Poem for Orchestra Cover Image

Poem for Orchestra: Full Orchestra Conductor Score & Parts

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Poem for Orchestra Cover Image

Poem for Orchestra: Full Orchestra Conductor Score & Parts

By John Tatgenhorst

Grade: 3.5

Item: 00-29694

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Description
Originally written for and recorded by the London Symphony Orchestra, this tender, expressive piece will provide an opportunity for development of lush, sensitive playing. Sure to touch the hearts of players and audience alike! (2:40)

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Poem for Orchestra: Full Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Pop Concert Full Orchestra
Publisher: Alfred Music
Page Count: 108
UPC: 038081330242
SKU: 00-29694

More about this title

About the Composer: John Tatgenhorst

John Tatgenhorst

John Tatgenhorst brings three decades of professional composing, arranging, and conducting experience across television, film, and recording industries. His musical training began at the piano in early childhood and evolved into serious study at Ohio State University, with graduate work in conducting and composition at Northwestern and UCLA. He apprenticed under prominent Hollywood film composers, developing expertise across multiple genres and media.

Since founding John Tatgenhorst Music, Inc. in 1981, he has created over 600 published works and served as composer and conductor for recording sessions with the London Symphony Orchestra at Abbey Road Studios, the Royal Philharmonic Orchestra, and major television productions. His arrangements of beloved film scores have been heard at prestigious venues including the Boston Pops Esplanade Orchestra, the Philadelphia Pops, Ravinia, Tanglewood, and the Hollywood Bowl.

Why we love this

A piece recorded by the London Symphony Orchestra carries immediate credibility and artistry. Tatgenhorst's background in film scoring shows in how carefully he balances expressive melody with orchestral color, creating something that feels both accessible at Grade 3.5 and genuinely moving. Audiences respond to genuine tenderness, and this work delivers it without sentimentality.

What to expect

Tender and introspective, with a lyrical warmth that recalls the craftsmanship of film scoring. The orchestration unfolds with restraint and clarity, inviting players to listen closely to one another and create subtle layers of color. This is music that breathes.

Who it's for

Full orchestras working at the Grade 3.5 level who want a concert or festival piece that showcases sensitive, expressive playing without excessive technical demands. This work appeals equally to programs seeking to develop artistic maturity and to audiences who appreciate intimate orchestration at a family concert.

How to get the most out of it

  • Shape the phrase contours with attention to breath and resonance rather than relying on volume; the emotional weight comes from tone quality and sustained expression
  • Balance the ensemble so that the main melodic voice emerges naturally without forcing it. Let other sections support rather than compete
  • Use the 2:40 duration as a guide for pacing. Avoid dragging the tempo; gentle movement keeps the work alive and engaging
  • Invest rehearsal time in clarity of ensemble attacks and releases. Clean cutoffs enhance the poignancy of this reflective writing

How to use it

Program this as a centerpiece for a concert celebrating beauty and restraint, or use it to provide emotional contrast within a larger set of concert or festival pieces. Its moderate length makes it ideal for a full orchestra festival class where time is measured; it also works well as a closing number that leaves an impression without exhausting the ensemble.

Skills your students will build

  • Sustained legato playing with consistent tone quality
  • Balance and blend across full orchestra without sacrificing clarity
  • Expressive phrasing and musical line shaping
  • Ensemble cohesion in slower, reflective contexts
  • Dynamic control and gradual crescendo/diminuendo techniques

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