Barcarolle: String Orchestra Conductor Score & Parts
By Jacques Offenbach / Arranged by Robert Longfield
Grade: 2-3
Item: 35-PK00133203
$40.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Barcarolle - Full Score | $6.00 | |
| Barcarolle - Violin 1 | $7.00 | |
| Barcarolle - Violin 2 | $7.00 | |
| Barcarolle - Violin 3 (Viola Treble Clef) | $7.00 | |
| Barcarolle - Viola | $7.00 | |
| Barcarolle - Cello | $7.00 | |
| Barcarolle - Bass | $7.00 | |
| Barcarolle - Piano | $7.00 |
Parts Added to Cart!
Description
This barcarolle endures as probably the most popular of the three famous barcarolles in Offenbach's legendary opera, "The Tales of Hoffman." This new version for developing strings is set in 3/4 with melodic lines for several sections, plus ample and tasteful use of pizzicato in the accompaniment. A longtime light classical favorite. Dur: 3:00
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00133203
More about this title
About the Composer: Jacques Offenbach
Jacques Offenbach (1819-1880) was a German-born French composer who essentially invented the operetta. His gift for crafting instantly memorable melodies and his instinct for theatrical pacing made him one of the most performed composers of his era, and that catalogue remains a staple of music education today. The Tales of Hoffmann, his final opera, stands as his masterwork, and the Barcarolle from Act II has become a concert hall standard precisely because it showcases the melodic brilliance that defined his entire career.
For music educators, Offenbach's music offers an ideal entry point into the world of opera and European salon tradition. His pieces reward careful phrase shaping and teach students how to balance elegance with accessibility, a principle that translates across all musical styles.
Why we love this
This arrangement distills one of opera's most lyrical moments into a work that intermediate string orchestras can actually own. Robert Longfield's voicing respects the original's grace while distributing melodic material so that multiple sections get their moment, keeping student musicians engaged throughout the rehearsal process. The deliberate use of pizzicato accompaniment gives lighter players genuine work while anchoring the piece rhythmically.
What to expect
Elegance without pretension. The piece rocks gently in three, with a Venetian lightness that feels both intimate and celebratory. Longfield's arrangement preserves the original's lyrical warmth while letting younger orchestras breathe naturally into the melody.
Who it's for
Developing string orchestras at the late Grade 2 through early Grade 3 level looking to add concert repertoire that combines musicality with accessibility. This works especially well for programs building a light classical pops concert or seeking pieces that audiences genuinely enjoy while offering substance for musicians to explore.
How to get the most out of it
- Shape the melody with long, singing lines in the first violins; resist the urge to rush the 3/4 lilting quality. Offenbach wrote this to float, not march.
- Coordinate pizzicato attacks between the cello and bass parts so they articulate as a unified heartbeat underneath the upper voices. Precision here lifts the entire texture.
- Balance the secondary melodic lines (second violins and violas) against the first violin melody so that inner voices remain present without overwhelming the primary tune.
- Take the moderate tempo indication seriously; a tempo that's too quick flattens the characteristic barcarolle lilt that audiences recognize instantly.
How to use it
Feature this as a concert centerpiece alongside other European light classical works, or pair it with a contrasting contemporary piece to bookend a program. The three-minute duration makes it an ideal standalone selection for spring pops concerts or recordings where you want a recognizable audience favorite that demonstrates your musicians' ability to sustain musical line.
Skills your students will build
- Sustained legato playing across multiple measures
- Coordination of accompaniment patterns (pizzicato) with melodic lines
- Phrasing in 3/4 meter with stylistic understanding of barcarolle rhythm
- Balance between primary and secondary melodic voices
- Expression through tempo control and dynamic shaping