Sleeping Beauty, Op. 66: Waltz Cover Image

Sleeping Beauty, Op. 66: Waltz: Full Orchestra, Full Score

$30.00 USD
$30.00 USD
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Sleeping Beauty, Op. 66: Waltz Cover Image
Sleeping Beauty, Op. 66: Waltz: Full Orchestra, Full Score

Sleeping Beauty, Op. 66: Waltz: Full Orchestra, Full Score

By Peter Ilyitch Tchaikovsky, ed. Steven Rosenhaus

Item: 36-A005301
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Sleeping Beauty, Op. 66: Waltz: Full Orchestra, Score and Parts

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Description
The Sleeping Beauty ballet in 3 acts, which tells the story of conflicting forces of good and evil, incorporates various fairy-tale characters from the Brothers Grimm and French fairy tales. Tchaikovsky's (1840-1893) longest ballet, the work was met with a favorable response following the January 15th, 1890, premiere at the Imperial Mariinsky Theatre in St. Petersburg, but the composer would not live to see the work become the mainstay of the ballet repertoire that it has enjoyed for over one hundred years. The popular Waltz, No. 6 from Act I, takes place as the introduction to Princess Aurora as a dance on her sixteenth birthday. This edition has been edited by Steven L. Rosenhaus. Instrumentation: 2+Picc.2.2.2: 4.2.3.1: Timp.Perc(1): Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Concert Masters
Publisher: Keiser Productions, Inc.
ISBN10: 1-57-134871-9
ISBN13: 978-1-57-134871-5
UPC: 659859007342
SKU: 36-A005301
Instrumentation: 2+Picc.2.2.2: 4.2.3.1: Timp.Perc(1): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Peter Ilyitch Tchaikovsky

Peter Ilyitch Tchaikovsky (1840-1893) stands as one of the 19th century's most performed composers, known for his gift for memorable melody and orchestral color. His three ballets—Swan Lake, The Nutcracker, and Sleeping Beauty—remain cornerstones of the repertoire, showcasing his mastery of large-scale dramatic form and his ability to write idiomatically for every section of the orchestra.

Tchaikovsky's approach to orchestration influenced generations of composers who followed. His ballets demonstrate how clarity, balance, and expressive phrasing across all instrumental families can serve both the narrative and the music itself, making his scores invaluable studies for conductors learning to shape ensemble sound.

Why we love this

This Waltz gives orchestras at the intermediate-to-advanced level access to one of the most recognizable melodies in all of classical music within a fully realized Tchaikovsky orchestration. The piece sits at a sweet spot: the writing is gratifying for every section without requiring virtuosic soloists, and the straightforward formal structure allows conductors to focus on nuance, phrasing, and the interplay between instrumental choirs rather than wrestling with complexity.

What to expect

Graceful, celebratory, and suffused with the elegance of a royal court. The melody unfolds with the poise of a debutante, supported by shimmering accompaniment and gentle harmonic momentum that feels both inevitable and fresh with each phrase.

Who it's for

Conductors leading orchestras with adequate string depth and balanced winds will find this a rewarding addition to concert programming. It suits ensembles that have moved beyond beginner-level pedagogy and are ready to tackle Romantic-era orchestral repertoire with sensitivity and control.

How to get the most out of it

  • Balance the lyrical melody across first violins and oboes in the opening; this partnership gives the line its characteristic warmth. Neither voice should dominate.
  • Shape the harmonic progressions with gentle dynamic swells in the middle phrases. Resist the urge to conduct in strict time; let the rubato breathe within your framework.
  • Ensure the woodwind and brass inner voices maintain their independence and voice-leading integrity. Tchaikovsky's accompanimental writing is sophisticated; rushing or collapsing these lines muddies the sonority.
  • Use the harp part (if included) to anchor transitions and provide shimmer without allowing it to overshadow the orchestral foundation.

How to use it

Program this as a centerpiece in a Romantic-era concert, or pair it with other Tchaikovsky excerpts to show the breadth of his orchestral writing. It also works beautifully as a prelude to a larger work, giving audiences an immediate connection to familiar music before exploring less-known repertoire.

Skills your students will build

  • Balancing independent voice-leading across woodwind and brass sections
  • Conducting with rubato while maintaining ensemble cohesion
  • Shaping long, lyrical melodic lines through orchestral color rather than dynamics alone
  • Interpreting Romantic-era orchestration and understanding Tchaikovsky's approach to instrumental combination

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