Elegy for Cello and Orchestra, Op. 24 (composer's orchestration) Cover Image

Elegy for Cello and Orchestra, Op. 24 (composer's orchestration): Full Orchestra, Solo Strings with Ensemble, Score and Parts

$50.00 USD
$50.00 USD
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Elegy for Cello and Orchestra, Op. 24 (composer's orchestration) Cover Image
Elegy for Cello and Orchestra, Op. 24 (composer's orchestration): Full Orchestra, Solo Strings with Ensemble, Score and Parts

Elegy for Cello and Orchestra, Op. 24 (composer's orchestration): Full Orchestra, Solo Strings with Ensemble, Score and Parts

By Gabriel-Urbain Faure

Item: 36-A144202
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Description
Gabriel Fauré (1845-1924) originally intended his ELEGY (ÉLÉGIE) for VIOLONCELLO AND ORCHESTRA, OP. 24 as the slow segment of a planned cello sonata. Although the sonata was never finished, he published the movement as a stand-alone work for cello and piano, premiered by cellist Jules Loeb in 1883 with Fauré himself at the Société Nationale de Musique. Years later, Fauré agreed to complete an orchestration at the behest of conductor Édouard Colonne. Pablo Casals gave the first performance in April 1901 under the baton of the composer. Instrumentation: 2.2.2.2: 4.0.0.0: Str (9.8.7.6.5 in set): Solo Vc.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 660355038648
SKU: 36-A144202
Instrumentation: 2.2.2.2: 4.0.0.0: Str (9.8.7.6.5 in set): Solo Vc in set

More about this title

About the Composer: Gabriel-Urbain Faure

Gabriel Fauré (1845, 1924) shaped French musical life across six decades as composer, teacher, and administrator. His tenure at the Paris Conservatoire and later as director of the institution positioned him at the center of French music education, where he championed both emerging composers and classical traditions. Fauré's output spans all genres, but his chamber and orchestral works reveal a composer invested in lyrical expression and structural clarity, qualities that made him a natural mentor to the next generation.

Why we love this

The cello writing sits in Fauré's sweetest range, and the orchestration wraps the soloist in warm, transparent textures that never overshadow the melodic line. This is a piece that teaches orchestration through example: how to support without crowding, how strings and winds can breathe together, and how economy of means creates intimacy within a full ensemble.

What to expect

Mournful but not despairing, introspective without self-indulgence. The cello's voice emerges from a gentle orchestral wash and carries a melody that feels both personal and universal, evoking the depth of human feeling that Fauré captured in his finest chamber works.

Who it's for

Orchestras and chamber orchestras seeking a short, emotionally direct work that showcases a skilled cellist without demanding virtuosic pyrotechnics. The piece works equally well for high school advanced ensembles and professional groups looking for a concert opener or closer.

How to get the most out of it

  • Shape the opening cello phrase with a long, unbroken line. The melody should feel inevitable, not punctuated; let vibrato bloom gradually rather than apply it immediately.
  • Balance the solo cello generously forward in rehearsal mix, especially during passages where the orchestra moves in half notes or whole notes beneath it.
  • Attend to the string section's role as foundation. Those moving inner voices (violas, second violins) carry harmonic motion that supports the soloist's song.
  • Reserve any rubato for the soloist and conductor only; the orchestra must stay rhythmically anchored to allow the cello freedom.

How to use it

Program this as a contrast to heavier Romantic fare or as a bridge between two larger works. Its brevity and emotional clarity make it an ideal centerpiece for a concert exploring French chamber orchestration, or a graceful interlude in a program built around the solo cello.

Skills your students will build

  • Balancing transparent orchestration with solo projection
  • Maintaining phrase integrity across long, lyrical lines without excessive rubato
  • Understanding how wind and string doublings create harmonic support
  • Responding to subtle dynamic gradations in the accompaniment

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