Kriegerleben, Op.140 (Spindler, Fritz)

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Sheet Music

Piano Scores

 3. Husarenritt
#247573 - 0.84MB, 7 pp. -  6.0/10 2 4 6 8 10 (2) - V/V/V - 219x

PDF scanned by Rob Peters
Rob Peters (2012/8/23)

PMLP129211-spindler4.pdf
Publisher Info.:

Unidentified publisher, n.d.(ca.1875). Plate S.B. 5

Copyright:

Public Domain [tag/del]

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Arrangements and Transcriptions

Husarenritt (No.3)

For 2 Pianos 4 hands (Herbert)

 Piano 1
#63333 - 0.50MB, 8 pp. -  0.0/10 2 4 6 8 10 (0) - V/V/V - 165x

PDF scanned by US-R
Morel (2010/5/4)

 Piano 2
#63334 - 0.47MB, 8 pp. -  0.0/10 2 4 6 8 10 (0) - V/V/V - 92x

PDF scanned by US-R
Morel (2010/5/4)

 Color cover
#63335 - 0.63MB, 1 pp. -  0.0/10 2 4 6 8 10 (0) - V/V/V - 58x

PDF scanned by US-R
Morel (2010/5/4)

SIBLEY1802.10480.a041-39087012929057piano 1.pdf
Arranger:

Theodor Herbert (1822–1891)

Publisher Info.:

New York: Carl Fischer, 1908. Plate 11869-12

Copyright:

Public Domain [tag/del]

Misc. Notes:

This file is part of the Sibley Mirroring Project.

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General Information

Work Title Kriegerleben, Op.140
Alternative Title 5 Tonbilder
Composer Spindler, Fritz
Opus/Catalogue Number Op.140
Movements/Sections 5 Sections:
  1. Kriegers Abschied
  2. Angriff
  3. Husarenritt
  4. Auf stiller Wacht
  5. Siegeszug
Year/Date of Composition 1860?
First Publication 1863 – Leipzig: Siegel
Piece Style Romantic
Instrumentation piano


Misc. Comments

  • The instrumentation of the original was taken from WorldCat.
  • There was also an arrangement for by Ascher-Mahl for orchestra (flute, cello, violin, viola, bass, trombone, drums, cornet, oboe, bassoon, clarinet and horn) and piano, published by Carl Fisher, New York 1905.
    • And many another arrangement, several scanned in by LoC. HMB agrees on the instrumentation of the original, as the first appearance of opus 140 is under works for piano solo in 1863. (neither is definite "proof" to my mind - a good life and works biography or at least works-monograph on Spindler would be better reference than either... if one exists - but fairly rarely does, if more often, for more composers and their works, than I might maybe have thought.)
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