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Frederick Delius: La Calinda: Arr. (Eric Fenby): String Orchestra And Solo

Score & Parts | Sheet Music and Books

COMPOSER: Frederick Delius
PUBLISHER: Delius Trust (Boosey and Hawkes)
PRODUCT FORMAT: Score & Parts
Among the earliest surviving for Delius' opera Koanga is a scrap of paper revealing the combination of the principal theme of La Calinda, the central dance in the second act, with the spiritual-like melody first sung to the words He will meet her when the sun goes down. At the climax of Palmyra's
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Specifications
Composer Frederick Delius
Arranger Eric Fenby
Publisher Delius Trust (Boosey and Hawkes)
Product Format Score & Parts
StylePeriodView Description Post 1901
ISMN 9790060109881
Instrumentation String Orchestra And Solo
No. BH6201082
Number of pages 20
Composer Frederick Delius
Description
Among the earliest surviving for Delius' opera Koanga is a scrap of paper revealing the combination of the principal theme of La Calinda, the central dance in the second act, with the spiritual-like melody first sung to the words He will meet her when the sun goes down. At the climax of Palmyra's dance song in the completed work, the choral tenors and basses repeat that haunting tune in a memorably simple piece of counterpoint.When Eric Fenby made his final orchestral version of La Calinda as published in 1938 he originally retained the choral counter-melody in bassoons, cellos and basses, but deleted it from his manuscript before publication; presumably he considered it too isolated in that context. To some, this has always been a matter of regret; Christopher Palmer, for instance, retained it in his arrangement as the Creole Dance for cello and piano, and explained its presence by using the harmonies of the original chorus as a prelude.As a tribute to those two devoted Delians, the same prodecure has been followed in the present arrangement.Originally Eric Fenby arranged La Calinda for flute and strings (or piano) but in so doing of necessity sacrified the original exchanges between flute and other wind instruments. The review of his version as here offered, which uses both flute and oboe, takes the opportunities for such contrast whenever possible.
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