Hungarian Dances Nos. 5, 6 and 7 Cover Image

Hungarian Dances Nos. 5, 6 and 7: Conductor Score & Parts

$70.00 USD
$70.00 USD
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Hungarian Dances Nos. 5, 6 and 7 Cover Image
Hungarian Dances Nos. 5, 6 and 7: Conductor Score & Parts

Hungarian Dances Nos. 5, 6 and 7: Conductor Score & Parts

By Johannes Brahms / arr. Martin Schmeling

Item: 36-A883502
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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, the orchestration by Martin Schmeling (1864-1943) of Hungarian Dances Nos. 5, 6, and 7 include numerous optional parts permitting great flexibility to ensembles of different sizes. Instrumentation: Large Orchestra: 2+Picc.2.2.2: 4.2.3.0: Timp.Perc(2-3): Str(9-8-7-6-5 in set) or Small Orchestra: 2.1.2.1: 2.0.0.0: Timp.Perc(1-3): Str(9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 746241265920
SKU: 36-A883502
Instrumentation: Large Orchestra: 2+Picc.2.2.2: 4.2.3.0: Timp.Perc(2-3): Str(9-8-7-6-5 in set) or Small Orchestra: 2.1.2.1: 2.0.0.0: Timp.Perc(1-3): Str(9-8-7-6-5 in set)

More about this title

About the Composer: Johannes Brahms

Johannes Brahms (1833-1897) bridged Romanticism and classical tradition with a compositional voice that felt both modern and rooted in the past. His encounter with Hungarian violinist Ede Reményi in 1850 opened a lifelong fascination with folk idioms, particularly the rhythmic vitality and emotional range of Hungarian and Gypsy music. This exposure shaped some of his most enduring works, including the Hungarian Dances, which achieved massive popularity during his lifetime and remain concert staples today.

Brahms' mastery of orchestration and his gift for writing memorable melodies made him one of the most performed composers of the Romantic era. His works demand serious musicianship from performers while remaining deeply accessible to audiences, a balance that has kept his music central to orchestral repertoire for over 125 years.

Why we love this

Martin Schmeling's arrangement respects the vitality of Brahms' original melodies while giving orchestras genuine flexibility. The optional instrumentation means you can program these dances whether you're running a full complement or working with a chamber-sized group, making them realistic for mid-sized high school and college programs that often can't field a large orchestra. Beyond the logistics, these three dances have irresistible rhythmic character that audiences respond to immediately, and they provide a refreshing break from heavier Romantic repertoire.

What to expect

These dances pulse with the rhythmic sophistication and emotional warmth that defined Brahms' approach to folk material. No. 5 carries the contemplative beauty of Hungarian memory songs, while Nos. 6 and 7 shift into increasingly exuberant territory, filled with unexpected key changes and orchestral color that keep listeners engaged throughout.

Who it's for

Orchestras and conductors looking for approachable Romantic-era repertoire with genuine crowd appeal. This works equally well for advanced high school orchestras, collegiate programs, and community ensembles willing to do serious interpretive work on accessible material.

How to get the most out of it

  • Establish the csárdás character of No. 5 by letting the main theme breathe in the strings; rushing these folk-derived lines flattens the narrative arc Brahms built into the dance.
  • Balance the woodwind and string parts in No. 6 carefully so the intricate figurations support rather than compete with the melodic line.
  • Anchor No. 7's driving rhythmic energy in the timpani and bass line; this dance thrives on forward momentum and clear pulse from the rhythm section.
  • Confirm your instrumentation configuration with the parts before rehearsals begin, particularly regarding the optional doubling in winds and percussion.

How to use it

Open a concert with all three dances as a suite that establishes energy and confidence before moving into weightier repertoire, or pair them with other 19th-century dance works for a thematic program exploring how major composers drew from folk traditions. The narrative arc of the three pieces together makes them function as a complete statement rather than feeling like filler.

Skills your students will build

  • Balancing folk-derived melody with sophisticated harmonic progressions
  • Responding to clear but flexible conducting gestures in dance rhythms
  • Coordinating optional doublings between large and small orchestra configurations
  • Shaping rubato and phrasing within dances written with strong rhythmic foundation
  • Reading idiomatic string figuration characteristic of Brahms' orchestration

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