Over the rich legato viola line, the clarinet provides a lazy set of chord tones with the flute essentially punctuating and echoing the final few notes of the clarinet lines.
In fact, the flute, clarinet and viola are all that’s happening in this slow section, save for the small mixture of instruments providing the waltz beats on one and two.Įxample 69.1 Aaron Copland: Rodeo, “Saturday Night Waltz” (69 – 90) In Example 69.1 Aaron Copland blends these two voices and adds the flute to the mix. Their ranges are similar, filling in that spot just below the lowest violin note, but still sounding more like the upper instruments in the section than the lower ones.
OVERTURE TO CANDIDE CLARINET SHEET MUSIC 3RD FULL
There are many passages, for example, of clarinets teaming up with violas in full scores. Naturally this is a simplistic view, but not unusual in any orchestrations. If one hears a parallel in the ranges between the string voices and those of the woodwinds, it may be expressed as Violin I = Flute, Violin II = Oboe, Viola = Clarinet, Cello and Bass = Bassoon. It’s not that these selections are exhaustive in the scope of their unique sounds, the intention is to bring to mind some ideas for new ways of writing – and listening – to the orchestra.Ĭopland: “Saturday Night Waltz” from Rodeo This post will be highlighting some well-known and some lesser-known woodwind passages in the literature. But, when it comes to the big three (woodwinds, brass and strings), nothing provides the broad spectrum and depth than do the woodwinds. And, I will admit that the historically overlooked percussion section surely offers a virtually endless list of traditional and nontraditional sounds.Īnd I know I’m being more than just a bit dogmatic. I already hear the arguments about trumpets and trombones, with and without their mutes and the variety of strings and their techniques. Bachtrack also reported, that four of the five most-played concert works in 2018 were Bernstein Compositions, with Overture to Candide holding the number 2 spot, just behind Symphonic Dances from West Side Story.Write or arrange for the orchestra? Listen with care to orchestra music? I’ve said it before: When it comes to the sections of the orchestra, nothing provides the array of timbres on a par with the woodwinds. According to ’s 2018 statistical performance survey, Leonard Bernstein was the third-most played composer for the year, alongside Beethoven, Mozart, Bach, and Brahms, taking a top spot among the perpetual greats. Throughout the Leonard Bernstein Centennial, Overture to Candide continued to be one of the most oft performed works. This entire section is then repeated with lighter orchestration (note the devilish glee of the solo violin) and is succeeded by a brilliant codetta derived from the end of the aria "glitter and Be Gay." The Overture concludes with a shower of musical sparks utilizing fragments of everything already heard.
Next, a lyrical contrast from the duet "Oh Happy We" is stated. This, in the body of the show, becomes "battle scene" music. This seventh sets up an expectation of B-flat major but, instead, there is a stumbling, like a pratfall, into E-flat. It begins with a fanfare built on the interval of a minor seventh, followed by a major second-typically Bernstein, which serves as a motto and as a basis for development, throughout the entire operetta. This is immediately apparent in the Overture (who ever wrote a special overture-in sonata form, no less-for a musical comedy?). Its music has all the wit, élan, and sophistication that is associated with that genre. Candide (1956) is operetta in the vein of Offenbach and Gilbert and Sullivan.
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