*String Orchestra*
Bach: Fantasie & Fugue in A Minor. (6′)
This transcription has three violin parts like the third Brandenburg Concerto. The Fantasie has a grandeur balanced by the lyricism of the Fugue.
Passacaglia & Fugue in C Minor BWV 582 (5′)
Originally for either Cembalo or Organ the Passacaglia flows into the Fugue without a break in which the subject the bass of the Passcaglia are treated contrapuntaly.
Dowland: Divers Dowland (My title) (10′)
From his twenty-two Lachrimae or Seven Tears figured in seven passionate Pavans with divers other Pavans, Galiards and Almands, five have been transcribed for string orchestra or quintet (1st.& 2nd. Violins, Viola, 1st. & 2nd. Cellos and optional Double-Bass). A 3rd. Violin may substitute for the 1st. Viola with the 1st. Cello taking the 2nd. Viola part. Being in a totally different idiom from the music of later periods, these pieces make a valuable addition to the string repertoire.
M. John Langton’s Pavan
M. Bucton’s Galiard
M. George Whitehead His Almand
M. Henry Noel His Galiard
The King of Denmark’s Galiard
Elgar: Malvern Music (My title) (6′)
Idylle Opus 4 No.1
Pastourelle Opus 4 No.2
Virelai Opus 4 No.3
These three pieces, originally for Violin and Piano were composed when Elgar was still a violin teacher in Malvern and exemplify his burgeoning skill as a composer. Myer Fredman has arranged them for string orchestra or quartet incoporating Elgar’s own bowing and fingering. The original solo violin part has been divided between the 1st. and 2nd. Violins to enable both sections to enjoy his writing. The Idylle was inspired by a romantic holiday in Scotland and dedicated to a young lady whose initials were the same as his own! Pastourelle is redolent of the undulating English countryside while Virelai is another example of his fondness for riddles: a Virelai (old French lyric poetic style) had two rhymes to a stanza variously arranged, but as Elgar’s Virelai is without a text, the title remains an enigma! During his early years he tried to sell his compositions by using French, German or Italian titles as England was still “Das Lande ohne Musik” hence the dedication to a Malvern friend and the title, Virelai were in French!
Elgar Songs without Words (My title) (8′)
Many a dusty mile (Opus 45 No. 3)
O Happy Eyes (Opus 18 No. 1)
My love dwelt in a Northern Land (Opus 18 No. 3)
As torrents in summer (from King Olaf Opus 30)
Elgar composed many choral part songs in which the very lyrical music rarely extends beyond the stave thus providing excellent material for young string orchestras (and optional Double-Bass) or string quartet though the third song requires a sextet.
Many a dusty mile has antiphonal solos for Cello and Viola. O happy Eyes has a serenity inspired by his love and affection for his wife Caroline Alice who composed the text. My love dwelt in a Northern Land in A minor has a feeling of nostalgia with a soaring duet in octaves for Solo Violin and Viola in the major key by way of contrast. As torrents in summer has a chorale like quality that lingers long in the memory.
Handel: Chaconne in A major (6′)
Handel incorporated this Chaconne in two Partitas as well as the Serenata Parnasso in Festa. It opens majestically and develops exuberantly before a calmer interlude in the minor key.
Mozart: Mozart in London K.15 (my title)
Mozart lived in London for a considerable time with his sister and father who hoped to find much needed patronage for his family. While there, the eight year old Amadeus composed a Skizzenbuch (Sketchbook) consisting of forty pieces for keyboard in various keys, time signatures though many were for treble and bass only.
Twenty three of the most suitable have been extracted, their harmonic structure realised, in these arrangments for string orchestra (with optional double bass) or string quartet. Only one of the sketches has a tempo indication (Presto) so the other tempi in brackets and the phrasing and dynamics are editorial suggestions.
Some of the pieces being very short (i.e. 38 measures with repeats), a sequence of two or three of them might be considered as a quasi menuet and trio depending on key structures and time signatures.
A 3rd. violin can be substituted for the viola in some of the pieces or performing them as a woodwind or mixed ensemble.
Tchaikovsky: Suite for Strings (my title) (15′)
Valse Opus 40 No. 9
Romance Opus 5
Polka Opus 9 No. 2
Dance Russe Opus 40 No.1
Originally composed for piano this Suite comprises the Valse in F sharp minor (unusual key for a waltz) with a middle section in A major in which a flowing melody straddles the bar lines. The Romance in F minor has an oriental flavour with a distinctly martial middle section. Polka and Dance Russe are typical Tchaikovskian vivacious dances.
Tchaikovsky: Album for the Young Opus 39 (10′).
From his twenty-four pieces for young pianists, he has arranged nine for young string orchestras as they provide excellent educational material either for string orchestra (with optional double-bass) or for quartet encompassing a wide range of tempo, rhythm, mood, figuration and colour.
March of the wooden soldiers (Tempo di Marcia)
Dolls’ Funeral (Grave)
Kamarinskaya (a village dance usually performed at weddings).
Neapolitan Song (With a strong rhythmic impetus)
Old French melody (A simple cantabile melody)
The little Horseman (Galop)
Polka (Allegretto)
Valse (Vivace)
Baba Yaga (A witch)
*String Ensemble: (Quartet/Quintet/Sextet)*
Dowland: Divers Dowland (see String Orchestra above)
Elgar: Malvern Music (see String Orchestra above)
Songs without Words (See String Orchestra above)
Tchaikovsky Album for the Young (See String Orchestra above)
*Full Orchestra*
Elgar Sursum Corda Opus 11. (8) Orchestra: 2/2/2/2: 4/2/3/1: Timp/Strings.
After visiting Bayreuth, Elgar’s music began to take on darker hues as in this work described by Jerrold Northrop Moore – the eminent Elgar scholar – as “aspiration ennobled within darkening nostalgia”. As Elgar composed the work without any woodwind but with an Organ, Myer Fredman has orchestrated it so that community orchestras can relish playing this noble piece.
*Opera (without voices)*
Donizetti: Elisir d’amore. Suite Pastorale. (My title)(20)
Orchestra: 2/(2nd d.Picc./2/2 Clarinets/ 2:2/
2/3(optional): Timpani/ Percussion (optional):Strings.
Preludio: Scena: Scherzino; Concertino: Romanza: Finale
The Preludio has a pastorale flavour with a middle section for solo clarinet and horn. Scena has a waltz like character alternating with an exuberant country-dance. The the middle section of the vivacious Scherzino is dominated by a solo clarinet while the original Duet has been arranged as a ‘Concertino for Violin and Orchestra’. The Romanza is the famous aria “Una furtiva lagrima” transcribed for a solo oboe with the original harp part cued in the lower strings. The Finale is in two sections, the first being an elegiac Larghetto highlighting the woodwind which leads into an exciting Allegro Vivace to conclude the Suite.
Mozart Idomeneo. Suite from the opera (18′)
Orchestra: 2/2/2/ 2: 2 /2:Timpani: Strings.
Overture
Concertante ( Solo Clarinet/Fl./Ob./Fg./Cor.
Drama (full orchestra)/Aria for Viola or Cello
Aria for Flute
Arietta for Oboe
Marcia.
The very dramatic Overture oscillates between D major and minor. The Concertante (my title) for Clarinet and Mozart’s original obligati for the other woodwind instruments. The Drama (my title) for full orchestra is powerful and dissonant befitting the drama at this point followed by an Aria for Viola or Cello interwoven with Mozart’s own pizzicati in the upper strings and the chromatic woodwind in thirds and sixths. The Arietta is for flute with string accompaniment while The Arietta has a beautiful middle section for oboe solo of what was originally a serene choral movement. The exuberant Marcia with gurgling woodwind, trumpets and drums makes a fitting conclusion.
Puccini: Souvenir of Boheme.
Orchestra: 2/2/2/2: 4/2/3:Timpani/Percussion: Harp/Strings.
Three movements have been extracted from the opera without alteration to Puccini’s orchestration though the cor anglais and bass clarinet parts are cued in other parts for orchestras that don’t have those instruments.
I The opening of Act 1 leading into the duet scene for Mimi and Rodolfo.
II Musetta’s Waltz originally composed as a piano piece then orchestrated for brass
band (to launch a battleship) and the closing Stage Band.
III The Ruolfo/Marcello duet in Act 4 followed by the entrance of Mimi and Musetta and the closing pages of the opera.
*Wind Symphony Orchestra*
Puccini: La Boheme (Two movements)
Ensemble: Flutes, Oboes, E flat Clarinet. Clarinets, Bass Clarinet, Bassoons, Saxophones, Horns,Trumpets, Euphonium, Trombones, Tuba, Timpani, Percussion.
I. The Lovers.
II. Street Scene.
The first movement is the opening of Act 1 flowing into the scene between Mimi and Rudolfo. The second movement is the opening of Act II followed by Musetta’s Waltz and the band music that concludes the act.
Elgar: Sursum Corda Opus 11.
Ensemble: Flutes, Oboes, E flat Clarinet, Clarinets, Bass Clarinet, Bassoon, Saxophones, Horns, Trumpets, Euphonium, Trombones, Tuba, Timpani, Percussion.
After visiting Bayreuth, Elgar’s music began to take on darker hues as in this work described by Jerrold Northrop Moore – the eminent Elgar scholar – as “aspiration ennobled within darkening nostalgia”.