Wesendonck Lieder, WWV 91: No. 3, Im Treibhaus [arrangement in D]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score

$6.00 USD

Wesendonck Lieder, WWV 91: No. 3, Im Treibhaus [arrangement in D]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score

Name: Wesendonck Lieder, WWV 91: No. 3, Im Treibhaus [arrangement in D]: (Fuenf Gedichte fuer eine Frauenstimme): High Voice, Orchestra Accompaniment, Conductor Score
Brand: Alfred Music
SKU: 36-A246701
Price: 6.00 USD
Availability: InStock

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

Item: 36-A246701

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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. 3: Im Treibhaus is in D major and is transcribed by Felix Josef Mottl for small orchestra and solo voice. Instrumentation: 2.2.2.2: 3.0.0.0: Str (9-8-7-6-5 in set): Solo Voice. Reprint edition.

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Series: Kalmus Vocal Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-898103-59-X

ISBN13: 979-8-898103-59-0

UPC: 605258693938

SKU: 36-A246701

Instrumentation: 2.2.2.2: 3.0.0.0: Str (9-8-7-6-5 in set): Solo Voice

More about this title

About the Composer: Richard Wagner

Richard Wagner (1813-1883) transformed opera into a total art form, developing the concept of the Gesamtkunstwerk and expanding harmonic language in ways that influenced generations of composers. His lyric works extend far beyond the stage; the Wesendonck Lieder represent a fascinating window into his creative process, particularly as sketches and studies that informed his masterpiece Tristan und Isolde.

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Why we love this

This orchestration by Felix Mottl opens Wagner's intimate song cycle to the concert hall in full symphonic dress, allowing singers to command an ensemble rather than rely on a single pianist. The arrangement respects the vocal writing while giving orchestral players a genuine role in shaping the emotional arc, making it rewarding for both soloist and ensemble.

What to expect

Lush and introspective, with the intimacy of the original lied deepened by orchestral color. The greenhouse setting suggests both warmth and confinement, and the music hovers between longing and resignation, creating an atmosphere thick with romantic yearning.

Who it's for

Soprano or mezzo-soprano soloists looking to expand beyond traditional art song into orchestral accompaniment, and orchestras seeking meaningful repertoire that bridges the concert and opera worlds. This arrangement suits university orchestras and professional groups capable of handling Wagner's harmonic language.

How to get the most out of it

Balance the voice carefully against the woodwind doublings in the accompaniment; Wagner's orchestration fills space quickly, and the singer needs to sit on top without excessive volume.
Allow the strings to breathe through the sustained harmonic passages. These are not mere background; they're part of the song's expressive content.
Work the conductor and soloist into a shared interpretive vision early. The rubato that makes this music sing must be coordinated throughout rehearsals.

How to use it

Pair this with other orchestral song arrangements or operatic excerpts to create a recital that spans art song traditions. It works equally well as a concert closer or centerpiece, offering audiences something more intimate than a full opera while maintaining orchestral grandeur.