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Ballata delle Gnomidi: Full Orchestra, Conductor Score & Parts

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Ballata delle Gnomidi Cover Image

Ballata delle Gnomidi: Full Orchestra, Conductor Score & Parts

By Ottorino Respighi

Item: 36-A811702

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Description
Ottorino Respighi (1879-1936) wrote the orchestral work BALLATA DELLE GNOMIDI (THE BALLAD OF THE GNOMIDES) in 1920, after he had already begun to gain international attention for his orchestral tone poem, FONTANE DI ROMA. Based on a poem by Claudio Clausetti, this work tells the tale of a society of grotesque gnomes and their ritual where two females select a hapless male, drag him to their bedchamber for a fatal ménage à trois while the rest of the of gnome horde waits outside, then wait until morning where they throw the male's corpse over a seaside cliff before dancing in a mad frenzy with the other gnomes. Despite the poor reception at the April 11, 1920, premiere in Rome under Bernardino Molinari's baton, the work was taken up by Arturo Toscanini and Fritz Reiner, with later critics comparing Respighi's use of orchestral effects depicting whoops, shrieks, and cackling laughter to Bernard Hermann's use of the violin glissandos to depict murder in the film Psycho. Instrumentation: 2+2(Piccs).2+1(EH).2+1(BCl)+1(Eb).2+1(CBsn): 4.3+1(PiccTpt).3.1: Timp.Perc(5-6): 2Hp: Str (9-8-7-6-5 in set). Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735816803
SKU: 36-A811702
Instrumentation: 2+2(Piccs).2+1(EH).2+1(BCl)+1(Eb).2+1(CBsn): 4.3+1(PiccTpt).3.1: Timp.Perc(5-6): 2Hp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Ottorino Respighi

Ottorino Respighi (1879-1936) was an Italian composer and conductor whose orchestral works defined the sound of early 20th-century symphonic music. Trained as a violinist and composer at the Bologna Conservatory, he later studied with Nicolai Rimsky-Korsakov in St. Petersburg, an influence visible in his sophisticated orchestration and harmonic language. Respighi's reputation rests on his mastery of orchestral color and his ability to craft vivid musical narratives, as exemplified by works like *Fontane di Roma* and *Pini di Roma*, which remain staples of the concert repertoire.

Beyond composition, Respighi taught at the Santa Cecilia Academy in Rome and conducted orchestras throughout Europe and North America. His catalog spans operas, ballets, choral works, and instrumental pieces, all marked by his distinctive approach to orchestration and his engagement with Italian musical traditions. For conductors and musicians, his works offer essential lessons in how orchestral color can drive narrative and emotion.

Why we love this

Respighi crafts orchestral effects that feel genuinely theatrical without sacrificing musical substance. The gnome story gives your orchestra a specific dramatic world to inhabit, and his orchestration demands precision and character from every section; this is a rare opportunity for musicians to experience how vivid imagery shapes rhythmic accuracy and articulation decisions.

What to expect

The gnome world unfolds with grotesque energy and orchestral sophistication. Sharp woodwind accents, glissandos that veer between eerie and grotesque, and the relentless pulse of lower strings create an unsettling atmosphere; the final frenzy is pure orchestral mayhem, a controlled chaos that feels both menacing and darkly comic.

Who it's for

This score and part set is essential for conductors leading advanced amateur orchestras, regional opera companies, and university ensembles ready for substantial 20th-century repertoire with real orchestral demands. Respighi's use of picayune and extended woodwind doubling, multiple percussion players, and divided strings requires a robust ensemble, but the dramatic payoff is substantial.

How to get the most out of it

  • Clarify the divided string texture in the opening passages. The effect depends on precision: mark your parts so that players understand which divisi line they inhabit and rehearse the combined sonority before sectional work.
  • Balance the woodwind glissandos and shrieks carefully in rehearsal. These moments need theatrical timing without sliding into parody; record a run-through to hear whether the effect lands or overshoots.
  • Secure the harp parts early. With two harps in the score, coordinate their rhythmic independence in the ensemble passages; unison harp glissandos must be synchronized, but independent figurations need clear cueing.
  • Shape the crescendos toward the climactic frenzies with sustained intensity. This is not a piece that builds through sudden dynamic shifts; rather, momentum accumulates through texture and harmonic tension.

How to use it

Program this as a showstopper in a concert devoted to early 20th-century Italian orchestral writing, or pair it with other Respighi works to showcase the composer's range. Its theatrical narrative and substantial length make it ideal for a season opener or closing work where you want to demonstrate your orchestra's technical capability and interpretive confidence.

Skills your students will build

  • Reading complex divided string textures and executing independent lines within unified voicings
  • Responding to gestural cues in atonal and chromatic passages where traditional harmonic anchors are absent
  • Balancing extended woodwind techniques (glissandos, flutter-tonguing, extreme registers) within the ensemble texture
  • Sustaining intensity and momentum through long crescendos driven by gradual texture accumulation rather than sudden dynamic shifts
  • Coordinating multiple percussion parts and synchronized harp passages with precision

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