By Ralph Vaughan Williams / arr. Brendan McBrien
Full Orchestra
Shortly after returning from Paris where he had been studying orchestration with Ravel, the 36-year-old Ralph Vaughan Williams was invited by Cambridge University to compose incidental music for their 1909 production of Aristophanes’ great satire “The Wasps.” He set about to create a score that contained an impressive array of beautifully orchestrated character pieces to accompany the play.
ARRANGER’S NOTES:
In this arrangement of “The Wasps,” two additions have been made that were not called for
by Vaughan Williams. The first is the addition of the whip in the percussion, and the second
is the “snap” pizzicati in the cello and bass parts, mm. 6–15. These effects were added to heighten the drama in the opening of this work and can be omitted if necessary.
In this arrangement of “The Wasps,” two additions have been made that were not called for
by Vaughan Williams. The first is the addition of the whip in the percussion, and the second
is the “snap” pizzicati in the cello and bass parts, mm. 6–15. These effects were added to heighten the drama in the opening of this work and can be omitted if necessary.
Trills: Be aware of the interval changes in the violin and viola trills between measures 4 and
5. They go from whole- to half-step trills as the accidentals on the trills indicate.
5. They go from whole- to half-step trills as the accidentals on the trills indicate.
Stopped Horn: Stopping is called for in the horn parts (made optional in most measures). All
parts marked “mute” were originally marked “stopped” by the composer. Hand stopping
requires that the player close the heel of their bell hand and seal the entire opening. Notes
should then be fingered a half step lower on the F horn (not with the B-flat trigger), thus
creating a “buzzing” quality. The resulting tone should be the same as the printed note. This
technique takes some practice, but is a very unique effect when done correctly.
parts marked “mute” were originally marked “stopped” by the composer. Hand stopping
requires that the player close the heel of their bell hand and seal the entire opening. Notes
should then be fingered a half step lower on the F horn (not with the B-flat trigger), thus
creating a “buzzing” quality. The resulting tone should be the same as the printed note. This
technique takes some practice, but is a very unique effect when done correctly.
Conductor Score …………………………..1
Flute/Piccolo ………………………………..1
Oboe I …………………………………………1
Oboe II…………………………………………1
Bassoon ……………………………………….1
Bb Clarinet I ………………………………….1
Bb Clarinet II………………………………….1
Bb Bass Clarinet …………………………….1
F Horn I ……………………………………….1
F Horn II……………………………………….1
Bb Trumpet I ………………………………….1
Bb Trumpet II ………………………………..1
Trombones I & II…………………………….1
Tuba…………………………………………….1
Percussion ……………………………………2
(Crash Cymbals, Bass Drum, Suspended
Cymbal, Whip, Triangle)
Timpani ……………………………………….1
Violin I …………………………………………8
Violin II ……………………………………….8
Viola …………………………………………..5
Cello …………………………………………..5
String Bass ……………………………………5
Flute/Piccolo ………………………………..1
Oboe I …………………………………………1
Oboe II…………………………………………1
Bassoon ……………………………………….1
Bb Clarinet I ………………………………….1
Bb Clarinet II………………………………….1
Bb Bass Clarinet …………………………….1
F Horn I ……………………………………….1
F Horn II……………………………………….1
Bb Trumpet I ………………………………….1
Bb Trumpet II ………………………………..1
Trombones I & II…………………………….1
Tuba…………………………………………….1
Percussion ……………………………………2
(Crash Cymbals, Bass Drum, Suspended
Cymbal, Whip, Triangle)
Timpani ……………………………………….1
Violin I …………………………………………8
Violin II ……………………………………….8
Viola …………………………………………..5
Cello …………………………………………..5
String Bass ……………………………………5