In the Bleak Midwinter: String Orchestra Conductor Score & Parts
As performed by Gustav Holst / As performed by Christina Rossetti / Arranged by John Leavitt
Grade: 3-4
Item: 35-PK00320315
$45.00
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Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| In the Bleak Midwinter - Full Score | $7.50 | |
| In the Bleak Midwinter - Violin 1 | $7.00 | |
| In the Bleak Midwinter - Violin 2 | $7.00 | |
| In the Bleak Midwinter - Violin 3 (Viola T.C.) | $7.00 | |
| In the Bleak Midwinter - Viola | $7.00 | |
| In the Bleak Midwinter - Cello | $7.00 | |
| In the Bleak Midwinter - String Bass | $7.00 | |
| In the Bleak Midwinter - Piano | $7.00 | |
| In the Bleak Midwinter - Percussion 1 | $7.00 | |
| In the Bleak Midwinter - Percussion 2 | $7.00 |
Parts Added to Cart!
Description
A haunting, elegant carol is beautifully rendered by John Leavitt in this compelling setting for strings. Holst's classic Christmas piece makes a memorable centerpiece for a holiday program and one you'll want to perform year after year. Dur: 3:15
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00320315
More about this title
About the Artist: Gustav Holst
Gustav Holst (1874-1934) shaped the landscape of English music education and composition through works that balanced accessibility with artistic substance. His orchestral music, including The Planets, remains standard repertoire, but his gift for elegant simplicity appears equally in his choral and instrumental settings of traditional material.
Holst's approach to arranging carols demonstrates his belief that familiar melodies could sustain profound musical treatment. He wrote extensively for amateur musicians and students, understanding how to craft parts that challenge without overwhelming. This carol setting exemplifies that philosophy: it honors the melody's austere beauty while offering string orchestras genuine musical substance.
Why we love this
John Leavitt's arrangement respects the stark simplicity of Holst's original while giving string orchestras the textural depth this melody deserves. The three-minute arc feels complete and unhurried, making it effective as either a concert centerpiece or a quieter moment within a larger program. A setting this transparent exposes the quality of your ensemble's sound, which means rehearsing it pays dividends for your entire repertoire.
What to expect
Stark, reverent, and oddly tender. The arrangement lets silence breathe around the melody, so the piece feels sparse and clear rather than lush. You hear the winter in the harmonic language and in spaces between the notes.
Who it's for
String orchestras at intermediate levels (grades 3-4) seeking a carol that demands genuine musicianship without technical pyrotechnics. Directors programming winter concerts will find this works equally well as a standalone meditation or as a contrasting moment within a larger set.
How to get the most out of it
- Balance the melody across your first violins and violas so the main line emerges clearly without forcing the tone. The supporting voices should recede naturally, not be pushed back.
- Shape each phrase toward its peak rather than letting lines plateau. The sparse texture means every note choice registers, so intentional phrasing becomes audible immediately.
- Allow time for the harmony to settle between phrases. Rushing through the rests diminishes the piece's meditative quality and breaks the spell you're building.
How to use it
Place this early in a winter concert to establish an intimate mood, or use it as the bridge between livelier carols and secular holiday music. Its three-minute length makes it ideal padding between longer works, and its reflective nature gives audiences permission to sit quietly. Many directors return to it annually, letting its familiarity deepen each time.
Skills your students will build
- Sustaining long tones with consistent tone quality across changing dynamics
- Playing transparent harmonies that support the primary melodic line
- Responding to subtle phrasing and shaping within a slow tempo
- Balancing rhythmic independence with ensemble blend in homophonic textures