Symphony No.4 in C major (Albrechtsberger, Johann Georg)

Sheet Music

Parts

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14 more: Flute 2 • Oboe 1 • Oboe 2 • Bassoon • Horn 1 (F) • Horn 2 (F) • Trumpet 1 (C) • Trumpet 2 (C) • Timpani • Violins I • Violins II • Viola • Cello • Double Bass

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Alonso del Arte (2010/10/26)

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Alonso del Arte (2010/10/26)

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PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
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PDF typeset by Alonso del Arte
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PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

PDF typeset by Alonso del Arte
Alonso del Arte (2010/10/26)

Editor Alonso del Arte
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Misc. Notes Horns in F rather than C (presumably C-basso). Trumpets in C just like in original. Principal violist and principal cellist get solos in the second half of the slow movement. However, on account of the brevity of these solos, separate parts are not provided for the section principals; the solos can then function as a kind of cue for the other players in the section. The double bass part, in addition to being different from the cello part by having a less interesting melody to play during the cello solo, could also be made different by transposing up the low D that occurs at measure 35 in the slow movement.
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General Information

Work Title Symphony No.4
Alternative. Title
Composer Albrechtsberger, Johann Georg
Opus/Catalogue NumberOp./Cat. No. Freeman 4
I-Catalogue NumberI-Cat. No. IJA 42
Key C major
Movements/SectionsMov'ts/Sec's 3
Year/Date of CompositionY/D of Comp. 1765
Average DurationAvg. Duration 17 minutes
Composer Time PeriodComp. Period Classical
Piece Style Classical
Instrumentation 2 flutes, 2 oboes, bassoon, 2 horns, 2 trumpets, timpani, strings, cembalo

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Flutes are used only in the slow movement, but meant for independent players (that is to say, not the oboists). Certain features of the work suggests its origin as an oratorio overture.