Ballade in A minor, Op. 33 Cover Image

Ballade in A minor, Op. 33: Full Orchestra, Ensemble Works, Oversized Score

$72.00 USD
$72.00 USD
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Ballade in A minor, Op. 33 Cover Image
Ballade in A minor, Op. 33: Full Orchestra, Ensemble Works, Oversized Score

Ballade in A minor, Op. 33: Full Orchestra, Ensemble Works, Oversized Score

By Samuel Coleridge-Taylor, ed./arr. Nancy M. Bradburd

Item: 36-A890301OS
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Description
The BALLADE in A minor, Op. 33 is an early composition by Samuel Coleridge-Taylor (1875-1912). Written only a year after completing his education at the Royal College of Music, this one-movement work full of ravishing melodies and lush string moments owes its existence to Coleridge-Taylor's mentor, Sir Edward Elgar. When Elgar was offered a commission by the 1898 Three Choirs Festival in Gloucester, Elgar responded, "I have received a request from the secretary to write a short orchestra thing for the evening concert. I am sorry I am too busy to do so. I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men. Please don't let your committee throw away the chance of doing a good act." Upon being offered the commission at Elgar's suggestion, Coleridge-Taylor wrote a work that develops his own voice while still retaining elements of his musical heroes such as Brahms, Tchaikovsky, and Dvorák. Instrumenation in set: 2+Picc.2.2.2: 4.2.3.1: Timp.Perc(1): Str (9-8-7-6-5). This edition has been edited by Nancy Bradburd. 11x14 oversized score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852475-4
ISBN13: 979-8-88-852475-6
UPC: 676737764418
SKU: 36-A890301OS
Instrumentation: 2+Picc.2.2.2: 4.2.3.1: Timp.Perc(1): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) was a British composer of African-American and English descent whose gifts earned him the admiration of his contemporaries, including Edward Elgar. After studying at the Royal College of Music in London, Coleridge-Taylor quickly established himself as a significant voice in late Romantic orchestral writing, drawing inspiration from Brahms, Tchaikovsky, and Dvořák while developing a distinctive compositional identity.

Coleridge-Taylor's early death at thirty-seven cut short a career of remarkable promise. During his brief lifetime, he composed prolifically across symphonic, choral, and chamber genres, leaving behind works that remain central to understanding turn-of-the-century British music. His orchestral writing is characterized by lyrical invention, sophisticated harmonic language, and a gift for memorable melody that continues to engage orchestras and audiences today.

Why we love this

Coleridge-Taylor's command of orchestral color and melodic substance makes this a rewarding piece for orchestras seeking substantial programming that doesn't demand the resources of a full symphony. The lush string writing and balanced development between sections create satisfying moments for every instrumental family. Elgar's own recommendation speaks volumes; this work proves his judgment was sound.

What to expect

The Ballade unfolds with the introspective beauty of a Brahms symphony distilled into a single movement. Graceful melodies emerge from rich harmonic textures, while episodes of intimate chamber-like writing alternate with fuller orchestral climaxes. The work breathes with the confidence of a young composer finding his voice amid the shadows of great mentors.

Who it's for

This work suits orchestras with advanced section strength and a conductor experienced in the Romantic idiom. The piece demands clean intonation in sustained string passages and mature phrasing from all sections, making it ideal for college ensembles, semi-professional orchestras, or strong high school groups with accomplished musicians.

How to get the most out of it

  • Shape the opening statement with attention to the warm, singing quality in the principal melodic lines; resist the urge to rush despite the lyrical momentum.
  • Balance the string sections carefully during the ravishing passages, allowing the first violins to project without drowning the inner voices that carry harmonic interest.
  • Use the timpani and percussion sparingly to enhance structural moments rather than drive the pulse; this is a work of introspection, not drama.
  • Encourage the woodwinds to blend their timbres during transition sections, where the scoring often layers them in complementary registers.

How to use it

Program this as a centerpiece for a concert celebrating late Romantic British composers, or pair it with works by Elgar and Dvořák to trace the compositional lineage Coleridge-Taylor inherited. The one-movement form and moderate length make it an excellent choice for a concert that also features a larger symphonic work or concerto.

Skills your students will build

  • Sustaining long, shaped phrases in Romantic orchestral writing
  • Balancing transparent string textures across five parts
  • Responding to subtle harmonic and timbral shifts that define formal sections
  • Intonation accuracy in sustained chords and string passages
  • Collaborative listening among instrumental sections in polyrhythmic or polyphonic textures

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