Bachs well known Rondo of the 2nd violin concerto in a version for 2 flutes (or oboes, clarinets in Bb) and string orchestra. The piece will be well playable by a youth orchestra as a result of essential improvements (Key FMaj instead of EMaj,, time signature 3/4 instead od 3/8). The skillful division of the solo part to two instrumentalists will be linked with less effort to the single player.

Level: medium

The well known ans very popular composition in a version for string orchester.

level: medium

In this version for horn and string orchestra the 6 late song compositions of Johannes Brahms get an absolutely new and surprising sound. The original song texts are visible in solo part and score.

Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.

In this version for clarinet or viola and string orchestra the 6 late song compositions of Johannes Brahms getan absolutely new and surprising sound.
 

Audio examples CLARINET
Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.

Audio examples VIOLA
Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.

In the version for mezzo sporano, alto or baritone and string orchestra, the 6 late song compositions by Johannes Brahms are given a completely new and surprising sound. Most of them are in the original keys for lower voices.

Audio examples FAGOT

In this version for soprano and string orchestra the 6 late song compositions of Johannes Brahms an absolutely totally new and surprising sound.

Audio examples CLARINET
Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.
 

In this version for cello / horn and string orchestra the 6 late song compositions of Johannes Brahms get an absolutely new and surprising sound. The original song texts are visible in solo part and score. New edition in altered keys.

Cello
Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.

Horn

Feldeinsamkeit op. 86,2,Immer leiser wird mein Schlummer op. 105,2,Nachtwandler op. 86,3,Sapphische Ode op. 94,4,Wie Melodien op. 105,1,Wir wandelten op. 96,2.

Waltzes well playable in changing temper, sensible facilitated keys and colourful instrumentation. The only orchestral composed pieces were chosen from the 16 originals (four-handed piano).

Level: medium

Johannes Brahms wrote his last chamber music work, the E-flat major Sonata, op. 120, 2, three years before his death for the clarinetist Richard Mühlfeld. The fact that he published it alternatively for viola had to do with the then still noticeable lack of good wind players.

Johannes Brahms wrote his last chamber music work, the E-flat major Sonata, op. 120, 2, three years before his death for the clarinetist Richard Mühlfeld. The fact that he published it alternatively for viola had to do with the then still noticeable lack of good wind players. The work consists of three movements. After a lovely opening movement in quiet Allegro, there follows a Scherzo in E-flat minor, with a
very song-like middle section in B major. The finale is a set of variations (theme and 6 variations) in Andante cantabile. Some of these are very developed character variations. The version with string orchestra transfers the piano movement to the manifold possibilities of an orchestra and forms completely new tonal aspects of this wonderful composition.

Clarinet: Viola:

Well known and energetic is the opening dance. The virtuous sections of the original are facilitated, the key is retained.

Level: medium - advanced.

Not as well known as No. 1, 5 or 6, but no less lively and colorful. The original key (F sharp minor) has been moved to G minor, making it easier to execute. It is also more favorable for execution by strings.

level: medium - advanced

A cheerful, light piece with a rather gloomy middle section that reaches its climax in a loud fortissimo. Some facilitations are present.

level: medium - advanced

The surely best known dance of this sequence, with some facilities. Retained were the distinctive character and the usual key Gmin.

Level: medium - advanced

This well known dance has the original key Dbmaj and ist mostly played in Dmaj. Here a version in Cmaj, which is a bit more favorable from a play technical point of view.

Level: medium - advanced

The original key Amaj was transposed to Fmaj. Some facilitaties of notation were added, whereby the rhythmical and distinctive dance character survived.

Level: medium - advanced

In this version for soloinstrument and string orchestra the 6 christmas songs of  Peter Cornelius get an absolutely new and surprising sound. Also included are the first two versions of "The Shepherds" and "The Kings".

1.Christbaum, 2a. Die Hirten (1:40), 2b. Die Hirten (2:55) , 3a. Die Könige (4:51), 3b. Die Könige (6:04), 4. Simeon (8:22), 5. Christus der Kinderfreund (10:40), 6. Christkind (13:02).

In this version for soprano and string orchestra the 6 christmas songs of  Peter Cornelius get an absolutely new and surprising sound. Also a choral performance of the solo voice is possible.

Contained: "Christbaum", "Die Hirten", "Die Könige", "Simeon", "Christus der Kinderfreund", "Christkind". Additionally the both initial versions of: "Die Hirten" und "Die Könige".




 

In this version for cello and string orchestra the 6 christmas songs of  Peter Cornelius get an absolutely new and surprising sound. Also included are the first two versions of "The Shepherds" and "The Kings".

1.Christbaum, 2a. Die Hirten (1:40), 2b. Die Hirten (2:55) , 3a. Die Könige (4:51), 3b. Die Könige (6:04), 4. Simeon (8:22), 5. Christus der Kinderfreund (10:40), 6. Christkind (13:02).

In this version for mezzo soprano/alto or bariton and string orchestra the 6 christmas songs of  Peter Cornelius get an absolutely new and surprising sound. Also included are the first two versions of "The Shepherds" and "The Kings".

1.Christbaum, 2a. Die Hirten (1:35), 2b. Die Hirten (3:07) , 3a. Die Könige (5:13), 3b. Die Könige (6:25), 4. Simeon (8:40), 5. Christus der Kinderfreund (10:58), 6. Christkind (13:03).

Claude Debussy composed his two booklets Préludes pour piano (Preludes for Piano) between 1910 and 1913. The total of 24 pieces for piano usually have a poetic title that refers to the respective mood and peculiarity of the piece, and represent self-contained musical character pieces.

This version contains 5 selected titles that seem particularly suitable for an orchestral realization. Included: 01 Danseuses de Delphes, 02 Voiles, 06 Des pas sur la neige, 08 La fille aux cheveux de lin, 10 La cathédrale engloutie

The original composition for piano for four hands from the composer's early phase in a version for string orchestra. First of all, a lyrical piece in which the motif of flowing water is translated. Then a merry entry march, followed by a light movement with a modal tendency in three-quarter time. At the end, a dance-like piece that alternates between two quarter and three-eighth bars. Memorable themes, striking rhythms and colourful harmonies define the work. 

The four-movement suite from 1890 (published in 1905) was written for piano; three movements are reminiscent of the 18th century, the time of the Clavecinists, in terms of title and style. An exception is the very well-known "Clair de lune," a character piece that foreshadows Debussy's later turn toward Impressionism. In this version for string orchestra, the original keys of movements 1 and 2 are retained; in 3 and 4, transpositions of a minor second have been made for technical reasons.

Dvorak opens the first collection of his Slavonic dances opus 46 with a Furiant (fast dance in three-four time with inserted hemiolas). The arrangement for string orchestra is based on the original, but brings some relief through a new key (B flat major instead of C major), slightly changed setting.

Level: advanced

The 2nd dance from op. 72 is a Starodávny (slow dance in 3/4 time, "in the old style"). The original E minor was changed to G minor, simplifications in instrumentation and setting facilitate the arrangement.

Level: advanced

For the fifth dance from op.72 Dvorak chooses a "Spacirka". The first part is solemnly walking, followed by a cheerful jumping dance. Both groups can be heard twice in a row. In this arrangement the keys were simplified (Bb minor to B minor, F sharp minor to G minor) and some changes were made to the setting . This makes this version much easier to play than the original.

Level: advanced

After the great success of the Slavonic Dances op. 46 from 1878, Dvorak composed a new series in 1886. Here from it the last piece, a Sousedská (medium-fast Bohemian folk dance in 3/4 time). The present arrangement for string orchestra uses a new key (G instead of A flat).

Level: advanced

'Aquarellen' (= watercolours) by Niels Wilhelm Gade (composed 1850) are ten romantic, atmospheric pieces for piano of quite different character. In the present version for small youth orchestra the individual characteristics are clearly emphasized and set apart from each other. The original keys are partly changed, playing techniques are adapted to special techniques of the orchestra.
An absolutely new arrangement, which helps this beautiful opus to its deserved fame.

1. Elegie -1:17, 2. Scherzo - 2:25, 3.Kanzonette -4:04, 4. Humoreske -5: 11
5. Barkarole - 1:50, 6. Capriccio - 3:48, 7. Romanze - 5:30
8. Intermezzo - 1:05, 9.Novelette -2:56, 10. Scherzo - 5:15

The selection of six solo songs creates a link from lively serenity over irony until to solemn severity. In this version for clarinet or viola and string orchestra the selected song compositions get a sharply contoured sound.

1.Abendempfindung, 2. An Chloe (4:22), 3. Ridente la calma (7:00), 4. Sehnsucht nach dem Frühling (9:57), 5. Un moto di gioja (10:2), 6 Warnung (10:38).

The selection of six solo songs creates a link from lively serenity over irony until to solemn severity. In this version for mezzo soprano or alt and string orchestra the selected song compositions get a sharply contoured sound.