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The Symphony is scored for an orchestra comprising piccolo, 2 flutes, 2 oboes, 2 clarinets (in A, B-flat), 2 bassoons, 4 horns (in F), 2 trumpets (in F), 3 trombones, tuba, 3 timpani and strings (violins I, violins II, violas, cellos, and double basses).
The symphony is scored for an orchestra consisting of piccolo (doubling flute), 2 flutes, 2 oboes, cor anglais, clarinet in E ♭, 2 clarinets in B ♭, bass clarinet, 2 bassoons, 4 horns in F, 4 trumpets in C, 4 trombones, tuba, snare drum, cymbals, bass drum, xylophone, timpani and strings.
The symphony is scored for a large orchestra consisting of 4 flutes (all doubling piccolos), 4 oboes (4th doubling cor anglais), 4 clarinets (3rd doubling piccolo clarinet, 4th doubling bass clarinet), 4 bassoons (4th doubling contrabassoon), 6 horns, 4 trumpets, 4 trombones (4th doubling contrabass trombone), tuba, timpani, 2 tam-tams, vibraphone, marimba, bells, glockenspiel, electric guitar ...
The symphony is scored for full orchestra with 3 flutes (the 3rd doubling piccolo), 3 oboes (the 3rd doubling cor anglais), 2 clarinets in A and B ♭, bass clarinet in A and B ♭, 2 bassoons, contrabassoon, 4 horns, 2 trumpets in A and B ♭, 1 contralto trumpet in F, 3 trombones, tuba, timpani, cymbals, bass drum, snare drum, triangle ...
3. (𝅗𝅥 = 60) The symphony is scored for a symphony orchestra consisting of two flutes, one piccolo, three oboes, three clarinets in B-flat, one bass clarinet in B-flat, two bassoons, one contrabassoon, four horns in F, four trumpets in B-flat, four trombones, one tuba, timpani, one celesta, bells, one marimba, tam-tam and a full string ...
Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 3 in G, Op. 55 in 1884, writing it concurrently with his Concert Fantasia in G, Op. 56, for piano and orchestra. The originally intended opening movement of the suite, Contrastes, instead became the closing movement of the fantasia. Both works were also intended initially as more ...
[3] Finally, in the fourth movement, Prokofiev reprises musical materials from earlier in the symphony, beginning at a comfortable andante pace and gradually accelerating. The themes of the opening movement are threaded into the narrative before the Third comes to rest on a fearsome juggernaut of violent chords. [3] [4]
The Symphony No. 3, however, was Glazunov's largest orchestral work to aspire to an artistic mould beyond that espoused by the Five. Tchaikovsky's influence is clear, especially in the work's lyrical episodes. [4] In 1924, when Glazunov shared his reminiscences of Tchaikovsky, he said, "He also knew my Third Symphony, which is dedicated to him ...