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Sample sheet music

Title	Piccolo Polka
Category	Concert/wind/brass band
Subcategory	Polka
Instrumentation	Ha (concert/wind band); PicFlt (piccolo)
Instrumentation/info	Solo f. 2PicFlt
Format	PrtStm (full score and parts)
Publisher's article no.	KL 1441
Price	65.00 EUR (incl. 10 % Austrian VAT)
Composer	Bönisch, Josef
Difficulty level	2
Additional info/contents	This solo for two piccolos is commencing in a traditional, "well-behaved" way, like one of the usual solo-polkas, as well in the solo-part as in the orchestral accompaniment. But from 23rd time on, one can hear new strains in a modern rhythm - in contrast to the expected "chirping". So the solo is proceeding on a charming interplay of the soloists and the orchestra; again and again the trumpets are playing their parts, and the central part the traditionally arranged theme and the secondary themes are providing for variety. The instrumentation is very conspicuous, therefore the interpretation requires gentle play and accompaniment, so that the soloists are always coming into play. There are no difficulties for orchestras from intermediate grades on. The Piccolo-Polka is not only suited for concert but also for musical morning pints within tents. It is a very good example of elevated light music. Prt PicFlt-Solo 1,2 Flt Ob EHrn Fag EsClr Clr 1,2,3 AClr ASax 1,2 TSax BSax Flh 1,2,3 Trp 1,2,3,4 Tnh 1,2 Hrn in F+Eb 1,2,3 Trb in C 1,2,3 Brt in Bb Tub in C 1,2 WltStm Tmp SD BD Xyl
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Programme notes: The predecessor of the piccolo (as well as that of the grand flute) can be seen in the military transverse flute of the Middle Ages. When flute making received intensive impetus from the middle of the 17th century onwards, the technical innovations devised for the great flute were gradually transferred to the piccolo traverso, the flute's little sister. In the early 18th century, the piccolo began to be equipped with 1-4 keys, and others followed in the course of the century. Subsequently the piccolo underwent the same changes as the transverse flute. In the first third of the 18th century, parts for "flauto piccolo" or "flautino" already appeared in scores, but today it cannot be said with certainty whether these were intended for the single-key piccolo or a high recorder or flageolet. This applies, for example, to George Frideric Handel's opera "Rinaldo" (1711), his "Water Music" (1715) and Antonio Vivaldi's three "Concerti per flautino". Today, these parts are performed by the piccolo. Ludwig van Beethoven was one of the first to use the piccolo in his works to imitate natural sounds, such as the whistling of a storm in the 4th movement of his 6th symphony "Pastorale" (1808). Giuseppe Verdi first symbolised lightning through the sound of a piccolo in "Rigoletto" (1851). The piccolo was also used for special effects, e.g. by Wolfgang Amadeus Mozart in his "Magic Flute" (1791) for the humorous portrayal of eunuchs. In many works, the piercing and shrill fortissimo sound was used to intensify scenes of terror. Quelle/Source: Vienna Symphonic Library, Piccolo-Geschichte

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