Fiddle-Faddle for Strings with Piano (opt.) Cover Image

Fiddle-Faddle for Strings with Piano (opt.): Conductor Score & Parts

$50.00 USD
$50.00 USD
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Fiddle-Faddle for Strings with Piano (opt.) Cover Image
Fiddle-Faddle for Strings with Piano (opt.): Conductor Score & Parts

Fiddle-Faddle for Strings with Piano (opt.): Conductor Score & Parts

By Leroy Anderson

Item: 36-A908190
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Description
Like many of his works, Leroy Anderson (1908-1975) wrote Fiddle-Faddle on a commission from Arthur Fiedler of the Boston Pops Orchestra in 1947. Originally written for string orchestra, the title of the work came first, and the music followed. Fiddle-Faddle was conceived as similar to Paganini's Moto Perpetuo, except in a modern style. Very much a violin feature, this string orchestra version was followed the next year by a transcription for full orchestra. An American Pops classic in its original scoring, this work is part of the Anderson Classics Series by E.F. Kalmus. A count of 8-8-5-5-5 strings, along with an optional piano part, is included in the set.

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Additional Details
Series: Kalmus Leroy Anderson Orchestra Series
Publisher: Keiser Productions, Inc.
UPC: 660355007668
SKU: 36-A908190
Instrumentation: Piano Solo (opt.), String Orchestra (8-8-5-5-5 in set)

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908-1975) was an American composer and conductor who became synonymous with the Boston Pops Orchestra. Trained at Harvard University and in Europe, Anderson developed a gift for crafting accessible, melodically inventive works that entertained without sacrificing musical craft. His prolific catalog includes over 140 compositions, many commissioned by conductor Arthur Fiedler, and his music remains a staple of American popular concert programming.

Anderson's compositional voice was distinctly modern yet rooted in classical tradition. He brought orchestral sophistication to light music, creating pieces that delight audiences while offering genuine musical substance for performers. His works continue to be performed worldwide and remain central to the pops and light classical repertoire.

Why we love this

Fiddle-Faddle captures everything audiences love about Anderson's style: sparkling orchestration, infectious rhythmic energy, and a clear structural arc that keeps listeners engaged. The string writing is genuinely idiomatic without being technically prohibitive, making it accessible to advanced high school orchestras and community ensembles while still offering rewarding challenges. Programming this piece alongside more serious repertoire lifts the entire concert and reminds everyone why pops concerts matter.

What to expect

Fiddle-Faddle sparkles with wit and buoyant good humor. Built on a perpetual-motion principle reminiscent of Paganini but clothed in 20th-century orchestral color, it bounces forward with irresistible energy while maintaining structural clarity. The piece feels both contemporary and timeless, sophisticated yet instantly accessible.

Who it's for

This work suits advanced high school string orchestras, college and university ensembles, and community orchestras seeking engaging, audience-friendly repertoire. Conductors building pops-style programming or seeking a showpiece for a solo violinist will find both musical substance and commercial appeal here.

How to get the most out of it

  • Establish the perpetual motion early in rehearsal as a unified rhythmic concept rather than individual part execution. Lock the ensemble's understanding of the pulse before refining articulation or dynamics.
  • Balance the violin feature promininely without letting it overshadow the rhythmic drive of the lower strings. The accompaniment figures deserve clarity and precision to maintain the piece's sparkle.
  • Shape the contour in waves rather than playing straight through. Anderson's melodies breathe in natural phrases, and allowing slight flexibility in tempo through sections keeps energy alive without losing propulsion.
  • If using the optional piano part, ensure it sits comfortably in the overall texture. The piano should enhance accompaniment without competing with the string foundation.

How to use it

Position this piece as a concert centerpiece or an energetic closer alongside heavier symphonic work. It pairs beautifully with other Leroy Anderson compositions and works equally well as the lighter half of a mixed-format pops concert. The built-in appeal to audiences makes it a natural choice when you want to expand your concert's reach beyond traditional classical listeners.

Skills your students will build

  • Maintaining rhythmic precision in fast perpetual-motion figures
  • Coordinating rapid articulation across full ensemble
  • Balancing solo and accompaniment roles within string sections
  • Shaping phrasing in light music without losing forward momentum
  • Responding to conductor's refinements in dynamics and texture

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