Reference Tracks: All Performers

1. Professional reference tracks have been created for every part using EastWest products.

2. Tracks follow the same tempo as Evelyn Kaye Klein’s performance.

3. Separate tracks are provided for soloist and accompaniment, though some playback glitches may occur. Always prioritise the written music over the mockup.

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Soloists:

This project features an open instrumental solo, meaning any orchestral instrument may be selected. The arrangement is set in concert D major, so transposition adjustments may be necessary depending on your instrument.​

1. An improvised six-bar cadenza is included:

2. In the final four bars, the orchestra will accompany you, offering the chance to shape the mood and character of the piece freely.

3. All other cadenzas should be performed in a traditional post-Romantic style.

4. Video submissions are encouraged, with attire either in Concert Black or other formal, elegant clothing.​

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Note: For the improvised cadenza, the MuseScore playback and written notation should be treated only as a general guide. The final measure before the orchestra reenters does not need to be performed in the octave indicated. Darren and Arianna will still provide the entrance cue (“3–4”).

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​​​Full Orchestra:

Throughout the piece, aim for a rich, romantic sound while ensuring the soloist remains the focus. Please submit optional video recordings if possible, observing the standard Concert Black dress code. Certain passages include polyrhythmic writing, so careful attention to precision is essential. 

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High Strings & Winds:

In this arrangement, your melodic and counter-melodic lines should be shaped as a dialogue with the soloist, treated in a call-and-response style.

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Clarinets & Horns:

The original parts were written for Clarinets in A and Horns in D. For convenience, transposed parts in Bb (Clarinets) and F (Horns) have been provided, as many players may not have access to the original instruments. Horn players may also choose to sight-transpose from the D parts if preferred.

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Middle Instruments:

(Bassoons, Horns, English Horn, and Celli)
When the soloist takes the melody an octave higher on its second appearance, treat your lines as a duet with the soloist—shaped like an angelic singing voice, played with a lush, cantabile quality.

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Winds & Horns:

While the original plan was to limit each woodwind and horn part to two players, multiple submissions will now be accepted.

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​Harp & Celesta:​

If certain passages prove unplayable, you may simplify or adapt as needed. Otherwise, consult Darren and Arianna for guidance. Perform with an expressive, flowing, and angelic character (in the style of Spitalny), and if possible, record your part in a single take.

Celesta:

• If you do not have access to a celesta, a piano keyboard with a celesta patch is acceptable.

• Please use the highest-quality patch available.

Harp:

• In the final arpeggios, avoid overlapping with the celesta.

• Although the example performance does not include a celesta, play as though it were present.

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Part Assignments:
For both harp and celesta, sign-ups are accepted on a first-come, first-served basis. Only one musician will be assigned to each part.

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All Orchestral Strings:
For convenience, all five string parts (including divisi) are open for submission. Players who are able are encouraged to record multiple parts, helping to create the sound of a medium-sized string section. In the final measure, observe the tremolo carefully and allow the decrescendo to unfold naturally, without force.