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Teil I
Titel nach Uploader: Irish Orchestral Suite No.1 (Mov.1)
Instrumentierung |
Flöte, Klarinette, Fagott, Oboe, Bassposaune, Horn, Posaune, Trompete, Tuba, Geige, Bratsche, Cello, Kontrabass, Harfe, Glockenspiel, Pauke, Becken |
Partitur für |
Sinfonieorchester |
Art der Partitur |
Partitur, Stimmen |
Tonart |
D-Dur |
Satz, Nr. |
1 bis 1 von 3 |
Arrangeur |
Thomas Quigley |
Verleger |
Thomas Quigley |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
2'35 |
The opening of this short three-movement Irish Suite is based on the well-known "Beidh Aonach Amárach".
It is a lively and entertaining arrangement which can be performed as a one-movement concert piece or along with the 2nd and 3rd movements. A score preview and sound sample are available.
Teil II
Titel nach Uploader: Irish Orchestral Suite No.1 (Mov.2)
Instrumentierung |
Flöte, Klarinette, Fagott, Oboe, Bassposaune, Horn, Posaune, Trompete, Tuba, Geige, Bratsche, Cello, Kontrabass, Harfe, Glockenspiel |
Partitur für |
Sinfonieorchester |
Art der Partitur |
Partitur, Stimmen |
Tonart |
fis-Moll |
Satz, Nr. |
2 bis 2 von 3 |
Arrangeur |
Thomas Quigley |
Verleger |
Thomas Quigley |
Schwierigkeitsgrad |
Mittel |
Länge |
3'4 |
This slow air can be performed separately or as the middle movement of my "Irish orchestral Suite No.1".
It is a richly orchestrated version of a beautiful Irish melody in a Romantic style. A sound sample and score preview are available.
Scored for full orchestra the Suite would be an ideal choice for an orchestra and audience interested in Irish music.
Teil III
Titel nach Uploader: Irish Orchestral Suite No.1 (Mov.3)
Instrumentierung |
Flöte, Klarinette, Fagott, Oboe, Bassposaune, Horn, Posaune, Trompete, Tuba, Geige, Bratsche, Cello, Kontrabass, Harfe, Kleine Trommel, Pauke, Xylophon, Becken, Tamburin |
Partitur für |
Sinfonieorchester |
Art der Partitur |
Partitur, Stimmen |
Tonart |
D-Dur |
Satz, Nr. |
3 bis 3 von 3 |
Arrangeur |
Thomas Quigley |
Verleger |
Thomas Quigley |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
2'20 |
An exciting and energetic version of " Cúnla" with a coda consisting of a jig version of " Molly Malone" (very similar to the end of my "Concert Overture:Dublin City") brings this suite to a joyful conclusion.The metronome mark here is approximate.
This movement is suitable for performance as a piece in its own right.
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