GUGLIELMO TELL - Ouverture Gioacchino Rossini / Arr. Michele Netti

Untertitel / Subtitle:
Komponist / Composer: G. Rossini
Arrangeur / Arranger: Michele NETTI
Instrumentation: Concert Band
Produkttyp / Product: Partitura e parti formato concerto

The title'William Tell' was presented for the first time at the Opéra in Paris on 3 August 1829, and was received by both audience and critics as a masterpiece. This is the last opera composed by the Maestro from Pesaro, who would subsequently dedicate his energies, after a long interval, to sacred and chamber music. It could be said that 'William Tell' brings to a close the experience of the eighteenth century opera buffa, paving the way towards nineteenth century melodrama. Rossini worked on this composition with a level of commitment and expenditure of energy which he had not been able to dedicate to his previous works, starting with the drafting of the libretto, with no less than three poets contributing in order to succeed in delivering the kind of dramatic structure which the Maestro was looking for. In the Symphony, we find a synthesis of the two tendencies that dominated Rossini's symphonies: musical composition detached from the dramatic context of the work and the spirit of the Introduction which serves to prepare the drama. With this composition Rossini offered the world one of the most beautiful opera overtures ever created.
Full score A3+ (32 x 48 cm) and parts A4+ (24 x 32 cm)

William Tell was presented for the first time at the Opéra in Paris on 3 August 1829, and was received by both audience and critics as a masterpiece. This is the last opera composed by the Maestro from Pesaro, who would subsequently dedicate his energies, after a long interval, to sacred and chamber music. It could be said that William Tell brings to a close the experience of the eighteenth century opera buffa, paving the way towards nineteenth century melodrama. Rossini worked on this composition with a level of commitment and expenditure of energy which he had not been able to dedicate to his previous works, starting with the drafting of the libretto, with no less than three poets contributing in order to succeed in delivering the kind of dramatic structure which the Maestro was looking for. In the Symphony, we find a synthesis of the two tendencies that dominated Rossini's symphonies: musical composition detached from the dramatic context of the work and the spirit of the Introduction which serves to prepare the drama. With this composition Rossini offered the world one of the most beautiful opera overtures ever created.