Fantasy on Gounod's Faust, Op. 13 (Nouvelle fantaisie sur Faust) Cover Image

Fantasy on Gounod's Faust, Op. 13 (Nouvelle fantaisie sur Faust): Full Orchestra Conductor Score & Parts

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Fantasy on Gounod's Faust, Op. 13 (Nouvelle fantaisie sur Faust) Cover Image

Fantasy on Gounod's Faust, Op. 13 (Nouvelle fantaisie sur Faust): Full Orchestra Conductor Score & Parts

By Pablo De Sarasate

Item: 36-A199002

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Fantasy on Gounod's Faust, Op. 13 (Nouvelle fantaisie sur Faust) was composed in 1862-1863 by Pablo de Sarasate (1844-1908), the Spanish violin virtuoso who built his reputation through dazzling concert works based on popular operatic themes. Drawing on melodies from Charles Gounod's Faust (1859), Sarasate transforms familiar arias and ensembles into a brilliant vehicle for violin display, combining lyrical expressiveness with technical feats. Sarasate himself likely premiered the piece during his international concert tours of the early 1860s, where such fantasies were a staple of his repertoire. The Fantasy on Gounod's Faust remains a popular showpiece for violinists, frequently performed in recital and with orchestra. Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Str (9.8.7.6.5 in set): Solo Violin: CS (Pno-Cond) in set. Reprint edition.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: EDWIN F KALMUS
UPC: 604634013988
SKU: 36-A199002
Instrumentation: 2.2.2.2: 2.2.3.0: Timp: Str (9.8.7.6.5 in set): Solo Violin: CS (Pno-Cond) in set

More about this title

About the Composer: Pablo De Sarasate

Pablo de Sarasate (1844–1908) was a Spanish violinist and composer whose virtuosic technique and musicianship established him as one of the 19th century's most celebrated soloists. He traveled extensively throughout Europe and the Americas, building a repertoire of brilliant showpieces that showcased both his formidable gifts and the expressive possibilities of the violin.

Sarasate's compositional output centered on operatic fantasies and original works for violin with orchestral accompaniment. These pieces reveal his deep understanding of the instrument's capabilities and his gift for weaving orchestral color around a compelling solo line. His music remains essential repertoire for orchestras seeking to feature a virtuoso violinist.

Why we love this

Sarasate's gift for melody and orchestration means this fantasy never feels like a mere vehicle for technical display. The orchestration is active and colorful rather than accompanying; the woodwinds and brass engage in genuine dialogue with the soloist, making rehearsal energizing for the entire ensemble. You're left with a piece that rewards both the violinist and every player on stage.

What to expect

Brilliant and effusive, shot through with the memorable melodies of Gounod's opera. The violin dances above the orchestra with lyrical ease one moment and dazzling technical display the next. There's an infectious joy throughout, rooted in the familiar tunes audiences recognize and the sheer pleasure of watching a virtuoso performer at work.

Who it's for

Orchestras with a strong violinist on staff or a guest soloist looking for a crowd-pleasing vehicle. The piece appeals equally to ensembles seeking a Romantic-era showstopper and to schools introducing students to the virtuoso concerto tradition without the commitment of a full concerto.

How to get the most out of it

  • Balance the violin line against the full orchestra without sacrificing its brilliance. The Gounod themes are immediately recognizable, so aim for warmth and clarity rather than aggressive volume.
  • Shape the transitions between contrasting sections deliberately. Each thematic area has distinct character, and clean handoffs between moods maintain momentum.
  • Work with your soloist to establish the rubato framework early. Sarasate's fantasies assume collaboration between soloist and conductor; agree on where flexibility happens and where you lock in rhythmically.
  • The timpani and string bass provide essential harmonic grounding in the busier passages. Ensure your rhythm section is locked before bringing in the solo line.

How to use it

Situate this as a featured soloist showcase within a concert built around Romantic-era operatic themes or orchestral arrangements. It works beautifully as an intermission opener, drawing the audience back with immediate, tuneful engagement. Consider pairing it with other Sarasate works or Spanish orchestral pieces to create thematic continuity.

Skills your students will build

  • Supporting an extended solo line while maintaining ensemble cohesion
  • Balancing lyrical and virtuosic musical character within a single movement
  • Responding to rubato and flexible phrasing from a featured soloist
  • Maintaining forward momentum through sectional modulations and thematic transitions

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