Viva l’Esposizione di Cremona

From Wind Repertory Project
Amilcare Ponchielli

Amilcare Ponchielli (rev. Henry Howey)

Subtitle: Marcia, Op. 182, PP.145.3

General Info

Year: ca. 1873 / 2010?
Duration: c. 3:20
Difficulty: (see Ratings for explanation)
Publisher: Unpublished
Cost: Score and Parts - Unknown


Full Score
C Piccolo
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
B-flat Trumpet
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone

(Percussion instrumentation undifferentiated in score)


None discovered thus far.

Program Notes

Besides composing successful operas, Ponchielli also wrote numerous pieces for wind band: symphonic marches – Viva l’Esposizione di Cremona op. 182 is a typical example - operatic fantasies, and pieces for solo wind instrumentalist and wind orchestra. The heart-felt cantabile style of his compositions and the rich orchestral palette contributed to the development of Italian Romantic melodrama, whose influences also left their mark on future repertoire for euphonium.

- Program Note from Rovereto Wind Orchestra concert program, 12 July 2019

Viva l'esposizione di Cremona must have been a popular piece as it comes to us today only as a copy from the era of Raffaele Coppola. The large format score may be in either Coppola or Belforti's hand. The doubled cornet and flugelhorn parts bespeak a late score, and a Viva l'esposizione di Vienna can be found in the concert programs of July and August, 1873, Ponchielli's last days in Cremona. For an unknown reason, the catalog that Belforti prepared around 1880 lists not a single march. The odd part about this march's possible history is that it seems to have been performed after the time when Ponchielli was assumed to have left the band, namely March of 1873.

The score gives no Fine nor specifies a da capo; however, ending this march with the Trio sounds abrupt and unsatisfying. Harmonically the march has more abrupt juxtapositions of unrelated chords to make it seem very experimental. The unison low brass passage beginning in measure 23 is very appealing and suggests a very mature work

- Program Note by Henry Howey


State Ratings

None discovered thus far.


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Works for Winds by This Composer