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Trois poèms d'Henri Michaux
by Witold Lutosławski
Orchestration
3232-2220-timp+4-hp-2pf-cel-str-chorus(SSSSSAAAAATTTTTBBBBB)
Duration
22 minutes
Year Composed
1963
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Movements & Players Table
Part Name | Movements | ||
|---|---|---|---|
| 1 | 2 | 3 | |
Pensées | Le grand combat | Repos dans la malheur | |
| 7' 00'' | 7' 00'' | 8' 00'' | |
Flute 1 | C Flute | ||
Flute 2 | C Flute | ||
Flute 3 | C Flute | ||
Oboe 1 | Oboe | ||
Oboe 2 | Oboe | ||
Clarinet 1 | Clarinet | ||
Clarinet 2 | Clarinet | ||
Clarinet 3 | Clarinet | ||
Bassoon 1 | Bassoon | ||
Bassoon 2 | Bassoon | ||
Horn 1 | Horn | ||
Horn 2 | Horn | ||
Trumpet 1 | Trumpet | ||
Trumpet 2 | Trumpet | ||
Trombone 1 | Trombone | ||
Trombone 2 | Trombone | ||
Harp | Harp | ||
Piano 1 | Piano | ||
Piano 2 | Piano | ||
Celesta | Celesta | ||
Timpani | Timpani | ||
Percussion 1 | Tom-Tom, Chimes, Glockenspiel, and Tam-Tam | ||
Percussion 2 | Ratchet, Whip, Xylophone, and Gong | ||
Percussion 3 | Tambourine, Claves, Vibraphone, Bass Drum, and Wood Block | ||
Percussion 4 | 4 Tamburi, 3 Suspended Cymbal, Sapo, and Temple Blocks | ||
Violin 1 | Violin Section | ||
Violin 2 | Violin Section | ||
Viola | Viola Section | ||
Cello | Cello Section | ||
Double Bass | Bass Section | ||
Chorus: Soprano 1 | Soprano (Voice) | ||
Chorus: Soprano 2 | Soprano (Voice) | ||
Chorus: Soprano 3 | Soprano (Voice) | ||
Chorus: Soprano 4 | Soprano (Voice) | ||
Chorus: Soprano 5 | Soprano (Voice) | ||
Chorus: Alto 1 | Alto (Voice) | ||
Chorus: Alto 2 | Alto (Voice) | ||
Chorus: Alto 3 | Alto (Voice) | ||
Chorus: Alto 4 | Alto (Voice) | ||
Chorus: Alto 5 | Alto (Voice) | ||
Chorus: Tenor 1 | Tenor (Voice) | ||
Chorus: Tenor 2 | Tenor (Voice) | ||
Chorus: Tenor 3 | Tenor (Voice) | ||
Chorus: Tenor 4 | Tenor (Voice) | ||
Chorus: Tenor 5 | Tenor (Voice) | ||
Chorus: Bass 1 | Bass (Voice) | ||
Chorus: Bass 2 | Bass (Voice) | ||
Chorus: Bass 3 | Bass (Voice) | ||
Chorus: Bass 4 | Bass (Voice) | ||
Chorus: Bass 5 | Bass (Voice) | ||
Works With Similar Orchestration
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We Want Your Help!
Are you passionate about orchestral repertoire, equitable programming, and advancement of music of living composers? We'd like to work with you.