Hungarian Dances Nos. 1, 3 and 10 [composer's orchestration] Cover Image

Hungarian Dances Nos. 1, 3 and 10 [composer's orchestration]: Conductor Score

$15.00 USD

Hungarian Dances Nos. 1, 3 and 10 [composer's orchestration]: Conductor Score

Name: Hungarian Dances Nos. 1, 3 and 10 [composer's orchestration]: Conductor Score
Brand: Alfred Music
SKU: 36-A134901
Price: 15.00 USD
Availability: InStock

By Johannes Brahms

Item: 36-A134901

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Originally written for piano four hands in 1879, this set of 21 lively dance tunes, mostly on Hungarian themes, are among Johannes Brahms' most popular works today, and they were the most profitable for him in his own lifetime also. In 1850, Brahms was introduced to “gypsy-style” music through Hungarian violinist Ede Reményi, including the csárdás “Bártfai emlék” (Memories of Bártfa) by Hungarian composer Béla Kéler, which became the basis for Hungarian Dance No. 5. Arranged for many different instruments and ensembles over the years, this orchestration of Nos. 1, 3, and 10 is the composer's original. Instrumentation: 2+Piccc.2.2.2: 4.2.0.0: Timp.Perc(1-2): Str (9-8-7-6-5 in set).

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 1-63-887704-1

ISBN13: 978-1-63-887704-2

UPC: 660355070587

SKU: 36-A134901

Instrumentation: 2+1, 2, 2, 2 - 4, 2, 0, 0, timp, perc, str

More about this title

About the Composer: Johannes Brahms

Johannes Brahms (1833, 1897) shaped the Romantic orchestra through his mastery of form and orchestration. His early exposure to Hungarian folk music through violinist Ede Reményi left a permanent mark on his compositional voice, evident most vividly in works like the Hungarian Dances, which became his most commercially successful publications during his lifetime.

Brahms' orchestrations reveal a composer who understood ensemble balance at the deepest level. Where many arrange existing works for orchestra, Brahms composed directly for the medium, letting instrumental color serve the dance rhythms rather than simply doubling a piano original.

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Why we love this

Brahms' own orchestration captures the swagger and propulsive energy of these dances far better than derivative arrangements. The scoring feels immediately performable for groups of modest size, yet the orchestral textures demand serious musicianship from winds and brass. Programming these pieces signals confidence in your ensemble's ability to handle Romantic-era writing without the weight of a full symphony.

What to expect

Immediate. The opening measures establish a kinetic energy that pulls listeners forward without strain. There's a brightness to Brahms' orchestration here, a clarity that lets you hear the dance rhythms clearly even at a full tuttiFord.

Who it's for

Conductors seeking repertoire that sits comfortably between pops programming and concert season substance. This score works equally well for advanced community orchestras, college ensembles, and professional groups looking to refresh their Romantic-era offerings with something genuinely enjoyable rather than obligatory.

How to get the most out of it

Balance the inner woodwind lines carefully in No. 1; the second oboe and first clarinet carry important counter-melody material that can disappear under an overzealous string section.
Treat the csárdás character as a performance guide across all three numbers. The rubato and rhythmic flexibility are earned by strict ensemble discipline elsewhere; lock the tutti sections completely so the looser passages register as intentional.
Watch the timpani rolls in No. 10; they should enhance momentum rather than muddy the articulate string pizzicato figures happening simultaneously.

How to use it

These three dances function beautifully as a coordinated suite on a concert mixing canonical Romanticism with lighter fare. Place them early in a program where their directness and color catch attention, or use them to close a first half with energy that sends audiences back from intermission refreshed.