After a Dream: String Orchestra Conductor Score & Parts

This arrangement opens a door for your viola section that standard string orchestra repertoire rarely provides. Preucil's orchestration keeps Fauré's intimate, dreamy character intact while giving violists genuine solo responsibility, transforming what could be a peripheral role into one that commands the ensemble's attention and your students' commitment.

Dreamy and intimate, with a quality of longing that unfolds without urgency. The orchestration creates a shimmering, impressionistic landscape where the solo line floats naturally, supported by sustained harmonies that shift delicately beneath it.

String orchestras with developing viola players who are ready for solo exposure and directors seeking repertoire that builds soloist confidence without sacrificing musical substance. The multiple part sets make this ideal for ensembles with rotating personnel or those preparing soloists for chamber performance.

• Balance the featured viola or violin soloist within the full string texture. The accompanying parts support rather than compete; rehearse with the solo line always audible but not artificially amplified.
• Shape the melodic line across the full arc of the piece rather than phrase-by-phrase. Fauré's harmonic language unfolds gradually, so guide your ensemble to connect passages that might seem separate at first reading.
• Attend to the distinction between the three upper string parts. Violin III often doubles or shadows the viola solo, which requires clean part coordination and rhythmic precision from both sections.
• Use the conductor score's articulation markings and dynamic details as a learning tool for interpretation. These choices reveal how Preucil balanced fidelity to Fauré's voice with the needs of a young ensemble.

Program this as a feature for your principal viola or a strong section soloist, especially in spring concerts where audiences appreciate quieter, more introspective pieces. It pairs well with other string-focused repertoire and offers a welcome contrast to more energetic or technically flashy selections.

• Accompanying a featured soloist while maintaining independent musicality
• Balancing dynamic restraint with expressive phrasing in Romantic-era harmonies
• Reading and executing divisi passages across three upper string parts
• Supporting a solo melody without allowing accompanying voices to disappear into the texture