The Last Rose of Summer (from the <i>Irish Suite</i>) Cover Image

The Last Rose of Summer (from the <i>Irish Suite</i>): Concert Band Conductor Score

$10.00 USD
$10.00 USD
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The Last Rose of Summer (from the <i>Irish Suite</i>) Cover Image
The Last Rose of Summer (from the Irish Suite): Concert Band Conductor Score

The Last Rose of Summer (from the Irish Suite): Concert Band Conductor Score

By Leroy Anderson / arr. Douglas E. Wagner

Grade: 3 (Medium Easy)

Item: 00-32545S
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Description
The fifth movement of Leroy Anderson's The Irish Suite, "The Last Rose of Summer," has never been transcribed for concert band. Skillfully scored by Douglas Wagner in Anderson's charismatic characteristic style, this work features an emotional alto saxophone solo in place of the orchestra version's violin solo. This dramatic work is performable as a stand-alone work or in tandem with the rest of the movements. All movements are now available: I. "The Irish Washerwoman" [00-83181], II. "The Minstrel Boy" [00-32547], III. "The Rakes of Mallow" [00-30836], IV. "The Wearing of the Green" [00-30835], V. "The Last Rose of Summer" [00-32545] and VI. "The Girl I Left Behind" [00-32546].

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Additional Details
Series: Leroy Anderson Classics
Publisher: Alfred Music
Page Count: 12
UPC: 038081374345
SKU: 00-32545S

More about this title

About the Composer: Leroy Anderson

Leroy Anderson (1908, 1975) was an American composer and conductor whose gift for melody and orchestration made him one of the most performed composers of light music in the twentieth century. His works, from "Plink, Plank, Plunk!" to "Sleigh Ride," combine sophistication with accessibility, earning him a permanent place in the repertoire of orchestras, bands, and amateur ensembles worldwide.

Why we love this

Wagner's transcription brings Anderson's lyrical gift into the concert band sound without sacrificing the tune's emotional core. The alto saxophone solo transforms what was originally a violin showpiece into something idiomatically fresh for band, and the Grade 3 difficulty means your ensemble can tackle a genuinely moving work without the technical barriers that often come with arrangements of this caliber.

What to expect

Nostalgic and tender, with the bittersweet quality of the traditional Irish melody woven through Anderson's sophisticated harmonic language. The alto saxophone carries the song forward with warmth and introspection, supported by band colors that feel intimate rather than grand.

Who it's for

Directors programming concert band repertoire who want a piece with genuine emotional substance at an accessible difficulty level. This works for ensembles preparing their first meaningful solo feature or bands looking to round out a concert with something audiences will remember.

How to get the most out of it

  • Shape the alto saxophone solo with long, singing phrases. This melody demands the same vocal quality you'd expect from an orchestra principal violin; encourage your soloist to think legato and avoid unnecessary breath breaks.
  • Balance the accompaniment carefully during the solo section so the saxophone voice sits naturally above the ensemble without needing to force the sound.
  • Attend to the harmonic movement beneath the melody; Anderson's colorful chord changes support the solo's emotional arc, and clarity in the accompaniment will deepen the impact.
  • Take time to let the final cadence breathe. Resist the urge to rush; Anderson's endings are carefully calculated, and this one deserves a moment to land.

How to use it

Perform this as a standalone feature for your alto section, or include it as part of a complete Irish Suite performance if your ensemble tackles multiple movements. It pairs naturally with other light concert works and serves as an excellent vehicle for introducing soloists to the concert band stage.

Skills your students will build

  • Sustaining lyrical phrasing across longer melodic lines
  • Balancing solo and accompaniment textures
  • Interpreting rubato and flexibility within a structured harmonic framework
  • Understanding orchestral color and how it translates to band instrumentation

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