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Two Waltzes, Op.54 (composer's transcription): String Orchestra Conductor Score & Parts

$40.00 USD

Two Waltzes, Op.54 (composer's transcription): String Orchestra Conductor Score & Parts

Name: Two Waltzes, Op.54 (composer's transcription): String Orchestra Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A613390
Price: 40.00 USD
Availability: InStock

By Antonín Dvorák

Item: 36-A613390

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Antonín Dvorák (1841-1904) wrote 8 Waltzes, Op. 54, for piano in 1879. At the suggestion of his publisher, he arranged two of the waltzes (nos. 1 and 4) for strings the following year. His transcription, which became more recognizable than the original for piano, could be played by a string quartet, string quintet, or a string orchestra. Either of these waltzes would make a superb encore selection or could, together, anchor a shorter program. The set includes a string count of 8-8-5-5-5.

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Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

UPC: 735816459031

SKU: 36-A613390

Instrumentation: String Orchestra (8-8-5-5-5 in set)

More about this title

About the Composer: Antonín Dvorák

Antonín Dvořák (1841-1904) was a Czech composer who bridged Romantic nationalism and classical form, drawing from his country's folk idioms to create music of immediate emotional warmth. His vast output across symphonies, concertos, chamber works, and vocal music established him as one of the nineteenth century's most prolific and performed composers. Dvořák spent time in America as director of the National Conservatory of Music in New York, where he encouraged young American composers to root their work in indigenous musical traditions.

Dvořák's gift for melody and orchestration made him particularly skilled at transcription. When his publisher suggested arranging the Op. 54 waltzes for strings, Dvořák recognized the idiom's potential and created versions that have outlasted the original piano versions in the performing repertoire. His understanding of string texture allowed him to preserve the dance character and lyricism of the original while adding warmth and resonance that the piano alone could not achieve.

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Why we love this

These transcriptions offer genuine compositional artistry at a size and technical level that fits intermediate-to-advanced string orchestras. The original piano waltzes were already strong works; Dvořák's own orchestration elevates them into something performers and audiences recognize as complete and satisfying, making the investment in rehearsal time feel substantial.

What to expect

Graceful and unhurried, with the warmth of a nineteenth-century European salon filtered through Dvořák's gift for orchestral color. The waltzes dance without urgency, their melodies singing through the strings in that characteristically generous Dvořákian way that feels both folk-rooted and formally refined.

Who it's for

Intermediate-to-advanced string orchestras seeking elegant, audience-friendly repertoire that sounds more substantial than its actual technical demands. Directors programming shorter concerts, seeking encores, or looking to balance a season with Romantic-era music that rehearses efficiently.

How to get the most out of it

Balance the string choirs carefully so each section speaks with clarity. These waltzes live or die by transparent voice leading, and muddy ensemble sound will obscure Dvořák's charming harmonic progressions.
Establish a gentle, lilting pulse in three rather than a heavy downbeat. The waltz lives in its lilting character; overweighting the first beat flattens the dance energy.
Shape the melodic lines with legit phrasing across the whole waltz form. Treat these as song arrangements, not as exercises in rhythmic precision.
Adjust the string count or double parts as needed for your ensemble size. The listed 8-8-5-5-5 configuration suggests a fuller orchestra, but these work beautifully with smaller proportions.

How to use it

Program either waltz as a standalone encore, or pair both waltzes together as a brief intermezzo between larger works. They are also ideal for shorter spring or family concerts where a complete evening of heavier repertoire might exhaust younger ensembles.