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Lee Armstrong Music
เข้าร่วมเมื่อ 5 ส.ค. 2018
Kurt Weill arr. Armstrong: The Ballad of Mac the Knife for small orchestra
This is another excerpt from my Pictures at an Exhibition parody based on Weill's Threepenny Opera, this time the famous Ballad of Mac the Knife! Enjoy.
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Isaac Albéniz arr. Armstrong: Cuatro Piezas Españolas for small orchestra
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My latest orchestration, finished only two days ago. Four movements from Isaac Albéniz's wonderful Suite Española No.1 Op.47 from 1886/7. I've arranged them for a small, 'Beethoven-sized' orchestra without heavy brass or percussion to form a 20-minute suite of their own. I. Sevilla (Sevillanas) II. Granada (Serenade) III. Asturias (Leyenda) IV. Aragón (Fantasía)
Ignacy Jan Paderewski arr. Armstrong: Elegie Op.4 for chamber orchestra
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When composer Andrew Downes died in 2023, I wanted to make an arrangement to play in a concert in his memory. I orchestrated this beautiful 1882 Elegie by Paderewski. However, in the end, as Andrew was such a warm, kind and humorous human being, I decided it was too sombre and chose a different piece. Here is the orchestration we didn't perform. You can find out more about Andrew Downes's wonde...
Pyotr Ilyich Tchaikovsky arr. Armstrong: Symphonic Suite from The Nutcracker
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I always thought it was a great shame that Tchaikovsky's own suite from The Nutcracker didn't include the incredible music for the through-composed section in the second half of act I, so it was rarely played in concert. So, for a concert with a local amateur orchestra, I made my own suite, including the wonderful pas de deux from both acts, as well as the battle and the epic transformation scene.
Claude Debussy arr. Armstrong: Ballade for chamber orchestra
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Debussy's early piano music, although different in style, is just as rich pickings as his later works. This beautiful piece dates from 1890, here in my orchestration for a small chamber orchestra.
Mykola Lysenko arr. Armstrong: Sinfonietta Op.16a for small orchestra
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This is my orchestration of Ukrainian composer Mykola Lysenko's wonderful Piano Sonata of 1875. As soon as I heard it, I knew I wanted to orchestrate it. Lysenko, like Glinka before him in Russia, is widely regarded as the father of Ukrainian national music. His country was part of the Russian Empire at the time and he clashed with the state about the use of the Ukrainian language in his operas...
David Lvov-Kompaniyets trans. Armstrong: Concert Allegro for string orchestra
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Unfortunately I know nothing about David Lvov-Kompaniyets. He is not mentioned in Feofanov/Ho, nor in my Ukrainian Composers' Union dictionary of composers, and a Google search brings up nothing. This delightful piece, originally for string quartet, came paired in a collection of Soviet string quartets along with a very pleasant Andante, which I may post later.
Franz Liszt arr. Armstrong: Harmonies poétiques et religieuses: Bénédiction de Dieu dans la solitude
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Another of the stunning movements from Liszt's epic, ten-movement piano work, Harmonies poétiques et religieuses, this is my orchestration for symphony orchestra of the Bénédiction de Dieu dans la solitude.
Guy Ropartz arr. Armstrong: Introduction and Allegro for string orchestra
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The second of my Joseph Guy Ropartz string orchestra arrangements - I love his passionate music. This work was written for organ in 1917, at the height of 'the war to end all wars', yet somehow manages to come to a gloriously uplifting conclusion.
Jehan Alain arr. Armstrong: Deux Chorales for strings and brass
มุมมอง 5010 หลายเดือนก่อน
My 50th post! I love Alain's music, though it is almost never heard these days. I suspect if he had not died tragically young in the war, he would be a lot better known. The harmonies in these two works are beautiful! This is my orchestration of his 1935 Deux Chorales, originally for organ.
Claude Debussy arr. Armstrong: Mazurka for chamber orchestra
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A wonderful miniature by a young Claude Debussy, this is my orchestration of his 1890 Mazurka for piano.
Kurt Weill arr. Armstrong: Barbara Song for small orchestra
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This is the second of the movements I have extracted from my Threepenny Opera suite, Postcards from Berlin. In the full suite it is the fifth movement, and the title of the "postcard" is Defeated by Desire.
Felix Blumenfeld arr. Armstrong: Prelude Op.17 No.6 for string orchestra
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I published the first of this set a while ago, so here is the second of seven of Felix Blumenfeld's wonderful 24 Preludes Op.17 I orchestrated and made into a suite for string orchestra.
Franz Liszt arr. Armstrong: Ave maris stella for chamber orchestra
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Written in 1866, this beautiful miniature for chorus and organ was arranged multiple times by the composer. This is my orchestration, for a small chamber orchestra, of Liszt's own transcription for solo piano. This orchestration is dedicated to the memory of composer and all-round wonderful human being, Andrew Downes (1950-2023) www.andrewdownes.com/
Charles Villiers Stanford arr. Armstrong: Intermezzo Founded Upon an Irish Air, for string orchestra
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Very different to but, in my opinion, just as beautiful as Sir Malcolm Sargent's more famous version, this is Sir Charles Villiers Stanford's elaboration on than most famous of Irish melodies, The Londonderry Air (better known as Oh Danny Boy). This is the fourth of his 1923 Four Intermezzi Op.189 for organ, in my transcription for string orchestra.
Ruggero Leoncavallo arr. Armstrong: Pagliacci Suite for large orchestra
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Ruggero Leoncavallo arr. Armstrong: Pagliacci Suite for large orchestra
Franz Lachner arr. Armstrong: Konzertstück Op.160a for string orchestra
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Franz Lachner arr. Armstrong: Konzertstück Op.160a for string orchestra
Kurt Weill arr. Armstrong: Canon Song for small orchestra
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Kurt Weill arr. Armstrong: Canon Song for small orchestra
Nikolai Miaskovsky arr. Armstrong: Poem for strings Op 42a
มุมมอง 91ปีที่แล้ว
Nikolai Miaskovsky arr. Armstrong: Poem for strings Op 42a
Claude Debussy arr. Armstrong: Preludes Book I: Minstrels for chamber orchestra
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Claude Debussy arr. Armstrong: Preludes Book I: Minstrels for chamber orchestra
Guy Ropartz arr. Armstrong: Méditation No.3 for string orchestra
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Guy Ropartz arr. Armstrong: Méditation No.3 for string orchestra
Claude Debussy arr Armstrong: Preludes Book II: Bruyères for chamber orchestra
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Claude Debussy arr Armstrong: Preludes Book II: Bruyères for chamber orchestra
Mary Howe arr. Armstrong: Elegy for string orchestra
มุมมอง 66ปีที่แล้ว
Mary Howe arr. Armstrong: Elegy for string orchestra
Nikolai Rimsky-Korsakov arr. Armstrong: Two Pieces for string orchestra Op.31a
มุมมอง 59ปีที่แล้ว
Nikolai Rimsky-Korsakov arr. Armstrong: Two Pieces for string orchestra Op.31a
Franz Liszt arr. Armstrong: Pensées des morts (Harmonies poétiques et religieuses) for orchestra
มุมมอง 62ปีที่แล้ว
Franz Liszt arr. Armstrong: Pensées des morts (Harmonies poétiques et religieuses) for orchestra
Nikolai Peiko arr. Armstrong: Chamber Symphony for small orchestra
มุมมอง 38ปีที่แล้ว
Nikolai Peiko arr. Armstrong: Chamber Symphony for small orchestra
Alec Rowley arr. Armstrong: Pavan for string orchestra
มุมมอง 132ปีที่แล้ว
Alec Rowley arr. Armstrong: Pavan for string orchestra
Claude Debussy arr. Armstrong: Deux Arabesques for chamber orchestra
มุมมอง 94ปีที่แล้ว
Claude Debussy arr. Armstrong: Deux Arabesques for chamber orchestra
Claude Debussy arr. Armstrong: Children's Corner Suite: Cakewalk for strings (Rachlevsky / RSO)
มุมมอง 21ปีที่แล้ว
Claude Debussy arr. Armstrong: Children's Corner Suite: Cakewalk for strings (Rachlevsky / RSO)
Claude Debussy arr. Armstrong: The Girl with the Flaxen Hair for string orchestra (Rachlevsky / RSO)
มุมมอง 95ปีที่แล้ว
Claude Debussy arr. Armstrong: The Girl with the Flaxen Hair for string orchestra (Rachlevsky / RSO)
This would deserve a new version with your new sounds ;) Which soft/vsts do you use by the way?
Hi there! Thanks a lot. I use Sibelius with NotePerformer 3
Excellent!! Is there any chance you could share the orchestral score with me? Thank you so much!
Thank you! Yes, please drop me a DM with your email
@@leearmstrongmusic409can you share the orchestral score with me too please?
Nice work and very enjoyable.
Lovely
Nice one Lee.
Thanks! :)
Impressive! Could you please arrange Liszt 12 Transcendental Études?
Thank you! I'll add them to my long list of things I'd like to have a go at :)
Very nice! I made a MuseScore 4 playback of Molinari’s arrangement of Debussy’s L’Isle Joyeuse and I found this video while searching for more arrangements to transcribe
Thank you! Glad you like it. It was a tricky one to realise, but I'm quite pleased with it.
@@leearmstrongmusic409Also isn’t note performer playback better today than it was five years ago? I would love to hear an update
Hello! Where can I get sheet music?
This is so amazing. I would love to hear a real orchestra playing this. Keep doing it!!
Lovely work! I was wondering if it would be possible to have a recording without the flute to practice?
What software is this?
It's notated in Sibelius then exported as a video.
@@leearmstrongmusic409 excellent sound
Thank you! The sounds are by Noteperformer
Where can I get a copy of this arrangment??
Drop me a message and I'll see what we can do.
Where or how can i get the score?
Drop me a message and I'll see what we can do.
@@leearmstrongmusic409can you send me de orchestral score please? I need It
Awesome job! 🤩
Thank you!
Lovely! The climax at 5:00 is wonderfully rendered, I can almost hear a choir there. Very well done
Thank you very much! I'm glad you like it. It's such a wonderful piece!
Link?
Hi there. Link for what? The sheet music?
The melody at bar 6 sounds a heck of a lot like one in Chopin's Nocturne Op. 62, No. 1, written only a few years before this ... I notice that it's also not in Liszt's original choral version but appears in the Harmonies poétiques et religieuses in 1847.
Ah, how interesting! I'm sure Liszt wouldn't have pinched it, but it could be unconscious, perhaps? Where in the Chopin do you mean? I don't know it and couldn't hear it on a first listen.
@@leearmstrongmusic409 In this recording by Sirota, for example, I was thinking of the passage from 5:07 to 5:30. Not accusing Liszt of plagiarism, of course! If anything, if I'm right about this "echo" it was at least an hommage, and may even have represented something that Liszt was searching for ... th-cam.com/video/lP55g04Aa8k/w-d-xo.html
@@iianneill6013 I think I'll have to take your word for it, you being more familiar with both works. I can't hear it myself, I'm afraid :)
@@leearmstrongmusic409 It may just be my imagination or wish fulfilment fantasy. :-)
Lovely arrangement and talk about dynamic range. I had my headphones on, nearly blew my head off. It would be great to hear a full orchestra play this live.
Sorry about that! I had to tone it down because the levels were peaking! Glad you liked it :)
Nice.
Thanks! :)
Gorgeous music....brilliant orchestration.....BRAVO from Acapulco!
Thank you very much. He wrote some wonderful organ works and a small amount of chamber music, too. Well worth checking out.
A lot of effort you have put into this. Congratulations, this is the start of a good work! A few things that would help a lot. Your orchestration is far too string heavy. Color comes first from your ww's. Always try first to place your parts with the ww's and then brass. After that, only then defer to your strings. When you do this (late Tchaikovsky was a great example) you will begin to milk color from your strings--because you have saved them. Secondly, you tend to over double your lines (over orchestrate), and those added voicings bogg your otherwise clean textures down. Keep in mind, only use the instruments you need at the time. Try and keep your orchestral textures on the light side. When you have a string melody and a string accompaniment, you severely lose color. Given a choice, because the strings are such a homogeneous family, interlock your brass or ww's with them as a separate voice (that is, don't double a brass or ww line with strings unless absolutely necessary), and attempt to do everything possible to insure a different family group gets the melody as opposed to the accompaniment. I wish I could give you mm numbers and very specific details, but the score presents so small there is no possible way. Again, main point: use your strings only when necessary. In your opening section a lot of those tutti areas the brass can perform alone. The brass are really loud, they don't need the strings to carry--even more so when they direct their bells above the stands (Sibelius 7th Symphony--last portion). Famous thought from R. Strauss when he conducted: "never look at the trombones. It only encourages them to play louder." But if you just globally look at your score--not the details--but just the overall bulk, you can see where you over double and bigly favor the strings. When you have a chance, take a look at a Mahler, R. Strauss, or Tchaikovsky score and you will notice an immediate difference. So, some nice writing, but trim things down.
Thanks for your kind words and encouragement. Sadly, I can't take credit for the orchestration. Except where I have transcribed vocal lines, it is almost entirely the work of Leoncavallo. I might also, politely, take issue with some of your statements about orchestral colour. As a string player myself, I find Tchaikovsky's music to be entirely rooted in the strings, not the other way around. I don't believe Leoncavallo over orchestrates or doubles a little too much - for the best examples or over orchestration and multiple doublings, look to composers such as Rachmaninov and Vaughan Williams. Yet, despite these possible defects in orchestration, their work sounds lush and wonderful. I would not label the strings as homogeneous, though they can be, if written for in certain ways. The difference in feel, mood and sound between, say a high cello playing softly or violas playing loudly on their bottom string is huge - I would say the colour available in the strings is at least as interesting and varied as that available from the wind or brass (perhaps another homogeneous family by the same argument?). Having said that, the electronic realisation here does not do the strings much justice, nor does Leoncavallo use them to their fullest. If you would like to hear some of my original orchestration, please try some of my Debussy arrangements - I use the instruments much more sparingly - as I feel befits the composer and period. Edit: I should clarify that I did remove the bass clarinet part as the ensemble the arrangement was intended for didn't have one available.
Marvelous.....no Apology needed.....BRAVO from Acapulco!
Thank you again, Stevee!
Ingenious.....BRAVO from Acapulco!
Thank you!
love it. Opens up the mind to all sorts visuals.
Thank you! It's a fantastic piece.
Lovely. Very spring like.
Thanks :)
genius
Thank you!!!
A lovely piece of music and arrangement. Sounds great through my big speakers.
Thank you!
excellent transcription! can I get the pdf of this?
Thank you. Yes, of course - drop me a message/email and I'll send you the score and parts
Wonderful....Who even knew? BRAVI TUTTI from Acapulco!
Thank you once again.
Wow!! Wonderful orchestration!
Thank you very much! Glad you like it.
Brilliant....Ingenious.....BRAVO, Maestro.....from Acapulco!
Thank you very much!
Keep up the good work.
Thank you. I shall!
Brilliant! Innovative and Sensational......BRAVO, Maestro.....from Acapulco!
Thank you very much!
“The principal task of a conductor is not to put himself in evidence but to disappear behind his functions as much as possible. We are pilots, not servants.” -- Franz Liszt