19985816
Romanze, Op. 85
19985816
19985816
Romanze, Op. 85 Chamber Music scores gallery preview page 1
Romanze, Op. 85 Chamber Music scores gallery preview page 2
Romanze, Op. 85 by Max Bruch Chamber Music - Sheet Music
Romanze, Op. 85 by Max Bruch Chamber Music - Sheet Music page 2

Ships to you

Romanze, Op. 85 For Flute And Piano (or Orchestra) by Max Bruch Chamber Music - Sheet Music

By Max Bruch
Chamber Music flute, piano

SKU: PR.114416370

For Flute And Piano (or Orchestra). Composed by Max Bruch. Arranged by Mark Sparks. This edition: saddle-wire stitch. Sws. Romantic. Score and parts. With Standard notation. 12 pages. Duration 0:08:00. Theodore Presser Company #114-41637. Published by Theodore Presser Company (PR.114416370).

ISBN 9781598067422. UPC: 680160619764. 9 x 12 inches.

Originally for viola and orchestra, Max Bruch’s plaintive ROMANZE, Op. 85 has been elegantly adapted for flute and piano by Mark Sparks, principal flutist of the Saint Louis Symphony. The flute edition is in the same key as the original and is fully compatible with the standard orchestral materials.
On the scanned back cover:Notes on the EditionThe original key of F major has been maintained for this arrangement of Max Bruch’s ROMANZE, op. 85, originally for Viola and Orchestra, to properly reflect the autumnal color of this radiant and masterful work. Bruch arranged the work for violin and orchestra (or piano), with some modifications, several of which have been retained in this version. Despite the paucity of works for solo flute in this period, it could not have been difficult for the composer to imagine a version for flute, for which the melodic writing is quite well suited. The economy and skill of the orchestration, necessary to balance the color of the solo viola, will also benefit performances for flute and orchestra. It is important for the flutist to reflect lower string performance idioms: a very firm legato; full, dark tone; and maintaining the energy of the line in spite of breathing needs. I have purposely excluded breathing suggestions so the performer has complete freedom of choice in the matter. I would like to thank Christian Woehr and Dr. Peter Henderson for their contributions to this arrangement.— Mark Sparks.