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Symphony I (Glière)

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Reinhold Glière

Reinhold Glière (trans. Kyle Sneden)


This work bears the designation In E-flat, Opus 8.


General Info

Year: 1900 / 2021
Duration: c. 35:00
Difficulty: VII (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Manuscript
Cost: Score and Parts - Contact Kyle Sneden


Movements

1. Andante; Allegro Moderato - 13:40
<!!-- act 1344 --> 2. Vivace
3. Andante
4. Allegro


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
Contrabassoon
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 Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Euphonium
Tuba
String Bass
Harp (or Piano)
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Snare Drum


Errata

None discovered thus far.


Program Notes

The First Symphony in Eb, his opus #8, was written during the final year of Glière's student days in Moscow, and premiered in 1900. The symphony did not initially enjoy great success; it received a lukewarm reception at its premier, and was dismissed by many at the time as being unimaginative and unoriginal, though it has seen a growing appreciation in recent years. And while it is arguable that the work follows the rules of good taste and thoughtful construction, perhaps to its own detriment, it does exhibit a number of admirable qualities that elevate it beyond the average student composition, It demonstrates a total understanding and mastery of the Russian symphonic style, with its long and flowing melody winds, lush romantic harmonies, suffused folk influences, and vividly illustrative musical gestures. It is also a master class in late-romantic orchestration, with his scoring for the wind parts being especially brilliant.

In setting the work for a symphonic wind ensemble, my chief concern was maintaining the orchestral version's sense of depth, color and variety. In a wind ensemble, with so many different instruments, there is no shortage of colors from which to choose and mix. But that can act as a double-edged sword. In much modern band literature, and particularly orchestral transcriptions, the music can be frequently over-orchestrated, resulting in that characteristic and homogeneous "band" sound, where there is little variety or transparency to the ensemble's color throughout the piece. To avoid this, I have interspersed the more densely-scored tutti passages with smaller sections of more chamber-like writing, utilizing solo players and reduced numbers of like instruments, and occasionally duplicating the original orchestration if it fit well. The end result, I believe, is interesting and colorful, and will hopefully allow this great piece to be more widely enjoyed outside of the orchestral realm.

- Program Note by transcriber


Commercial Discography


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Northern Colorado (Greeley) Wind Ensemble (Wesley J. Broadnax, conductor) - 25 March 2021 *Transcription Premiere Performance*


Works for Winds by This Composer

Adaptable Music


All Wind Works


Resources

  • Kyle Sneden, personal correspondence, March 2021
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