Classical Selections | Medium-Advanced & Advanced
Fury in the Storm—Antonio Vivaldi,
Christoph Gluck/arr. Todd Parrish. This
furioso arrangement blends two iconic
themes: the stormy Presto from Vivaldi's
"Summer" and Dance of the Furies
from Christoph Gluck's opera "Orfeo ed
Euridice." Retaining the original keys of G
minor and D minor, respectively, Vivaldi's
thunderous theme segues perfectly into
the furies' vigorous dance in the underworld
before modulating seamlessly back to
Vivaldi's summer motif. With relentless
momentum, every section gets energetic
passages that will electrify the concert hall.
11668632 String Orchestra . . MA 70.00
Gai Printemps (Cheerful Spring)—
Melanie Bonis/arr. Steve Olson. Originally
composed for piano, this French classical
arrangement for strings is a whimsical,
waltzlike character piece in D minor.
Shifting is required for first violin, cello,
and bass, while second violin and viola
may remain comfortably in first position
if desired. Most of the melodic material is
carried by the violins and violas, with the
cello joining in toward the end. Chromatic
passages, natural harmonics, and easy
double-stops for the cello add color and a
touch of challenge. Light, graceful, and full
of springtime spirit, this piece is a delightful
addition to any concert program.
11688740 String Orchestra . . MA 60.00
Ghosts of Brandenburg—Richard Meyer.
Imagine a fantasy based on all six of the
Brandenburg Concerti! This arrangement
captures the spirit of the original works, but
sets most of them in minor keys or uses
darker tones, pizzicato, and meter changes
J.S. Bach may never have imagined. This
is inventive and challenging work will take
your intermediate strings on a nine-minute
journey that will build their endurance along
with their musicality.
10050371 String Orchestra . . MA 62.00
Hebrides Overture—Felix Mendelssohn/
arr. Jason Librande. Now string orchestras
alone can enjoy this massive work of the
orchestral repertoire for contest or any
concert performance. Mendelssohn's
classic melody follows the ebb and flow
of the ocean waves as each section adds
its voice to a vivid musical portrait. The
overture requires skill in bow control and
ensemble work with advanced rhythms, but
the result is dynamic and just as compelling
as its counterpart for full orchestra.
10280407 String Orchestra . . MA 55.00
Hoe Down (from "Rodeo")—Aaron
Copland. One of Aaron Copland's most
recognized orchestral works - this string
orchestra version for advanced string
players is based on the original.
167221 String Orchestra . . . .A 45.50
Idyll, Op. 44—Samuel Coleridge-Taylor/arr.
Jeremy Woolstenhulme. A late Romantic
work from the early 20th century, rich in
lyrical expression and emotional warmth.
Written for advanced high school orchestra,
the music is pastoral and dreamlike as it
unfolds with a gentle, evocative character
throughout.
11685739 String Orchestra . . MA 72.00
The Inner Planets (Themes from
Mercury, Venus, and Mars)—Gustav
Holst/arr. Carrie Lane Gruselle. This
cleverly titled work includes three famous
themes from "The Planets." The swooping,
fluttery sounds of Mercury, the Winged
Messenger give way to the mystical tone
clusters and serenity of Venus, the Bringer
of Peace. The arrangement closes with the
iconic militant ostinato and dissonance of
Mars, the Bringer of War.
11203131 String Orchestra . . MA 80.00
L'estro Armonico—Antonio Vivaldi/arr.
Bob Lipton. Originally written as a concerto
for two violins, cello and strings, the piece
was later arranged by Bach as a concerto
for solo organ. This thoughtful arrangement
draws on both versions and showcases the
genius of these two giants.
10454281 String Orchestra . . MA 75.00
Larghetto and Allegro, Op. 6 No. 3—G.F.
Handel/arr. R. Scott Whittington. Written
in 1739, these concertos are among the
most popular pieces Handel composed
for strings. The stately Larghetto and
spirited Allegro ma non troppo make a
delightful pairing. Originally scored for
two solo (ripieno) violins and cello with
accompanying strings and basso continuo,
they have been adapted and rescored for
string orchestra. All parts are within the
abilities of intermediate-level groups and
are a wonderful way to introduce elements
of Baroque style.
11624550 String Orchestra . . . .A 55.00
Mephisto Masque (Polka Fantastique)—
Edmond Dede/arr. Steve Olson. Originally
composed for full orchestra, this string
arrangement channels the sly spirit
of Mephistopheles, making it an ideal
highlight for any Halloween concert. A slow,
expressive introduction opens into a lively
D minor polka that whirls toward a dazzling
frenzy of sixteenth notes. Technique is built
with manageable but skill-appropriate shifts
in all parts except second violin, simple
double-stops, brief artificial harmonics
for first violin, and short solo moments
for violins and cello, including an exciting
violin cadenza. Dark, energetic, and a little
devilish, this piece brings a dramatic spark
to any program.
11688743 String Orchestra . . MA 80.00
New World Symphony—Antonín Dvořák/
arr. Deborah Baker Monday. The intense
and powerful themes are provided in an
accessible adaptation that stays true to the
original. Not only an excellent vehicle for
teaching but also a top-notch selection for
festival performances.
10454944 String Orchestra . . MA 70.00
Night on Bald Mountain—Modest
Mussorgsky/arr. Eric Segnitz. Thrilling!
Well known in its full orchestra version and
from its scenes in Disney's "Fantasia," this
arrangement is scored for string orchestra
with optional piano or organ, percussion,
and timpani. A dynamic rendition that can
open or close any concert!
2473624 String Orchestra opt.
Perc.. . . . . . . . . . . . MA 50.00
Overture for Strings—Joseph Bologne/
arr. Robert Debbaut. Shaped like the
Italian opera overtures, or sinfonias, of
the early 18th century, this arrangement
follow a clear ABA design with robust
allegro outer sections framing a contrasting
central rondo. That overture-like structure
translates naturally to a string orchestra
setting, where bold opening material and
lively returns feel especially at home.
Renaming the work as an overture reflects
both its form and its dramatic, forward-
moving character.
11684473 String Orchestra . . MA 60.00
Passacaglia—G.F. Handel/arr. Robert
Frost. Originally written for keyboard, this
arrangement showcases Handel's mastery
of this Baroque form. It freely treats most
of the variations to incorporate the use of
a variety of string performance techniques.
The techniques, tempo changes, style and
position requirements for various sections
make it ideal for advancing groups.
10351222 String Orchestra . . MA 70.00
Pictures at an Exhibition: Baba Yaga
& The Great Gate of Kiev—Modest
Mussorgsky, Maurice Ravel/arr. Sandra
Dackow. A full-length arrangement faithfully
captures Mussorgsky's dramatic contrasts
and Ravel's bold orchestral colors while
being fully playable by an intermediate
string orchestra. To preserve the richness
of the original scoring, violin and cello divisi
are used throughout, along with carefully
chosen enharmonic rewrites and simplified
finger patterns to support developing
musicians. Baba Yaga features aggressive
off-the-string bowing at the frog and spooky
pizzicato effects. The Great Gate of Kiev
includes bell-like sonorities and spacious,
resonant textures along with chant-like lines
for single players without vibrato. Optional
percussion and harp parts add color and
atmosphere.
11688745 String Orchestra . MA 125.00
Saint Paul's Suite—Gustav Holst. Best
known for his full orchestral suite "The
Planets," Holst also wrote some particularly
beautiful string music. This suite is a prime
example of his writing based on folk tunes.
Unsimplified, this is a worthy piece for the
best of orchestras!
2179943 String Orchestra . . MA 80.00
Scherzo from String Quintet, D. 956—
Franz Schubert/arr. Robert Debbaut. From
Schubert's final chamber work, sometimes
called the Cello Quintet because, unlike
the standard string quintet which includes
an extra viola, this work adds an extra
cello. Completed just two months before
the composer's death, it did not receive
its first performance until 1850. The third
movement Scherzo, itself close to eleven
minutes in length, comprises two large
sections, with a repeat of the first section to
create a fast-slow-fast format. This version
for advanced string orchestra condenses
the performance time to about five minutes
while retaining all the essential melodic
mastery of Schubert.
11624556 String Orchestra . . . .A 65.00
Serenade for Strings, Op. 20—Edward
Elgar/arr. Sandra Dackow. Restraint and
emotional understatement shape this brief
serenade of remarkable intimacy, where
every note feels deliberate and deeply
personal. Subtle gestures of reaching and
withdrawal create an aching simplicity that
quietly captivates the listener. Written early
in Elgar's career, the piece later became
one of his most beloved works and helped
establish his reputation. Carefully edited
with bowings, fingerings, and performance
notes, it remains effective and expressive.
11688748 String Orchestra . . . .A 80.00
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