Oblivion: Concert Band Conductor Score & Parts
As performed by Astor Piazzolla / Arranged by Robert Longfield
Grade: 3
Item: 35-PK00272535
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Description
Arranged here for flexible soloist and band, this sensuous melody from Argentine tango composer Astor Piazzolla provides a stunning showcase for Flute, Oboe, Clarinet, Alto Sax, or Trumpet soloist. Beautifully scored for band and carefully paced. Dur: 4:15
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00272535
More about this title
About the Artist: Astor Piazzolla
Astor Piazzolla (1921-1992) revolutionized tango by bringing it into the concert hall. A composer and bandoneon virtuoso from Buenos Aires, he rejected the dance-hall traditions of his predecessors and instead fused tango's harmonic language with classical forms, jazz inflections, and avant-garde techniques. His work elevated an entire genre, earning respect from both popular and classical music worlds.
Piazzolla's compositions remain central to music education because they bridge accessible melody with sophisticated harmony and orchestration. For student musicians, his pieces offer a window into non-Western classical traditions while developing interpretive maturity and expressive control.
Why we love this
Piazzolla's melodic gift shines through here without overwhelming your ensemble. The arrangement respects both the soloist's moment and the band's supporting role, creating genuine musical conversation rather than accompaniment. Grade 3 scoring that sounds considerably more sophisticated gives your musicians something genuinely worth rehearsing.
What to expect
Oblivion unfolds with the hushed intimacy of a late-night Buenos Aires café. The melody carries both yearning and resignation, supported by understated harmonic movement that suggests melancholy without descending into sadness. Four minutes of genuine emotional content wrapped in accessible orchestration.
Who it's for
Directors seeking a Grade 3 piece with real musical substance for a concert program. Works equally well for training a solo rotation through your woodwinds and brass, since any of five instrument options can carry the melody. Ideal when you want to expose students to tango idiom without the complexity of full Piazzolla scores.
How to get the most out of it
- Shape the opening melody with long, connected phrases; resist the urge to break at obvious cadences. The sensuality depends on arc.
- Balance the soloist carefully against band sonority. Test balance with the ensemble at half dynamic and listen from the back of the room.
- Let the rhythm section establish the tango pulse early in rehearsal, then build harmonic layers on top. Rhythm drives this style.
- Mark tempo carefully at 4:15; rushing under adrenaline is the most common pitfall in performances of this length.
How to use it
Pair this with contrasting concert fare to create programming depth. Its four-minute duration and single-soloist format work beautifully on a mixed repertoire concert, offering a respite between larger ensemble works. Consider pairing with film score or light classical material to reinforce the cinematic quality of Piazzolla's writing.
Skills your students will build
- Phrasing across longer melodic lines with minimal sectional breaks
- Balance between solo voice and ensemble support
- Tango rhythmic idioms and articulation patterns
- Dynamic control in the piano to mezzo-piano range
- Flexible soloist rotation among five different instruments