Divertimento No. 3 (ed. Patricia Cornett): Concert Band Conductor Score & Parts
Edited by Patricia Cornett
Grade: 5
Item: 35-PK00471147
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Description
Classical composer Vicente Martin y Soler (1754-1806), sometimes called "The Spanish Mozart," wrote a 1786 opera entitled "Una Cosa Rara". While the opera has fallen into obscurity, it was immensely popular at the time of its premiere. Six divertimenti by the composer, all based on themes from the opera, have helped preserve the legacy of this marvelous music. Carefully edited and restored from the original manuscripts by Dr. Patricia Cornett, these are important additions to the repertoire for advanced chamber ensembles. Scored for: 2 Oboes, 2 Basset Horns (opt. Bb Clarinets), 2 Horns and 2 Bassoons. Recorded by members of the Temple University Wind Symphony, Dr. Patricia Cornett, conductor.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00471147
More about this title
About the Creator: Vicente Martín y Soler; edited by Patricia Cornett
Vicente Martín y Soler (1754-1806) was a prolific Spanish composer whose operas dominated European stages in the late 18th century. His 1786 opera "Una Cosa Rara" achieved immediate international success, performed across major capitals and even referenced in Mozart's "Don Giovanni," yet like many theatrical works of its era, it gradually disappeared from concert life.
Dr. Patricia Cornett has rescued these six divertimenti from obscurity through meticulous restoration work with the original manuscripts. Her editions make this elegant classical material accessible to modern wind ensembles while preserving the compositional intentions of a composer whose contributions to the wind music tradition deserve far greater recognition.
Why we love this
Cornett's edition opens access to legitimate classical repertoire at Grade 5 that actually rewards the technical proficiency of advanced ensembles. Rather than relying on arrangements or simplified versions, conductors get the authentic voice of a sophisticated composer working in classical forms with genuine harmonic and melodic substance.
What to expect
Elegant and conversational, with the melodic grace and harmonic sophistication expected of late 18th century Vienna. The writing feels chamber-like despite its scoring, with clear dialogue between instrumental choirs and moments of genuine lyrical warmth beneath the period surface.
Who it's for
Advanced concert bands and wind ensembles seeking substantive classical material beyond standard transcriptions. This works particularly well for conductors building a program that includes historically grounded repertoire and for student musicians ready to engage with formal classical structures and ensemble transparency.
How to get the most out of it
- Balance the oboe line against the basset horns and clarinets during exposed passages; the upper woodwinds carry melodic weight throughout, requiring careful attention to dynamic layering rather than uniform volume.
- Shape phrases according to classical cadence points rather than pushing through structural arrivals; Martín y Soler's proportions reward restraint and clarity in articulation.
- Treat the horn parts as integral voices in harmonic progression, not merely harmonic filler; they anchor passages and require secure intonation to maintain the piece's transparent texture.
- Reference the Temple University recording to calibrate period appropriate tempos and phrasing; the conductor's interpretation provides a reliable guide for balancing period style with modern ensemble sound.
How to use it
Pair this with other classical wind works to establish a coherent programming identity, or use it as the centerpiece of a concert exploring Iberian contributions to classical form. It also serves advanced ensembles well as a step toward 19th century wind repertoire, bridging the gap between Haydn and the Romantic era.
Skills your students will build
- Classical phrase architecture and structural listening
- Ensemble balance across mixed woodwind choirs
- Baroque-to-classical articulation conventions
- Harmonic function in triadic progressions
- Secure intonation in transparent textures