Waltz (from Masquerade Suite): String Orchestra Conductor Score & Parts
By Aram Khachaturian / Arranged by Lynne Latham
Grade: 4
Item: 35-PK01467437
$75.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Waltz (from Masquerade Suite) - Full Score | $10.00 | |
| Waltz (from Masquerade Suite) - Violin 1 | $2.50 | |
| Waltz (from Masquerade Suite) - Violin 2 | $2.50 | |
| Waltz (from Masquerade Suite) - Viola | $2.50 | |
| Waltz (from Masquerade Suite) - Cello | $2.50 | |
| Waltz (from Masquerade Suite) - Double Bass | $2.50 |
Parts Added to Cart!
Description
Masquerade was written in 1941 as incidental music for a play of the same name by Mikhail Lermontov, however the music is better known in the form of a five-movement suite, which Khachaturian extracted in 1944. The famous Waltz theme in particular gave Khachaturian much trouble in its creation. The composer later described his "strenuous search" for the appropriate style and melodic inspiration, when finally the second theme of his waltz came to him, which acted "like a magic link, allowing me to pull out the whole chain. The rest of the waltz came to me easily, with no trouble at all." This complete transcription by Lynne Latham for string orchestra is the first of its kind, perfect for more advanced ensembles. An easier, shorter arrangement is also available from the publisher.
Waltz (from Masquerade Suite): String Orchestra Conductor Score & Parts isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.
Request This Title
Tell us you want it.
Start Your Free Trial
Explore everything that's ready to play right now.
Sample Audio
No sample audio found.
Sample Video
No sample videos found.
Additional Details
Publisher:
Hal Leonard
SKU:
35-PK01467437
More about this title
About the Composer: Aram Khachaturian
Aram Khachaturian (1903–1978) was an Armenian composer whose music blends Eastern European folk idioms with Russian orchestral traditions. His gift for melody and rhythmic vitality made him one of the most performed Soviet composers of the 20th century, with works that remain staples in concert halls and school music programs worldwide.
Khachaturian's creative process was often deliberate and searching. He famously labored over the Waltz from Masquerade, describing his struggle to find the right melodic voice. When the second theme finally arrived, it unlocked the entire movement. This combination of craftsmanship and inspiration defined his approach to composition, making his works both technically rewarding and emotionally direct.
Why we love this
Lynne Latham's string orchestra transcription captures the Waltz's sophisticated harmonic language and sweeping melodic arc while remaining accessible to advancing ensembles. The arrangement respects Khachaturian's original orchestration intent while tailoring the texture specifically for strings, creating a piece that sounds complete rather than reduced. Conductors appreciate how it builds ensemble cohesion through lyrical phrasing and careful voice leading without requiring excessive technical firepower.
What to expect
The Waltz unfolds with the elegance and drama of a grand ballroom scene. Sweeping lines and rich harmonic colors create an atmosphere of refined, confident beauty that moves between moments of introspection and outright joy. The dance rhythm beneath the surface never feels mechanical but rather propels the music forward with natural grace.
Who it's for
Advanced high school orchestras and early college ensembles ready for sophisticated twentieth-century concert repertoire. This arrangement works well for groups with solid ensemble intonation and the maturity to sustain lyrical, dance-like phrasing across longer phrases.
How to get the most out of it
- Shape the primary waltz theme with long-line phrasing rather than emphasizing individual beats. Think of the melody as continuous even across phrase breaks.
- Balance the two contrasting themes by adjusting dynamic relationships between sections. The second theme should feel like a fresh musical idea, not merely quieter.
- Address rhythmic precision in the accompaniment figures early in rehearsal. Clean, unified articulation in the supporting voices allows the melody to float without effort.
- Experiment with tempo flexibility at structural turning points. Small ritardandos at section transitions help the ear follow the form.
How to use it
This work fits naturally into spring concerts focused on twentieth-century classics or Russian cultural heritage programs. It pairs well with other ballet suite excerpts or orchestral showpieces at the same level, offering a sophisticated centerpiece that bridges familiar repertoire and more challenging contemporary works.
Skills your students will build
- Sustaining long melodic lines with proper phrase shape and dynamic direction
- Balancing accompaniment figures to support rather than overpower the primary theme
- Ensemble intonation in moderately complex harmonic progressions
- Responding to subtle tempo and dynamic fluctuations for musical expression
- Reading and executing typical Russian orchestral textures and articulation styles