Bartok's Original was created in 1915 as a seven-part piano suite based on his own folk song collections in Transylvania, today Romania. This was followed by another version for small orchestra. Here is a version for youth orchestra with facilitations and changed keys. Some sections were repeated with modified instrumentation to increase the effect. A large number of percussion instruments (3 players) accentuate the rhythmic element and bring further colours of sound into play.

Level: medium - advanced

1. Jocul cu bâta, 2. Brâul (02:30), 3. Pe Loc (03:05), 4. Buciumeana (04:00), 5. Poarga românesca (05:25), 6. Mâruntel (06:03), 7. Mâruntel (06:35)

A fine example of a classical slow movement, here in a version for youth orchestra. The original key has been shifted from D major to G major.
Also included in the four-movement arrangement "Mozart meets Beethoven".

Level: medium - advanced

The original was probably composed in 1793 and was most likely intended as the final movement of the octet op. 103. In the instrumentation (2 Ob, 2 Kl, 2 Fg, 2 Hrn) the two natural horns are particularly striking: they are virtuosic, almost concertante.
In this arrangement, the added strings serve partly to amplify the wind instruments, but also to structure and colour the arrangement. The horn parts have been normalized. The result is a melodically catchy piece with a rondo character and classical cut.

Level: medium - advanced 

Five pieces from "Carmen".

Level: medium - advanced.

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"Les Dragons d' Alcala" aus "Carmen"

Level: medium - advanced.

Adagietto from L'Arlesienne 1.

Level: medium - advanced.

Menuetto from L'Arlesienne 1.

Level: medium - advanced.

Hungarian dances No 1, 3, 10.  

Level: medium - advanced.

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This movement begins with a marching, quaternary theme in a two-quarter beat. Later on, it becomes a waltz idea that does justice to the dance title. After a recapitulation of the first theme, the piece ends in an exuberant waltz finale.

Key: CMaj, Level: medium - advanced, duration: 02:48

This piece, a cheerful march, comes with a springy pace. A bright-sounding theme in the upper voice is contrasted by a falling bass line. In the middle part it calms down a little, in order to rush towards a festive conclusion in the following Da Capo part. The modified key and other subtleties facilitate the piece and make it playable for a youth orchestra.

Key: CMaj, Level: medium - advanced

The motif of flowing water - an important aspect of Impressionism - is represented by numerous 16th notes in various voices. The first main lyrical theme is contrasted by a second thought (rigoroso). The increase in movement in this section ebbens towards the end (resumption of the main theme). A new key and other elements make this beautiful piece suitable for your orchestra.

Key: BbMaj, Level: medium - advanced

The original composition for piano for four hands from the composer's early phase in a version for youth 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. It was facilitated by new keys and other subtleties.

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After a shawm-like introduction by 3 woodwinds the first, slightly modally colored main theme starts in the high strings. Also the 2nd theme has a modal tendency, it is presented in tenor presentation. The altogether lovely piece in three-quarter time ends with the resumption of individual theme fragments in the pianissimo.

Key: FMaj, Level: medium - advanced

This version contains the first three Polovtsian-Dances from Borodins opera Prince Igor, finished by the ritornell of the entrance. The important english horn was replaced by the alto sax. Many facilities make this arrangement playable for a youth orchestra.

level: medium - advanced

Alexander Borodin: 3 Polowetzer Tänze

Intermezzo from L'Arlesienne 2.

Level: medium - advanced.

Menuetto from L'Arlesienne 2.

Level: medium - advanced.

The late, eight-part choral work in a version for youth orchestra. Brahms refers to the multi-choral compositions of the early baroque period (Venetian era). The dense, imitative movement stands for seriousness and solemnity. The transfer to the instruments of the orchestra lends colour to the voices and structures the work.

1. Unsere Väter - 2. Wenn ein starker 02:20 - 3. Wo ist ein so herrlich Volk 04:50

Level: medium - advanced

The main theme begins with powerful, pounding steps in a harsh minor. It is contrasted by a lyrical secondary theme in the major parallel. After the resumption of the main idea in a somewhat softer manner, a further side theme is heard, set in third and sixth parallels. Toward the conclusion, the themes are taken up again and again, ending elegiacally broadened.

The key has been shifted from D minor to C minor, and some relief has been provided by the instrumentation.

The striding main theme is introduced in a strong horn sound, interrupted by soft interjections from the woodwinds. A more agitated episode in the full orchestra follows before the main theme is heard again, with further episodes leading to the solemn conclusion and an ending in pianissimo. The original keys are retained, with some relief provided by the orchestration.

In a dance-like style - like a polka - this piece comes along. The tempo is quite fast. Although in the minor key, the character is joyful and propulsive.
A slow, lyrically voiced middle section in the parallel major key brings a nice contrast. The finale is a reprise of the opening with a new ending. The original keys have been retained, with some relief provided by the instrumentation.

This legend is also composed in A-B-A form. A lyrical opening theme, first alternating in the strings, is later taken up by the winds and finally brought to a quiet conclusion by strings and winds alternating. There follows a more animated middle section with some climaxes before the opening theme is taken up again as a shortened recapitulation. The very important harp part is also included in the piano part. The key has been lightened (A flat -> G).

The famous Habanera (original for piano solo and in written in Db maj) in facilitatd version. By a changed key (Cmaj) and further details this wonderful work will be playable also by a youth orchestra.
The authentic meticulous instrumentation of Chabrier was retained however. This piece is a fine example of the Spanish genre which was so popular in the works of French composers in the 19th and early 20th centuries.

3 little compositions of the French organ master an director of the Paris Conservatory, originally written for piano and instrumentated by himself. This version for youth orchestra leans against the original arrangement. It's facilitated by changed keys and extended instrumentation.

Level: medium-advanced

A delicate elegiac theme in major opens the piece, broadens toward the end, and is taken up again in motivic detail. In between, a rhythmically concise minor idea with a broad opening to the major dominates the field. All in all, compared to the original orchestral version, well playable due to some simplifications and instrumental variations. The original key has been retained.

A Pastorale with bucolic main theme, an energetic Polka, the calm, swaying Sousedská, a slow Romanza in nine-eight time and the Furiant with rhythmic activity, partly hemiolas: this is Dvorák's Czech Suite op. 39. 
This version was facilitated by new keys and changed instrumentation. More informations with the single movements.

Level: medium - advanced

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The present legend is composed in the A-B-A form. A dramatic movement of eighth-note triplets dominates the outer sections. The main theme is strongly contoured, partly in octaves as well as imitative. The middle section is predominantly lyrical in thought, with the woodwinds predominating. The important harp part should be occupied, it can also be taken over by the piano. The keys have been transposed from C sharp minor/D flat major to D minor/D major.

Fauré wrote or revised the six short pieces for four-hand piano between 1893-96. Occasions were the birthdays or other events in the life of the little daughter of the composer, called "Dolly". The chosen 4 pieces were adapted in keys and playability to a youth orchestra.

Berceuse 000,  Mi - A - Ou (2:30),  Le Jardin de Dolly (4:35),  Le Pas Espagnol (7:16)

Level: medium-advanced.

Introduction and first appearance from the ballet "Coppelia" for large youth orchestra. After the lyrical prelude with the dominant sound of the horns and bassoons, a transition with the Mazurka rhythm follows. After that, the large, multi-part Mazurka is added, which is partly dominated by the entire orchestra. Structure is achieved by using lighter instrumentation and less dynamics. The altered key and further details make this arrangement playable for a good youth orchestra.

Level: medium - advanced.

Well known and energetic is the opening dance. The virtuous sections of the original are facilitated and now playable just for your orchestra.

Level: medium - advanced.

A buoyant and gently piece with a gloomy middle section which comes to a culmination in a mighty fortissimo. It's based on the original instrumentation of Brahms.

Level: medium - advanced.