Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969) the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident above all in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations emblematic for the whole piece and based on a constant pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante) while retaining its concertato charakter is at the same time an example of the composers ability to create emotionally serene lyrical moods and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music the constant mutabilityof the tonal situations and the sophisticated acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska translated by Ewa Cholewka]

Full Score-The Swan by Saint Saens is one of the most recognizable themes of the Romantic period. This arrangement for string orchestra by Lauren Keiser captures the essence of this beautiful melody while adapting it to the abilities of beginning and intermediate musicians.

Par BRANDER SIRI. Siri Brander (1866-1934) was one of the first female composers to be played by the Helsinki Philharmonic Orchestra. Elegie (originally for piano) was arranger for string orchestra by A. E. Westerlind and first performed in 1894. More than 120 years later it was recovered in the archives. The small treasure of pure salon romanticism has the duration of 4 minutes. The package includes a full score and a set of string parts (2+2.3.2.2.1)./ Répertoire / Orchestre à Cordes

The engaging theme from this piano classic is instantly recognizable and your students will love its dark forboding quality. Chromatic triads against a prominent bass line are trademarks of Rachmaninoff and his distinctive late Romantic style. Dur: 4:00

für zwei Violinen und Viola oder drei Violinen-'This work brings me as much pleasure as if I were writing a major symphony...'. This was how Dvorak communicated to his publisher Simrock the joy he felt while working on Op.75a (Miniatures for Two Violins and Viola) and he immediately set about reworking it for Violin and Piano giving it a new title Romantic Pieces. The four short movements fully evoke the atmosphere of home music-making for which it was written. The Czech edition goes by the title Drobnosti (Miniatures) and is accompanied by a short Gavotte dated 1890 and also written in a simpler style for three Violins. This title is part of the first Complete CriticalEdition of Works by Antonin Dvorak.

Brooding melodies that rise like mist over dark, churning chords, give way to a warm, yearning section, returning for a rousing finish. The lush, romantic sound and the dramatic expressiveness thrill while technical development includes 16th notes, chromatics, and shifting. (4:30) / Orchestre A Cordes

This seamless medley of the most popular overture themes from the Classical and Romantic periods---a veritable music history listening lesson---will be a sure-fire hit on any concert program. Scored in D-major throughout, the grade 3 arrangement by Douglas E. Wagner presents many teachable moments with style, balance, dynamic control, articulation, and interpretation. In order of appearance, the themes included are: '1812 Festival Overture' (Largo) by Tchaikovsky - Overture to Zampa by Herold - Overture to The Barber of Seville by Rossini - Overture to The Magic Flute by Mozart - Overture to The Marriage of Figaro by Mozart - Overture to Poet and Peasant by von Suppé - Overture to The Merry Wives of Windsor by Nicolai - Overture to William Tell by Rossini - Overture to Die Meistersinger by Wagner - Overture to Light Cavalry by von Suppé - Overture to Orpheus in the Underworld by Offenbach - 'Academic Festival Overture,' by Brahms - and '1812 Festival Overture' (Allegro vivace) by Tchaikovsky. (3:30) / Orchestre A Cordes