Reviews

BRIGHT RIVER (Grade 1.5, String Orchestra). Kathryn Griesinger. Carl Fischer Music, 2019, $48.

This lovely work in G major, 4/4 in a moderate tempo, is a lovely tribute to nature. The piece was inspired by the sight of sunlight sparkling on moving water. A bright and happy opening, with eighth notes being passed between sections, leads to a staccato rhythmic pulse under a legato melody. The middle of the piece is legato in all parts, with an expansive feel. The ending brings back the staccato eighths and the melody in the first violins. Staccato and legato are exchanged between sections throughout Bright River. Directors may opt to have students play with a light brush stroke in the staccato marked eighth note sections. There is a shift to second position in the bass part. Low and some high twos are marked. Dynamic contrasts, crescendos, and diminuendos do shape the phrasing. There are many good teaching elements throughout. This is a truly lovely and happy piece that I know your advanced beginning students would have fun playing. It makes a good performance number, as well. G. P.

CANZONE (Grade 2, String Orchestra). Todd Parrish. Carl Fischer Music, 2019, $50.

Canzone, Italian for “song,” is marked andante con moto and written in D major and in 3/4 time. It is a beautiful piece that is reminiscent of the folk song style of Vaughan Williams, with carefully controlled dissonances, resolutions, and soaring lyrical melodies. Written for string orchestra with an optional violin 3/viola tenor clef part, the extended legato melodies offer students the opportunity to work on tone production and long phrases with a mixture of detaché and slurred bowings. All sections of the orchestra have the opportunity to play various roles, as melodies, countermelodies, and accompaniment figures are passed around. While most of the piece is legato, many of the accompanying figures are staccato and pizzicato, allowing students to work on articulation, technique, and dynamic contrast. Violin 2 and viola have many opportunities to work on high third finger placement, with G string C sharps prevalent throughout. Toward the end of the piece, there is an optional 8va phrase for violin 1 that has students shift up to third position. Canzone, about three minutes in length, offers a nice, lyrical contrast for any concert, perhaps ideally placed between two faster selections. B. B.

CENTRIFUGE (Grade 2, String Orchestra). Kathryn Griesinger. Carl Fischer Music, 2018, $55.

This piece is written to imitate the rotational force of a mechanical centrifuge, so a repeating eighth note motif causes it to feel like a spinning cyclone. Written in G major, this piece is very accessible while still providing lots of teaching opportunities. There are few accidentals, but they are common fingerings. It starts out driving, loud and fast paced, but has a slower, smoother, softer middle section and then slowly drives back up to a louder dynamic and become faster and more intense. There are a few ties in violin 1, but there are no slurs. Violin 2 often doubles the viola so that the parts are stronger. There is also an optional violin 3 part which is the viola part written in treble clef. Cello and bass have driving rhythms to keep the piece moving. Opportunities to play in the middle or balance point of the bow abound with all the eighth note rhythms. There are low second fingers for finger pattern contrasts as well as dramatic dynamic contrasts. Lots of bowing style changes make a great teaching tool. Graduated entrances also provide a fun challenge. The cello even has melodic sections while the upper strings pizzicato. Staccatos, accents, and tenuntos abound. This makes for teaching each technique and how to have students perform them correctly and together as an ensemble. This fast-paced piece is sure not to disappoint! It is an exciting piece for both orchestra and audience. It would be a great piece to program as your opener or in between slower pieces. L. J.

HALLELUJAH (Grade 2/Medium, String Orchestra). Leonard Cohen, arr. Robert Longfield. Hal Leonard, 1995, $14.99.

Longfield has made Cohen’s beautiful and recognizable hit Hallelujah available for string quartet. This accessible version in 6/8 begins with the melody in the first violins while the undulating eighth note pattern weaves between the second violin and the cello. The melody is passed to the second violin and viola twenty-nine measures after the first violin’s leading verse. Finally, the cello echoes theme for the final verse in D minor. The end of the work is in A major with only a few G sharps in the second violin. Louré bowing style and many slurs smoothen the melody while occasional tremolo provides a shimmering accompaniment at the very end. This piece would make a great addition to a high school string quartet’s wedding gig album! L. K. H.

LAVANDE (Grade 2.5, String Orchestra, Rehearsal Piano). Yukiko Nishimura. Southern Music Company, 2018, $40.

Lavande (meaning lavender in French) is a beautiful, continuous blend of melody and harmony that is pleasing to the ears. This slow piece begins with the melody in the first violins and strong inner parts moving along. Nishimura composes an Eastern melody which is underlined with Western harmonies. The melody is very delicate and the harmonies can be strong and intense. There are two definite sections: the first written expressivo, which has many slurs, and is played very legato; the second, which is more aggressive with detaché bowing and the use of double down bows. The first section returns, giving the feeling of relief. All parts are independent and intricate which requires attention to details. The viola part is constantly moving and is a great piece if you have strong violas. A perfect piece to work on musicality. L. L.

POLOVTSIAN DANCES (Grade 3, String Orchestra). Alexander Borodin, arr. Samuel Gelfer. Carl Fisher Music, 2019, $55.

This is a timeless melody from Alexander Borodin and may be remembered as “Stranger in Paradise.” It is lifted out of the original, arranged for string orchestra, and transposed to the friendly key of G major. It is an exercise in melody shaping and tone production for a middle school orchestra or young high school. Balance may be a problem due to the repeated syncopation in several parts. Ornaments as turns are present. Basic triplets should not be a problem. Although the melody is primarily in the first violins, the seconds do get a chance at playing it. After a short introduction, the main melody is introduced in measure 15. Some flats are present as accidentals in several parts. The bass part is super easy! P. M. H.

STAR WARS: THE LAST JEDI MEDLEY (Grade 2-3, String orchestra, Optional Piano, Percussion). John Williams, arr. Robert Longfield. Hal Leonard, 2017, $55.

Composed by the award-winning American composer, pianist, and conductor John Williams, Longfield arranges a string orchestra medley of the movie soundtrack, Star Wars: The Last Jedi. This piece includes a blend of familiar favorite tunes such as the “Finale” and the “Rebellion Is Reborn.” The easy-medium arrangement begins in the key of A minor (quarter note = 76) in 4/4 time, transitions into G major, and ends in A minor. The tempo speeds up introducing the new theme, “The Rebellion is Reborn” (quarter note = 106), transitions from 4/4 to 3/4 time. The “Finale” is then performed in 4/4 (quarter note = 126), transitions into a suddenly slower tempo with ritardando (quarter note = 88), followed by the new theme at moderately tempo (quarter note = 100). The ending of the piece is performed in 3/4 time (quarter note = 106) and then transitions into 4/4 time, ending with a double sforzando. There are a variety of rhythmic passages in the two-minute-and-thirty-second piece that include quarter notes, eighth notes, sixteenth notes, triplets, dotted quarter notes, dotted half notes, whole notes, and a combination of rhythms with added ties. Staccatos, tenutos, accidentals, tremolos, and dynamic markings are easy to follow, while bowing suggestions are appropriate for each of the sections. There are a variety of melodies performed by each of the instruments and a solo or soli for violin 1. Pedagogically, this piece is suitable for advanced middle school or beginning high school string orchestra. T. S. Y.

SYMPHONY IN D MINOR—ALLEGRETTO (Grade 2.5, String Orchestra). Cesar Franck, arr. Lauren Keiser. Southern Music Company, 2018, $40.

This symphony’s second movement would make a nice addition to any concert. It sounds relaxing, but the musicians will have to be at careful attention. Unison rhythmic pizzicato will have to stay exactly together. The simple flowing melody climbs over the pizzicato accompaniment and passes from part to part. There is an optional violin solo, but it could also be multiple players. The arranger simplified Franck’s dotted rhythmic pattern in B section and wrote it as straight eighth notes. However, if students can play the more advanced rhythm, the original rhythms are included in the score. The soloist(s) must be competent in third position, but not the rest of the violin section. This is great piece to provide a change of pace in between fast pieces on your next concert lineup. L. J.

UNLEASHED (Grade 3, String Orchestra, Piano). Peter Terry. Carl Fischer Music, 2018, $60.

What an exciting piece to unleash your students’ playing abilities! This energetic piece is filled with continuous rhythmic movement, using eighth notes on and off the beat. The melody opens in the violins and then continues and develops in all the parts. There is a brief eight-measure legato section which makes you believe there is a contrasting section, but it quickly returns to the eighth note melody. Every section gets the melody, which can give you unison practicing in the classroom. Students will enjoy this catchy tune! L. L.

MAMMA MIA! MEDLEY (Grade 5, Full Orchestra, Rhythm Section, Solo Vocal or Choir). Anderson, Andersson, & Ulvaeus, arr. Gary Fry. Alfred’s Professional Orchestra Series, 2012, $395.

This ten-minute medley and three-minute “Encore” of ABBA hits brings the sounds and fun of the musical Mamma Mia to your orchestra concert. The arrangement is appropriate for a college orchestra, community orchestra, or possibly an advanced high school orchestra willing to commit a fair amount of time to the preparation of the pop rhythms and ranges present throughout the work. The medley requires a lead vocalist, at least, but also provides back-up vocalists or choral parts to provide the full impact of these songs. The medley includes the title song “Mamma Mia” in addition to “I Have a Dream,” “Super Trouper,” “Chiquitita,” “Voulez Vous,” “The Winner Takes It All,” and of course “Dancing Queen.” A couple of verses of each tune are presented, meaning each song is substantially represented. The arrangement also needs guitar, both acoustic and electric, and electric bass along with keyboard and drum set. There is even a harp part (though the part is largely doubled by the keyboard). Technical demands include various positions through seventh for violin 1, third position for violin 2 and violas, fourth position and treble clef for the cellos, and fourth position for the basses. Concert keys include D major, F major, A major, and C minor with a variety of accidental-filled modulations. Rhythms are demanding including sextuplet runs, syncopation throughout, and particularly difficult viola accompaniments along with a demanding electric bass part. The included “Dancing Queen and Waterloo Encore” has the same rhythmic and position demands of the main medley, repeating an A major version of “Dancing Queen” followed by a 12/8 shuffle of the song “Waterloo” in the opening key of D major. If you are looking for a Boston-Pops-style presentation of Mamma Mia for your next concert, this arrangement is sure to please. D. S.

ACROSS THE OCEAN FOR TWO VIOLINS (OR ENSEMBLE) AND PIANO (Grade 3, Violin Ensemble, Piano). Andrii Didorenko. Theodore Presser Company, 2019, $24.99.

This lovely tune is evocative of a sunny afternoon spent at sea. Composed in a quick 3/4, this lilting waltz will give your violinists the opportunity to perform independent parts in a chamber setting, play easy double-stops (usually with an open string), and employ sul ponticello for a brief stormy sea section. The illusion of a stormy sea is created by ascending and descending chromatic eighth notes beginning on the G string, opening the perfect window for teaching chromatic fingerings. The piece is written in the key of C major and there are no key or time signature changes. Although the violin 1 range extends to fourth position E natural, Didorenko included the part written an octave lower. A violinist and teacher himself, Didorenko composed this piece to suit the abilities and learning needs of intermediate violinists. If you are looking for a piece that your violinists will enjoy while learning valuable ensemble skills, this composition is definitely worth a listen. L. C. W.

CROCODILE ROCK (Grade 3, String Quartet). Elton John, arr. Robert Longfield. Hal Leonard, 2018, $14.99.

Student chamber groups will enjoy this string quartet version of the Elton John hit song from 1973. Longfield retains the G major of the original version and simplifies some of the vocal and backing lines to provide a playable and faithful reading for younger student ensembles. Listed as a grade three, the technique required is actually closer to that of a grade two, as all parts may be played in first position. In a nice touch, the melodic line is equally shared between the two violins and the viola. Rehearsal challenges will include accidentals such as G sharp and D sharp, syncopations, ties, quick lifts, staggered bowings, and increasing the tempo up to quarter note = 144. The viola and cello parts reside entirely on the middle two strings, while the two violins split the registers with violin 1 predominately on the top two, and violin 2 mainly on the bottom two strings. The famous farfisa organ introduction is effectively placed in the three upper strings while the cello replicates the energy and drive of the piano, bass, and drum parts. This charming Crocodile Rock will be a fun way to work on fast accents, uniformity of staccatos and lifts, and a melodic hook that will be enjoyed by both students and audiences. J. W.

DUETTI (Intermediate, Violin/Viola). Ludovico Einaudi. Ricordi, 2019, $9.99.

This is an engaging collection of five duets that will delight eager intermediate students who are interested in using more advanced techniques. These pieces contain double stops with changing rhythms, three-note chords, simple harmonics, B flat, E flat, and A flat accidentals, triplets, and 3/2 and 2/2 meters. Shifting is not required, although there are moments that more advanced fingerings would be appropriate. Challenging techniques often occur as repeating figures, increasing their playability. The double stops and chords are easily simplified if the student is not able to play them as written. The violin and viola parts are completely independent and each has interesting material to play. The difficulty level of each part is similar; however, the violin parts are slightly more difficult than the viola. A. S.

KINDERALBUM (String Orchestra/Quintet). Peter Tschaikowsky, arr. Peer Baierlein. Universal Edition, 2018, $19.95.

The Children’s Album (Kinderalbum) is a collection of short pieces written by Tchaikovsky for young pianists to enrich “the musical literature for children.” Peer Baierlein has transcribed and arranged them for small string ensembles including violin 1 and 2, viola, cello, and bass parts. The twelve tunes included have independent parts for each instrument with position work to seventh position for violin 1 and fourth position for cello and bass, but no required shifting for violin 2 and viola (though shifting on lower strings would be helpful). Keys include G, D, F, B flat, and E flat major in addition to G, C, and B minor. Time signatures include 2/4, 3/4, 4/4, and 3/8 and present a variety of rhythms including dotted eighth, dotted quarter rhythms, and a thirty-second note col legno figure for the string bass. Col legno is introduced to all the instruments and ricochet or jeté is performed by everyone except the violin 1 while the cellos and bass get to use the Bartok pluck. These short pieces each stay in one key and time signature and the longest is only sixty-four measures long. Most are much shorter, giving you a strong musical package to explore a variety of styles and techniques in a small ensemble setting. D. S.

MAN IN THE MIRROR (Grade 2-3, String Quartet). Glen Ballard and Siedah Garrett, arr. Robert Longfield. Hal Leonard Pops for String Quartet, 2018, $16.

Nominated for record of the year at the Grammy awards in 1988, Man in the Mirror is recognized as one of Michael Jackson’s most memorable works. This easy introduction to string quartet playing arranged by Robert Longfield is performed in the key of G with “moderate rock beat” (quarter note = 100) in 4/4 time. There are a variety of rhythmic passages in the piece that include quarter notes, eighth notes, sixteenth notes, dotted quarter notes, whole notes, and a combination of rhythms with added ties. Staccatos, tenutos, and dynamic markings are subtle and easy to follow, while bowing suggestions are appropriate for each of the sections. Throughout the piece, violin 1 carries the melody. The accompanying violin 2 and viola share the same rhythm and pitches with each other but carry some nuanced differences in the harmony for each of the phrases. The cello has an exciting rhythm part throughout the piece with two measures with an extension fourth finger (C sharp on the G string). Violin 1 plays on D, A, and E strings; violin 2 plays on D, A, and E strings with a few measures on the G string; viola and cello play on G, D, and A. Toward the end of the piece, there is a tremolo and sforzando with a dynamic of piano to fortissimo. Pedagogically, the piece is suitable for young musicians learning the style of string quartet playing. Once students become skilled in playing in first position, teachers can make adjustments to teach them how to shift and perform in different positions. T. S. Y.

TRACES DE LUMIERE (Grade 6, String Quartet). Yongbom Lee. Doblinger, 2017, €26.95.

Lee has delivered a truly modern composition with this string quartet. Written in two movements played without pause, this atonal work is reminiscent of mid-century masterworks. The translated title is “Traces of Light,” an apropos name for a composition in which the harmonic material is heavily characterized by harmonics. Lee states in the preface to his work that harmonics “ . . . are used thematically both in the vertical and horizontal planes.” Indeed, harmonics are used throughout as connective material and as evocative effect. There is an echo-like pattern that recurs with the musical material that presents itself in question-and-answer form. Lee states, “The compositional materials (gestures, rhythm, playing techniques, etc.) are musically derived from the basic material and used contrapuntally in a context.” The compositional techniques used are quite effective in painting pictures of light and the various ways in which we see and connect with forms of illumination. Only the most advanced players will be capable of performing this work. Beyond the technical demands of the music, the challenges of counting through the constantly shifting time signatures and managing extremely independent entrances following sixteenth and thirty-second note rests would prove too daunting a task for less-skilled musicians. Furthermore, the rhythmic content is exceptionally difficult, as are the various required techniques (a list of which is included on the back page of the score). However, for the right crew of players this could be an excellent challenge. L. C. W.

VIOLIN & CELLO & MORE (Grade 4.5, Violin/Cello Duets). Aleksey Igudesman. World Music, 2017, $21.50.

Violinist Aleksey Igudesman presents a delightful collection of ten whimsical duets for violin and cello that are appropriate for intermediate to advancing string players. He has responded to popular demand and arranged duets from his previous publications for two violins. These encompass many different styles, but always with Alexsey’s own individual and quirky touch. The contents are Auld Lang Syne, traditional; Us Two by A. Igudesman; Andante Mozartoso by W. A. Mozart/A. Igudesman; Hava Nagila, traditional; Lena, Malaja by A. Igudesman; Duniye Ay—Oh, This World, traditional; Irish Stew in the Morning by A. Igudesman; Richard Won’t Like It! by A. Igudesman; La cucaracha, traditional; and Sari Gelin—Blond Mountain Bride, traditional. The pieces are well designed with both parts sharing melodic and rhythmic interest. The piece lengths range from twenty-two measures to 128 measures long, the key signatures range from one flat to two sharps, and the time signatures include 4/4, 6/8, 7/8, and 11/8. Bowings include legato, slurs, detaché, pizzicato, staccato, and tenuto. Rhythms range from whole notes to eighth notes, with a few triplet passages, and dynamics range from pianissimo to forte. The collection is a perfect way to introduce ensemble playing to students, as there are many playing levels and something for everyone. A score and viola part (violin 2 part in alto clef) are included, which is very helpful while teaching the pieces. One can create short suites with any number of movements, so it is ideal for school recitals and functions, family celebrations, or even street busking. N. C.

WHAT’S THAT THANG? (Grade 4.5, String Quartet). Joe Deninzon. Latham Music, 2017, $10.

This one is not for the meek but will certainly impress your audience! This is a funky, jazzy string quartet for intermediate-advanced players. The open solo section has chord changes written above the parts for improvisations, but there are written-out sample solos as well for those players who cannot yet improvise. This is a catchy tune that will have you swinging all day. The piece is a total of seventy-three measures with a sixteen-measure solo section that can be repeated as needed, lasting approximately four minutes (depending on how many repetitions and solos there are). Both violin parts go up to fifth position and I love that the second violin gets a lot of the melody lines. Viola and cello parts go to third and fourth positions, respectively. String bowings and techniques include legato, detaché, staccato, chopping, and many double/triple stops to lay down the chord changes. The tempo is a moderate tempo with the quarter note equaling 108 beats per minute and sixteenth notes should be swung. The time signature is 4/4 with a few measures of 9/8 and 5/4 added for a great contrast. The key is F major, rhythms range from whole notes to thirty-second notes, and dynamics range from mezzopiano to forte. This piece is a great way to introduce improvising with jazz styles and harmonies. You can have a lot of fun playing this song and remember to bring the FUNK! N. C.

CHRISTMAS CONFUSION (Violin/Piano). Aleksey Igudesman. Universal Edition, 2018. $18.50.

Christmas Confusion is a fun, wild, virtuosic show piece for violin with piano accompaniment written for Joshua Bell. This light-hearted piece includes Igudesman’s trademark sense of humor and the performer is instructed to play “Kind of Christmassy with a touch of Hannukah.” The work requires significant facility—it includes intricate double-stop sections, arpeggiated sections, and virtuosic runs. The performer must also be willing to sing and play “I Have a Little Dreidel” and “Jingle Bells.” Snippets from various famous tunes like “Auld Lang Syne,” “Hava Nagila,” “Silent Night,” and “Russian Dance” from The Nutcracker appear in the work. Although highly challenging, the piece is playable and accessible to the very advanced player. Indeed, Igudesman provides an alternate simplified version for the most difficult and virtuosic scale passage. Christmas Confusion would be a fantastic and fun addition to a graduate-level recital program or a delightful conclusion to a professional player’s solo recital. A. C.

CONCERTO IN B MINOR FOR VIOLIN AND PIANO, OP. 35. (Grade 2, Violin/Piano). Oscar Rieding, ed. Wolfgang Birtel. Schott Music, 2018, $11.16.

There are numerous editions of Oscar Rieding’s Concerto in B Minor, as this piece is important for early violin studies. The new edition is primarily different from the others because it has detailed teaching/learning suggestions and they are printed in three languages: German, French, and English. The piano part has a nice preface in three languages that provides information about the composer and about the piece.

This publication is based on the first edition of the concerto (1909). The teaching notes are excellent and could be very practical for both teachers and students; therefore, it would have been useful to have the teaching notes in the violin part, too, instead of having them only at the end of the piano score. Overall, I believe that this is one of the most scholarly editions of the concerto, and it is the one worth recommending when asking students to purchase the piece. M. G.

CONCERTO IN E MINOR FOR VIOLIN AND ORCHESTRA, OP. 64 (Grade 6, Violin/Full Orchestra). Felix Mendelssohn Bartholdy, ed. R. Larry Todd and Clive Brown. Bärenreiter, 2018, €60.

Highly regarded by many to be the quintessential cornerstone of the violin repertoire, Mendelssohn’s Concerto in E Minor for Violin and Orchestra, Op. 64 never fails to delight and captivate with every skilled performance. In 2018, Bärenreiter released their updated urtext edition of this work and, given the reasonable price point, this makes it a “must have” for anyone looking to perform this piece. The Bärenreiter Urtext seal ensures that the edition is the musician’s most trusted, scholarly critical publication of the work available. The latest research concerning the original document and its later major renditions is clearly evident in the immaculately printed score and parts for this concerto. With this publication, the conductor and soloist have the gift of Mendelssohn’s intended musical directions, which have been further informed by the purchase in 2015 of the Rouma family library by the Royal Conservatories of Brussels. Much of this collection consisted of violin repertoire and included several letters that were written between the composer and the violinist for whom the piece was penned (Ferdinand David). The opening pages of the score detail the extensive research of editors (Todd and Brown). I recommend taking time to read the information included with Bärenreiter Urtext critical editions to further inform your artistic decisions when performing masterworks. This composition is an exemplar of Mendelssohn’s characteristic style: poetic lyricism, whimsical charm, and dazzling virtuosity. The difficulty of the orchestral parts and challenges associated when accompanying the solo performer with stylistic accuracy justify the grade 6 designation. Although there are no low brass, the wind parts are sufficiently difficult where intonation and independent entrances are concerned. The masterfully crafted nuances of this work have ensured its permanent position in the orchestral repertoire. For the exceptionally advanced orchestra, this piece is worth consideration when the right soloist presents themselves. L. C. W.

CONCERTO IN F MAJOR RV 284 (Violin, Piano Reduction of String Orchestra/Basso Continuo). Vivaldi, ed. Antoni Cofalik. PWM Edition, Hal Leonard, 2018, $26.99.

This is a clean, neat edition of Vivaldi’s Concerto in F originally for violin, string orchestra, and basso continuo. Editor Cofalik has made this great piece more accessible by reducing the string orchestra and basso continuo into a piano part. The violin part is marked with solo and tutti sections, so the violinist can differentiate in their playing. Fingerings are included and they are very helpful. Some places include more than one option. The editor has also included history on Vivaldi and correlates his edits to the style of the composer. The music is printed for ease of page turns between the three movements. This excellently edited, easy-to-read edition makes a great introduction to Vivaldi or a great addition to your collection. L. J.

FUNNY ANIMALS (Violin/Piano). Aleksey Igudesman. Universal Edition, 2018, $17.05.

Known to many as a member of the entertaining violin and piano duo Igudesman and Joo, violinist Aleksey Igudesman’s great sense of comedy is well represented in this collection of ten short works depicting “funny animals that actually exist.” As original compositions, each of them portrays the animal perfectly. Can Dumbo Octopus be written in any other way? I do not believe so! Moreover, Igudesman offers stage directions for the performer such as “open the mouth and yawn towards the audience” and “keep kissing and pizz.” Although these cues are simply suggestions, they are just so cleverly done that it is both awe-inspiring and hysterical. While it claims to be an easy concert and teaching material, the work is meant for students who are already fluent in playing accidentals, basic double stops, shifting, and string crossing. This will make a great choice for any group recital of younger students or as a lighthearted encore. C. Y. S.

GING HEUT MORGEN ÜBERS FELD—FÜNF AUSGEWÄHLTE LIEDER (Violin/Piano). Gustav Mahler, arr. Ronald Kornfeil. Universal Edition, 2017, €21.95.

If you are a Mahler fan, you are in luck. Rather than simply transcribing the vocal part verbatim for the violin, Kornfeil navigates Mahler’s intricate writing very carefully. The outcome is this magnificent violin and piano arrangement of five vocal works by Mahler, edited by Georgian violin superstar Lisa Batiashvili. This publication enables violinists to fully explore the emotional depth and sound world of Mahler’s vocal music. Although it contains five songs, the range of technical skill varies greatly from a colorful right hand to precise left hand. Moreover, the true task lies in conveying Mahler’s orchestral palette in this reduced medium. This would be an appropriate work for any professional player who wishes to expand his or her own repertoire. Advanced students who are ready to explore a deeper level of artistry of violin playing will benefit from this publication as well. C. Y. S.

IN THE SNOWY MARGINS FOR SOLO VIOLIN (Solo Violin). Michael Hersch. Theodore Presser Company, 2019, $14.99.

Written in 2010, this seven-movement work’s larger than life power stems from its literary inspiration and its compact musical material. The title comes from The Comet, a short story by Bruno Schulz. Filled with wide-ranging textures, the opening movement juxtaposes dissonance with silence. The short yet forceful second movement is followed by a visceral third movement whose nature is expressed through huge dynamic and register changes. The next two movements push the boundaries of the violin with indications such as “It is desirable to have a fair amount of bow noise throughout the movement, as well as moments when written pitches may not sound beyond the noise resulting from left-hand motion.” The sixth movement is filled with chord clusters that are violently precise. In contrast, the last movement’s simple texture captures its bereft effect. Suitable for those with a very strong command of the instrument, the work employs a great deal of extended techniques including use of quarter tones. Some leaps and chords seem nearly impossible to execute, but the true challenge is the emotional journey these pieces take the performer on. C. Y. S.

SHOOTING STARS: 21 PIECES FOR VIOLIN PLAYERS (Violin/Piano or Audio CD). Katherine and Hugh Colledge. Boosey & Hawkes, 2018, $19.99.

The Easy String Music series is a four-book sequence for violin, viola, and cello. Each volume in the series is available in two formats: one with a CD and another with a piano part and downloadable audio resources. Shooting Stars for violin is the fourth book in the sequence and it is preceded by three easier books titled Stepping Stones, Waggon Wheels, and Fast Forward. The fourth volume includes pieces for the advancing beginner that use the augmented second, triplets, and syncopated rhythms. Seven different meters are introduced in the pieces ensuring that students are exposed to a variety of simple and compound meters. Most of the melodies use low one and low two finger patterns and reflect a variety of playing styles. For example, the melody “Head-in-the-clouds” is a gentle, legato melody, while “Morris dancers” is to be performed in a faster, more energetic style. The melody “Look lively!” is a quick, rhythmic challenge with syncopations, ties, changing meters, and accents. “Cossacks” alternates between eighth notes, sixteenth notes, and accented double stops. The repertoire in this volume would be perfect for a student working in Book Two of the Suzuki Method. Students will enjoy learning and playing these miniature gems and teachers will value the varied learning opportunities they provide. A. C.

DUETTI (Viola Duo). Luciano Berio, arr. Annegret Mayer-Lindenberg. Universal Edition, 2017, €27.95.

The arrangement of Duetti two violas (originally written for two violins) is a noteworthy new publication for viola enthusiasts. The level of difficulty of the duets varies from very easy pieces, suitable for young pre-college students, to challenging works for college students. According to Berio’s preface to the original edition, the thirty-four duets were composed for teaching in schools. In the preface, the composer also suggests the possibility of public performance of the complete set of duets and discusses a way to do it. The composer’s preface and Centro Studi Luciano Berio’s introduction are printed in three languages—Italian, German, and English—while the preface to the present edition by the arranger is printed in German and English. There is also a glossary. The arrangement seems carefully edited and very well thought out. The pieces could be a good introduction for viola students to the compositional language of Luciano Berio and the twentieth century’s music in general. Some of the duets present significant challenges such as intonation, complicated rhythms, chords, double harmonics (though most of them are in fifths), various bowings and bow strokes, and many others. As the arranger notes, duet number 20 features techniques similar to Berio’s Sequenza VI per viola sola, and work on the duet would be good preparation for learning and performing the Sequenza. The arrangement of Duetti for two violas is an important publication that could be very useful for viola performers, teachers, and students of all ages. M. G.

FAIRY-TALE PICTURES OP. 113 (Viola, Alternate Violin Part, and Piano). Robert Schumann, ed. Arman Koch. Schott, 2018, $19.99.

Schumann’s Fairy-Tale Pictures, or Märchenbilder, for solo viola and piano were published in 1852. The original publication included an alternate solo part for violin. Koch explains in the preface that the first public performance occurred in 1853 with musicians Joseph von Wasielewski and Clara Schumann. The four “Fairy-Tale Pictures” include I. Nicht schnell, II. Lebhaft, III. Rasch, and IV. Langsam mit melancholischem Ausdreck. The work provides many opportunities to develop musicianship and expressivity; it would be a beautiful selection for a college violist’s or violinist’s recital. An advanced high school student might enjoy tackling the work as an introduction to Schumann’s music. This high-quality edition of Schumann’s Märchenbilder Op. 113 includes a score, the viola solo, and the arrangement for violin. The editor explains that a single score is sufficient since differences between the viola and violin part are minimal. An informative introduction details the compositional history of the work and explains the editorial notes. This is a beautiful edition with a spacious layout, numbered measures, and markings taken from the original parts. A. C.

APPASSIONATA (Ungraded, Cello/Piano). Karl Jenkins. Boosey & Hawkes, 2018, $19.

Appassionata (“in the old style”) is a homage to Beethoven, taking the theme of the Piano Sonata Op. 23, No. 57, and presents a passionate and dramatic duo of five minutes’ duration. It was composed for the cellist Jamal Aliyev, winner of The Arts Club—Sir Karl Jenkins Music Award 2017. Advanced students or studio teachers looking for a fresh addition to a recital program may enjoy choosing and preparing this dramatic and challenging composition. It features three main sections: the bold opening arpeggiated statement with counter melody; an extended barriolage section with modern “pop” tonalities and optional foot stamp with the pianist; and the final recitative inspired section featuring fast scales and the projecting upper mid-range of the cello. The A minor tonality and generally loud dynamics add gravitas. Some upper position work on the A string will reinforce “mile markers” and build thumb position strength. The sustained forte bowing will require judicious bow apportionment. The appassionato character will demand the performer to be dramatic and possibly require some thoughtful bowing changes for extended notes, the tempo being quarter = 56. The edition would benefit from some suggested bowings. It is strong on flourish and showmanship. The piano part is well coordinated with the cello part. P. R.

KOL NIDRE, OP. 47. (Cello). Max Bruch, ed. Annette Oppermann. Piano Reduction by Johannes Umbreit. Cello Part: one unedited, one ed. Christian Poltéra. Henle Urtext, 2019, $12.95.

After the tremendous international success of Bruch’s Violin Concerto in G Minor—the revised version of which was premiered in 1868 by the great violinist Joseph Joachim, Robert Hausmann, the cellist of Joachim’s quartet, began begging the composer for a concerto of his own. He undoubtedly felt that Bruch’s idiomatic writing for the violin promised an equally satisfying addition to the cello repertoire and he plagued Bruch with requests. Bruch finally responded in 1880 with a sort of mini-concerto based on melodies that he had been introduced to by Abraham Lichtenstein, an important cantor in Berlin: Kol Nidre—Adagio for Cello with Orchestra and Harp after Hebrew Melodies. The composer noted in a letter that “The two melodies are first class—the first is an age-old Hebrew song of atonement . . . the finest Hebrew melody, Kol Nidrei . . . the second is the middle section of a moving and magnificent song O weep for those that wept on Babel’s stream, equally very old.”

Kol Nidre is the name given to the night before Yom Kippur, the Hebrew Day of Atonement, the holiest day of the year in the Jewish calendar. The popularity of this beautiful work has given rise to the erroneous belief that Bruch, a Protestant, was Jewish. However, Kol Nidre is but one of Bruch’s many compositions inspired by ethnic, nationalistic, or religious subjects, including his famous Scottish Fantasy for violin, an Adagio on Celtic themes for cello, and an Ave Maria for violin or cello.

Kol Nidre was premiered by the Dutch cellist Joseph Hollman on November 2, 1880, in Liverpool, England, where Bruch was the music director. This was quickly followed by a Berlin performance with Hausmann. Rightfully confident about the work’s impending success, Bruch himself made a version for violin and it was also published in versions for viola, harmonium, piano, and organ—and, of course, for cello and piano.

No manuscript sources for the work have survived, so Henle based their edition on Simrock’s 1881 first edition. The main difference from previous editions is in Johannes Umbreit’s new piano reduction, which closely follows the orchestral score—particularly in the piano version of the harp arpeggios in mm. 59-79. (Although Simrock’s piano reduction was likely made by Bruch, that is not certain.) Annette Oppermann states in her preface that while Bruch’s violin version differs slightly from the cello version, the piano reduction is identical. However, this does not precisely seem to be the case. In ms. 105-106, Bruch gave the violin some notes that were originally assigned to the piano, so he removed those from the piano part. This is important for cellists to know if they happen to play from the Carl Fischer edition of Kol Nidre; Fischer’s piano part is from Bruch’s violin version and so is missing those notes! J. S.

MAZURKAS OP. 50, NOS. 1 AND 2. (Cello/Piano). Karol Szymanowski, ed. Jerzy Bauer. Polskie Wydawnictwo Muzyczne Kraków, 2018, $6.29.

Karol Szymanowski (1882–1937) is revered as one of Poland’s greatest composers. His early influences were the German Romantics and the early works of Scriabin. Eventually, Szymanowski developed a very personal harmonic style incorporating impressionism and atonality, as well as folkloric elements derived from the Polish Górale people. He composed in most idioms, with his major works including four symphonies, two string quartets, two violin concertos, and the opera King Roger.

As explained in the excellent preface to this edition, when Szymanowski was asked if he would write something for the cello he replied, “When, sir . . . I don’t feel the cello.” Unfortunately, Szymanowski remained true to his word and never wrote anything to enrich the cello repertoire. Therefore, it is with great pleasure that these two arrangements, expertly prepared by Jerzy Bauer, can be welcomed into the repertoire. These two Mazurkas are derived from a set of twenty written in 1924–1925. This was a particularly productive period for Szymanowski, coming after the completion of King Roger and prior to the magnificent String Quartet No. 2. These are works of great lyrical power, requiring a moderately advanced technique (reading in all clefs, thumb position, triple stops) coupled with artistic maturity. The parts are beautifully printed and easy to read. The cello part is provided with helpful bowings and fingerings. The excellent and informative preface is written by Jerzy Bauer and is translated into Polish and English. P. C.

BELA BARTOK FOR CHILDREN (Guitar duets). Siegfried Steinkogler. Universal Edition, 2017, $26.99.

The author presents guitar repertoire that is “rewarding music by a famous master” and notes that “Pieces are too technically demanding for young and beginning guitarists. The aim is to present the selected pieces as simply as possible for young beginners. The melody is exclusively in first position for ten pieces. Simple material helps guitarists learn the principle of position playing while gradually deepening their skills thanks to gently increasing level of difficulty. The fingerings are to familiarize students with common notation and encourages young players to independently practice other melodies from the book, which boosts their artistic autonomy and creativity.” Considering the author’s comments, this book has thirty-eight Bella Bartok pieces arranged for guitar duet.

Bartok is known for his collection of folk songs, of which some are children’s songs that are not originally intended for children’s guitar instruction. Considering these factors, some of the material is likely more technically challenging on the guitar than in its original environment. Generally, the entirety of the works seems beneficial for middle and high school age and higher beginning with intermediate rather than beginner students. About three quarters of the material use positions throughout the guitar and the range goes as high as the twelfth fret E. While some parts are primarily block chords accompaniment, students would need a good command of rhythm to play in time with each other through the polyrhythm in the arrangements. Yet, the arrangements make for interesting interaction between the pair of guitars. The pieces are ordered in a sequence from simple to complex arrangements. The simplest duets have basic quarter and eighth note rhythms and triadic harmonies. However, they require the players to execute a range of articulation and dynamics devices and accidentals within the staff. These challenges are also the benefits. Students that engage in listening and interpreting the pieces in concert with their duet partner will likely sharpen their individual guitar musicianship and playing skills through the ensemble experience.

In sum, there is no introductory guitar or music lesson. Therefore, it does not seem designed in its entirety as a young children’s beginner book. However, middle and high school age students may be enthused to learn about the intricacies of folk music genres and gain individual and ensemble skills for making notes sound like a specific idiom of music as they engage in listening and collaborating to perform these guitar pieces. D. F.

STILL (Guitar Duo). Frederic Hand. Handwerks Music, Theodore Presser, 2017, $19.95.

World-renowned guitarist and composer Frederic Hand has added once again to the canon of classical guitar music with this stunning composition for guitar duo. Still was written for and dedicated to the Brasil Guitar Duo, who premiered the work in New York in 2017. At just over nine minutes in length, this single-movement work is technically and musically written for advanced performers. The music opens with a poignant six-note motif that is traded off between the two voices with pauses between each voice to allow for stillness in the decay of the sound. The two voices are then joined to develop the opening motif into a flowing, lilting melody. The lovely A section requires a constant intertwining of the two voices, both rhythmically and harmonically. Rhythms are complex with overlapping triplets on different beats and sixteenths in each voice that must follow each other in perfect synchrony with multiple harmonic effects throughout. The B section opens by reverting back to haunting echoes of the opening motif through variation and the addition of a secondary, faster-paced melody in stepwise motion. This melody has a lighter, more optimistic feel before returning to the opening mood and atmosphere of the A section. The brilliance of this work should not be underestimated. I recommend watching the performance of this work by the Brasil Guitar Duo, which can be found on YouTube. L. C. W.

SUITE FRANCAISE NO. 3 (Guitar Duo). J.S. Bach, trans. Jean Horreaux. Gerard Billaudot Editeur, 2018, $18.99.

This arrangement of Bach’s third Suite Francaise includes all six movements: Allemande, Courante, Sarabande, Anglaise, Menuet, and Gigue. Each of the movements stays true to the original work for harpsichord, keeping the structure and musical integrity intact. For advanced guitarists, this is a terrific opportunity to learn and perform the music of Bach without having to perform every note as a soloist. Clear fingerings and positions have been included for both guitar parts in this transcription. As with most Bach suites, the movements vary in difficulty, allowing the instructor to select the movement or movements that best fit each duo. L. C. W.

WALZER NO. 2 (Guitar Quartet). Dmitri Shostakovich. arr. Michael Demarez. Universal Edition, 2018, €14.95.

This delightful waltz has been masterfully crafted by Demarez to suit the performance abilities of intermediate guitarists. Scored in A minor, the waltz opens with the melody in the first guitar part, while the third and fourth guitars provide the downbeat and chords on beats two and three. For the second half of the melody, the second guitar joins on a harmony line. After a brief rallentando, the main theme is heard again in guitars 1 and 2, followed by the chorus and a repeat back opening performance of the primary theme. With the exception of G sharp and D sharp accidentals, there is nothing unexpected to challenge students, giving them the time necessary to focus on ensemble cohesiveness. This would be an excellent selection for an ensemble competition or performance and could easily be performed with more guitarists on each of the four parts. Perfect choice for young guitarists! L. C. W.