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Universal Edition - Leoš Janáček – Sinfonietta

Leoš Janáček

Leoš Janáček
Sinfonietta

Opus: op. 60
Year of composition: 1926
Scored for: for orchestra
Composer: Leoš Janácek
Edited by: Karl Heinz Füssl
Instrumentation: 4 2 4 2 - 4 12 4 1 - timp, perc(2), hp, bass tpt(2), t.tuba(2), str
Instrumentation details:
1st flute
2nd flute
3rd flute
4th flute (+picc)
1st oboe
2nd oboe (+cor anglais)
clarinet in Eb
1st clarinet in Bb
2nd clarinet in Bb
bass clarinet in Bb
1st bassoon
2nd bassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
4th trumpet in C
5th trumpet in C
6th trumpet in C
7th trumpet in C
8th trumpet in C
9th trumpet in C
10th trumpet in F
11th trumpet in F
12th trumpet in F
bass trumpet in B(2)
1st trombone
2nd trombone
3rd trombone
4th trombone
1st tenor tuba in Bb
2nd tenor tuba in Bb
tuba
timpani
tubular bells
cymbal
harp
violin I
violin II
viola
violoncello
contrabass
Table of Contents:
Allegretto
Andante
Moderato
Allegretto
Allegro
Duration: 25′
Dedication: Venováno pani R. Newmarchové
 
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Audio Excerpt

Sinfonietta
Sinfonietta

World Première

Location: Smetana Hall Prag / Czech Republic
Date: 26.06.1926
Orchestra: Czech Philharmonic Prague
Conductor: Talich Václav

Work Introduction

The Sinfonietta, written in 1925, consists of five movements of which each is scored for a different combination of orchestral instruments. The first movement, for brass instruments and timpani only, elaborates one single theme. This is worked out in several smaller sections first in duple time, later – in a sort of Middle section – in Waltz time, and at the close, in enlarged form, again in duple time over an organ point of fifths. The Andante which follows alternately employs two themes: a sustained melody supported by wind instruments and later by strings; and a dance motive in a graceful 2/4 time. The latter appears first, after a short Introduction, and the second melodic theme is worked out later. The Dance theme, in various transformations, is worked up to a “maestoso” passage in which the accompanying motive of the Dance theme assumes the character of an independent figure, over sustained chords. After a climax is reached, the Dance portion of the beginning recurs, varied and with accompanying figures. The movement terminates in this mood. The third movement opens in moderate tempo, developing a melodic motive with a recurring accompanying chord-figure. These chords supply the material for the first Intermediate section, in quicker tempo; this develops, after a short repetition of the opening portion, into a lively, dance-like section, in which the opening motive, with a new accompaniment and by means of counter-subjects, assumes a merry character. The play of the figures becomes increasingly lively, the motive structure seems to disintegrate – until runs bring an abrupt return to the tempo and mood of the opening potion. The movement dies away with the motive and with portions of the figurations from the first section. The fourth movement builds solely upon one, Polka-like motive given out first by the trumpet alone, with counter­subjects and accompanying chords gradually building up. A chain of trills in the strings passes the leading motive to the horn, later it is taken up by the clarinet, again by muted horns and by the flute; the strings then dissolve the motive into its components, the trumpet takes possession of it, in decreasing dynamic gradation, and ultimately plays it alone, muted and dying away. A short motivic Development in which elements of the theme recur alternately in faster and slower tempo, leads to an increasingly slow tempo, the motive being taken over by oboe, trumpet and partly by the clarinet. An abrupt Stretto leads to a forceful close. The Final opens with a characteristic motive on the flutes, which is accompanied by figures in the strings, and immediately worked out. It is taken up, in somewhat different character, by the clarinet and oboe, later by the flute. A fast Intermediate section accompanied by staccato chords on the strings and in which figures on the woodwinds play an important role, leads to a broad, stately section, after which the strings and woodwinds also taken possession of the opening theme. The Intermediate section, with chord figure work, brings a great climax and leads to a repetition of the first movement; this recurs in literal quotation, except that the brasses are reinforced and intensified by trill chains of the strings and woodwinds. These trills assume, in the woodwinds, motivic significance and take part in the pompous, broadly solemn closing portion.

Dr. A. P.

Pocket score – Sinfonietta

  • for orchestra
  • Edition type: pocket score
  • Series: Philharmonia Pocket Scores
  • PH224
  • ISBN: 978-3-7024-2985-0
  • ISMN: 979-0-008-02070-4
EUR 19,95

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full score - Sinfonietta

Sinfonietta
  • for orchestra
  • Edition type: full score

full score - Sinfonietta

Sinfonietta
  • for orchestra
  • Edition type: full score

Future Performances

06.10.2017
Location: National Concert Hall, Dublin (IRL), Orchestra: RTÉ National Symphony Orchestra, Conductor: Håkan Hardenberger

5 Ensembles that have played this work:

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