Score
Piccolo
Flute
Oboe (optionalal)
Bassoon (optionalal)
Eb Clarinet
Bb Clarinet 1 (div.)
Bb Clarinet 2 (div.)
Bb Bass Clarinet
Eb Alto Saxophone 1
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpet 1 (doubling Flugelhorn 1)
Bb Trumpet 2 (doubling Flugelhorn 2)
F Horn 1
F Horn 2
Trombone 1
Trombone 2
Euphonium
Tuba (div.)
String Bass (optionalal)
Harp or Piano (optionalal)
Timpani
[Percussion 1] Suspended Cymbal, Wood Block, Crash Cymbals, Wind Chimes, Triangle
[Percussion 2] Wind Chimes, Bass Drum, Snare Drum, Claves (optional), Guiro (optional), Crash Cymbals, Wood Block, Tenor Drum, Suspended Cymbal, Vibraphone, Triangle
[Percussion 3] Marimba, Glockenspiel, Xylophone, Vibraphone, Bass Drum
[Percussion 4] Vibraphone, Suspended Cymbal, Marimba, Maracas, or Shaker (optional), Bass Drum, Tambourine or Suspended Cymbal, Tubular Bells (or Glockenspiel), Crash Cymbals
"The Land of Smiles," alongside "The Merry Widow," is one of Lehar's most popular works, a three-act operetta that premiered in Berlin in 1929. Based on a 2005 idea by Kazuhiko Tsuchiya (director of Tamagawa Academy Junior High School Wind Ensemble), this version for smaller ensembles was re-arranged in 2016. It features the selections "Overture," "The Chinese Ballet," "The Prophet Of The Blue Pagoda," "Chinese Wedding Procession," and "You Are My Heart's Delight," adapted for wind ensemble. Although not identical in structure to the original compositions, the arrangement closely matches the original music's image, apart from the added configurations and some counter-melodies.
The "Overture" at the beginning and "You Are My Heart's Delight" (from rehearsal number [N] onwards) are musically the most crucial parts of the piece. The faster sections should be played not with roughness or force but by emphasizing the musical color of each voice, enjoying the exotic flair. Think of the composition as a sort of "song sandwich," with exotic elements nestled between the opening and final songs.
For percussion, it is preferred to include all instruments if possible. However, if there are not enough performers, it is permissible to omit keyboard percussion instruments like Marimba and Vibraphone, which have parts similar to wind instruments. Solo instrument options, such as at the beginning, can be adjusted according to the specific circumstances of each ensemble, without strictly adhering to the score. It is possible to perform satisfactorily without a harp or piano.
(Eiji Suzuki)
