Wesendonck Lieder, WWV 91: No. 2, Stehe still! [arrangement in C]: (Fuenf Gedichte fuer eine Frauenstimme) Cover Image

Wesendonck Lieder, WWV 91: No. 2, Stehe still! [arrangement in C]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score & Parts

$50.00 USD

Wesendonck Lieder, WWV 91: No. 2, Stehe still! [arrangement in C]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score & Parts

Name: Wesendonck Lieder, WWV 91: No. 2, Stehe still! [arrangement in C]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A246902
Price: 50.00 USD
Availability: InStock

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

Item: 36-A246902

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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 the 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. 2: Stehe still! is in C major and is transcribed by Felix Josef Mottl for small orchestra and solo voice. Instrumentation: 2.2.2.2: 4.1.0.0: Timp: Str (9-8-7-6-5 in set): Solo Voice. Reprint edition.

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Series: Kalmus Vocal Library

Publisher: Keiser Productions, Inc.

UPC: 605258696298

SKU: 36-A246902

Instrumentation: 2.2.2.2: 4.1.0.0: Timp: Str (9-8-7-6-5 in set): Solo Voice

More about this title

About the Composer: Richard Wagner

Richard Wagner (1813-1883) fundamentally reshaped operatic music through his integration of complex harmonic language, psychological depth, and philosophical ambition. His influence extends far beyond the opera house; his harmonic innovations and approach to orchestration shaped compositional practice across all genres, and his vocal writing demands singers capable of sustaining both lyrical beauty and dramatic intensity over extended passages.

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Why we love this

This orchestration by Felix Mottl transforms an intimate piano lied into a richly textured theatrical moment, making it genuinely performable in concert settings while preserving the song's introspective character. The arrangement respects Wagner's harmonic language and the poetry's emotional restraint, offering high voice singers a sophisticated alternative to the original that demands orchestral control from the ensemble without overwhelming the vocal line.

What to expect

A moment suspended in time, where the singer's plea to remain still hangs against a softly shifting orchestral backdrop of Wagner's characteristic chromatic harmony. The piece balances introspection with the warmth of a full orchestra, creating an atmosphere of yearning restraint that deepens with each orchestral swell.

Who it's for

High voice singers and orchestras seeking to expand their lied repertoire into more substantial concert programs. This arrangement suits advanced amateur choirs and professional vocal soloists who want the richness of orchestral accompaniment without the demands of a full operatic role.

How to get the most out of it

Balance the vocal line carefully against the orchestral texture; the singer's tone must project clearly without forcing, as the harmonic density can easily obscure a lyrical melody.
Shape the conductor's preparation around the poetic content of 'Stehe still!' (Be still!), which calls for deliberate tempos and sustained phrases rather than dramatic forward motion.
Coordinate the string section's undulating figures with the vocal phrasing so accompaniment and voice feel unified rather than competing for the listener's attention.
Allow the French horns and winds time to breathe in their harmonic support; Wagner's orchestration often functions as a subtle harmonic foundation rather than an active obbligato.

How to use it

Pair this with other orchestral lied arrangements or art song orchestrations to create a recital segment that showcases sophisticated vocal and orchestral collaboration. The emotional intensity of the text makes it effective as a centerpiece in a thematic program exploring Romantic poetry and music, or as a contrasting moment in a concert that includes Wagner's operatic works.