Zulujas The C section theme exploits the sixteenth note dotted rhythms of the A theme for the first expression of the section. The conclusion of this section, almost identical to its counterpart in the Exposition except without the fermatas, leads to the Recapitulation. A return to duple grouping provides the transition to the return of the A theme. After one phrase into the B theme, Romberg once again interrupts with a fermata, although this is followed by composed brief embellishment in the flute line. Romberg made several innovations in cello design and performance.
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Zulujas The C section theme exploits the sixteenth note dotted rhythms of the A theme for the first expression of the section. The conclusion of this section, almost identical to its counterpart in the Exposition except without the fermatas, leads to the Recapitulation.
A return to duple grouping provides the transition to the return of the A theme. After one phrase into the B theme, Romberg once again interrupts with a fermata, although this is followed by composed brief embellishment in the flute line.
Similar Items Related Subjects: However, formatting rules can vary widely between applications and fields of interest or study. The Development concludes with a re-statement of the timpani solo, this time twice as long, followed by the triplet figures on the flute as were laid out in the Exposition. Shansky, For performance material contact Peters, Leipzig.
The second theme of the exposition opens with a set of fast triplet passages that descend, in contrast with the ascending fanfare of the A theme. Retrieved February 1, Romberg ends this section cpncerto a declamation of the rhythmic activity and a diminution of the melody to repeated half steps on the motivic foncerto rhythm that serves as the transition back to the A theme.
You may send this item to up to five recipients. Romberg, Bernhard As compared with the overall duple groups in the A theme, the B section theme contrasts with an exploration flufe triplet rhythms in sixteenth notes, allowing for longer chromatic scales. Please verify that you are not a robot. Your rating has been recorded. After a fanfare-like opening with a full orchestra sound, the entrance of the solo flute is with a phrase that covers a two octave range in a beautifully constructed arc that reaches the upper range before descending two octave over two measures to close.
The A cocnerto remains primarily in the upper range of the instrument while the B theme is more expansive in range as well as more varied in rhythm. A particular feature of the D section is the area of call and response between the solo flute romber the orchestra, elevating the ensemble from its wholly supportive role. The close of the Exposition is a display of complex technique, combining a variety of motivic patterns and articulations in an almost dizzying array. Please select Ok if you would like to proceed with this request anyway.
Reviews User-contributed reviews Add a review and share your thoughts with other readers. The bernyard movement, a Rondo Allegrettois a delight and a dazzling display of technical prowess for the solo flute.
For performance material contact Peters, Leipzig. Romberg is thought to be among the first cellists to perform from memory, which was a skill praised highly in his day. Allow this favorite library to be seen by others Keep this favorite library private. Concerto for flute and orchestra, opus 17 Musical score,  WorldCat is the bernharc largest library catalog, helping you find library materials online. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied.
Remember me on this computer. Problems playing these files? Romberg makes reference to its opening motive but soon after offers new virtuosic passages. Related Articles.
Carol L. Shansky The concerto for flute and orchestra by Romberg is a tour-de-force work that exploits the technical and expressive capabilities of the instrument and foreshadows the later Romantic style. It is his Op. The scoring for strings, two oboes, two horns, two bassoons and timpani are more reflective of the orchestration of Classical-era works, although the presence of the timpani is a more unique addition.
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