This piece is full of energy and optimism. Camelot is on the horizon, and adventure is in the air! "It has a really English feel to it," says David Isaac. "It reminds me of castles and what the English countryside must have looked like in the Middle Ages. The ending has a lot of emotional impact to me, and it makes me think about King Arthur and his knights returning from their quests, the light at their backs." Orchestra and audience alike will be vitalized by this short overture and will be left eagerly awaiting the rest of the concert.
Time: 7'00"
The piece opens magically with an oboe solo above undulating muted strings. The middle section features small solos for the English horn and other woodwinds accompanied by con sordino strings and arpeggios in the harp. The coda is a powerful and rhythmic progression, down to the last bright chord.
This piece is for full orchestra: the woodwinds are in twos, plus english horn and optional piccolo, the brass section is 4, 3, 3, 1, the percussion section includes timpani and two percussionists (playing triangle, large suspended cymbal, bass drum, xylophone, tubular bells, snare drum), harp, and strings. Other arrangements are available upon request.
The optimistic and bright tone of the piece can work well as an opener to a concert at any time of the year spring, summer, fall, or winter. The sonic quality of the music works well with late-romantic music, such as Elgar, Mahler, or Richard Strauss or 20th century composers such as Walton, Britten, Sibelius, Barber, or Vaughn Williams.
The Concert Overture can open a concert or a 2nd half. The Operatic feeling of the piece contains many different emotions and prepares the audience for a diverse concert.
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Contact us for the complete score and a rehearsal recording of the work, or
try out Concert Overture in a rehearsal.
We will provide the parts at no cost to you. Rental or purchase fees will apply,
only if you decide to perform the music in concert.
Contact David Isaac by email: info@davidimusic.com or by phone 562-285-7608.
