Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia) Cover Image

Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia): Full Orchestra Conductor Score

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Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia) Cover Image
Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia): Full Orchestra Conductor Score

Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia): Full Orchestra Conductor Score

By George Frideric Handel / arr. Friedrich Chrysander

Item: 36-A153801
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Solomon, HWV 67: Entrance of Queen of Sheba (Act III Sinfonia): Full Orchestra Conductor Score & Parts

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Description
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. Instrumentation: 0.2.0.0: 0.0.0.0: Str (2.2.2.1.1 in set). This edition by Friedrich Chrysander, part of the Georg Friedrich Händels Werke, include a rehearsal piano part in the score.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: EDWIN F KALMUS
ISBN13: 979-890-420-0169
UPC: 604634450066
SKU: 36-A153801
Instrumentation: 0.2.0.0: 0.0.0.0: Str (2.2.2.1.1 in set)

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who spent most of his career in London, where he became the dominant figure in English musical life. A master of both instrumental and vocal forms, Handel composed operas, oratorios, concertos, and ceremonial works with equal facility, drawing on Italian, French, and German musical traditions to create a style of exceptional clarity and dramatic power.

Handel's oratorios represent a pinnacle of his achievement. These large-scale works combine orchestral brilliance, complex choral writing, and memorable solo arias to tell biblical and historical narratives. Solomon, composed in 1748, exemplifies his gift for creating instrumental movements that are both structurally sophisticated and immediately engaging. The famous Queen of Sheba entrance has endured for nearly three centuries as a concert staple, introducing countless listeners to Handel's genius for orchestral color and rhythmic vitality.

Why we love this

This movement captures everything that makes Handel essential repertoire: elegant part writing across the full orchestra, transparent yet colorful instrumentation, and a melody so infectious that audiences recognize it instantly. The Chrysander edition provides a conductor score with rehearsal piano part, making it accessible for study and preparation even when full parts are in use. Programming this sinfonia offers a bridge between the Baroque and your audience's expectations, delivering musical substance and theatrical impact in under three minutes.

What to expect

The piece radiates pageantry and confidence. The opening oboe melody unfolds with a sense of processional grandeur, then passes through the ensemble with lightness and wit. Cascading string figures and rhythmic snap in the accompanying voices create infectious forward motion, while the harmonic progression remains grounded and dignified. It feels both celebratory and refined.

Who it's for

Orchestras preparing Baroque repertoire, conductors building concert programs that require substantial but manageable instrumental works, and ensembles looking for a showpiece that demonstrates clean ensemble playing and stylistic control. This score works equally well for advanced community orchestras and professional groups seeking to refresh their approach to familiar material.

How to get the most out of it

  • Establish the opening oboe line with clarity and character; it carries the entire melodic identity and must cut through the string texture without aggressive articulation.
  • Balance the string sections carefully, particularly the first violins and violas. The violas support harmonic movement that is essential to Handel's orchestration, yet they often disappear in rehearsal.
  • Shape phrases through strategic use of dynamic nuance rather than tempo variation. Handel's rhythmic stability is one of his strengths; resist the urge to accelerate in faster passages.
  • Ensure the continuo realization (shown in the piano part) aligns with the other harmonic voices. This prevents the accompaniment from becoming murky or competing with the melodic instruments.

How to use it

Open a concert with this sinfonia to establish instrumental excellence and period style before moving into larger works or contrasting repertoire. Its brevity makes it ideal for a program that pairs Baroque orchestral music with Classical symphonies, or as a palate-cleanser between substantial choral works. Consider pairing it with other Handel instrumental movements or concertos to create a focused Baroque sequence.

Skills your students will build

  • Baroque articulation and phrasing conventions specific to orchestral writing
  • Balance and independence of inner voices (particularly violas and second violins)
  • Maintaining rhythmic stability and ensemble cohesion in fast, energetic passages
  • Realization of continuo and the relationship between keyboard part and orchestral harmony
  • Stylistically appropriate tempo relationships and harmonic rhythm

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