Solère, Chant de la Bataille d’Austerlitz

USD $60

Chant de la Bataille d'Austerlitz (c. 1805) by Pedro Étienne Solère, modern edition for wind ensemble by Craig Dabelstein.
Available as part of Maxime's Music's series of compositions inspired by Napoleon.

Product Description

Chant de la Bataille d’Austerlitz
I. Grande Marche
II. Pas Redou­blé
Pedro Éti­enne Solère (1753–1817)
Mod­ern edi­tion by Craig Dabel­stein (1973–)

Date: c. 1805–1806
Instru­men­ta­tion: Wind Ensem­ble (Picc/Fl 1.2, Eb Cl 1.2, Bb Cl 1.2, Bsn 1.2, Hn 1.2, Tpt, Tbn, Tba, Sn Dr, Bs Dr, Cym)
Dura­tion: 4:40
Lev­el: 4

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Notes on Solère, Chant de la Bataille d’Austerlitz

Pedro Éti­enne Solère (1753–1817) was a French com­pos­er, music edu­ca­tor and clar­inetist. By the age of four­teen he was already an advanced clar­inetist and per­formed in the music corp of the infantry reg­i­ment. He lat­er stud­ied in Paris with Michel Yost. His fame spread inter­na­tion­al­ly on con­cert tours in Italy, Spain and Rus­sia. Solère was appoint­ed as first clar­inet in the King’s orches­tra, and was Pro­fesseur de Musique à l’A­cadémie Impéri­ale de Musique. Solère’s com­po­si­tions include an Over­ture for the bands of the French Rev­o­lu­tion, five pub­li­ca­tions of march­es for band, and much clar­inet music pub­lished between 1793–1800.

Nico­las Dahlmann (1769–1807), to whom this work is ded­i­cat­ed, was a French cav­al­ry gen­er­al (Colonel Com­man­dant les Chas­seurs à Cheval de la Garde de Sa Majesté l’Em­pereur et Roi d’I­tal­ie) of the Napoleon­ic wars and the son of a trum­peter. So revered was Dahlmann that upon his death, Napoleon grant­ed his wid­ow a pen­sion of 6,000 francs and in 1811 accord­ed his only son the title of Baron de l’Em­pire at the age of ten. On the instruc­tions of Napoleon, Dahlman­n’s heart was embalmed and tak­en to Paris where it was placed at rest in the Pantheon.

The Bat­tle of Auster­litz in 1805, also known as the Bat­tle of the Three Emper­ors, was one of Napoleon’s great­est vic­to­ries and is con­sid­ered a tac­ti­cal masterpiece.

Craig Dabel­stein