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Sample sheet music

Title	Jetzt geh' ich ins Maxim aus der Operette 'Die Lustige Witwe'
Category	Concert/wind/brass band
Subcategory	Music from operetta, lyrical drama
Instrumentation	Ha (concert/wind band); [ (optional); VoSoTen (tenor vocal solo); / (or); VoSoBar (baritone vocal solo)
Publisher's article no.	KL 2253
Year of publication	2015
Price	89.00 EUR (incl. 10 % Austrian VAT)
Composer	Lehár, Franz
Arranger	Kanz, Joseph
Difficulty level	3
Additional info/contents	No. 4 aus der Suite 'Die Lustige Witwe'
Sample sheet music	click here
Sample score	click here
Video sample	Do you know of a video that demonstrates this item well? Please send us a link or send us the video via e-mail (office@kliment.at) or snail mail. Thank you.
Available	yes

Programme notes: This Danilo performance song is incredibly catchy. You can hardly get rid of it. Compared to the original, the title has been transposed a whole tone to C major. This makes it easier for singers to participate; and since the part of Danilo can also be a baritone, they will be grateful for the more comfortable key. It is the task of the maestri to thin out the orchestra whenever a singer participates. If the soloist is absent, the flugelhorn/cornet and tenor horn/eufonium take over the solo part. Here, too, various solutions are possible. Dmitri D. Shostakovich quotes this melody in his 7th "Leningrad Symphony" in a caricatured way. The lurid newspaper reports about this symphony, which was written under dramatic circumstances, were largely Allied war propaganda. Shostakovich was powerless against this; the 7th Symphony had actually already been begun before the war began and he was enlisted by Stalin in his propaganda battle. It was known that Adolf Hitler was particularly fond of the "Merry Widow", and so they wanted to make their abhorrence of fascism known. Bela Bartók then used this melody in his "Concerto for Orchestra" in 1943. He did not particularly appreciate the Leningrad Symphony or the hype that was made about it from 1942 onwards. The result was an almost bitterly ironic reckoning with his much better-known colleague. He probably did not know that Lehár, despite his external successes, was only tolerated by the fascists in Germany and Hungary and often - together with his wife - had to fear for his life; and that Shostakovich did not fare much better in his native Russia.

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