Die Fledermaus

This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases learning and performance of the work.  Available as PDF download or hard copy (9″ x 12″). You can buy the parts individually or as a package:

• Trumpet 1 in C
• Trumpet 2 in C

Notes from the Editor

Johann Strauss, Jr’s Die Fledermaus is yet another example of manuscript parts from the opera genre that has been in desperate need of a modern edition. The extracted parts to the Overture (which regularly finds its way onto symphonic programs) has been typeset, while the parts for rest of the opera usually appears in its woefully inadequate manuscript form. These handwritten parts are also missing all of the rehearsal numbers that appear in the score I referenced (Edition Peters, 1968) for this new edition. As with so many handwritten original editions, edits were executed in an extremely clumsy manner, such as extending staffs out into margins, pasting new material over existing material, cutting into multi-measure rests with one bar repeat signs, etc.

This new edition fixes all of these issues with the following updates:

– Modern typeset engraving of the entire opera
– Custom set of brand new cues for ease of counting rest and confident entrances (the original manuscript parts were completely devoid of any cues)
– Both original Trumpet in F parts now appear in concert pitch Trumpet in C, with correct enharmonic spelling of all notes
– Rehearsal numbers have been added, as well as measure numbers
– Myriad dynamic, tempo indications and articulations have been standardized and added when missing from the original parts
– All Scenes now have their own centered headings on the page instead of being scribbled within the left side of the staves.
– Any repeated sections from the manuscript parts that were added for the solo purpose of saving time yet do not appear in the score have been removed.
– Spacious page formatting for ease of reading

The Andrew Bishop Orchestral Editions explore the concept of how these orchestral masterworks would appear if they were composed today.  There are myriad differences in how music is currently published compared to when many of these works were originally engraved.  “Tradition” is usually the (poor) excuse I hear when the topic of updating these masterworks is discussed – most often in reference to transposition(s).  As a performer and teacher, I remain committed to the practice of honing vigorous transposition skills.  However, there are many of these original engravings set in keys that are truly antiquated, and make almost no sense whatsoever to keep perpetuating.  Transposition, however, is the least of the issues most of these original editions suffer from.  Paper is no longer a premium and scarce product, and therefore the practice of cramming as much material on a page is not necessary.  “Readability” was obviously not a concern with copyists of the times, and it is my opinion that the music suffered because of it.  Therefore, a ”Bish Edish” (as they are popularly referred to) features many upgrades, including:

• Judicious spacing throughout the engraving (not too cramped, not too open)
• Correct enharmonic spellings of notes.  This is an unfortunate byproduct of writing in asinine transpositions.
• A careful reconsidering of cue usage.
• Corrections of many inconsistencies between original parts and score, and even between parts themselves.
• The addition of measure numbers, including helpful ranges listed under multi-measure rests.
• Deleting key signatures and writing all parts utilizing accidentals only.
• All parts are formatted for standard Concert 9×12 paper, and is best printed on that size.

Reading it on 8.5×11 is not ideal, but the compression percentage isn’t too significant.  Similarly, reading it off a larger tablet (e.g. iPad Pro) doesn’t present any significant issues.

In some instances, there are other upgrades specific to individual works that will be mentioned within the respective product.  If you happen to find something questionable that you would like to bring to my attention, please feel free to do so at:  [email protected].  If it is something that I need to correct, I will be happy to do so and make sure you receive a corrected part/parts.  If you have other works that you would like to have a custom edition made, please also reach out with that as well.

Andrew Bishop, Editor