Andante Cantabile

By: Tchaikowski Op. 11
For: Orchestra
page one of Andante Cantabile

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Composer
Tchaikowski Op. 11
Arranger
Year of arrangement
2005
Difficulty
Moderate (Grades 4-6)
Duration
7 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

Pyotr Ilyich Tchaikovsky (May 7 1840 - November 6 1893). While not part of the nationalistic music group known as ’The Five’, Tchaikovsky wrote music which, in the opinion of Harold Schonberg, was distinctly Russian. Despite the compositional efforts of The Five, Tchaikovsky dominates 19th century Russian music as its greatest talent. While his formal conservatory training instilled in him Western-oriented attitudes and techniques, his essential nature, as he always insisted, remained Russian. This was true both in his use of actual folk song and his deep absorption in Russian life and ways of thought. His natural gifts, especially for melody (what he called the "lyrical idea"), give his music a permanent appeal. However, it was his hard-won though secure and professional technique, plus his ability to use it for the expression of his emotional life, which allowed him to realize his potential more fully than any of his major Russian contemporaries. Tchaikovsky’s innate Russianness and his love for his country’s folk music ensured that he could never become a mere imitator of Western practices and styles, despite the heavy conditioning of his conservatory training. However, this training allowed him to show a remarkable range and breadth of technique. This breadth was fostered by the diverse expressive purposes he sought in his compositions, whether it was to fashion a poised "Classical" form to simulate the elegance of the 18th century Rococo, to plunge into the bold world of the Russian nationalists, or to forge a musical language to serve as a vehicle for his own overwrought emotions. Since his death Tchaikovsky’s music has gained great popularity. Nevertheless, its emotional directness, founded primarily on its composer’s ability to fashion themes of remarkable eloquence and emotive power supported by matching harmony and rich orchestral resource, has often been interpreted as a sign of essential shallowness. Likewise, the way in which Tchaikovsky’s realm of strong emotion has been freely plundered by composers of lower intent has proved a detriment to his reputation. However, popular adulation and critical prejudice aside, Tchaikovsky can be seen as a composer of wide range both in genre and type of expression who toiled unceasingly over creative problems and whose professional competence remained the highest.

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Persian March Op 289, Romanza Andaluza, Londonderry Air, Theme from Organ Symphony No. 3, Princess Ida [Introduction], Jerusalem (With optional Voice or Choir), Berceuse Op. 16, Sweet Remembrance, Prelude (Te Deum), Ballet Egyptian, Danse Villageoise (Suite Pastorale), Legende Op. 17 for violin and orchestra, Sevilla [Suite: Espanola Op. 47], The Pelly Waltz, March: Entrance of the Boyards, Memories of Covent Garden, Malaguena [Opera: Boabdil], Toasts and Tunes for all occasions, Overture: The Land of the mountain and the flood, Humoresque Op. 101, Passacaglia & Fugue in C minor, Boccherini's Minuet (Orch), March Lorraine (Orch), Andantino, Arioso (Orch), Arrival of the Queen of Sheba (Orch), Where’re you walk (Flute or Oboe or Trumpet solo and orchestra), Polovtsian Dances [Prince Igor], L’enfance du Christ (Orch), Sheep may safely graze (Orch), La Mourisque (Orch), Jesu joy of man’s desiring, Zapateado [Danza Espanolas No. 2], The Barber of Lavapies-Selection (Orch), Rondeau in C, Triumphal March: Cleopatra, March: Royal Standard, El baile de Luis Alonso (Orch), March: The Grenadier’s Return, March of the Peers (Orch), Trumpet Voluntary (1700), March Radetzky, Wenzel March, Beguine Royale, Triumphal March from Tarpeja WoO2, Light Baggage Gallop, March: Remembrance of Paris, Bolero, Lucy Long for Bassoon and orchestra, Triumphal March-Cantata: Caractacus Op. 35, Ouvre Ton Coeur (Open your heart), Pavane pour une infante defunte, Selection: H. M. S. Pinafore, Water Music [Suite: 5 movements], March: National Emblem, The Shepherds’ Lottery, La Campanella, Bourree [Suite ancienne], Eton Place, Flower Duet [Opera: Lakme], Weinachtkonzert [Concerto Grossi] No. 12, La Boda de Luis Alonso (Orch), Overture: Di Ballo, Scicilienne [Pelleas & Melisande] Op. 80, Selection: The Mikado, Selection: The Pirates of Penzance , Gymnopedies No. 2, Gymnopedies No. 1, Clair de lune [Suite Bergamasque] (Orch), Bethena [A concert waltz], Dance of the Blessed Spirits [Orfeo & Euridice], Brother James’ Air (Marosa), Strange Adventure [Yeomen of the Guard], Hungarian Dance [From Foreign Lands] Op. 23, Scheherazade: Theme from 3rd movement, La fille aux cheveux de lin (Girl with the flaxen hair), Partita No. 3 in E major [BWV1006], A Highland Hoedown, Saint-Saen's Gavotte, Chaconne, Suo Gan [Welsh Air] (Orch), Dance of the little Moorish Slaves [AIDA], Concerto in G minor [4th Movement], Festmarsch Wo05, TOREADOR’S SONG for Trumpet and Orchestra, Introduction & Rondo Capriccioso Op. 28 for violin & orchestra, Havanaise Op. 83 for violin & orchestra, Procession of the Nobles [Ballet suite: Mlada], Symphony No 5 (Reformation) 3rd Movement, Delius: Sleigh Ride, Royal Fireworks Music, Notturno, Serenade for Solo Trumpet and orchestra, Wedding March, Scherzo Fantastique Op. 25, Sarabande, Russian March, Post Horn Galop (for Post Horn and orchestra) and A 17th Century Suite (1633)

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