Music from the Desert

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"Symphony No. 41" was completed in the summer of 1788 along with symphonies No. 39 and No. 40 and there is no evidence that any of the three were performed during Mozart's lifetime. Due, perhaps to its monumental sonority it was subsequently dubbed "The Jupiter" after the supreme god of the ancient Roman Pantheon. This, the first movement is somewhat unique for its number of "irregular" phrases. It was common in music of the classical period to build the form around phrases of 4 or 8 bars, but here, Mozart saw fit to employ phrases of 3, 5 or even 7 bars! Despite this, due to the composer's mastery of the symphonic form, the average listener will be unaware of this deviation from the norm. In this arrangement I have attempted to convey the thrill of this magnificent composition while making it available and playable for young string players.

Jupiter

String Orchestra Score & Parts

Ensemble

Instrument Family

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My introduction to the world of instrumental music came during fourth grade in a tiny school in upstate New York when the music teacher came around and asked, "which instrument would you like to play?" Since I had already made up my mind way back in second grade, I immediately said, "trombone."  A week or so later, I was handed a long, skinny case . . . much too small to be a trombone with the admonition, "your arm is not long enough . . . you're much better suited to the clarinet!"  After my initial disappointment, I came to love the instrument which eventually led to a substantial college scholarship, meeting my future wife, Nelle and a lifetime of wonderful music making.In this piece, I have tried to evoke the diversity of the clarinet with its fantastic range of colors and technical facility.  It was composed for my daughter-in-law, Belle O'Neill, an accomplished clarinetist.  Not much more to be said . . .so . . . practice, practice, practice and be sure your keys are well oiled!

Three Pieces for Unencumbered Clarinet

Clarinet Solo

Parts

My wife, Nelle and I have taught hundreds of beginning string players over the years and one "happening" that seemed universal in all of our classes was the discovery of THE GLISSANDO! Usually after a couple of lessons, one of the students could be heard sliding up and down the string producing a sound much like a fire siren and of course, it didn't take long for the rest of the class to follow suit! "Slidin' Around" owes its being to these much remembered experiences as public school music teachers . . . since the technique was so much fun for the kids, I thought I would legitimize the practice with this little Leroy Anderson composition!

Slidin' Around

String Orchestra Part

The first performance of Tchaikovsky's "Nutcracker" ballet in 1892 was deemed a failure and only the suite of dances extracted from the original score enjoyed any popularity until the early 20th century when it suddenly caught fire, particularly in the United States and became a holiday favorite. The three dances I present here (March, Arabian Dance and Trepak) are ones ensconced in our musical memory and present an opportunity for young string players to actively participate in this Christmas favorite. I have endeavored to produce a work that conveys the excitement of the original, yet playable by intermediate students. The "Violin I B" part fits perfectly with all the others yet provides an alternative for those not yet proficient in the more complicated rhythms.

Nutcracker

This tone poem was composed by Jean Sibelius in 1899 as a protest to the increasing censorship being imposed on Finland by the Russian Empire, which at that time considered Finland to be part of Russia. First performed in 1900 it became immediately popular throughout the country, but in order to avoid censorship, it had to be performed under alternative names at various musical concerts. Titles under which the piece masqueraded were numerous; famous examples being Happy Feelings at the awakening of Finnish Spring, and A Scandinavian Choral March. The familiar and universally popular hymn tune incorporated in the work, though attributed to others, was actually written by Sibelius himself.The original score calls for a large symphony orchestra with full woodwind, brass and percussion sections and a performance time of over 8 minutes. So that young string players could have the thrill of performing this great composition, I have endeavored to encompass the major passages into a 3 minute score that is playable by the intermediate student.

Finlandia

"Coriolanus Overture" was written as the prelude to a play by Heinrich Von Collin and received its first performance in 1802. The play was based loosely on the legend of a Roman officer torn between personal feelings and his sense of duty, leading to several different possible resolutions, none of which depict a happy ending! The overture was first published in Vienna 1808 and is one of the most frequently performed and recorded of Beethoven's orchestral works. The full orchestra score is about nine minutes in duration and scored for flutes, oboes, clarinets, bassoons, horns, trumpets, timpani and strings. I have tried to capture the excitement and drama of this composition while making it accessible to young string players by transposing the score from the original key of C minor to D minor and shortening it to about five minutes.

Coriolanus Overture

One of Brahms' most enduring compositions, his "Variations on a Theme by Haydn" has been cloaked in mystery ever since its premiere by the Vienna Philharmonic in 1873. Though the composer obviously believed that Haydn was the author of the melody on which he based the work, research seems to point to Ignaz Playel as the original author and, indeed, there is speculation that he simply adapted the theme from a tune of unknown origin often referred to as "St. Anthony's Chorale." Regardless of such speculation, this work remains a standard of orchestras throughout the world. The original is scored for full orchestra with the theme followed by eight variations and a finale. I have chosen to use the theme and four of the variations that I believe will work best with young string players, along with a shortened finale.

Variations on a Theme by Haydn

Mozart's Symphony No. 40 was completed in July of 1788 and was scored for flute, oboes, bassoons and strings; absent were the traditional trumpets and timpani. Subsequently, he added a pair of clarinets to accommodate two brothers who were exemplary performers on the instrument, and that is the version heard today. Though the first movement is probably the best-known of all his symphonic works, the Finale provides an appropriate and thrilling conclusion to this monumental composition and, indeed, can be considered a precursor to the symphonies of Beethoven yet to come!

Finale from Symphony No. 40

Contrary to common knowledge, Bach did not compose the hymn upon which this piece was based.  Johann Schop penned the work in 1642 and it wasn't until 1723 that Bach incorporated it into one of his many cantatas in Leipzig, Germany.  This, one of Bach's most enduring compositions, has appeared in many instrumental forms over the intervening years, from arrangements for solo piano, organ, woodwinds, brass, bands and orchestras to, believe it or not, percussion ensembles!  This version was orchestrated for string orchestra and brass quintet especially for the Carson Valley Sinfonia in Nevada.

Jesu, Joy of Man's Desiring

String Orchestra Score & Parts with brass quintet

A medium difficult string orchestra arrangement of the finale from
  Mussorgsky's piano Suite, "Pictures at an Exhibition"

The Great Gate of Kiev

The Tragic Overture was written by Brahms in 1880 and is scored for a full symphony orchestra of woodwinds, brass, timpani and strings. While not traditionally programmatic, the title reflects the mysteriously dramatic mood of the composition. Although its companion piece, the Academic Festival Overture (composed the same year) became an immediate success, the Tragic Overture only became popular in more recent times, often acting as the introduction to modern day symphonic productions. This arrangement highlights some of the most dramatic and sublime moments of this wonderful work while making it a rewarding experience for the mature student string orchestra. -John O'Neill

Themes from the Tragic Overture

The Root Beer Barrel Polka is a "just-for-fun" piece that can be performed in a variety of different ways;  as written, with all the parts; string orchestra alone or violins/violas alone with piano or . . . a combination of whatever "ingredients" that might be available (a solo cello part, not in the score, has been included).  Nothing more to be said . . . enjoy!

The Root Beer BarrelPolka

"Exaltations" first began to take shape back in 1992 as an expression of my exuberance at having escaped THE BIG CITY with its traffic jams, smog and population explosion and relocating to the beautiful Carson Valley, Nevada at the foot of the majestic Sierra Nevada. That first sketch poked along for quite a number of years with myriads of revisions and metamorphosis until 2014 when it informed me that it was finally done! Not much more to be said . . . In performance, just keep the title in mind from the first note to the last.

Exaltations!

Many moons ago, I picked up my phone, pressed the "speed dial" button and a short musical motif embedded itself in my brain . . . this was the beginning of "The Telephone Song".  At first materializing as a little piano piece, it eventually morphed into its present form . . . a "Musical Pantomime" for string orchestra.  Obviously, there is a story hidden here, but I'm going to leave it up to the listener to discover it!

The Telephone Song

Although Beethoven's "Symphony No. 5" begins in the key of C minor, the master chose to defy tradition and write the Finale in C Major.   When asked about his departure from the norm, he was reported to have said "Many assert that every minor piece must end in the minor . . . No!  . . Joy follows sorrow, sunshine,rain"; an obvious reference to the contrast of the Finale with somber mood of the symphony's opening bars.   Though the first movement contains the best known motif in classical music, the finale, with its extended coda (the famous, "Beethoven ending")  references themes in the prior movements and supplies an appropriate ending for this monumental work.  As with all of my classical arrangements, I have strived to retain the integrity of the composer while making it playable and enjoyable by young string players.

Finale from Symphony No. 5

Step back in time with "A Little Ragtime!" by John O'Neill. This delightful piece infuses any performance with the whimsical charm of early 20th-century Americana. Perfect for ensembles looking to add a touch of light-hearted fun to their repertoire, it's sure to captivate and energize audiences of all ages. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

A Little Ragtime!

An Olde Fashioned Christmas is the culmination of many years and many arrangements of favorite carols. Christmas has always a magical time of year and these seven carols attempt to recapture some of that magic. Though the medley may be performed without percussion and, indeed the carols may be played individually, the percussion instruments add something special and can be played by one person.

An Olde Fashioned Christmas

Mozart's "Symphony No. 40" was completed in July of 1788 and was scored for flutes, oboes, bassoons, French horns and strings;  Subsequently, he added a pair of clarinets to accommodate two brothers who were exemplary performers on the instrument and that is version heard today.  Though the first movement is probably the best known of all his symphonic works, the third movement, 'Minuetto' . . . really a minuet in name only, provides an unexpected and explosive contrast to the graceful 'Andante' preceding it.  The minuets of the past generations of symphonists were gradually giving way to a more exciting form, the 'Scherzo' and this, perhaps, was to be a harbinger of the future.

Minuetto

Immerse yourself in the soothing melodies of "Londonderry Air," expertly composed by John O'Neill. A quintessential piece for any light selection repertoire, this composition offers an elegant, emotive experience that captivates and delights. Perfect for both intimate gatherings and grand performances. Elevate your musical collection with this enchanting composition. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Londonderry Air

This score was inspired by Kendra Kostelecky, KOLOTV Anchor, when she asked during an interview with Nelle and me how I used a computer to write music.  I chose a folk song "She'll be Comin' 'Round the Mountain" that was imbedded in my brain since childhood and wrote out about 8 bars for her during the filming session.  Looking over the passage a few days later, I decided to expand it to "A Medley of Old Time Favorites" for string orchestra.  Since the original sketch was quite "upbeat", I decided that it should be the "finale" and decided to open with "My Darlin' Clementine" and "Home on the Range."  As I completed the arrangement, remembrance of the many times we had sung these songs with our children and grandchildren around campfires in Yosemite led to the title, "Songs Around the Campfire."

Songs Around the Campfire

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