Pines of Rome, The: Full Orchestra, Score and Parts

$195.00 USD

Pines of Rome, The: Full Orchestra, Score and Parts

Name: Pines of Rome, The: Full Orchestra, Score and Parts
Brand: Alfred Music
SKU: 36-A926890
Price: 195.00 USD
Availability: OutOfStock

By Ottorino Respighi, ed. Tom Myron/ ed. Mark R. Rogers

Item: 36-A926890

$195.00

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Pines of Rome (Pini di Roma) is a four-movement symphonic poem for orchestra completed in 1924 by the Italian composer Ottorino Respighi. The piece, which depicts pine trees in four locations in Rome at different times of the day, is the second of Respighi's trilogy of tone poems based on the city, along with Fountains of Rome (1917) and Roman Festivals (1928). It premiered on December, 14 1924 at the Augusteo Theatre in Rome with Bernardino Molinari conducting the Augusteo Orchestra, now known as the Orchestra dell' Accademia Nazionale di Santa Cecilia. This new edition by Tom Myron features completely reengraved score and parts, clarinets in both A and Bb, C and Bb trumpets, and alternate transpositions for the buccina. Instrumentation: 3(3dPicc).2+1.3(3dBcl).2+1: 4.3.3.1: Timp.Glock.Perc(4).7 Buccine(offstage brass): Str (9-8-7-6-5 in set).

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Series: Kalmus Masterworks Library

Publisher: Keiser Productions, Inc.

UPC: 654690400604

SKU: 36-A926890

Instrumentation: 3(3dPicc).2+1.3(3dBcl).2+1: 4.3.3.1: Timp.Glock.Perc(4).7 Buccine(offstage brass): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Ottorino Respighi

Ottorino Respighi (1879, 1936) was among the most pragmatic orchestrators of the twentieth century. His gift lay not in harmonic innovation but in his ability to paint with instrumental color, creating vivid soundscapes that feel both modern and rooted in Italian musical tradition. He spent his career teaching composition at the Conservatory of Santa Cecilia in Rome while maintaining an active role in Rome's concert life, which gave him intimate knowledge of the orchestral forces at his disposal.

Respighi's three Roman tone poems represent the apex of his compositional legacy. Rather than abstract symphonic arguments, these works function as musical tourism, each movement a different locale or time of day in the city. This approach, programmatic yet structurally clear, virtuosic yet never gratuitous, made his music immediately popular with orchestras and audiences, and it remains central to the concert repertoire.

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Why we love this

Few orchestral scores offer as much textural variety and instrumental independence as the Pines. Every section of the orchestra gets moments to shine, whether the woodwinds are depicting rustling foliage, the brass is surging with Roman grandeur, or the strings are sustaining shimmering harmonies. The Tom Myron edition provides alternate transpositions for clarinet and trumpet that solve real logistical problems in rehearsal, and the buccina parts (which can be played by offstage brass) open the door to genuinely theatrical moments without requiring an exotic instrument.

What to expect

Respighi's Rome is golden and layered. The Pines opens with delicate impressionism, moves through mysterious atmosphere near a catacomb, swells into Roman pageantry, and concludes with triumphant brass fanfares that feel both ancient and monumental. Throughout, the orchestration shimmers; textures overlap and separate like light filtering through branches, and harmonic colors shift subtly under relatively simple melodic lines.

Who it's for

Advanced community, university, and professional orchestras seeking a standard-repertoire work that balances technical challenge with guaranteed audience engagement. This piece demands strong principal players and solid ensemble intonation but rewards preparation with one of the most colorful and rewarding orchestral experiences in the canon.

How to get the most out of it

Balance the offstage buccinae carefully in rehearsal. These instruments support the final movement's climax but should enhance, not overwhelm, the main orchestra. A full run-through of the ending with both sections playing will help you find the right dynamic level for your acoustic space.
Treat each movement as a distinct world. The Pines at the Villa Borghese uses lighter articulation and brighter colors than the Pines near a Catacomb. Rehearse them separately and explicitly discuss the character shift when you transition between movements.
Lock the principal woodwind soloists into their exposed lines early. The clarinet and oboe passages in the first movement will define the overall shape, so chamber-style rehearsals with strings supporting them will pay off quickly.
Give your percussion section time to master the glockenspiels and triangle accents. These delicate touches sit on top of the texture and require precision; a rehearsal dedicated to percussion parts alone will prevent them from getting buried in the full score.

How to use it

This is an ideal centerpiece for a concert exploring early twentieth-century tone poetry or Italian orchestral tradition. It pairs naturally with works from the same era (Debussy, Strauss, Delibes) and can anchor a program focused on program music. Many orchestras program it in spring, when the seasonal imagery resonates with audiences.