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The Orchestral Suite No. 3 calls for: 3 flutes (one of them piccolo), 2 oboes, 1 English horn, 2 clarinets (in A), 2 bassoons, 4 horns (in F), 2 trumpets (in F and D), 3 trombones, tuba, timpani, side drum, tambourine, triangle, cymbals, bass drum, harp and strings (violins 1 & 2, violas, celli, double basses).
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 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 ...
K 1 K 6 Year Title Mvts Comments Ref(s) K. 17 Anh. C11.02 1765? Symphony in B flat major "No. 2" (In AMA, Series VIII) 4 Attributed to Mozart in K 1 on the basis of a 19th-century copy, and labelled his second symphony, the provenance of this work has since been questioned, chiefly on the grounds of low quality (Dearling calls it "rustic and rather awkward.")
The Swedish composer Joachim Eggert specified trombones for his Symphony in E-flat major written in 1807[26], and examples of earlier symphonies with a part for piccolo abound, including Michael Haydn's Symphony no. 19 in C major composed in August 1773. From the piccolo article:
The symphony is scored for 4 flutes (3rd and 4th doubling 1st and 2nd piccolo), 4 oboes (3rd and 4th doubling 1st and 2nd cor anglais), 3 clarinets (3rd doubling E-flat clarinet and bass clarinet), 4 bassoons (4th doubling contrabassoon), 6 horns, piccolo trumpet in D, 3 trumpets in C, 2 cornets in B flat, valve trombone, 3 tenor trombones, bass trombone, 3 tubas, 2 sets of timpani, 6 ...
[2] Walton decided on a quasi-symphonic form, in three movements. As the work was to be extrovert and not over-serious he avoided calling it a symphony or sinfonietta and designated it a partita; [3] he borrowed from the 18th-century partita the idea of beginning with a toccata and ending with a gigue. [4] As a central movement he wrote a ...
The symphony falls into three movements: . Vivace, ma non troppo; Andante giusto; Un poco lento, marziale – Allegro vivace, marziale; The symphony owes a clear debt to Richard Strauss, evident on the surface in Ein Heldenleben-like opening gesture, but also found in the kaleidoscopically shifting chromatic harmonies, recalling the admiration Enescu expressed in 1912 and 1915 for Elektra and ...