Lalo - Spanish symphony d-moll Op.21 - for violin and piano


Lalo - Spanish symphony d-moll Op.21 - for violin and piano. You can download the PDF sheet music Lalo - Spanish symphony d-moll Op.21 - for violin and piano on this page. The triumph of the concerto spurred Lalo to compose the Symphonie espagnole, which was also first performed by Sarasate. Despite the title, and contrary to appearances, the work Is neither symphony nor concerto, but a skillful five movement synthesis of the two forms (rather like Berlioz's Harold in Italy): the 'Spanish' appellation is underlined by the use of a habanera rhythm.Here, even more than In the earlier concerto, Lalo scales the heights of elegance and beauty. His achievement is reflected in the enthusiasm with which the work has been received by audiences ever since the first performance, and by the fact that it continues to hold a regular place in the violinist's repertoire. The Symphonie espagnole is, purely and simply, a masterpiece, a blaze of sunlight in the music of France.

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PDF format sheet music

 

Instrument part: 22 pages. 828 K

 

Piano part: 58 pages. 1593 K

 

Instrument part - First page Piano part - First page
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The introductory Allegro non troppo in D is constructed like a symphonic first movement. Its two subjects, one pronounced and staccato for the violin, the other a melodious evocation of the habanera, are developed with considerable rhythmic freedom.
The 3/8 Scherzo (in G) has a syncopated theme in which the periodic displacement of the beat provides some unexpected effects. These carry over into the trio, In which the soloist's melodic line is constantly interrupted by the intervention of the orchestra. Until quite recently the A minor Intermezzo was often omitted; yet this movement, built upon joyful habanera rhythms, is particularly successful.

The 3/4 Andante opens with a sombre D minor prelude for low brass and strings. This leads to an exposed motif for violin solo which is gradually brightened by the ornamentation of Incidental rhythms, until a modulation to D major paves the way for the dazzling Rondo finale. This is built on a recurring bass and elaborated with a 6/8 syncopation which is taken up by the soloist. A final motif, Poco piu lento, provides the material for a brief central interlude before the work concludes with a brilliant reprise of the rondo themes.

 
 
     
 
 
 
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