BuiltWithNOF

 

NorviK

Wind Music

Serenade for 11 Wind Instruments

Antonin Dvorak

arranged by Tony Turrill

2Ob./2Cl./2Bhn./2Bsn./2Hn./contra

 

Click here to listen to some excerpts

 

or

here for the complete serenade

Mvt 1 Allegro

Mvt 2 Waltz

Mvt 3 Romance

Mvt. 4 Minuetto

Mvt. 5 Intermezzo

Mvt. 6 Theme and Variations

Mvt. 7  Finale

 

Mozart’s Serenade for 13 Wind Instruments is arguably the finest work written for any wind ensemble.  It is a must for any basset horn player and a delight for all the performers.  It is perhaps  surprising that no major composer has followed Mozart’s example and written for a similar combination - the nearest being Richard Strauss whose Symphony and Sonatina for Wind deploy a Basset Horn and Bass Clarinet.  However he  also includes two flutes and  the somewhat piercing C Clarinet, often in its highest register, thereby significantly changing the overall timbre.

Having assembled a group of musicians for the Mozart 13 the motivation for making this arrangement was originally to add another work scored for the same combination Although it is scored for only eleven instruments  the instrumentation effectively is the same  - Mozart rarely uses all four horns simultaneously ( in fact we have produced a version that only requires two horns).  There is often debate as to the merits in the 13 Wind of using either a String Bass or Contra bassoon or even both.  This arrangement is definitely intended for the contra bassoon.

Movements 1,5 and 7 are taken from Legends (2,6 and 3 respectively), op. 59 for two pianos which Dvorak later arranged for a small orchestra. (There is already a popular NorviK edition of the legends for wind decette but these movements are well worth repeating in a different guise)  The Waltz is from the first half of the third movement of the Piano Quartet op. 87.  The Romance, movement 3, is taken from the slow movement of the String Quartet, op. 61.  The Minuetto  is from a solo piano work op 28. Movement 6 is  from the Theme and Variations for Solo Piano, op. 36 although  a number of the variations have been omitted or cut where they were inappropriately  pianistic - the extended finale in particular was curtailed.

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