Seid Umschlungen Millionen Walzer, Op. 443 [arrangement] Cover Image

Seid Umschlungen Millionen Walzer, Op. 443 [arrangement]: Full Orchestra Condensed Score

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Seid Umschlungen Millionen Walzer, Op. 443 [arrangement] Cover Image

Seid Umschlungen Millionen Walzer, Op. 443 [arrangement]: Full Orchestra Condensed Score

By Johann Strauss II, ed./arr. by Max Schoenherr

Item: 36-A784999

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SEID UMSCHLUNGEN, MILLIONEN (BE EMBRACED, YOU MILLIONS), OP. 443, is a waltz composed by Johann Strauss II in 1892. It was originally requested for a journalists' ball by his friend Julius Stettenheim, but due to a prior commitment to Princess Pauline von Metternich, the scheme was never carried out. His brother Eduard conducted the first performance on March 27, 1893 at the Vienna Musikverein. This edition has been completed by Austrian composer and arranger, Max Schönherr. Instrumentation: 2(2nd d. Picc).2.2.2: 4.2.3.0: Timp.Perc(2): Hp: Accordion: Str (9.8.7.6.5 in set): Pno Cond Sc in Set.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563213-3
ISBN13: 979-8-89-563213-0
UPC: 659859162072
SKU: 36-A784999
Instrumentation: 2(2nd d. Picc).2.2.2: 4.2.3.0: Timp.Perc(2): Hp: Accordion: Str (9.8.7.6.5 in set): Pno Cond Sc in Set

More about this title

About the Composer: Johann Strauss II

Johann Strauss II (1825-1899) shaped the sound of 19th-century Vienna as the most prolific waltz composer of his era. His command of orchestration and gift for memorable melody made him a fixture at imperial balls and public celebrations, earning him the title "Waltz King." For music educators, his works remain essential to any orchestra's repertoire; they demand rhythmic precision, stylistic grace, and the ability to balance popular appeal with genuine compositional craft.

Why we love this

This waltz arrives with authentic provenance and a complete orchestration that includes harp and accordion alongside the full traditional ensemble, giving your orchestra the chance to execute a genuine Vienna-style arrangement. Schönherr's completion ensures that what your players perform reflects Strauss's original conception, making this a substantive addition to concert programming rather than a simplified version. The charm and structural clarity of this 1892 waltz translate reliably across rehearsal levels.

What to expect

Elegant and propulsive, this waltz invites your orchestra into the ceremonial world of Viennese ballrooms without demanding virtuosic heroics. The interplay of strings, winds, and the shimmering textural support of harp and accordion creates an atmosphere both grand and intimate, sustained by the relentless forward momentum of the three-beat pulse.

Who it's for

Orchestras at the intermediate to advanced level will find this waltz accessible in its harmonic language while rewarding in its orchestral color and rhythmic specificity. It suits ensembles seeking concert repertoire that engages audiences without sacrificing musical substance, and it pairs naturally with other Strauss works or lighter classical programming.

How to get the most out of it

  • Balance the waltz pulse in three: the first beat carries weight, but the second and third must breathe and move forward. Sluggish accompaniment undoes Strauss.
  • Let the harp and accordion articulate the harmonic framework; they anchor the rhythmic feel and free your strings to shape the melody with flexibility.
  • Shape phrases in two-bar units rather than four-bar blocks. This phrasing matches how Strauss composed waltzes for actual dancers.
  • Secure crisp articulation in the woodwind countermelodies and accompaniment figures. Strauss waltzes rely on transparent orchestration.

How to use it

Program this early in a concert to establish a lighter, more festive tone before moving into weightier classical or Romantic material. It works equally well as a closer, leaving audiences in good spirits. Pair it with other Strauss waltzes or with salon-style orchestral works to create a cohesive thematic programming block.

Skills your students will build

  • Maintaining steady three-beat waltz pulse without losing forward motion
  • Balancing ensemble sound across a large orchestral palette including non-standard instruments (harp, accordion)
  • Executing style-appropriate articulation and phrasing in 19th-century Vienna dance music
  • Reading and coordinating complex multi-instrument textures with clear melodic and accompaniment lines

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