Overture to Lysistrata (arr. Peter Stanley Martin): Concert Band Conductor Score & Parts
By Mark Adamo / Arranged by Peter Stanley Martin
Item: 35-PK01242553
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Description
"In its original scoring, this Overture to Lysistrata -- drawn from its heroine's first 'cabaletta', its second lady's 'aria' of longing, and the raucous finale of the first act -- already saluted the wind orchestra, what with its two saxophones (alto and baritone) and lavish use of mallet percussion. But here, Peter Stanley Martin's deft and artful arrangement perhaps expresses the character of the music even more eloquently than the orchestral version does." - Mark Adamo
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01242553
More about this title
About the Composer: Mark Adamo
Mark Adamo is an American composer and librettist whose operatic works have earned him recognition across major concert halls and opera companies. His facility with melody, orchestration, and dramatic pacing makes his music particularly valuable for concert band directors seeking contemporary material with genuine compositional sophistication.
Why we love this
Peter Stanley Martin's arrangement captures the theatrical vitality of Adamo's opera while giving wind band musicians material that feels both idiomatic and freshly conceived. The pairing of mallet percussion and saxophones anchors a work that sounds entirely at home in the concert band medium rather than merely transcribed from orchestral sources.
What to expect
The overture pulses with Mediterranean warmth and operatic swagger. You move through moments of genuine tenderness and longing before landing in spirited, almost antic comedy that recalls the original opera's satirical bite.
Who it's for
Concert bands seeking contemporary music that combines melodic substance with engaging orchestration. This work suits advanced high school programs and college ensembles comfortable with character-driven narrative material.
How to get the most out of it
- Balance the upper woodwind soloists against the harmonic foundation during the lyrical sections derived from the arias; these moments need transparency without sacrificing ensemble cohesion.
- Shape the raucous first act finale with rhythmic precision and controlled energy. The character comes from clarity and lift, not from pushing tempo.
- Let the mallet percussion passages breathe and resonate. These moments carry harmonic weight and deserve space within the texture.
How to use it
Program this alongside other 20th and 21st century American concert works to frame a concert around contemporary compositional voices. Its moderate length makes it an excellent opener or transition piece between larger works.
Skills your students will build
- Balancing solo and tutti textures in contemporary harmonic contexts
- Executing exposed writing for mallet instruments
- Bringing theatrical character and dramatic arc to instrumental music
- Reading and performing in the alto and baritone saxophone parts