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An Occasional Suite: Concert Band, Ensemble Works Conductor Score

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An Occasional Suite Cover Image

An Occasional Suite: Concert Band, Ensemble Works Conductor Score

By George Frideric Handel / arr. Eric Osterling

Grade: 3

Item: 36-10105074

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Description
The Aria in this suite is taken from Handel's opera RINALDO, his first work in London (1710), and the March and Chorus are from one of his OCCASIONAL ORATORIOS, which were produced in 1747 - Handel's great period. Since the major part of this Suite is from the OCCASIONAL ORATORIO, it was named AN OCCASIONAL SUITE. This suite for band was arranged by Eric Osterling.

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Additional Details
Series: LudwigMasters Concert Band
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887644-4
ISBN13: 978-1-63-887644-1
UPC: 735816295493
SKU: 36-10105074
Instrumentation: Concert Band, Ensemble Works

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) was a German-born composer who made London his home and fundamentally shaped English musical life for nearly fifty years. His output spanned opera, oratorio, concertos, and instrumental works that set the standard for Baroque grandeur and emotional directness. Handel's genius lay in his gift for memorable melody, his command of orchestration, and his ability to write for both intimate chamber settings and the largest public occasions.

Handel's oratorios, which he began composing in the 1730s, became his primary focus after opera fell from favor with London audiences. The Occasional Oratorios (1746-1747) represent his mature mastery of the form, combining choral splendor with lyrical arias and sturdy marches. These works were occasionally commissioned for royal celebrations and state events, which explains their ceremonial character and broad appeal.

Why we love this

This suite distills some of Handel's most distinctive writing into a Grade 3 package that actually rewards careful playing rather than coasting through familiar material. Osterling's arrangement respects the original harmonic language and melodic contours while giving the band parts genuine shape. It's the kind of masterwork transcription that teaches musicians something about phrasing and style that goes beyond the notes on the page.

What to expect

Stately and ceremonial, yet warmly lyrical. The Aria carries the intimacy of Handel's vocal writing, while the March and Chorus project the grandeur of court music and state occasions. Together they create an arc from contemplative elegance to public splendor, all grounded in Baroque clarity and directness.

Who it's for

Concert bands at the Grade 3 level who want to engage with genuine Baroque masterworks without oversimplification. Directors seeking repertoire that sounds substantial and elegant while remaining accessible to developing ensembles will find this suite offers real musical content and audience appeal.

How to get the most out of it

  • Shape the Aria's long melodic lines as you would in a vocal solo; Handel wrote for singers, so let the melody breathe and avoid chopping phrases into fragments.
  • Maintain crisp articulation in the March without letting it become mechanical; this is ceremonial music with forward momentum, not a military drill.
  • Balance the chorus texture so soloists or featured sections project clearly over the ensemble; Handel expected clarity of line even in full sonority.
  • Watch for the harmonic rhythm shifts between sections; Baroque phrasing often hinges on the arrival and departure of key areas, not just tempo changes.

How to use it

Program this as your opening or closing work on a concert that needs gravitas without sacrificing accessibility. It pairs well with contemporary band works on a mixed program, or use it as the centerpiece of a concert exploring Baroque and Renaissance influences on modern band writing.

Skills your students will build

  • Phrasing lyrical melodies in the Baroque style
  • Balancing harmonic texture to highlight melodic lines
  • Executing clean articulation in moderate tempos
  • Understanding ceremonial music and formal structure
  • Reading and responding to Baroque harmonic rhythm

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