Girl in Satin, The: Full Orchestra Conductor Score

$12.00 USD

Girl in Satin, The: Full Orchestra Conductor Score

Name: Girl in Satin, The: Full Orchestra Conductor Score
Brand: Alfred Music
SKU: 36-A875901
Price: 12.00 USD
Availability: InStock

By Leroy Anderson

Item: 36-A875901

$12.00

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Leroy Anderson (1908-1975) wrote four works in 1953, among which is The Girl in Satin. The Girl In Satin is written in a Latin style. Like the better-known Blue Tango, The Girl in Satin is Anderson's other tango. Anderson applied his high standards for composition and scoring equally to each of his compositions. He said that he had no favorites among all his works and that he liked them all equally. The public have their favorites, he said. That is their job. "But as a composer, I do not have any clue why the audience likes it (Blue Tango) so much better than my other tango, The Girl in Satin, which in my opinion is as beautiful." Instrumentation: 2.2.2.2: 3Sax(AAT.opt.): 4.3.3.0: Perc(1): Str (9-8-7-6-5 in set). A piano conductor/condensed score is also available separately, though not included in the set.

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Series: Kalmus Leroy Anderson Orchestra Series

Publisher: Keiser Productions, Inc.

ISBN10: 8-88-852690-0

ISBN13: 979-8-88-852690-3

UPC: 676737937805

SKU: 36-A875901

Instrumentation: 2+Picc.2.2.2: 3Sax(AAT; opt): 4.3.3.1: Perc(1): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908-1975) stands among America's most performed twentieth-century composers, yet his prolific output of light orchestral works remains underestimated in concert programming. A Harvard-educated composer and arranger with a gift for memorable melodies and sophisticated orchestration, Anderson composed for both concert hall and commercial purposes without viewing the distinction as hierarchical. His mastery of form, color, and rhythmic vitality earned him respect from serious musicians even as his works delighted general audiences.

Anderson's approach to composition reflects his refusal to compromise on craft regardless of genre or intended context. He wrote "Blue Tango," "Plink, Plank, Plunk!," and dozens of other concert pieces that demonstrate orchestral sophistication alongside immediate appeal. Anderson maintained that all his compositions merited equal artistic consideration, a philosophy evident in the structural clarity and harmonic refinement of works like "The Girl in Satin."

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Why we love this

Anderson's tangos deserve far more frequent performance than they receive, and "The Girl in Satin" offers conductors a chance to program a genuine charmer with impeccable orchestration at the concert or festival level. The Latin style and dance rhythms engage both ensemble and audience, while the instrumentation (including optional saxophones) accommodates various orchestra configurations without sacrificing Anderson's elegant scoring.

What to expect

The Girl in Satin captures the elegance and rhythmic drive of Latin dance music through Anderson's distinctly American orchestral lens. Sophisticated yet approachable, the work radiates warmth and charm while maintaining the structural integrity that defines Anderson's compositional voice.

Who it's for

Conductors of community orchestras, youth orchestras, and concert bands seeking accessible yet sophisticated repertoire that displays orchestral color without excessive technical demands. This score serves advanced high school ensembles and college orchestras looking for concert programming that appeals to audiences beyond the standard classical repertoire.

How to get the most out of it

Establish the tango pulse early in rehearsal by having the rhythm section (timpani, bass, cello) lock the characteristic three-beat pattern before adding harmonic layers.
Balance the saxophones (when included) as a cohesive section; they should support the melody without overwhelming the string writing that forms the orchestral foundation.
Shape the melody with subtle rubato that honors the tango idiom; Anderson's phrasing allows for gentle flexibility without disrupting the underlying dance rhythm.
Allow the percussion writing to breathe; a single percussionist executes the part, so clean entries and clear dynamic control prevent the rhythm from becoming muddy.

How to use it

Program this as a concert opener or lighter section within a mixed orchestra concert, where it can bridge traditional classical repertoire and more contemporary works. The work pairs well with other mid-twentieth-century American light orchestral pieces or serves as an effective contrast to Romantic-era standard repertoire.