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Para vocais e piano
Título por Autor: Flight of the bumblebee (voice and piano)
Instrumentação |
Piano, Voz |
Composição para |
Dueto |
Tipo de composição |
Partitura piano-vocal |
idioma |
Alemão, Russo |
dificuldade |
Difficult |
Original version: voice and piano. Please visit http://olcbarcelonamusic.load.cd to get more sheet music. Contact us at olopcallmusic@hotmail.com
para orquestra russa folk
Título por Autor: Flight of the Bumblebee from The Tale of Tsar Saltan
Instrumentação |
Balalaica, Domra |
Composição para |
Orquestra de folk russo |
Tipo de composição |
Partitura completa |
Editora |
Library |
idioma |
Russo |
dificuldade |
Difficult |
Gênero |
Clássico/Arranjo |
para flauta e piano - parte flauta
Título por Autor: Flight of the Bumblebee, for Flute and Piano – Flute Part
Instrumentação |
Flauta |
Composição para |
Solo |
Tipo de composição |
Parte de solo |
chave |
Fá (F) menor |
dificuldade |
Advanced |
Gênero |
Clássico/Arranjo |
para flauta e piano
Título por Autor: Flight of the Bumble Bee, for Flute and Piano
Instrumentação |
Piano, Flauta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers |
chave |
Fá (F) menor |
Editora |
PlaceArt |
dificuldade |
Advanced |
Gênero |
Clássico/Arranjo |
para flauta e piano
Título por Autor: Flight of the Bumblebee in F Minor, for Flute and Piano
Instrumentação |
Piano, Flauta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Parte de solo |
chave |
Fá (F) menor |
dificuldade |
Advanced |
Gênero |
Clássico/Música de Câmara |
Para Piano
Título por Autor: Flight of the Bumblebee, for Piano
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Fá (F) menor |
dificuldade |
Advanced |
Gênero |
Clássico/Música de Câmara |
para flauta e piano - parte flauta
Título por Autor: Flight of the Bumblebee in A Minor, for Flute and Piano – Flute Part
Instrumentação |
Flauta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Parte de solo |
chave |
Lá (A) menor |
dificuldade |
Advanced |
Gênero |
Clássico/Música de Câmara |
para flauta e piano
Título por Autor: Flight of the Bumblebee in A Minor, for Flute and Piano
Instrumentação |
Piano, Flauta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers |
chave |
Lá (A) menor |
dificuldade |
Advanced |
Gênero |
Clássico/Música de Câmara |
para oboe e piano
Título por Autor: Flight of the bumblebee (oboe/soloist and piano)
Instrumentação |
Piano, Oboé |
Composição para |
Dueto |
Tipo de composição |
Score for two performers |
Arrajador |
Paul Siguir |
dificuldade |
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.
Para Guitarra
Título por Autor: Flight of the bumblebee
Instrumentação |
Guitarra clássica |
Composição para |
Solo |
Tipo de composição |
For a single performer |
Arrajador |
Altai |
Editora |
Altai |
Gênero |
Clássico/Instrumental |
обработка шутка для виртуозного исполнения на гитаре
For saxophones
Título por Autor: N. Rimsky - Korsakov. Flight of the Bumblebee
Instrumentação |
Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano |
Tipo de composição |
Partitura completa, Partes |
chave |
Sol (G) menor |
Arrajador |
Valerya Vinogradova |
dificuldade |
Advanced |
duração |
1'30 |
Gênero |
Clássico/Instrumental |
It is an arrangement for saxophone orchestra (12 instruments).
Para piano solo
Título por Autor: Rimsky-Korsakov - The Flight of the Bumblebee - piano solo
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
Partitura piano |
movimento(s) |
1 para 1 de 1 |
Arrajador |
Peter Petrof |
Editora |
Peter Petrof |
dificuldade |
Difficult |
duração |
2'0 |
Gênero |
Clássico/Instrumental |
For Alto Clarinet & Piano
Título por Autor: Korsakov: Flight of the Bumblebee for Alto Clarinet and Piano
Instrumentação |
Piano, Clarineta Alto |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
movimento(s) |
1 para 1 de 1 |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Alto Sax and Piano
Instrumentação |
Piano, Saxophone alto |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Bass Clarinet and Piano
Instrumentação |
Piano, Clarinete baixo |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Baritone Horn and Piano
Instrumentação |
Piano, Barítono |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Bassoon and Piano
Instrumentação |
Piano, Fagote |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Baritone Sax and Piano
Instrumentação |
Piano, Saxofone Barítono |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Clarinet and Piano
Instrumentação |
Piano, Clarinete |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for E-Flat Clarinet and Piano
Instrumentação |
Piano, Clarinete |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Euphonium and Piano
Instrumentação |
Piano, Eufónio |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Flute and Piano
Instrumentação |
Piano, Flauta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for French Horn and Piano
Instrumentação |
Piano, Trompa francesa |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Oboe and Piano
Instrumentação |
Piano, Oboé |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Piccolo and Piano
Instrumentação |
Piano, Flauta piccolo |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Soprano Sax and Piano
Instrumentação |
Piano, Saxofone soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Advanced |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Tuba and Piano
Instrumentação |
Piano, Tuba |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Trumpet and Piano
Instrumentação |
Piano, Trombeta |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Tenor Sax and Piano
Instrumentação |
Piano, Saxofone Tenor |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Cello and Piano
Instrumentação |
Piano, Violoncelo |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Violin and Piano
Instrumentação |
Piano, Violino |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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
Título por Autor: Korsakov: Flight of the Bumblebee for Viola and Piano
Instrumentação |
Piano, Viola |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Partes |
Editora |
Jmsgu3 Publications |
dificuldade |
Difficult |
duração |
1'15 |
Ano de composição |
1900 |
Gênero |
Clássico/Peça |
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.
para flauta e guitarra
Título por Autor: Fleyt of the bumblebee for flute and guitar
Instrumentação |
Flauta, Guitarra clássica |
Composição para |
Dueto |
Tipo de composição |
Score for two performers, Partes |
Arrajador |
David W Solomons |
Editora |
David W Solomons |
dificuldade |
Advanced |
duração |
3'0 |
Ano de composição |
2018 |
Gênero |
Clássico/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
para flauta e guitarra
Título por Autor: Fleyt of the bumblebee for flute and guitar
Instrumentação |
Flauta, Guitarra clássica |
Composição para |
Dueto |
Tipo de composição |
Partitura completa, Partes |
Arrajador |
David W Solomons |
Editora |
David W Solomons |
dificuldade |
Advanced |
Ano de composição |
2017 |
Gênero |
World / Etnico/Judaica |
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
Título por Autor: Hummelflug - Flötenoktett
Instrumentação |
Flauta, Alto Flute, Flauta baixo |
Composição para |
Octeto |
Tipo de composição |
Partitura completa, Partes |
chave |
Lá (A) menor |
Arrajador |
Gabi Fellner |
Editora |
Gabi Fellner |
dificuldade |
Advanced |
Ano de composição |
1899 |
Gênero |
Clássico/Ópera |
Von der Piccolo- bis zur Basshummel --- alles brummelt und hummelt zusammen!
For flute septet
Título por Autor: Hummelflug - Flötenseptett
Instrumentação |
Flauta, Flauta piccolo, Alto Flute, Flauta baixo |
Composição para |
Septeto |
Tipo de composição |
Partitura completa, Partes |
chave |
Lá (A) menor |
Arrajador |
Gabi Fellner |
Editora |
Gabi Fellner |
dificuldade |
Advanced |
Ano de composição |
1899 |
Gênero |
Clássico/Ópera |
Von der Piccolo- bis zur Basshummel --- alles brummelt und hummelt hier im Ensemble!
para coro misto
Título por Autor: Полет шмеля
Instrumentação |
coro misto |
Composição para |
Coral |
Tipo de composição |
Partitura vocal |
chave |
Lá (A) menor |
movimento(s) |
1 para 1 de 1 |
Arrajador |
Mikhail Gogolin |
Editora |
Mikhail Gogolin |
dificuldade |
Difficult |
duração |
1'40 |
Ano de composição |
2002 |
Gênero |
Clássico/Peça |
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
Título por Autor: Flight of the Bumblebee
Instrumentação |
Flauta, Clarinete, Fagote, Oboé, Trompa francesa, Trombone, Trombeta, Tuba, Violino, Viola, Violoncelo, Contrabaixo, Timbales |
Tipo de composição |
Partitura completa |
dificuldade |
Very difficult |
duração |
1'16 |
Ano de composição |
1900 |
Gênero |
Clássico/Sinfonia musical |
Facil para o piano
Título por Autor: Flight of the Bumble Bee Easy Piano Sheet Music
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
Partitura piano |
Arrajador |
SilverTonalities Sheet Music Services |
Editora |
SilverTonalities Sheet Music Services |
dificuldade |
Easy |
Gênero |
Clássico/Arranjo |
"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
Título por Autor: Flight of the Bumble Bee Beginner Piano Sheet Music
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
Partitura piano |
Arrajador |
SilverTonalities Sheet Music Services |
Editora |
SilverTonalities Sheet Music Services |
dificuldade |
Easy |
Gênero |
Clássico/Arranjo |
Beginner Piano Arrangement
Easy Note Style Sheet Music
Letter Names of Notes embedded in each Notehead!
A SilverTonalities Arrangement!
para piano de quadro mãos
Título por Autor: N. Rimsky-Korsakov - Flight of the Bumblebee (for Piano Four Hands)
Instrumentação |
Piano |
Composição para |
1 piano, 4 mãos |
Tipo de composição |
Primeira parte, Score for two performers, Segunda parte |
Arrajador |
Dmitry Koshelev |
Editora |
Dmitry Koshelev |
dificuldade |
Difficult |
Gênero |
Clássico/Instrumental |
para orquetra
Título por Autor: Rimsky-Korsakov - Flight of the Bumblebee, for Orchestra
Instrumentação |
Flauta, Clarinete, Fagote, Oboé, Corne Inglês, Trompa francesa, Trombone, Trombeta, Tuba, Violino, Viola, Violoncelo, Contrabaixo, Timbales |
Tipo de composição |
Partitura completa, Partes |
dificuldade |
Medium |
Gênero |
Clássico/Sinfonia musical |
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
Título por Autor: Rimsky-Korsakov - Flight of the Bumblebee, for Voice, Clarinet (ad lib.) and Piano
Instrumentação |
Piano, Clarinete, Voz |
Tipo de composição |
Partitura completa, Partes |
idioma |
Russo |
dificuldade |
Medium |
Gênero |
Clássico/Arranjo |
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
Título por Autor: Н. А. Римский-Корсаков. Полёт шмеля аранжировка для саксофона сопрано и фортепиано
Instrumentação |
Piano, Saxofone soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Parte de solo |
Arrajador |
Pavel Struck |
Editora |
Pavel Struck |
dificuldade |
Difficult |
Gênero |
Clássico/Instrumental |
Н.А.Римский-Корсаков "Полёт шмеля" аранжировка для саксофона сопрано и фортепиано.
Dylan Mortega 14 dez 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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