Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription] Cover Image

Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription]: Salon/ Theater Orchestra, Ensemble Works, Score and Parts (EDWIN F KALMUS)

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Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription] Cover Image
Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription]: Salon/ Theater Orchestra, Ensemble Works, Score and Parts (EDWIN F KALMUS)

Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription]: Salon/ Theater Orchestra, Ensemble Works, Score and Parts (EDWIN F KALMUS)

By Alexander Glazunov, orch. Georg Gast

Item: 36-A685390
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Description
The ballet THE SEASONS (LES SAISONS), Op. 67 was composed by Alexander Glazunov (1865-1936) for famous choreographer Marius Petipa in 1899. Originally intended to be written by Glazunov's friend Riccardo Drigo, the two composers swapped projects so that Glazunov wrote THE SEASONS while Drigo composed LES MILLIONS D'ARLEQUIN. The cast of THE SEASONS consists of various types of season weather, fauna and flora associated with some seasons, and Bacchus, Bacchante, the Faun, and Satyrs of Greek mythology. The work consists of four tableaus, one for each season. The ballet premiered on February 20, 1900, in St. Petersburg at the Hermitage Imperial Theatre by the Orchestra of the Imperial Theatre, Riccardo Drigo conducting. Instrumentation: 1.1.2.1: 2.0+2.1.0: Timp: Str (9+VnOblgto.8.7.6.5 in set): Pno-Cond. in set. Reprint edition of the orchestration for small orchestra by Peter Gast of part of tableau 4, Autumn, which begins with Spring's Entrance (No. 14c), then goes back to the beginning of the Bacchanale (No. 14).

Seasons, The, Op. 67, No. 4: Autumn (L'automme): Spring's Entrance (No. 14c) and Bacchanale (No. 14) [transcription]: Salon/ Theater Orchestra, Ensemble Works, Score and Parts (EDWIN F KALMUS) isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 660355029448
SKU: 36-A685390
Instrumentation: 1.1.2.1: 2.0+2.1.0: Timp: Str (9+VnOblgto.8.7.6.5 in set): Pno-Cond. in set

More about this title

Why we love this

Gast's reduction captures the sumptuous color and theatrical momentum of Glazunov's original without sacrificing the music's visceral impact. For chamber orchestras and theater pits working with limited forces, this arrangement opens access to one of the Romantic era's most durable ballet scores while maintaining the sensuality that makes the Autumn tableau memorable.

What to expect

Glazunov's Autumn unfolds with the languid opulence of late-season festivities. The Spring's Entrance material glows with lyrical warmth before the Bacchanale erupts in bacchanalian abandon, all sensuality and rhythmic verve. Even in this streamlined form, the music retains its theatrical swagger and orchestral glamour.

Who it's for

Theater orchestras, salon ensembles, and chamber orchestras seeking accessible Romantic-era ballet music that works in smaller venues and with reduced instrumentation. This is especially valuable for ballet companies or theater programs without the resources for a full symphonic orchestra.

How to get the most out of it

  • Balance the oboe line in the Spring's Entrance section; it carries the melodic argument over string accompaniment and needs to speak without overwhelming the ensemble's lighter texture.
  • The Bacchanale requires tight coordination between timpani and strings. Mark entrances clearly during sectional rehearsals so the rhythmic drive doesn't blur.
  • Shape the string writing in the Autumn sections with attention to phrase contours rather than strict metronomic regularity; Glazunov's salon orchestration benefits from subtle rubato.
  • Ensure the piano conductor part stays supportive rather than prominent. The reduction's success depends on the ensemble breathing as one unit, not following.

How to use it

Program this as an orchestral interlude for theater productions requiring period elegance or as a complete performance work at chamber orchestra concerts. It pairs naturally with other salon-scaled Romantic repertoire and provides a substantial freestanding ballet excerpt without requiring the full four-tableau structure.

Skills your students will build

  • Balancing melody and accompaniment in reduced orchestration
  • Coordinating rhythmic precision in the Bacchanale section
  • Responding to theatrical pacing and rubato
  • Reading parts that assume chamber orchestra familiarity with orchestral textures

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