Bernhard Heinrich Romberg (November 13, – August 13, ), was a German cellist 1 in B-flat Major, for cello and orchestra; Opus 3, Grand Concerto No. Opus 14, Airs Russes for cello and orchestra; Opus 17, Flute concerto in B minor (Also published as opus 30); Opus 18, Variations et Rondo in E-flat Major for. Buy Concerto for Flute Op. Score () by ROMBERG, B at Orchestra Sheet Music. Romberg, Bernhard Heinrich. Ed. John WionPublished by. Get this from a library! Concerto for flute and orchestra, opus [Bernhard Romberg; John Wion; Elaine Baker, (Pianist)].

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The conclusion of this section, almost identical to its counterpart in the Exposition except without the fermatas, leads to the Recapitulation. By using this site, you agree to the Terms of Use and Privacy Policy. Problems playing these files? Privacy Policy Terms and Conditions. As compared with the overall duple groups in the A theme, the B section theme contrasts with an exploration of triplet rhythms in sixteenth notes, allowing for longer chromatic scales. Clearly, Romberg decided to write a concerto of some substance of length as well as virtuosity.

Romberg makes reference to its opening motive but soon after offers new virtuosic passages. The Exposition immediately demonstrates the technical demands of the piece with expansive lines at a brisk pace. Flute Quintet in G Major 1. The third movement, a Rondo Allegrettois a delight and a dazzling display of technical prowess for the solo flute.

This is not surprising as the concerto was written as the improvised cadenza was being phased out in favor of composer-conceived cadenzas or none at all. The placement of a fermata at the end of the A theme is unusual.

Solo with piano Document Type: He first performed in public at the age of seven. Create lists, bibliographies and reviews: Shansky, For performance material contact Peters, Leipzig.

Romberg, Bernhard | Concerto for Flute and Orchestra in B minor, Op. 17

Preface The concerto for flute and orchestra by Romberg is a tour-de-force romberh that exploits the technical and expressive capabilities of the instrument and foreshadows the later Romantic style. Rather than ending the movement with a final re-statement of the A theme, Romberg introduces an extended Coda with a new theme and as a new section marked Allegro non troppo.


Romberg made several innovations in cello design and performance. He lengthened the cello’s fingerboard and flattened the side under the C string, thus giving rombdrg more freedom to vibrate.

Concerto for flute and orchestra, opus 17

Cancel Forgot your password? There is no marking for a cadenza at the end of the movement. It seems too early for a cadenza and it is most likely a dramatic effect that Romberg wanted to impose. The return of the A theme is not exact at all.

Add a review and share your thoughts with other readers. After a fanfare-like opening with a full orchestra sound, the entrance of the solo flute is with a phrase that covers a two octave range in a beautifully constructed arc that reaches the upper range before descending two octave over two measures to close. It has been suggested that Romberg’s cello sonata in E minor was a strong influence on the first cello sonata in E minor by Johannes Brahms.

We use cookies to ensure that we give you the best experience on our website. Please create a new list with a new name; move some items to a new or existing list; or delete some items. The E-mail Address es you entered is are not in a valid format. This was the same number assigned to one of his cello concertos, and it appears that Opus 17 was the composer’s designation for the flute concerto”–Page 2 of cover.

Some features of WorldCat will not be available. Retrieved February 1, He clearly understood some of the idiomatic requirements of wind writing. Romberg ends this section with a declamation of the rhythmic activity and a diminution of the melody to repeated half steps on the motivic dotted rhythm that serves as the transition back to the A theme.

Innovations in cello technique introduced by Romberg include minimizing the then wide variety of clef possibilities to the now standard bass, tenor and treble as well as designing modifications to the instrument to facilitate technique.


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Please re-enter recipient e-mail address es. A return to duple grouping provides the transition to the return of the A theme. Your list has reached the maximum number flure items.

Bernhard Romberg

Concertos Flute — Solo with piano. The name field is required. The B and C sections are successively more technically challenging.

Advanced Search Find a Library. The close of the Exposition is a display of complex technique, combining a variety of motivic patterns and articulations in an almost dizzying cojcerto. Please enter recipient e-mail address es. In other projects Wikimedia Commons. From Wikipedia, the free encyclopedia. In the Flute Concerto he illustrates familiarity bernharv the newly emerging virtuoso writing for violin, possibly due to the direction of one of his teachers, and winds, likely due to the influence of his brothers Anton, a bassoonist and Gerhard, a clarinetist.

Concerto for flute and orchestra, opus 17 Author: More like this Similar Items. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied.

The second theme of the exposition bernhxrd with a set of fast triplet passages that descend, in contrast with the ascending fanfare of the A theme.

The E-mail message field is required. Your rating has been recorded. This work flut a good example of the transition in this genre from the solo-orchestra alteration of new material and familiar themes to the concerto as a vehicle to showcase the prowess of a polished performer with the orchestra for support.

The final return of the A theme is truncated by the interruption of a brief cadenza-type flourish in rojberg solo flute part.