Salzburger Serenade

Concert Band

Salzburger Serenade

Suite in 4 Sätzen

Concert Piece
Grade Level:
Performance time:
Full Score + Condensed Score + Parts
Order Number:
Release Date:


If there were musical "Mozartkugeln" (chocolate balls filled with rum truffle and marzipan, a Salzburg speciality) then "Salzburg Serenade" would be a very delicious type.
Bösendorfer's suite sounds slightly classical and you can hear elements of one or two melodies from Salzburg's most famous son Mozart. You can imagine a wonderful evening in the palace garden. Ouverture, romance, minuet and finale form a lovely nostalgic musical scene.

Preface of the score:

Imagine the time of the 18th century - wigs, braids, hoop skirts, white socks and velvet knickerbockers. You are in Salzburg, it is night and everywhere are lighted candles. In the castle above the town nobility is holding a feast. Couples stroll through the castle garden, the panorama of the town is very romantic, we hear soft voices from afar and the silence of nature... Then, somewhere in the park, a harmoniemusik ensemble begins to play. The SERENADE is a special feature of the feast. The OUVERTÜRE (Part I) is a charming way to ask for the aristocratic audience's attention. The following ROMANZE (Part II) suits the atmospheric evening. The melody is very catchy and fades away in a beautiful nostalgic closing section. Being in a very sublime mood, the musicians ask the audience to dance with a MENUETT (Part III). The lively FINALE (Part IV) leads back to the bustle of everyday life. It wanders through the keys of the previous parts, we hear hunting horns and even a posthorn.

The SERENADE is also suitable for smaller bands as the harmonies get covered with this minimum required instrumentation (like the series BASIC SOUND):

Flute (Soprano Saxophone)
1st Clarinet (Flugelhorn)
2nd Clarinet Flugelhorn)
1st Alto Saxophone
2nd Alto Saxophone or Tenor Saxophone
1st Trumpet / Cornet
2nd Trumpet / Cornet
Tenorhorn (1st Baritone)
Baritone (Euphonium)

The individual parts don't include any technical difficulties, but the stylistics require some attention to make the piece sound like the music of Mozart's time. To obtain the leggiero characteristics the lower instruments and the percussions should play quite early on the beat. The particular metrics of the different meters should be felt (not heard). Do not play the dynamic accents too strong or the staccati too short to retain sonority. Take back long notes in the rather sharp brass after the first arrack. The timpanis should be play with hard felt sticks to make them sound clear and bright.

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