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Grand Tarantelle for Piano and Orchestra, Op. 67 (ca. 1866) by [[Louis Moreau Gottschalk]], reconstructed and orchestrated for [[New York City Ballet]] by [[Hershy Kay]]. The nimble quickness of [[Tarantella]] provides a virtuosic showcase. The profusion of steps and the quick changes of direction this brief but explosive pas de deux requires typify the ways in which [[Balanchine]] expanded the traditional vocabulary of [[classical dance]].
The '''Grand Tarantelle'''(or ''Célèbre Tarentelle''), Op. 67, for [[piano]] and [[orchestra]], , by [[Louis Moreau Gottschalk]], is a [[tarantelle]], composed around 1858. The composer transcribed the piece for many different combinations, including solo piano, [[piano trio]], [[violin]] and piano, and two violins and piano. In addition, the piece has been arranged for many other combinations, including a transcrition by the composer's friend [[Nicolás Ruiz Espadero]] for two pianos.


Perhaps the most well known the version is the reconstruction of the piano and orchestra version by [[Hershey Kay]], which was later used the piece for [[Tarantella (ballet)|a ballet]] for [[George Balanchine]]. More recently, Gottschalk's original orchestration has been found and recorded.
Gottschalk, who lived from 1829 to 1869, was one of the first American composers to be recognized in Europe. His syncopated rhythms and jagged melodic lines incorporating elements of folk dancing foreshadowed the work of other American composers later in the 19th century.

Louis Moreau Gottschalk (1829-1869), was born in New Orleans, Louisiana. During his career he had a considerable reputation as a pianist and composer of virtuoso piano pieces. Sent to Paris to study, he played at Salle Pleyel before his 16th birthday and was praised by Chopin. He was treated as a sensation from the New World at his formal debut in 1849. He toured widely in Europe, playing the piano and conducting orchestras performing his works, before returning to New York and touring the United States. His compositions, using syncopated rhythms, jagged melodic lines and folk dance elements, were precursors of musical developments to occur at the end of the nineteenth century.


== External links ==
== External links ==


{{IMSLP2|id=Grande Tarantelle, Op.67 (Gottschalk, Louis Moreau)|cname=Grande Tarantelle}}
{{col-begin}} {{col-1-of-3}}

* [http://www.nycballet.com NYCB website]

{{col-2-of-3}}

* [http://www.balanchine.com Balanchine Trust website]

{{col-3-of-3}}

* [http://www.balanchine.org Balanchine Foundation website]

{{col-end}}

[[Category:Ballets to the music of Louis Moreau Gottschalk]]
[[Category:Ballets by Hershy Kay]]
[[Category:Ballets by George Balanchine]]
[[Category:New York City Ballet repertory]]


[[Category:1858 compositions]]
{{Ballet}}
[[Category:Classical composition stubs]]
[[Category:Compositions by Louis Moreau Gottschalk]]
[[Category:Piano compositions by American composers]]

Revision as of 23:15, 5 February 2010

The Grand Tarantelle(or Célèbre Tarentelle), Op. 67, for piano and orchestra, , by Louis Moreau Gottschalk, is a tarantelle, composed around 1858. The composer transcribed the piece for many different combinations, including solo piano, piano trio, violin and piano, and two violins and piano. In addition, the piece has been arranged for many other combinations, including a transcrition by the composer's friend Nicolás Ruiz Espadero for two pianos.

Perhaps the most well known the version is the reconstruction of the piano and orchestra version by Hershey Kay, which was later used the piece for a ballet for George Balanchine. More recently, Gottschalk's original orchestration has been found and recorded.

External links

Free scores by Grande Tarantelle at the International Music Score Library Project (IMSLP)