A Festival of Christmas: String Orchestra Conductor Score & Parts

McBrien balances accessibility with genuine musicality in this arrangement, giving Grade 3 orchestras three distinct holiday melodies that sit comfortably under the fingers while sounding polished and celebratory. The mix of traditional and contemporary harmonies keeps familiar carols fresh, and the optional percussion part invites creative programming choices without requiring it. Directors appreciate arrangements from someone who understands how young orchestras actually work and what keeps them engaged through a full piece.

Bright, energetic, and deeply festive, with the swagger of Victorian-era melody combined with modern harmonic color. The arrangements sparkle without ever feeling overstyled, letting the bones of these beloved carols remain visible while surrounding them with genuine orchestral texture and rhythmic momentum.

String orchestra directors programming a winter concert who want three familiar carols that feel fresh and orchestrally substantial. This works equally well for ensembles new to Grade 3 repertoire and for stronger Grade 2 orchestras looking for engaging holiday material with room to grow musically.

• Balance the melodic line between first and second violins during the verse sections to prevent either part from overshadowing the other; both voices carry essential harmonic support.
• Lock in the rhythmic drive of the main themes early in rehearsal, as these Victorian carols rely on steady pulse and clear articulation to convey their jaunty character.
• If you include the optional percussion part, rehearse the ensemble with that instrumentation from the start rather than adding it late; it transforms the texture and timing of ensemble entries.
• Shape each carol as a distinct movement with its own character rather than playing them as three similar pieces back-to-back; the contrasts make the medley more engaging for both players and listeners.

This is ideal as the centerpiece of a winter holiday concert, where it can anchor the second half and send audiences home in good spirits. It also works beautifully as a finale to a fall concert with a short seasonal tilt, or as the opening number for a spring concert if you want to begin with joy and energy rather than reverence.

• Maintaining steady rhythm in ensemble while navigating syncopated carving between string parts
• Balancing independent melodic voices (divisi writing) without losing ensemble cohesion
• Shaping traditional melodies through contemporary harmonic settings
• Coordination with optional percussion parts and sectional independence
• Phrasing and articulation choices that convey stylistic clarity in familiar repertoire