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20700476
20700476
20700476

Mir ist die Ehre (Presentation of the Rose - Sophie-Only Audition Cut) from Der Rosenkavalier - Accessible Accompaniments Edition

By Richard Strauss

https://www.sheetmusicplus.com/title/mir-ist-die-ehre-presentation-of-the-rose-sophie-only-audition-cut-from-der-rosenkavalier-accessible-accompaniments-edition-digital-sheet-music/20700476

Piano Accompaniment, Soprano Voice - Advanced
Composed by Richard Strauss (1864-1949). Arranged by Nicole Elyse DiPaolo. Romantic Period. Piano Reduction. 6 pages. Published by Nicole Elyse DiPaolo (S0.317089).

Item Number: S0.317089

The first of its kind, and the tenth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mir ist die Ehre," the famous Presentation of the Rose scene from Strauss's beloved opera Der Rosenkavalier (1911). This version is specially designed for sopranos who would like to audition with Sophie's part as a solo aria, so Octavian's lines are incorporated into the piano reduction. Thus, sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score or decipher pasted-together cuts. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. 

In addition to the current cut, one in the original duet configuration (containing all of rehearsal marks 25-37 with beginnings and endings) is available as a separate PDF. To see a preview of the complete duet, please visit its SheetMusicPlus listing. 

All Accessible Accompaniments, including this one, boast several unique features:

1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.

2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.

3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.

4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.

5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.

6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.

About the Arranger:

Praised as a "sensitive pianist" and "outstanding accompanist" who delivers "powerful interpretations," Nicole Elyse DiPaolo is a versatile pianist, composer, and scholar currently based in Bloomington, Indiana. She holds a B.Mus in Music Theory from the University of Michigan-Ann Arbor, where she studied piano under Michele Cooker and Louis Nagel; she also studied composition with Bright Sheng and basso continuo/harpsichord accompaniment with Edward Parmentier. In 2006 and 2007, Nicole appeared as a concerto soloist with the Ambassador Chamber Players, featuring works of J. S. Bach and Mozart alongside two performances of her own Piano Trio in C minor. Following her graduation from Michigan, Nicole completed an MM in Music Theory from Indiana University-Bloomington, where she has recently become a PhD candidate in the same field; her dissertation research will explore relationships between selected early partimenti (instructional sketches used by Italian composition teachers) and George Frideric Handel’s compositional techniques. 

Currently, Nicole is a sought-after private instructor of piano, music theory, and composition on the IU campus, where she is also an active mostly-vocal accompanist. Nicole continues to enjoy musical partnerships with students of nearly every current IU voice department faculty member (and she unashamedly absorbs and borrows teaching/coaching/performing tips from all these professors). In addition, she has taken French and German diction courses with Prof. Gary Arvin. 

Notable recent engagements include the 2016 National Society of Arts and Letters Vocal Competition (multiple entrants); the "Opera Night at North" benefit concert with students of IU's top-ranked opera program (among them "Accidental Tenor" Andrew Lunsford); and two long-term cruise ship performing contracts with violinist Amy Schlicher as the Duo del Mare.

When not working on one of her many concurrent musical projects, Nicole might be found maintaining The Collaborative Pianists’ Community on Facebook, cuddling the nearest dog, looking for opportunities to maintain her Spanish and Italian language skills, and raising and releasing monarch butterflies. To learn more about Nicole’s many and varied performing, teaching, research, and publishing pursuits, please visit her website at http://ndipaolo.musicaneo.com .






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  • Ratings + Reviews

  • 5

    Anonymous
    Location:
    New York, NY
    Difficulty Level:
    Advanced
  • 2018-02-10 10:34:45.0 THANK YOU

    THANK YOU FOR THIS! I had a really bad audition experience with this aria last time because the pianist didn't follow my cuts. So excited to try this one now!

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