Slavic Rhapsody: Score
Music by Elliot Del Borgo
Grade: 3 (Medium)
Item: 00-PR-0000255
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Description
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About the Composer: Elliot Del Borgo
Elliot Del Borgo is a prolific composer and arranger whose concert band works span from Grade 1 through advanced levels. His output includes original compositions, transcriptions, and arrangements that balance accessibility with musical substance, making him a staple in school and community band libraries.
Del Borgo's strength lies in writing idiomatically for band while maintaining clear harmonic and melodic integrity. His pieces reward both student performers and audiences, which explains their continued popularity in festival and concert settings.
Why we love this
Del Borgo structures this piece around a clever instrumental conversation between woodwinds and brass, keeping both sections engaged while giving audiences a dynamic listening experience. The three-movement arch (spirited, lyrical, spirited) demonstrates strong formal thinking at Grade 3, and the Slavic/Hungarian idiom adds color without requiring exotic technique.
What to expect
Energetic and colorful, with the restless energy of Eastern European folk idioms propelling the outer sections. The middle Cantabile offers a contemplative respite before the music rushes forward again, creating a satisfying arc from excitement to reflection and back.
Who it's for
Grade 3 concert bands preparing festival or concert performances. This piece works equally well for groups seeking accessible yet musically substantive programming and ensembles looking to showcase sectional balance.
How to get the most out of it
- Balance the melody and syncopated accompaniment so that the rhythmic underpinning stays clear; the syncopation is part of the character, not an afterthought.
- Mark the sectional handoffs between flutes and trumpets with slight articulation clarity to highlight the compositional design.
- Shape the Cantabile section with longer phrase arcs; this middle movement needs breath and warmth to contrast effectively with the outer sections.
- Attend to the style markings and tempo relationships between sections; the return to the spirited opening should feel fresh, not mechanical.
How to use it
Program this as a festival entry or as a contrasting mid-concert piece between heavier works. Its three-part structure and moderate length make it ideal for concert programs that need variety in color and mood without the time demands of larger works.
Skills your students will build
- Balancing melody and syncopated accompaniment
- Sectional dialogue and handoff clarity
- Style and character differentiation across three distinct sections
- Phrasing and shaping in lyrical (Cantabile) contexts