Tahiti Trot, Op. 16: Full Orchestra, Conductor Score

$10.00 USD

Tahiti Trot, Op. 16: Full Orchestra, Conductor Score

Name: Tahiti Trot, Op. 16: Full Orchestra, Conductor Score
Brand: Alfred Music
SKU: 36-A941501
Price: 10.00 USD
Availability: InStock

By Dmitri Shostakovich

Item: 36-A941501

$10.00

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TAHITI TROT, Op. 16 is an arrangement by Dmitri Shostakovich (1906-1975) for orchestra paraphrasing the song "Tea for Two" from the musical NO, NO, NANETTE by Vincent Youmans. It was composed in 1927 as a result of a bet between Shostakovich and the score's dedicatee, Nicolai Malko, that the composer should finish the orchestration in under an hour. Shostakovich completed the orchestration in forty-five minutes. It premiered at the Moscow Conservatory on November, 25, 1928 conducted by Malko. The work was initially very popular, but Shostakovich was quickly forced to renounce the work due to the turbulent political environment in the Soviet Union during the 1928/1929 period, and TAHITI TROT was considered lost until reconstructed in the early 1980s by Gennady Rozhdestvensky from the orchestral parts provided him by Malko's widow. It now remains part of the standard repertoire for lighter music and pops concerts. Instrumentation: 1+Picc.2.1.1: 4.2.1.0: Timp. Perc(3-4): Clst.Hp: Str (9.8.7.6.5 in set). Part of the Kalmus Symphonic Pops series.

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Series: Kalmus Symphonic Pops

Publisher: Keiser Productions, Inc.

ISBN10: 8-895633-47-4

ISBN13: 979-8-895633-47-2

UPC: 659859410364

SKU: 36-A941501

Instrumentation: 1+Picc.2.1.1: 4.2.1.0: Timp. Perc(3-4): Clst.Hp: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Dmitri Shostakovich

Dmitri Shostakovich (1906-1975) was a Russian composer whose output spanned symphonies, concertos, chamber works, and film scores. His music navigates between modernist complexity and accessible melody, often reflecting the political pressures of Soviet artistic life. Shostakovich's lighter works, including arrangements and pops pieces, reveal his gift for orchestration and his ability to transform popular material into sophisticated concert music.

Tahiti Trot emerged from a spontaneous creative challenge in 1927 when Shostakovich bet he could orchestrate Vincent Youmans' "Tea for Two" in under an hour. The finished orchestration in forty-five minutes became a concert staple until Soviet cultural politics forced Shostakovich to distance himself from it. The work's rediscovery in the 1980s restored this virtuosic arrangement to the repertoire it never should have left.

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Why we love this

Tahiti Trot cuts through the serious repertoire with intelligence and flair. Shostakovich's orchestration transforms a simple tune into a showcase for instrumental color and rhythmic vitality, giving every section memorable moments without sacrificing musical substance. It works as a perfect pops concert opener or closer, and the forty-five-minute backstory alone engages audiences before the first note sounds.

What to expect

Tahiti Trot radiates lighthearted charm with an undercurrent of sophisticated orchestral wit. The melody dances across the ensemble in a variety of colors, from warm and lyrical passages to snappy rhythmic interludes that sparkle with orchestral personality. The whole piece has the feeling of a master composer playing with a familiar tune, reshaping it through pure orchestral craft.

Who it's for

Orchestras programming pops concerts, community orchestras seeking approachable repertoire with genuine sophistication, and conductors who want to include a piece with musical substance and historical intrigue. This work suits orchestras with competent but not necessarily virtuosic players, as the orchestration lies well and the difficulty sits comfortably at an accessible level.

How to get the most out of it

Shape the opening melody with clear phrasing; the tune is simple enough that orchestral articulation becomes your primary expressive tool.
Balance the woodwind solos carefully against the string harmonic background, particularly in the lyrical midsection.
Keep the tempo flexible and dance-like rather than metronomic; the piece benefits from slight rhythmic breathing at phrase endings.
Let the percussion colors shine without rushing them; Shostakovich's orchestration includes specific timbral moments that reward clarity and space.

How to use it

Program this at the start of a pops concert to set an energetic, accessible tone before moving into weightier material. It also functions beautifully as a closing piece when you want audiences to leave with smiles. The compact length and narrative appeal make it an ideal teaching tool for discussing orchestration with musicians.