| |
For voice and piano
Title by uploader: Flight of the bumblebee (voice and piano)
Instrumentation |
Piano, Voice |
Scored for |
Duo |
Type of score |
Piano-vocal score |
Language |
German, Russian |
Difficulty |
Difficult |
Original version: voice and piano. Please visit http://olcbarcelonamusic.load.cd to get more sheet music. Contact us at olopcallmusic@hotmail.com
For russian folk orchestra
Title by uploader: Flight of the Bumblebee from The Tale of Tsar Saltan
Instrumentation |
Balalaika, Domra |
Scored for |
Russian folk orchestra |
Type of score |
Full score |
Publisher |
Library |
Language |
Russian |
Difficulty |
Difficult |
Genre |
Classical/Arrangement |
For flute and piano – flute part
Title by uploader: Flight of the Bumblebee, for Flute and Piano – Flute Part
Instrumentation |
Flute |
Scored for |
Solo |
Type of score |
Solo part |
Key |
F minor |
Difficulty |
Advanced |
Genre |
Classical/Arrangement |
For flute and piano
Title by uploader: Flight of the Bumble Bee, for Flute and Piano
Instrumentation |
Piano, Flute |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers |
Key |
F minor |
Publisher |
PlaceArt |
Difficulty |
Advanced |
Genre |
Classical/Arrangement |
For flute and piano
Title by uploader: Flight of the Bumblebee in F Minor, for Flute and Piano
Instrumentation |
Piano, Flute |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Solo part |
Key |
F minor |
Difficulty |
Advanced |
Genre |
Classical/Chamber music |
For piano
Title by uploader: Flight of the Bumblebee, for Piano
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
For a single performer |
Key |
F minor |
Difficulty |
Advanced |
Genre |
Classical/Chamber music |
For flute and piano – flute part
Title by uploader: Flight of the Bumblebee in A Minor, for Flute and Piano – Flute Part
Instrumentation |
Flute |
Scored for |
Solo, Accompanying piano |
Type of score |
Solo part |
Key |
A minor |
Difficulty |
Advanced |
Genre |
Classical/Chamber music |
For flute and piano
Title by uploader: Flight of the Bumblebee in A Minor, for Flute and Piano
Instrumentation |
Piano, Flute |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers |
Key |
A minor |
Difficulty |
Advanced |
Genre |
Classical/Chamber music |
For oboe and piano
Title by uploader: Flight of the bumblebee (oboe/soloist and piano)
Instrumentation |
Piano, Oboe |
Scored for |
Duo |
Type of score |
Score for two performers |
Arranger |
Paul Siguir |
Difficulty |
Difficult |
This is scored for oboe and piano. However, the oboe part can be played by any C instrument.
Visit http://olcbarcelonamusic.load.cd for more sheet music.
For guitar
Title by uploader: Flight of the bumblebee
Instrumentation |
Classical guitar |
Scored for |
Solo |
Type of score |
For a single performer |
Arranger |
Altai |
Publisher |
Altai |
Genre |
Classical/Instrumental |
обработка шутка для виртуозного исполнения на гитаре
For saxophones
Title by uploader: N. Rimsky - Korsakov. Flight of the Bumblebee
Instrumentation |
Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Soprano Saxophone |
Type of score |
Full score, Parts |
Key |
G minor |
Arranger |
Valerya Vinogradova |
Difficulty |
Advanced |
Duration |
1'30 |
Genre |
Classical/Instrumental |
It is an arrangement for saxophone orchestra (12 instruments).
For piano solo
Title by uploader: Rimsky-Korsakov - The Flight of the Bumblebee - piano solo
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
Piano score |
Movement(s) |
1 to 1 from 1 |
Arranger |
Peter Petrof |
Publisher |
Peter Petrof |
Difficulty |
Difficult |
Duration |
2'0 |
Genre |
Classical/Instrumental |
For Alto Clarinet & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Alto Clarinet and Piano
Instrumentation |
Piano, Alto Clarinet |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Movement(s) |
1 to 1 from 1 |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Alto Sax & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Alto Sax and Piano
Instrumentation |
Piano, Alto Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Bass Clarinet & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Bass Clarinet and Piano
Instrumentation |
Piano, Bass Clarinet |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Baritone Horn & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Baritone Horn and Piano
Instrumentation |
Piano, Baritone horn |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Bassoon & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Bassoon and Piano
Instrumentation |
Piano, Bassoon |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Baritone Sax & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Baritone Sax and Piano
Instrumentation |
Piano, Baritone Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Clarinet & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Clarinet and Piano
Instrumentation |
Piano, Clarinet |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For E-Flat Clarinet & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for E-Flat Clarinet and Piano
Instrumentation |
Piano, Clarinet |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Euphonium & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Euphonium and Piano
Instrumentation |
Piano, Euphonium |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Flute & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Flute and Piano
Instrumentation |
Piano, Flute |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For French Horn & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for French Horn and Piano
Instrumentation |
Piano, Horn |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333061
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Oboe & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Oboe and Piano
Instrumentation |
Piano, Oboe |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Genre |
Classical/Piece |
msgu3 Publications S0.333055
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Piccolo & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Piccolo and Piano
Instrumentation |
Piano, Flute piccolo |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333053
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Soprano Sax & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Soprano Sax and Piano
Instrumentation |
Piano, Soprano Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Advanced |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333147
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Tuba & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Tuba and Piano
Instrumentation |
Piano, Tuba |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333043
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Trumpet & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Trumpet and Piano
Instrumentation |
Piano, Trumpet |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Tenor Sax & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Tenor Sax and Piano
Instrumentation |
Piano, Tenor Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333153
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Cello & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Cello and Piano
Instrumentation |
Piano, Cello |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333035
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Violin & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Violin and Piano
Instrumentation |
Piano, Violin |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333031
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For Viola & Piano
Title by uploader: Korsakov: Flight of the Bumblebee for Viola and Piano
Instrumentation |
Piano, Viola |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Parts |
Publisher |
Jmsgu3 Publications |
Difficulty |
Difficult |
Duration |
1'15 |
Year of composition |
1900 |
Genre |
Classical/Piece |
Jmsgu3 Publications S0.333029
DESCRIPTION
Flight of the Bumblebee from Korsakov's "Tale of Tsar Saltan" Score: 9 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but stunning recital encore!
Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.
Korsakov Background
Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite—are important monuments of the standard music repertoire. Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade.
Nationalistic Style
Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called “Orientalism.” It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture.
Musical Developments
Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner.
Naval Service
Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration.
Legacy
Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.
For flute and guitar
Title by uploader: Fleyt of the bumblebee for flute and guitar
Instrumentation |
Flute, Classical guitar |
Scored for |
Duo |
Type of score |
Score for two performers, Parts |
Arranger |
David W Solomons |
Publisher |
David W Solomons |
Difficulty |
Advanced |
Duration |
3'0 |
Year of composition |
2018 |
Genre |
Classical/Instrumental |
This is Rimsky-Korsakov's Flight of the bumblebee arranged for flute and guitar, but with a Yiddish flavour.
The mode is a sort of harmonic minor, with lots of augmented seconds.
(Fleyt rhymes with "fate" and means flute in Yiddish, hence the pun)
"Fleyt of the bumblebee" is
פלייט פון די בומבלעבעע
in Yiddish (pronounced "fleyt fun di bumblebee")
The pdf contains score and parts
The sound sample is an electronic preview.
Video:
https://www.youtube.com/watch?v=VLNmX8jX7xM
For flute and guitar
Title by uploader: Fleyt of the bumblebee for flute and guitar
Instrumentation |
Flute, Classical guitar |
Scored for |
Duo |
Type of score |
Full score, Parts |
Arranger |
David W Solomons |
Publisher |
David W Solomons |
Difficulty |
Advanced |
Year of composition |
2017 |
Genre |
World / Ethnic/Jewish |
This is Rimsky-Korsakov's Flight of the bumblebee arranged for flute and guitar, but with a Yiddish flavour.
The mode is a sort of harmonic minor, with lots of augmented seconds.
(Fleyt rhymes with "fate" and means flute in Yiddish, hence the pun)
"Fleyt of the bumblebee" is
פלייט פון די בומבלעבעע
in Yiddish (pronounced "fleyt fun di bumblebee")
The pdf contains score and parts
The sound sample is an electronic preview.
For flute octet
Title by uploader: Hummelflug - Flötenoktett
Instrumentation |
Flute, Alto Flute, Bass Flute |
Scored for |
Octet |
Type of score |
Full score, Parts |
Key |
A minor |
Arranger |
Gabi Fellner |
Publisher |
Gabi Fellner |
Difficulty |
Advanced |
Year of composition |
1899 |
Genre |
Classical/Opera |
Von der Piccolo- bis zur Basshummel --- alles brummelt und hummelt zusammen!
For flute septet
Title by uploader: Hummelflug - Flötenseptett
Instrumentation |
Flute, Flute piccolo, Alto Flute, Bass Flute |
Scored for |
Septet |
Type of score |
Full score, Parts |
Key |
A minor |
Arranger |
Gabi Fellner |
Publisher |
Gabi Fellner |
Difficulty |
Advanced |
Year of composition |
1899 |
Genre |
Classical/Opera |
Von der Piccolo- bis zur Basshummel --- alles brummelt und hummelt hier im Ensemble!
For mixed choir
Title by uploader: Полет шмеля
Instrumentation |
Mixed choir |
Scored for |
Choir |
Type of score |
Vocal score |
Key |
A minor |
Movement(s) |
1 to 1 from 1 |
Arranger |
Mikhail Gogolin |
Publisher |
Mikhail Gogolin |
Difficulty |
Difficult |
Duration |
1'40 |
Year of composition |
2002 |
Genre |
Classical/Piece |
Оркестровая интермедия, написанная Николаем Римским-Корсаковым для его оперы «Сказка о царе Салтане», сочинённой в 1899—1900 годах. Интермедия оканчивает третий акт, в котором Лебедь-птица обращает князя Гвидона в шмеля...
Orchestral interlude, written by Nikolai Rimsky-Korsakov for his Opera «The Tale About Tsar Saltan», composed in 1899-1900,. Interlude graduated from the third act, in which the Swan-bird draws Prince Gvidon in the bumblebee...
Full score
Title by uploader: Flight of the Bumblebee
Instrumentation |
Flute, Clarinet, Bassoon, Oboe, Horn, Trombone, Trumpet, Tuba, Violin, Viola, Cello, Double bass, Timpani |
Type of score |
Full score |
Difficulty |
Very difficult |
Duration |
1'16 |
Year of composition |
1900 |
Genre |
Classical/Symphonic music |
The Tale of Tsar Saltan is an opera by Nikolai Rimsky-Korsakov and libretto by Vladimir Belsky, based on the poem of the same name by Aleksandr Pushkin. Written in 1899–1900 to coincide with Pushkin's centenary, it was first performed in 1900 in Moscow, The lengthy full title of both the opera and the poem is The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon Saltanovich and of the Beautiful Princess-Swan. The music is composed in the manner of Rimsky-Korsakov's operas after Snowmaiden, i.e., having a more or less continuous musical texture throughout a tableau (as with Wagner, but with the exception of the separable orchestral introductions mentioned above) and a fairly thorough-going leitmotif system, broken up here and there by song-like passages.
"Flight of the Bumblebee" (Russian: Полёт шмеля) is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. Its composition is intended to musically evoke the seemingly chaotic and rapidly changing flying pattern of a bumblebee. Despite the piece's being a rather incidental part of the opera, it is today one of the more familiar classical works because of its frequent use in popular culture.
The piece closes Act III, Tableau 1, during which the magic Swan-Bird changes Prince Gvidon Saltanovich (the Tsar's son) into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concerto piece possible.
For easy piano
Title by uploader: Flight of the Bumble Bee Easy Piano Sheet Music
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
Piano score |
Arranger |
SilverTonalities Sheet Music Services |
Publisher |
SilverTonalities Sheet Music Services |
Difficulty |
Easy |
Genre |
Classical/Arrangement |
"Flight of the Bumble Bee" by Nikolai Rimsky-Korsakov for Easy Piano from his opera, The Tale of Tsar Saltan
A SilverTonalities Arrangement!
Easy Note Style Sheet Music
Letter Names of Notes embedded in each Notehead!
For beginner piano
Title by uploader: Flight of the Bumble Bee Beginner Piano Sheet Music
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
Piano score |
Arranger |
SilverTonalities Sheet Music Services |
Publisher |
SilverTonalities Sheet Music Services |
Difficulty |
Easy |
Genre |
Classical/Arrangement |
Beginner Piano Arrangement
Easy Note Style Sheet Music
Letter Names of Notes embedded in each Notehead!
A SilverTonalities Arrangement!
For piano four hands
Title by uploader: N. Rimsky-Korsakov - Flight of the Bumblebee (for Piano Four Hands)
Instrumentation |
Piano |
Scored for |
1 piano, 4 hands |
Type of score |
First part, Score for two performers, Second part |
Arranger |
Dmitry Koshelev |
Publisher |
Dmitry Koshelev |
Difficulty |
Difficult |
Genre |
Classical/Instrumental |
For orchestra
Title by uploader: Rimsky-Korsakov - Flight of the Bumblebee, for Orchestra
Instrumentation |
Flute, Clarinet, Bassoon, Oboe, Cor anglais, Horn, Trombone, Trumpet, Tuba, Violin, Viola, Cello, Double bass, Timpani |
Type of score |
Full score, Parts |
Difficulty |
Medium |
Genre |
Classical/Symphonic music |
This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Rimsky-Korsakov (Nikolay Rimsky-Korsakov ), for Orchestra.
For voice, clarinet (ad lib.) and piano
Title by uploader: Rimsky-Korsakov - Flight of the Bumblebee, for Voice, Clarinet (ad lib.) and Piano
Instrumentation |
Piano, Clarinet, Voice |
Type of score |
Full score, Parts |
Language |
Russian |
Difficulty |
Medium |
Genre |
Classical/Arrangement |
This product(include full and parts score) is a digital sheet music in PDF format. The music was composed by Rimsky-Korsakov (Nikolay Rimsky-Korsakov ), for Voice,Clarinet(ad lib.) and Piano.
For soprano saxophone and piano
Title by uploader: Н. А. Римский-Корсаков. Полёт шмеля аранжировка для саксофона сопрано и фортепиано
Instrumentation |
Piano, Soprano Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Solo part |
Arranger |
Pavel Struck |
Publisher |
Pavel Struck |
Difficulty |
Difficult |
Genre |
Classical/Instrumental |
Н.А.Римский-Корсаков "Полёт шмеля" аранжировка для саксофона сопрано и фортепиано.
Dylan Mortega 14 Dec 2015 14:44
On hearing a masterpiece like Flight of the Bumblebee one does realize that music IS the universal language of the mankind@
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