Nocturne, Op. 9 No. 2 Cover Image

Nocturne, Op. 9 No. 2: Concert Band Condensed Score

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Nocturne, Op. 9 No. 2 Cover Image
Nocturne, Op. 9 No. 2: Concert Band Condensed Score

Nocturne, Op. 9 No. 2: Concert Band Condensed Score

By Alexander Scriabin / arr. Alfred Reed

Grade: 3.5

Item: 36-B369299
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Description
Scriabin's Opus 9 consists of a Prelude and Nocturne written for piano left-hand alone. The composer's early piano works, such as this, reflect his most delicate and poetical composition. This publication of the Nocturne for concert band has been faithfully scored by Alfred Reed in an attempt to recreate the warm, dreamy colors inherent in the original piece.

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Additional Details
Series: Master Band Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852070-8
ISBN13: 979-8-88-852070-3
UPC: 676737667856
SKU: 36-B369299
Instrumentation: Concert Band

More about this title

About the Composer: Alexander Scriabin

Alexander Scriabin (1872-1915) was a Russian composer and pianist whose early works bridged late Romanticism and early modernism. His piano compositions, particularly those written in the 1890s, combine lyrical melody with innovative harmonic language, establishing him as one of the most distinctive voices of his era. Though he later moved toward increasingly abstract and experimental composition, his early nocturnes remain among the most performed and celebrated pieces in the piano repertoire.

Scriabin's Opus 9 Nocturne showcases the intimacy and poetic sensibility that define his early style. Written originally for piano left-hand alone, the piece demonstrates his gift for creating rich, singing lines within a compressed texture. This work has inspired numerous arrangements precisely because its emotional core translates powerfully to other media.

Why we love this

Alfred Reed's arrangement honors the introspection of Scriabin's original while giving concert band the chance to inhabit a piece typically reserved for pianists. The Grade 3.5 scoring allows developing bands to engage with genuine musical substance rather than simplified approximations. The result is a program anchor that sounds sophisticated without demanding virtuosity.

What to expect

The Nocturne unfolds like a private meditation, tender and introspective. Scriabin's harmonic language creates a gentle harmonic ambiguity that feels both comforting and subtly unsettled, as if exploring emotion just beyond language. The piece never rushes; it drifts, exhales, and settles into quiet reverie.

Who it's for

Concert bands at the early-intermediate level looking for repertoire that develops musicianship without requiring advanced technique. Directors seeking to program meaningful works by major composers will find this arrangement opens repertoire typically unavailable to their ensembles. Players benefit from learning how orchestral color can replace the piano's harmonic complexity.

How to get the most out of it

  • Balance the melody across sections so a single voice doesn't dominate. The warmth of this piece depends on blend, not projection.
  • Shape phrases with gradual dynamic swells rather than sudden changes. This nocturne breathes through sustained, almost vocal phrasing.
  • Control the tempo to allow each harmonic shift to register with the audience. Rushing flattens the piece's dreamy quality.
  • Use the full dynamic range within pp to mp; most of this work lives in the softer end of the spectrum.

How to use it

This works beautifully as a quiet moment in the middle of a concert, offering audiences respite between more extroverted works. Pair it with other Romantic or early 20th-century arrangements to create a recital focused on transcribed keyboard literature. It's also an excellent teaching piece for a concert unit on arranging, since Reed's score shows how a single-hand piano work gains substance through orchestration.

Skills your students will build

  • Sustaining long phrases with consistent tone quality across the ensemble
  • Blending parts to create unified color rather than hearing individual instruments
  • Responding to subtle dynamic and harmonic shifts
  • Playing with restraint and interpretive depth at soft dynamic levels
  • Understanding how composers recycle Romantic-era material through arrangement

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