March, Minuet, and Capriccio Cover Image

March, Minuet, and Capriccio: String Orchestra, Conductor Score

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March, Minuet, and Capriccio Cover Image

March, Minuet, and Capriccio: String Orchestra, Conductor Score

By Benjamin Franklin, ed./arr. by Kenneth Sarch

Grade: 2

Item: 36-20255018

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Description
A rather unique and charming string quartet by Benjamin Franklin discovered in 1945 in the Music Division of the Bibliotheque Nationale (Paris, France). The instrumentation (3 violins and violoncello) was certainly not standard for the eighteenth century, nor were the instructions to retune the open strings on each instrument to provide 16 different pitches. The five-movement dance suite could then be played without left hand fingering! The work has been skillfully adapted for string orchestra by Kenneth Sarch...but without the unusual tuning!

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Additional Details
Series: Great Works Publishing - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563256-7
ISBN13: 979-889-563-2567
UPC: 659859268668
SKU: 36-20255018
Instrumentation: String Orchestra

More about this title

About the Composer: Benjamin Franklin

Benjamin Franklin (1706-1790) was a polymath whose contributions spanned printing, diplomacy, science, and invention. Beyond his fame as a founding father and statesman, Franklin maintained genuine musical interests throughout his life, composing and playing several instruments. This string quartet, lost for centuries before its 1945 discovery in the Bibliotheque Nationale, reveals a composer with curiosity about extending instrumental range and exploring unconventional sonorities.

The original work's eccentric tuning system reflects Franklin's inventive mind applied to music. Rather than standard fingering patterns, the piece required players to retune their open strings to access 16 different pitches across the ensemble, allowing each movement to be performed without left-hand finger work. Though Kenneth Sarch's adaptation for string orchestra eliminates this technical requirement, the piece still carries the mark of an experimenter willing to question musical convention.

Why we love this

This arrangement brings a genuinely curious piece of musical history into the rehearsal room without sacrificing playability. String orchestras at Grade 2 rarely encounter works that combine charm, historical interest, and genuine compositional individuality. The five-movement dance suite structure gives students a complete musical journey in a package that serves both as concert repertoire and conversation starter about experimental composers.

What to expect

The suite captures the refined elegance of 18th-century dance forms while maintaining a playful, almost whimsical quality. Each movement feels purposefully crafted rather than generic, with moments of surprise that reward careful listening and performance.

Who it's for

String orchestras at the Grade 2 level looking for repertoire with genuine character and historical substance. This work suits programs seeking variety beyond standard arrangements and teaches students that older music need not follow predictable patterns.

How to get the most out of it

  • Balance the string sections carefully so the melodic lines remain transparent across all five movements. The piece relies on clarity of texture rather than dense harmonic weight.
  • Maintain consistent articulation within each movement to define the character of the dances. Minuet phrasing differs from capriccio energy.
  • Shape dynamic arcs generously across phrases to prevent the Grade 2 writing from sounding tentative or stilted.

How to use it

Program the complete suite as a thematic unit showcasing baroque and classical dance forms. It pairs well with traditional Classical-era string works, providing both contrast and historical context. The five-movement structure also works effectively as a complete short concert piece without requiring additional padding.

Skills your students will build

  • Phrasing and articulation in baroque dance styles
  • Balancing transparency in string texture
  • Sustaining focus across a multi-movement work
  • Understanding historical performance practice through arrangement

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