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Kiss Me Kate

  1. Flute, clarinet, alto saxophone
  2. Clarinet, alto saxophone, bass clarinet
  3. Oboe, English horn, clarinet, tenor saxophone
  4. Piccolo, flute, clarinet, tenor saxophone
  5. Flute, clarinet, bassoon, alto saxophone, baritone saxophone

4 comments

  1. Aaron says:

    Reed 5 in OBP also doubled flute and alto sax. They were restored in the critical edition and the orchestral score is available for purchase from Alfred. (The critical edition’s orchestration listed on the Concord website is incorrect.)

    This means Concord’s “Original 1948” version must have been misnamed. I suspect it’s just the old licensed version from Tams, which does omit the flute and alto sax in Reed 5. That version also has a clarinet solo in “Too Darn Hot” instead of the sax soli heard on OBCR (at 2:05) and restored in the critical edition.

    • Aaron says:

      Also, you can go to the Yale website below and download 540 pages of supplemental material to the critical edition. The reed doublings for the critical edition/1948 Broadway production are listed on page 15 of the PDF.

      https://elischolar.library.yale.edu/cole_porter_critical_edition/1/

      From my hard copy of the complete orchestral score:

      Reed 5 flute plays #7. “Rose Dance” (mm. 1–71; lead w/ violins 32–38), #16. “Where Is the Life That Late I Led?” (mm. 81–144), #16a. “Change of Scene: Where Is the Life That Late I Led?” (mm. 1–24), and the alternate #11. “Harlequin Ballerina” (mm. 1–34) found in the appendix and not used in most productions.

      Reed 5 alto sax plays #1a. “Another Op’nin’, Another Show: Dance” (mm. 108–129, 148–220).

    • Alex Tirrell says:

      Concord (as did Tams) has separate listings for the ‘Original 1948’ version, as well as the ‘Critical Edition’ and ‘Revised 1999’ — So yes, I imagine the 1948 version would be whatever was offered for rental before the 1999 and Critical Edition. I’ve found it curious since the Critical Edition was done that they would still offer the previous rental, but I always have admired the fact that Tams would license pretty much every version of a show, allowing theatres/production teams to choose!

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