Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription] Cover Image

Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription]: Salon/ Theater Orchestra Conductor Score & Parts

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Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription] Cover Image
Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription]: Salon/ Theater Orchestra Conductor Score & Parts

Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription]: Salon/ Theater Orchestra Conductor Score & Parts

By Charles Gounod / arr. Richard Klugescheid

Item: 36-A690202
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Le Tribut de Zamora, CG 12 (The Tribute of Zamora): Ballet Music [transcription]: Salon/ Theater Orchestra Condensed Score

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Description
Le Tribut de Zamora, CG 12 (The Tribute of Zamora) was composed in 1881 by Charles Gounod (1818-1893) as part of his final completed opera, a grand historical work set in medieval Spain during the conflict between Christian and Moorish forces. The opera is written in the late-19th-century French grand opera tradition, with its emphasis on spectacle, exotic settings, and elaborate stage elements, including an extended ballet sequence. Le Tribut de Zamora premiered on April 1, 1881, at the Paris Opéra, where it initially attracted attention for its scale and craftsmanship, though it did not achieve lasting popularity. The ballet music appears in the later acts of the opera, providing a moment of diversion within the serious dramatic narrative. Today the Ballet Music is occasionally performed in concert, even as the complete opera itself remains rarely staged. Dances included: 1. Barcarolle; 2. Danse Espagnole; 3. Danse des Pointes; 4. Danse Italienne. Instrumentation: 1.1.2.1: 2.2(Crnt).1.0: Timp.Perc(2-3): Str (9.8.7.6.5 in set): CS (Pno-Cond) in set. Reprint edition of the arrangement for orchestra by Richard Klugescheid.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: EDWIN F KALMUS
UPC: 604634006645
SKU: 36-A690202
Instrumentation: 1.1.2.1: 2.2(Crnt).1.0: Timp.Perc(2-3): Str (9.8.7.6.5 in set): CS (Pno-Cond) in set

More about this title

About the Composer: Charles Gounod

Charles Gounod (1818-1893) dominated the French operatic landscape of the mid-to-late 19th century, building a career on melodic gifts and dramatic craftsmanship that earned him both popular success and critical respect. His works, particularly Faust and Roméo et Juliet, established him as a master of grand opera and opéra comique; Le Tribut de Zamora represents his final operatic statement, composed when his style had absorbed decades of experience in orchestration, ensemble writing, and theatrical effect.

Gounod's facility with instrumental color and his gift for memorable melody made his orchestrations natural candidates for concert adaptation long after the operas themselves fell from regular performance. His balletic and choral writing especially showcases the architectural clarity that makes his music effective even when lifted from its dramatic context.

Why we love this

Gounod's balletic writing combines the elegance of the salon with the orchestral color of the opera house, and this collection of four dances gives a conductor access to concert-worthy material that audiences recognize without being overexposed to it. The transcription scales beautifully for theater and salon orchestras without sacrificing the late-romantic sonorities Gounod valued, making it both musically rewarding and logistically practical.

What to expect

A sequence of salon-era dances colored by late-romantic orchestration and the refinement Gounod brought to all his theatrical music. The four movements shift between Venetian barcarolle rhythms, Spanish character dancing, classical pointe work, and Italian lyricism, offering variety and charm without dramatic weight.

Who it's for

Conductors seeking concert repertoire that demonstrates orchestral color and melodic sophistication without demanding a large ensemble. Theater orchestras, salon ensembles, and educational conductors looking to program Gounod beyond the familiar operatic extracts.

How to get the most out of it

  • Keep the Barcarolle's rhythmic motion flowing rather than heavily stressed; the piece needs lift even at moderate tempos.
  • Treat the Danse Espagnole with rhythmic freedom in the percussion and lower strings, allowing them to drive the character without dragging the pulse.
  • Balance the upper woodwinds in the Danse des Pointes so the melody emerges cleanly; parts can easily blur at performance speed.
  • Let the Danse Italienne breathe during transitions between sections; the structural seams are clear, and rushing them dilutes the theatrical effect.

How to use it

Pair this with other 19th-century ballet or operatic excerpts in a "Paris and Europe" concert theme, or program it as a lighter moment in a pops or community orchestra concert. The individual dances can also stand alone as intermission music or as educational demonstrations of orchestration for student audiences.

Skills your students will build

  • Conducting character dances and maintaining stylistic consistency across contrasting movements
  • Balancing multiple rhythmic layers in salon and theater orchestration
  • Shaping melodic lines that float above rhythmic accompaniment
  • Interpreting late-romantic French orchestral color and articulation

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