Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I Cover Image

Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I: Full Orchestra, Conductor Score & Parts

$320.00 USD
$320.00 USD
Skip to product information
Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I Cover Image
Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I: Full Orchestra, Conductor Score & Parts

Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I: Full Orchestra, Conductor Score & Parts

By Reinhold Gliere

Item: 36-A337002
$320.00
Shipped

One moment…

Related Items

Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I: Full Orchestra, Conductor Score

$80.00
View
Description
Reinhold Glière (1875-1956) composed this large symphonic work between 1908 and 1911, and it earned the composer his third Glinka Award. The SYMPHONY No. 3 in B minor, Op. 42 ("ILYA MUROMETZ" or "ILIA MOUROMETZ") is a programmatic work that depicts the life of folk hero Ilya Murometz, with each of the four movements depicting an episode of the epic. The 80 - 90 minute long work premiered on March 23, 1912, in Moscow by the Russian Musical Society Orchestra under the baton of Emil Cooper. In Movement I, Pèlerins errants. Ilia Mourometz et Sviatogor (Wandering Pilgrims. Ilya Muromets and Svyatogor), two pilgrims tell Ilya to become a bogatyr. The most powerful bogatyr, Svyatogor, bequeaths his strength to Ilya as he dies. The Kalmus edition of Glière's work is published in four volumes, one for each movement. Instrumentation: Movement I only: 3+Picc.3+EH.3+BCl.3+CBsn: 8.4.4.1: Timp.Perc(5): 2Hp: Str (9-8-7-6-5 in set) or Complete Symphony: 3(3rd d.Picc)+Picc.3+EH.3+BCl.3+CBsn: 8.4.4.1: Timp.Perc(6): 2Hp.Clst: Str (9-8-7-6-5 in set). Reprint edition.

Symphony No. 3 'Ilya Murometz' in B minor, Op. 42: Movement I: Full Orchestra, Conductor Score & Parts 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.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.
Sample Pages

No sample pages found.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 612735805746
SKU: 36-A337002
Instrumentation: Mvmt I: 3+Picc.3+EH.3+BCl.3+CBsn: 8.4.4.1: Timp.Perc(5): 2Hp: Str (9-8-7-6-5 in set) or Complete Symphony: 3(3rd d.Picc)+Picc.3+EH.3+BCl.3+CBsn: 8.4.4.1: Timp.Perc(6): 2Hp.Clst: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Reinhold Gliere

Reinhold Glière (1875–1956) was a Russian composer who bridged the late Romantic and early 20th-century idioms with sweeping orchestral works and ballet scores. His prolific output included three symphonies, concertos for harp and horn, and the ballet Red Poppy, which became a staple of Soviet performance tradition. Glière earned three Glinka Awards during his lifetime, Russia's highest musical honor, and taught composition at the Moscow Conservatory, where he shaped several generations of Soviet composers.

Glière's orchestration is marked by lush textures, generous use of folk material, and dramatic programmatic narratives. His symphonies, particularly the Third, demonstrate his command of large ensemble writing and his ability to sustain musical interest across expansive, episodic structures. He remains central to the repertoire of orchestras seeking Russian symphonic works beyond the canonical Tchaikovsky and Rimsky-Korsakov.

Why we love this

Orchestras hungry for substantial Russian symphonic repertoire beyond the familiar canon will find Glière's Third Symphony rewarding and dramatically coherent. The opening movement establishes the narrative with clear characterization, generous melodic material, and the kind of orchestral color that justifies a full complement of players. This is music written for the concert hall with confidence and craft, yet it remains less frequently programmed than its quality warrants.

What to expect

The music unfolds with the vast, contemplative character of the Russian steppe, built on folk-like melodies and rich harmonic movement. Pilgrims and legendary warriors inhabit the soundscape through shifts in orchestral color, from intimate wind solos to full orchestral apotheosis, creating a sense of journeying and transformation that feels both intimate and monumental.

Who it's for

This movement is for orchestras with the resources to field the full instrumentation called for (triple reeds, four French horns, substantial string sections) and the rehearsal time to build cohesion across an 80-90 minute symphony. Conductors seeking to program a single Russian symphonic movement that stands independently or as part of a longer concert block will find Movement I narratively complete and satisfying.

How to get the most out of it

  • The opening harmonic language moves slowly; maintain linear independence between string sections while supporting the legit of wind solos, particularly the English horn's opening phrase.
  • Divide the second violins and violas when the texture expands into independent counter-melodies; this prevents muddiness and clarifies Glière's orchestration.
  • Balance the two harps carefully in sustained passages; they should blend with rather than dominate the surrounding strings.
  • Mark the percussion cues clearly in all parts; the timpani and auxiliary percussion provide structural markers that help orchestra sections stay oriented across longer, slow sections.

How to use it

Program this as the centerpiece of a concert themed around Russian symphonic literature, pairing it with shorter works to frame the concert; alternatively, present the complete symphony across two concert dates, programming movement one in the spring and movements two through four in the fall. The substantial orchestration and dramatic scope make it a fitting season-opening or season-closing statement.

Skills your students will build

  • Sustaining ensemble blend across slow harmonic movement without losing forward momentum
  • Balancing multiple woodwind and brass soloists within a full orchestral texture
  • Reading and conducting large-scale programmatic structure across extended formal sections
  • Coordinate independent string section divisi while maintaining textural clarity

You May Also Like