Symphony No. 1 in G: String Orchestra, Conductor Score

$15.00 USD

Symphony No. 1 in G: String Orchestra, Conductor Score

Name: Symphony No. 1 in G: String Orchestra, Conductor Score
Brand: Alfred Music
SKU: 36-A328101
Price: 15.00 USD
Availability: OutOfStock

By The Great Frederick II, ed./arr. by Gustav Lenzewski

Item: 36-A328101

$15.00

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Frederick II (1712-1786), known also as Frederick the Great, served as King of Prussia during most of the 18th century. While he had great success militarily during his rule, he was much more personally interested in music and philosophy than conquest. A great patron of music, he also played the transverse flute and composed numerous works of his own in addition to the well-known composers he brought to court and supported. His output includes a significant number of sonatas and concertos for the flute, but also several symphonies. This edition of his SYMPHONY No. 1 in G was edited by Gustav Lenzewski. Instrumentation: Str (4-4-3-3-3 in set): Hpchd in Sc.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-89-270754-X

ISBN13: 979-8-89-270754-1

UPC: 659859371276

SKU: 36-A328101

Instrumentation: Str (4-4-3-3-3 in set): Hpchd in Sc

More about this title

About the Composer: The Great Frederick II

Frederick II of Prussia (1712-1786) wielded considerable power as king during one of Europe's most turbulent centuries, yet his greatest passion lay in music and intellectual pursuits rather than military dominion. A skilled transverse flute player and serious composer in his own right, he assembled one of the most distinguished courts in Europe, attracting C.P.E. Bach and other leading musicians of the era. His compositional legacy, though overshadowed by his political fame, reveals a musician deeply engaged with the galant style and instrumental forms of his time.

Beyond patronage, Frederick composed prolifically across multiple genres. His flute sonatas and concertos reflect his own performing interests, but his symphonies demonstrate his command of larger forms and orchestral writing. These works offer conductors and students direct access to mid-18th-century symphonic thinking, unfiltered through the lens of later Romantic reinterpretation.

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Why we love this

This symphony sits at a fascinating historical crossroads where galant elegance meets early symphonic structure. Programming Frederick's own orchestral work alongside composers he championed at court creates a genuinely educational concert experience: audiences encounter music written by the patron rather than the protégé, and students discover that serious musicianship existed well beyond the household names.

What to expect

Elegant and purposeful, with the refined sensibility of the galant style. The work moves with aristocratic ease, favoring clear phrasing and expressive melody over dramatic intensity, inviting players to cultivate control and sensitivity rather than virtuosity.

Who it's for

String orchestras at the intermediate to advanced level seeking authentic 18th-century repertoire that broadens students' exposure beyond Haydn and Mozart. Conductors building curricula around court music, patronage, and the lives of historical figures will find this work particularly valuable for contextualizing the era.

How to get the most out of it

Approach the texture with clarity rather than fullness. The continuo part (harpsichord) anchors the harmonic foundation, so ensure it's audible in balance, particularly in passages where the string writing thins.
Attend to articulation patterns across all sections. Galant-era string writing relies on precise tonguing or bowing to shape phrases; conduct phrase arcs rather than metronomic pulses.
Shape dynamics in conversation with the structural voice leading. Frederick's melodies often migrate between violin parts, so adjust internal balance to highlight which line carries the primary thought at each moment.

How to use it

Feature this alongside works by composers Frederick supported, such as C.P.E. Bach, to create a concert program centered on court life and patronage. Alternatively, program it as an opener or interlude to frame a larger concert examining the evolution of the symphony across the 18th century.