Hungarian Dances Nos. 17 through 21 Cover Image

Hungarian Dances Nos. 17 through 21: Full Orchestra Conductor Score & Parts

$75.00 USD
$75.00 USD
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Hungarian Dances Nos. 17 through 21 Cover Image
Hungarian Dances Nos. 17 through 21: Full Orchestra Conductor Score & Parts

Hungarian Dances Nos. 17 through 21: Full Orchestra Conductor Score & Parts

By Johannes Brahms / arr. Antonín Dvorák

Item: 36-A135202
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Hungarian Dances Nos. 17 through 21: Full Orchestra Conductor Score

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Description
Originally written for piano four hands in 1879, this set of 21 lively dance tunes, mostly on Hungarian themes, are among Johannes Brahms' (1833-1897) 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 by Antonín Dvorák (1841-1904) of Hungarian Dances Nos. 17 through 21 was one of many commissioned by the original publisher in the late 19th century. Instrumentation: 2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 676737943424
SKU: 36-A135202
Instrumentation: 2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set)

More about this title

About the Arranger: Antonín Dvorák

Antonín Dvorák (1841-1904) was a Czech composer whose orchestral mastery made him one of the most sought-after arrangers of his era. Publishers and concert halls regularly commissioned him to reshape popular works for different ensembles, recognizing that his orchestrations balanced authenticity with practical brilliance. His arrangements of Brahms' Hungarian Dances exemplify this gift: he preserved the character and melodic vitality of the originals while exploiting the full expressive range of the orchestra.

Why we love this

Dvorák's hand in these orchestrations transforms what could be simple dance tunes into genuine concert pieces with orchestral weight and color. The five dances flow naturally into one another, making this a satisfying standalone work rather than a collection of excerpts. Directors gain access to Brahms' most recognizable material in a version that sounds fresh and gives every section meaningful work.

What to expect

These dances pulse with the vitality and swagger of Hungarian folk music, yet Dvorák's orchestration wraps them in sophistication. The melodies sing with infectious energy, the rhythms propel forward with natural joy, and the orchestral colors shift from intimate and wry to full and celebratory.

Who it's for

Orchestras and advanced concert bands seeking substantial repertoire that connects to the Brahms canon while remaining approachable for musicians at the intermediate-to-advanced level. Conductors programming concert music that balances popularity with artistic merit will find these dances both audience-friendly and musically rewarding.

How to get the most out of it

  • Balance the melodic line across first and second violins in No. 17; both parts carry essential material and neither should be subordinated.
  • Let the woodwind doublings breathe in the slower sections. Dvorák scored them to add warmth, not weight, so resist the urge to thicken the sound with heavy vibrato.
  • Anchor the rhythmic vitality in the timpani and bass line. These dances depend on a clear pulse, and the lower instruments set the tone for ensemble precision.
  • Shape each dance as a short story with distinct character. No. 18 demands lightness; No. 19 asks for lyrical breadth. Avoid treating all five as interchangeable.

How to use it

Position this set as a bridge between classical Brahms and world music traditions, or program it alongside other Brahms orchestral works for a thematic evening. The five-dance arc works equally well as an opening concert feature or as a palate-cleansing interlude between longer symphonic works.

Skills your students will build

  • Balancing transparent orchestration (reading and responding to cues across multiple doublings)
  • Maintaining rhythmic vitality in 2/4 and 3/8 meters typical of csárdás and Hungarian folk forms
  • Shaping lyrical phrasing within dance rhythms
  • Coordinate between sections in rapid melodic exchanges and rhythmic unison passages

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