Solomon, HWV 67: Entrance of Queen of Sheba Cover Image

Solomon, HWV 67: Entrance of Queen of Sheba: Full Orchestra Conductor Score & Parts

$50.00 USD

Solomon, HWV 67: Entrance of Queen of Sheba: Full Orchestra Conductor Score & Parts

Name: Solomon, HWV 67: Entrance of Queen of Sheba: Full Orchestra Conductor Score & Parts
Brand: Alfred Music
SKU: 36-M987490
Price: 50.00 USD
Availability: InStock

By George Frideric Handel / arr. Steven Rosenhaus

Item: 36-M987490

$50.00

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George Frideric Handel's (1685-1759) oratorio Solomon, HWV 67, is based on biblical stories of Solomon, the wise king depicted in the Old Testament. The oratorio includes a lively instrumental section in the 3rd Act known as "The Arrival of the Queen of Sheba," which has become very well-known outside of the larger work. Originally written for two oboes and strings, Steven Rosenhaus has arranged this short work for a full orchestra. Instrumentation: 2.2.2(opt).2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set). The clarinets are optional replacements for the oboe parts.

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Series: LudwigMasters Concert Masters

Publisher: Keiser Productions, Inc.

UPC: 660355045493

SKU: 36-M987490

Instrumentation: 2.2.2(opt).2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a master of the Baroque oratorio, a genre he essentially perfected during his decades in London. His instrumental writing combines Italian melodic grace with German contrapuntal rigor, and his orchestrations remain models of clarity and color.

Handel composed over 40 oratorios alongside his celebrated operas and concertos. He understood orchestral instruments with precision, writing idiomatically for each section while maintaining the architectural balance that defines his best work. For music educators, his oratorios offer students direct access to sophisticated compositional technique wrapped in narrative drama.

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Why we love this

This arrangement gives orchestras access to one of the Baroque's most infectious instrumental pieces without requiring period instrument expertise or limiting yourself to the original two oboes and strings. Rosenhaus has expanded the palette thoughtfully, letting more players share the spotlight while preserving the brilliance of Handel's original conception. The piece builds momentum naturally and lands with unmistakable impact, making it a reliable closer or signature moment in any concert.

What to expect

Bright, propulsive energy wrapped in courtly elegance. The piece crackles with forward motion, rhythmic clarity, and orchestral swagger, evoking the pageantry of a royal arrival without a single wasted note. It feels both ceremonial and joyful.

Who it's for

Orchestras at the grade 4 level with full instrumentation who want a showstopper with Baroque credentials. This works equally well for school orchestras, community ensembles, and youth orchestra programs needing a piece that challenges technically while remaining immediately satisfying.

How to get the most out of it

Balance the main theme across your oboe and clarinet sections early in rehearsals so the melody emerges with consistent color as it passes between instruments.
Keep the timpani articulate but not aggressive; these are rhythmic punctuations, not thunder. They anchor the drive without overwhelming the strings.
Shape the phrase arcs by thinking in two-bar units rather than single measures. This prevents the piece from becoming choppy and lets its forward momentum build naturally.
Mark all the tutti sections in advance so your ensemble understands when they're supporting texture and when they're carrying the main idea.

How to use it

Program this as a concert finale or a bridging piece between larger works. Its five-minute runtime and immediate accessibility make it perfect for opening a second half or punctuating a thematic program. It also pairs naturally with other Baroque orchestral works if you're building a period-specific concert.