After a Dream: String Orchestra Conductor Score & Parts

Doris Preucil's arrangement opens a masterwork to orchestras where violas often lack meaningful solo material. The Impressionistic harmony remains intact while the orchestration creates genuine dialogue between soloist and ensemble, rewarding both your featured player and the supporting strings with active, musical parts.

Fauré's dreamlike Impressionism unfolds in gentle, luminous harmonies that seem to float weightlessly. The melody emerges like a half-remembered reverie, tender and introspective, supported by shimmering orchestral colors that shift subtly beneath the solo voice.

String orchestras with developing viola soloists who need substantial repertoire beyond student-level pieces. Directors seeking to highlight their violas in a concert context will find this particularly valuable, as it delivers musicianship and audience appeal without requiring advanced technical facility from the soloist.

• Balance the solo line so it sings above the accompaniment without the ensemble drowning it out; string orchestras tend toward homogeneous blend, so isolate the soloist slightly in rehearsal to establish clear hierarchy.
• Attend to Fauré's subtle dynamic shifts and voice leading in the accompaniment figures; secondary lines carry expressive weight and shouldn't flatten into pure textural support.
• Shape the piece in long, singing phrases rather than individual measures; Romantic lyricism requires trust in the line's architecture and patience through moments of harmonic suspension.

Schedule this as a feature for a concerto or chamber night, pairing it with other French Romantic strings to create a thematic program. It also serves as an elegant transition piece in a broader concert, providing breathing room and lyrical contrast between more structurally ambitious works.

• Sustaining long singing lines with consistent vibrato and tone quality
• Balancing as a soloist within ensemble texture
• Interpreting Impressionistic harmony and phrasing in string music
• Reading and responding to subtle dynamic and expression markings
• Ensemble coordination between solo and accompaniment voices