Gold and Silver Waltzes, Op. 79 (Gold und Silber Waltzer) Cover Image

Gold and Silver Waltzes, Op. 79 (Gold und Silber Waltzer): Full Orchestra, Ensemble Works

$50.00 USD
$50.00 USD
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Gold and Silver Waltzes, Op. 79 (Gold und Silber Waltzer) Cover Image
Gold and Silver Waltzes, Op. 79 (Gold und Silber Waltzer): Full Orchestra, Ensemble Works

Gold and Silver Waltzes, Op. 79 (Gold und Silber Waltzer): Full Orchestra, Ensemble Works

By Franz Lehar / arr. Tom McCanna

Item: 36-A540401OS
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Description
The GOLD AND SILVER WALTZES, Op. 79, was written by Franz Lehár (1870-1948) at the request of Princess Metternich to compose "something especially fine" for her "Gold und Silber" gala ball, commissioned as a so-called "name waltz," where the title is derived from the important occasion at which the work is premiered, an instrumental concert work intended to set the mood before the dancing began. While the work made little impression on the gala attendees on January 27, 1902, upon publication it became a hit. The present score has been transcribed by Tom McCanna from the original orchestral parts originally published in 1903. Instrumentation: 2(d.Picc).2.2.2: 2Sax(AT, opt): 4.2.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set). 11x14 score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887596-0
ISBN13: 978-1-63-887596-3
UPC: 735816274559
SKU: 36-A540401OS
Instrumentation: Detailed Instrumentation: 2(d.Picc).2.2.2: 2Sax(AT, opt): 4.2.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Franz Lehar

Franz Lehár (1870-1948) was a Hungarian composer best known for his operettas, particularly The Merry Widow, which defined the genre for early 20th-century European audiences. Though he worked primarily in musical theatre, Lehár also composed instrumental works that showcase his gift for melody and orchestration. His concert pieces, including the Gold and Silver Waltzes, reveal a composer equally at home writing for the concert hall as for the stage.

Lehár's music bridged the Romantic tradition of Strauss with the emerging theatrical styles of his era. His orchestrations are characteristically lush and colorful, marked by clear textures and grateful writing for both principal players and ensemble sections. For conductors and orchestras, his works offer opportunities to explore that distinctive blend of Viennese elegance and theatrical warmth that defined the Belle Époque.

Why we love this

This waltz pair captures that magical moment when a functional commission becomes a timeless concert staple. Lehár's orchestration is transparent enough for young ensembles to hear all parts clearly yet rich enough to reward careful balancing and sectional independence. It sits perfectly in the intermediate-advanced repertoire: musically substantial without the extreme technical demands of later Strauss arrangements.

What to expect

Elegant and buoyant, these waltzes evoke the gilded ballrooms of Vienna at the turn of the 20th century. The harmonic language is tonal and warm, with a gentle sophistication that never lapses into sentimentality. Dancing feels effortless and inevitable, even when the orchestra plays alone.

Who it's for

Orchestras and full ensembles at the intermediate-advanced level seeking accessible yet sophisticated repertoire. This score works well for community orchestras, youth symphony orchestras, and college ensemble programs that value both musicality and clarity of texture.

How to get the most out of it

  • Shape each waltz phrase with a gentle lift on the first beat; resist the urge to conduct a heavy downbeat. The rhythm should feel sprung and alive, not mechanical.
  • Balance the optional saxophones carefully if you include them. They should blend into the woodwind section rather than sit on top of it.
  • Let the harp part breathe. It's not just accompaniment; Lehár uses it to color transitions and support harmonic shifts.
  • Bring out principal melodic lines in the first violins and woodwinds without drowning the lower voices. This piece depends on transparency.

How to use it

Program this as a concert opener or closer to set a festive, refined mood. It pairs naturally with other Viennese-era concert music, lighter Strauss arrangements, or as a palate-cleanser between heavier Romantic works. The piece also works well in spring pops concerts or galas where the gala-ball context adds narrative interest.

Skills your students will build

  • Conducting and balancing waltz rhythm with proper metric flexibility
  • Achieving transparency in orchestral texture across diverse instrumentation
  • Shaping melodic phrases with period-appropriate phrasing and rubato
  • Coordinating harp and percussion with string and woodwind sections
  • Managing optional instrumental doublings (saxophones) for different performance contexts

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