Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme) Cover Image

Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme): Full Orchestra, Ensemble Works, Conductor Score & Parts

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Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme) Cover Image
Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme): Full Orchestra, Ensemble Works, Conductor Score & Parts

Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme): Full Orchestra, Ensemble Works, Conductor Score & Parts

By Richard Wagner, ed./arr. by Adolf Schmid

Item: 36-A680590
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Wesendonck Lieder, WWV 91: No. 5, Traume [orchestra transcription]: (Funf Gedichte fur eine Frauenstimme): Full Orchestra Condensed Score

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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 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. This edition of No. 5: Träume (Traeume; Dreams) is transcribed by the Adolf Schmid for orchestra alone with no solo voice. Instrumentation: 2.2.2.2: 4.2.3.0: Timp: Hp: Str (9.8.7.6.5 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 605258696380
SKU: 36-A680590
Instrumentation: 2.2.2.2: 4.2.3.0: Timp: Hp: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Richard Wagner

Richard Wagner (1813-1883) revolutionized operatic form by integrating music, text, and drama into unified artistic statements. His harmonic innovations, particularly his treatment of chromaticism and unresolved dissonance, profoundly influenced generations of composers and remain central to orchestral and vocal music education.

Why we love this

This orchestration strips away the vocal line to reveal the harmonic and instrumental architecture that makes Träume so compelling. Conductors appreciate how the transcription exposes Wagner's orchestral mastery while remaining accessible to orchestras without a specialized soprano soloist, making it a practical choice for concert programming.

What to expect

Dreamy and introspective, with shimmering orchestral colors that seem to float rather than propel forward. The piece wraps listeners in rich, suspended harmonies that evoke intimacy and longing, creating an almost hypnotic atmosphere.

Who it's for

Orchestras seeking a substantial yet manageable Romantic-era work that demonstrates Wagner's orchestration without the technical demands of full operatic excerpts. This piece suits intermediate to advanced community and college orchestras looking for repertoire that teaches harmonic sophistication.

How to get the most out of it

  • Balance the sustained harmonic colors carefully; the piece depends on blended, singing tone from the full ensemble rather than individual voice projection.
  • Shape the climactic swell around measure 35-40 as a single arch, resisting the impulse to break it into sections.
  • Use the harp sparingly to avoid muddying the string texture; treat it as an ornamental rather than foundational voice.
  • Maintain steady tempo even as harmonies shift; Wagner's chromaticism can seduce conductors into pulling time.

How to use it

Program this as a concert opener or first-half closer to establish an introspective mood, or use it as an interlude between more dramatic works. Its 5-minute span fits comfortably into mixed repertoire programs exploring 19th-century instrumental color.

Skills your students will build

  • Reading Wagner's chromatically saturated harmonic language
  • Balancing independent orchestral lines in a Romantic-era texture
  • Sustaining tone and shaping long musical phrases without a soloist anchor
  • Interpreting rubato and expressive conducting gestures in a through-composed form

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