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Elegy, Op.17
 Classical/Chamber music • Alternative Title: Elegy
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Full score
Title by uploader: Elegy, Op.17
Instrumentation |
Piano, Flute, Clarinet, Bassoon, Oboe, Horn, Trombone, Trumpet, Violin, Viola, Cello, Double bass, Timpani, Xylophone |
Scored for |
Symphonic orchestra |
Type of score |
Full score |
Key |
D flat major |
Publisher |
Dimitar Karaminkov |
Difficulty |
Advanced |
Duration |
8'30 |
Elegy - original music for Cello and piano op. 17. by Aleksandr Glazunov. Orchestration for Horn and Symphony orchestra by Dimitar Karaminkov.
Full score
Title by uploader: Elegy, Op.17
Instrumentation |
Piano, Flute, Clarinet, Bassoon, Oboe, Horn, Trombone, Trumpet, Violin, Viola, Cello, Double bass, Timpani, Xylophone |
Scored for |
Symphonic orchestra |
Type of score |
Full score |
Key |
D flat major |
Arranger |
Dimitar Karaminkov |
Publisher |
Dimitar Karaminkov |
Difficulty |
Advanced |
Duration |
8'30 |
Genre |
Blues/Instrumental |
Elegy- written by Alexandr Glazunov for Cello and Piano op.17. Orchestration for Horn and Orchestra by Dimitar Karaminkov.
For alto saxophone and piano
Title by uploader: Alexandre Glazunov: Elegie (Une Pensée pour Franz Liszt) for alto saxophone and piano, Op.17
Instrumentation |
Piano, Alto Saxophone |
Scored for |
Solo, Accompanying piano |
Type of score |
Score for two performers, Solo part |
Key |
D flat major |
Movement(s) |
1 to 1 from 1 |
Arranger |
Paul Wehage |
Publisher |
Musik Fabrik |
Difficulty |
Advanced |
Duration |
9'30 |
Year of composition |
1887 |
Genre |
Classical/Piece |
Alexander Glazunov composed his Élégie in D-flat major, Op. 17, in 1887 as a heartfelt homage to Franz Liszt, who had died the previous year — its subtitle, Une Pensée pour Franz Liszt ("A Thought for Franz Liszt"), speaks to the profound admiration the young Russian composer held for the Hungarian master. The work carries all the hallmarks of late Romantic elegy: a long, singing melodic line suffused with tender melancholy, harmonies that linger and breathe, and a quality of intimate reflection rather than grand public mourning — as though the composer were speaking privately to a memory. These very qualities make Paul Wehage's arrangement for alto saxophone and piano a remarkably natural fit: the alto saxophone, with its warm, vocal timbre and extraordinary capacity for long-breathed phrasing, inhabits the singing line of the original with an expressive immediacy that few instruments can match. Where Glazunov's melody seems to yearn for a human voice, the alto saxophone answers that call — bringing both the songful lyricism that Liszt himself championed and a distinctive color that feels less like a transcription than a natural reincarnation of the music's spirit.
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