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Forgotten Dreams for Piano and Orchestra: Full Orchestra, Solo Keyboard with Ensemble, OS

$25.00 USD
$25.00 USD
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Forgotten Dreams for Piano and Orchestra Cover Image
Forgotten Dreams for Piano and Orchestra: Full Orchestra, Solo Keyboard with Ensemble, OS

Forgotten Dreams for Piano and Orchestra: Full Orchestra, Solo Keyboard with Ensemble, OS

By Leroy Anderson

Item: 36-A604201OS
$25.00
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Description
First published and recorded in 1954 (only included at the time on the album "A Leroy Anderson 'Pops' Concert"), this lovely piano instrumental was released as a UK single in 1957 and hit the charts in early summer. Decca then issued the track on 45 in the U.S. which enjoyed a moderate success. Anderson later recorded stereo version of Forgotten Dreams in 1959. The composition features a haunting, romantic melody and its performance is within the reach of most late-intermediate pianists. Written in D major, it contains expressive tempo variations, an animated B section, and arpeggiated chords which require a bit of stretching. Instrumentation: Piano Solo: 2.2.2.2: Saxes(AAT, opt): 4.3.3.0: Bells: Str (9-8-7-6-5 in set). 11x14 oversized score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563935-9
ISBN13: 979-889-563-9351
UPC: 612735620295
SKU: 36-A604201OS
Instrumentation: Piano Solo: 2.2.2.2: Saxes(AAT, opt): 4.3.3.0: Bells: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908-1975) was an American composer and conductor who became one of the most recorded orchestral composers of the mid-20th century. His gift for melody and orchestration made him a favorite of pops orchestras and radio broadcasts, and his works remain staples of light classical and family concert programming. Anderson's catalog spans over 150 compositions, many of which began as commercial recordings and later became concert standards.

Why we love this

Anderson's orchestration here is masterful without being showy. The piano part sits comfortably within late-intermediate reach, yet the accompaniment elevates it into genuine concert territory, giving your orchestra something memorable to play alongside a soloist who can actually execute it convincingly. This is the kind of piece that reminds audiences why pops concerts matter.

What to expect

The melody carries an unmistakable wistfulness, tender rather than tragic. The B section brightens and animates the texture, but the piece never loses its reflective core. Anderson's orchestration wraps the piano in warmth without sentimentality, creating an intimate sound even in a concert hall.

Who it's for

Pianists working at late-intermediate level who want to step into a featured role with orchestra support. Directors building pops or light classical programs will find this accessible for soloists while remaining genuinely satisfying for the full ensemble to perform.

How to get the most out of it

  • Shape the romantic A section with a singing tone; resist the urge to rush the expressive tempo variations, which are what make the melody haunt listeners.
  • Prepare the arpeggiated chord passages ahead of time so the hand positions feel secure. Anderson wrote for pianists, not technical gymnasts, but these moments require confidence.
  • Balance the keyboard against the strings in the opening so the piano's line emerges clearly without the accompaniment swallowing it.

How to use it

Slot this into a family concert or pops series where you want to showcase an accomplished young pianist alongside your orchestra. It pairs naturally with other Anderson favorites or sits well as a bridge between more substantial classical works and lighter fare.

Skills your students will build

  • Playing sustained expressive lines with dynamic control
  • Navigating arpeggiated chord figures across multiple octaves
  • Responding to tempo fluctuations cued by conductor
  • Balancing solo part against orchestral accompaniment
  • Managing hand position security in passage work

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