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Schumann’s Cello Concerto, arranged for violin and string orchestra

Anthony Marwood’s wonderfully articulate performance of Robert Schumann’s Cello Concerto, arranged for violin and string orchestra by Orlando Jopling, was another highlight of the evening, conveying the emotional intensity and inherent Romanticism of the work.

The intimacy of Schumann’s writing for voice and piano and his understanding of the integral relationship between solo voice (human or instrumental) and accompaniment can equally be felt in the orchestration of this concerto. Dialogue between solo violin and string orchestra is peppered with intricacy, with the instrumentation not just providing echoes of the solo voice but essential to the musical texture and clarity of expression within the whole work.

Performed as three continuous movements, the span of the piece opening with a lyrical central thematic statement by the solo violin progressively expands during the sweeping exposition, combining the full symphonic volume of the ensemble with a more delicate sensibility explored in the intimate grouping of instruments, such as solo violin underpinned by viola and cello. There is audible recognition that the breadth of Schumann’s writing, both chamber and symphonic, is brought to bear in this late and historically neglected work. Schumann’s Cello Concerto arranged for violin was gloriously showcased by soloist and ensemble in this latest performance, part of a series of UK premieres of Jopling’s arrangement for the current tour.

© Georgina Coburn, 2011

Film & TV music

Orlando Jopling's music has been used by all the major UK terrestrial and satellite channels, and by several of the UK's top companies for product launches. To listen to samples, click here or go to the Audio Network website, where there is information on performing and licensing the works and from where you can directly download tracks. For enquiries about other compositions and commissions, contact me.

Music for the Theatre

Martin Crimp The Country
directed by Simon Godwin
Tabard Theatre, 2008

Shakespeare Macbeth
directed by Martin Wylde
Central School of Music and Drama, 2008

Orchestrations for Sinéad O'Connor

Nothing Compares to You
Love Letters
Don't Cry For Me Argentina
Scarlett Ribbons
You Made Me the Thief of your Heart
Success has made a failure of our home

Theology arranged for the Irish Chamber Orchestra: [includes Rivers of Babylon, If you had a vineyard, Something Beautiful, I don't know how to love him, Out of the depths, The Glory of Jah, We people who are darker than blue, Dark I am yet lovely, Watcher of Men, Whomsoever Dwells]

Classical orchestrations

Schumann Cello Concerto
Arranged for violin and strings
Commissioned by Anthony Marwood, the Irish Chamber Orchestra and the Australian Chamber Orchestra
Premiered by Anthony Marwood and the Irish Chamber Orchestra, April 2009

Mendelssohn A Midsummer Night's Dream
Overture and complete Incidental Music

CHAMBER ORCHESTRA VERSION - 50 minutes 7 wind (fl/picc, ob, 2 cl, bsn/contra/triangle/susp cymb, 2 hrn), strings and soprano. Strings either 9 players (22221) made for Stanley Hall Opera orchestra 2006, 11 players (33221) made in 2007 or 18 players (55431), made for the Irish Chamber Orchestra 2008.

VERSION WITH TWO ACTORS (1 hour 15 minutes) The complete story told by two actors, with Mendelssohn's complete music in versions as above.

VERSION WITH SEVEN ACTORS (two halves of approx one hour each) Made by Storytellers Theatre Company 2008 in collaboration with the Irish Chamber Orchestra. Full production with costumes & props. Easily tourable to medium and large scale venues.

Review by the Irish Examiner
'A bewitching, beguiling night's theatre is the best way of describing the collaboration between Storytellers Theatre Company and the Irish Chamber Orchestra. It was a magical experience. Right from the four chords that set the magical atmosphere of the overture to Puck's final soliloquy we were in a place apart, a place where theatrical and musical magic happened. Overall the production was remarkably inventive, and the seven actors who played the 20 roles were extraordinarily athletic, never allowing the pace to slacken. And of course, the shimmering, sensitive brilliance of the ICO's playing was a joy throughout.'

All versions resuscitate all of the wonderfully rich and varied music normally ignored when the concert suite is played.

Holst unpublished movement from ‘Brook Green Suite’
parts based on original manuscript

Arrangements by Joseph James, edited for performance by Orlando Jopling

Schumann Fantasie Op 16
Arranged for string orchestra with concertante soloists
Recorded 2006 with the English Chamber Orchestra / Schubert Ensemble conducted by Orlando Jopling Buy CD

Rachmaninov 2nd Piano Concerto
Arranged for String Orchestra with concertante soloists
Recorded 2007 with the English Chamber Orchestra conducted by Orlando Jopling

Schubert Wanderer Fantasy
Arranged for string orchestra with concertante soloists
Recorded 2006 with the English Chamber Orchestra / Schubert Ensemble conducted by Orlando Jopling Listen to CD

Rachmaninov Morceaux Op. 3
Arranged for String Orchestra with concertante soloists
Recorded 2007 with the English Chamber Orchestra conducted by Orlando Jopling

Arrangements of Operas

Johann Strauss Die Fledermaus
orchestral parts arranged for Walzerquartett (two violins, cello and piano) Commissioned by Tête à Tête; English translation by Bill Bankes-Jones available by arrangement.
0000 0000 2vln vc pno

Auber Fra Diavolo
Complete opera arranged for 18 players
1111 2100 tmp/perc (triangle, s-d, cymbal, bass drum) strs (32221)
Can also be performed with 15 players using single strings.
Commissioned by Christopher Stewart-Smith for Stanley Hall Opera

Rossini La Pietra del Paragone
New performing version dramatically tightened, reduced to manageable length for modern performance, and re-thought through from original material, in collaboration with Annilese Miskimmon. Translation by Simon Butteriss available by arrangement. Commissioned by Stanley Hall Opera.
1121 2000 perc str

Vivaldi Orlando finto pazzo (English title: Orlando plays mad)
First modern performing edition, based on the sole surviving manuscript in Biblioteca National di Torino and libretto in Venice. English translation by Bill Bankes-Jones printed into the score and available by arrangement. Differs significantly from Alessandro Borin’s subsequently published version for Ricordi, although Borin had access to the OJ/BBJ edition while preparing his. Full score and all parts Commissioned by Tête à Tête for the modern world premiere, London 2001
Strs, continuo

Mendelssohn Overture and Incidental Music to A Midsummer Night's Dream to fit around the Shakespeare play
1121 2000 strs (minimum 6 violins, 2 violas, 2 celli and double bass)

Mozart Cosi fan tutte
orchestral parts arranged for six instruments: flute, oboe, horn, violin, viola and cello (in progress, ready end 2011)

Humperdinck Hansel und Gretel
orchestral parts arranged for 21 players (flute/picc, oboe, clarinet/bass clarinet, bassoon, 2 horns, timp, perc, 6 violins, 4 violas, 2 cellos, 1 bass) for Opera Omaha (Nebraska, United States).

One hour version of the opera also available.

Orchestral score arranged for 12 instruments: flute, clarinet, horn, two violins, four violas, two cellos and double bass (in progress, ready in 2013)

Tchaikovsky Eugene Onegin
orchestral parts arranged for chamber ensemble (in progress, ready in 2013)

Richard Strauss Rosenkavalier
Re-orchestration for 26 players in progress, ready in 2019 when Strauss comes out of copyright in the UK.

Arrangements for piano quartet & quintet

Rossini Overture to The Barber of Seville
arranged for violin, viola, cello, bass and piano commissioned by the Schubert Ensemble, who hold performance rights Premièred 2001, Wigmore Hall, London

Schumann Canon no. 4 for pedal piano arranged for piano quartet, piano quintet and ‘trout’ quintet ensemble commissioned by the Schubert Ensemble of London Premièred March 2005, Wigmore Hall, London

Max Skalka and Felix Stahl Dobra Dobra
arranged for violin, viola, cello, piano and solo violin

Strauss waltzes arranged for the following ensembles:
Walzerquartett (two violins, cello and piano)
Clarinet, violin, viola, cello, double bass and piano
Violin and piano

An der schönen blauen Donau
Rosen aus den suden
Wiener Blut
Wien, du Stadt meine Traume
Kunstlerleben and polkas
Tritsch Tratsch Polka
Unter Donner und Blitz

Hungarian melody ‘four-square’ arranged for violin, viola, cello, bass and piano

Arrangements for string chamber ensembles

For violin and guitar

Albeniz Tango, Monti Czardas, Krein Gipsy Carnival, Kreisler Marche Miniature, Ponce Estrellita, Ravel Habanera, Sarasate Malaguena

Commissioned by Katharine Gowers, who holds performing rights.

Joseph Lanner Steyrische-Tanz no. 1
arranged for string trio (violin, viola and cello)

Mozart Countess and Susanna’s duet from Le Nozze di Figaro
orchestral parts arranged for string trio

Prokofiev Romeo and Juliet with Friar Lawrence, scene from Romeo and Juliet
arranged for two violins, two violas and cello

Ysaye Extase arranged for two violins

Commissioned by David Takeno

Two anonymous Waltz tunes, Gypsche and Hora Staccato
arr. for violin and piano

Various jazz standards and light music
arr. for cello duet

'Somewhere' based on Tom Waits
For string quintet (two cellos), optional double bass, and optional trumpet, after Bernstein. This arrangement will work without the vocal line as the melody is shared out between the instruments.

2007, Commissioned by Jo Paton and Will Htay

Arrangements by Peter Furniss

Debussy Petite Piece
for clarinet quintet (clarinet and string quartet) (originally clarinet and piano)

Ravel 5 pieces
for clarinet, bassoon and string quartet (originally for piano solo)

Biog & how to hire

Orlando Jopling studied composing at the Royal Academy of Music in London and read music at Cambridge University. He continued studying orchestration as part of post-grad conducting courses at the Guildhall School of Music and Drama and the Royal Academy of Music, and gained a grounding in operatic style as a repetiteur at the National Opera Studio where he was the first Leonard Hancock Scholar. He was on the academic music staff of the Guildhall School of Music and Drama for six years before leaving to concentrate on performing.

Orlando composes for film, TV and theatre, and has re-orchestrated and re-conceived music for Opera Omaha, Anthony Marwood, Stanley Hall Opera, Sinéad O'Connor and the Irish Chamber Orchestra.

Performing rights are held either by the composer/arranger, commissioner or publisher. In all cases contact Orlando Jopling if you are interested in hiring any of the arrangements or performing editions, or if you would like to commission an arrangement.