Wesendonck Lieder: No. 1, Der Engel [arrangement in G]: (Fuenf Gedichte fuer eine Frauenstimme) Cover Image

Wesendonck Lieder: No. 1, Der Engel [arrangement in G]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score

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Wesendonck Lieder: No. 1, Der Engel [arrangement in G]: (Fuenf Gedichte fuer eine Frauenstimme) Cover Image
Wesendonck Lieder: No. 1, Der Engel [arrangement in G]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score

Wesendonck Lieder: No. 1, Der Engel [arrangement in G]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score

By Richard Wagner, ed./arr. by Felix Josef Mottl/ Poems by Mathilde Wesendonck

Item: 36-A246601
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Description
Richard Wagner's (1813-1883) collection of five songs titled Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice), WWV 91, is more commonly known as Wesendonck Lieder after the source of the poems, Mathilde Wesendonck. Mathilde was the wife of Wagner's patron Otto Wesendonck, and there is some speculation that Wagner and Mathilde had a love affair that inspired the opera Tristan und Isolde (which are referenced in two of the songs, calling them "studies" for Tristan und Isolde), but idea that these songs were also inspired by the same possible affair is given less attention. They were written originally for female voice and piano between 1857 and 1858, though Wagner did orchestrate No. 5, Träume, for chamber orchestra to be played at Mathilde's window for her birthday on December 23, 1857. The remaining songs were orchestrated in 1893 by the Wagner conductor Felix Mottl. While originally written for the female voice, tenors have also contributed their own interpretations starting in the 20th century. The five songs are: 1. Der Engel (The Angel); 2. Stehe still! (Be still!); 3. Im Treibhaus - Studie zu Tristan und Isolde (In the Greenhouse); 4. Schmerzen (Sorrows); 5. Träume - Studie zu Tristan und Isolde (Dreams). This edition of No. 1: Der Engel is in G major and is transcribed by Felix Josef Mottl for small orchestra and solo voice. Instrumentation: 2.2.2.2: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice. Reprint edition.

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Additional Details
Series: Kalmus Vocal Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270134-7
ISBN13: 979-8-89-270134-1
UPC: 659359568473
SKU: 36-A246601
Instrumentation: 2.2.2.2: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice

More about this title

About the Composer: Richard Wagner

Richard Wagner (1813-1883) fundamentally transformed opera and orchestral music through his development of the leitmotif system, harmonic innovation, and psychological depth of character. His influence extends far beyond the operatic stage; his approaches to orchestration, harmonic language, and musical storytelling shaped composition pedagogy and performance practice for generations. Wagner's smaller vocal works, including the Wesendonck Lieder, reveal the same compositional sophistication and emotional intensity that define his major operatic achievements.

Why we love this

Der Engel offers singers an entry point into Wagner's harmonic world without the demands of a full operatic role. The orchestration by Mottl provides lush accompaniment that supports rather than overwhelms the vocalist, and the G major transposition sits comfortably for high voices while preserving the lyrical beauty of the original conception.

What to expect

Ethereal and intimate despite the orchestral forces. Der Engel unfolds as a reverie, with the orchestra creating a shimmering, almost spiritual landscape while the voice delivers lines of longing and tenderness. The harmonic language hovers between stability and gentle movement, reflecting the mysterious presence the poem describes.

Who it's for

High voice soloists preparing art song recitals, opera singers building Lieder repertoire, and advanced ensemble singers ready to engage with 19th-century German vocal writing. Orchestras or chamber ensembles seeking a substantial but manageable Wagner offering for concert programming will find this an excellent fit.

How to get the most out of it

  • Balance the vocal line against the orchestral texture by having the ensemble support without obscuring the singer's words. The conductor score allows you to shape how fully the orchestra blooms around each phrase.
  • Attend to Wagner's harmonic language, which frequently shifts and moves fluidly. Singers must maintain tonal center while the orchestra explores chromatic movement, especially in the transitions between sections.
  • Let the poetry breathe through the vocal phrasing. The text painting in this song is subtle but deliberate; each musical phrase should serve the emotional arc of the poem about an angel's visitation.

How to use it

Position this as a centerpiece for a German Lieder recital or as part of a concert exploring 19th-century vocal music and orchestration. It pairs naturally with other orchestrated songs or light operatic arias, and its moderate length and clear structure make it suitable for both formal concert settings and more intimate chamber music contexts.

Skills your students will build

  • Singing over complex harmonic movement while maintaining tonal clarity
  • Interpreting Wagner's chromaticism and leitmotif-influenced phrase structure
  • Balancing vocal projection with orchestral accompaniment in a conductor score context
  • Text-painting and emotional narrative across a single-movement form
  • Handling the sustained, lyrical line writing characteristic of Wagner's vocal music

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