.
  • Coordinate timpani and bass drum for maximum dramatic effect. These voices drive the piece's propulsive character and must land together to sustain tension.

How to use it

This works as a showpiece finale on a concert of orchestral masterworks or as the climactic moment in a program exploring operatic tradition. Its dramatic arc and immediate audience recognition make it ideal for community concerts or spring season concerts where you want to send audiences home energized.

Skills your students will build

  • Ensemble rhythmic precision across multiple instrumental families
  • Dynamic control and orchestral balance in thick textures
  • Melodic shaping and phrasing within repeated harmonic patterns
  • Reading complex full-orchestra scores with multiple transpositions

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