Chamber Orchestra Resources


Vaclav Nelhybel


"To compose music is the best means to manifest my existence as human being. [...] If something excites me, I try to freeze it into paper, to have it there."
- V. Nelhybel


A full-length recording of the piece can be found below.

Each instrument's individual parts can be found below as MIDI realizations. You can use these recordings to help you practice.

A fact sheet for Danza can be found here. More information about the life and music of Vaclav Nelhybel can be found here.

Introit for Strings

Vincent Persichetti


"I listen to forms that are new to me, and especially works that are new to me, hoping to like them... that's a little bit rare. There are some people that will only allow themselves to like certain kinds of music. I can't do that. I can't condemn any particular type of music, I truly love so many."
- V. Persichetti


A full-length recording of the piece can be found below.

Each instrument's individual parts can be found below as MIDI realizations. You can use these recordings to help you practice.

A fact sheet for Introit for Strings can be found here.

A radio interview with the composer from 1984 can be found below.

Overture from "The Barber of Seville"

Gioachino Rossini (arranged by Harry Alshin)

A full-length recording of the piece can be found below.

"Music is a sublime art precisely because, unable to imitate reality, it rises above ordinary nature into an ideal world, and with celestial harmony moves earthly passions.
- G. Rossini

As the texture of the piece is predominantly homophonic, there is no need to post each part separately.

A fact sheet for the Alshin arrangement of "The Barber of Sevillie" can be found here.

Below is a recording of the original piece (not arranged) performed by the New York Philharmonic orchestra under the direction of Leonard Bernstein.

Below is a summary of the plot of "The Barber of Seville" via the Metropolitan Opera, New York:

Act I

Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town’s secrets and scandals, explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.

Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to—as Almaviva has led her to believe, a poor student named Lindoro. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him.

Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the noise. The civil guard bursts in to arrest Almaviva, but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.

Act II

Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” then tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson. With Bartolo dozing off, Almaviva and Rosina declare their love.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and furiously realizes he has been tricked again. Everyone disperses.

Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, which seems to prove that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. A thunderstorm passes. Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.

A full performance of the opera as performed by the New York City Opera can be found below.

And the obligatory Bugs Bunny version below...