Reviews

A TORCH WAS BROUGHT: A SETTING OF UN FLAMBEAU JEANETTE ISABELLA (Gr. 1 1/2, String Orchestra, Piano). Tyler Arcari. Excelcia, 2019, $50.

This beautiful, lyrical arrangement of “Bring a Torch, Jeanette Isabella” will provide excellent variety for your Christmas concert. The piece is written in the D major and the time signature is 3/4. Arcari includes G-string notes so there are high third fingers for violins and violas and extension fingering for cellos. The dynamics range from piano to a brief climax of fortissimo with lots of crescendos and decrescendos. Many crescendos are long, over several measures, teaching students great expression. This makes the piece much more difficult that just playing simple D major scale pitches. Players have to be watching and feeling the dynamic changes together. Fermatas are also used and are not meant to be stops, but rather as hesitations and stretching of the tempo. This will enforce watching the conductor with beginning students while making the piece very smooth and melodic. Tempos also fluctuate with ritards, fermatas, and even a molto accelerando to end with a faster tempo for the finish. Rhythms include few eighth notes, quarter notes, half notes, and dotted half notes. Slurs are used throughout, including several long ones, and a few ties. This will create a change of mood in your concert as well as your musicians. Slow and lyrical playing requires many different and careful skills. This will be enjoyed by the audience as well as the musicians. L. J.

ANGELS IN THE HALLS: ANGELS WE HAVE HEARD ON HIGH/DECK THE HALLS (Gr. 1, String Orchestra, Piano). Arr. Matthew R. Putnam. Excelcia, 2019, $45.

This piece was composed with beginning string students in mind. Students love to play Christmas tunes, and this will not disappoint, but will also teach and reinforce important playing techniques. There is a third violin part included as the viola part in treble clef. The notes include only the first six from the D major scale making it very accessible to beginning players. The time signature is 4/4. Dynamics include mezzoforte to forte with crescendos and decrescendos. Rhythms include eighth notes, quarter notes, half notes, dotted half notes, and whole notes. The piece begins with a festive fanfare from the entire orchestra followed by the opening melody from the violins and is continued in the lower strings. The bass and cello play together throughout as do the first and second violins. The violas fluctuate between playing with the violins and playing with the cello and bass sections. There is also a piano part that can be included with performance, if desired. The piece has a section where all parts switch to pizzicato and then back to arco together. There are also sections of graduated entrances to help enforce counting independently as well as watching the conductor. This piece is also fun in that the students will know the words and can follow the music with them. This is sure to add delight to your Christmas concert! L. J.

ANTHEM OF TRIUMPH (Gr. 1/2, String Orchestra, Rehearsal Piano). Tyler Arcari. Excelcia, 2019, $40.

This piece was written as a celebration of beginning string students (and their teachers) persevering through the school year to their very first spring concert. Here is a third violin part included as the viola part written in treble clef. It is written in D major, but with all the techniques that a student will learn in their first year of study. The time signature is 4/4. The dynamics range from mezzopiano to fortissimo with crescendos sprinkled with a few accents. Other techniques include bow retakes, beginning phrases with up-bows, pizzicato, and arco sections. The violin and violas play together throughout and the cello and bass sections play together throughout. The middle sections feature a short first violin section solo with the others accompanying in pizzicato before coming back together in unison playing with their bows. Rhythms include quarter notes and eighth notes with quarter, half, and whole rests. Notes in each part are all taken from the D major scale. Students who are proficient in the notes of the D major scale, simple rhythms, arco, and pizzicato will excel with this piece. The name is correct in that it sounds like a triumphant march. It is an excellent piece for the students to play and display all that they have learned in their first year of string studies. It is sure to delight the audience! L. J.

CONTEMPLATION (Gr. 1/2, String Orchestra, Piano). Larry Clark. Carl Fischer, 2018, $45.

From About the Composition, “This piece is my attempt to provide very young students who are just beginning their musical journey with something they can reach technically but have to stretch for musically.” The work is composed in D major, 4/4 time, and consists of two larger sections. The first is legato and marked as Sentimental (quarter = 80) and the second should be more march-like and buoyant and is marked as Allegro con brio (quarter = 124). Throughout the work, there are no C#s on the G string for any instrument, so there are no three to four finger patterns needed for upper strings, forward extensions for cellos, or shifting for double basses. Violins perform on the A, D, and G strings using the two to three finger patterns only. Violas perform on the D and G strings using the two to three finger patterns only. For violins and violas, all high Es and high As should be performed with fourth finger. Cellos perform on the A, D, and G strings, but only use the third finger in the closed left-hand shape. Double Basses perform on the G, D, and A strings and use both the fourth and second fingers in first position. The opening bow style is legato. Specific work will be needed in smooth direction changes and string crossings. The second section is a light detaché and will require some bow distribution work with the quarter eighth-eighth rhythmic motive. With the skips, string crossings, and necessary maturity needed to perform the work, I would say the grade-level consideration should be at least a Grade 1 or 1.5. Yes, the left-hand notes are accessible, but they appear on a variety of strings and include many skips which can prove challenging for young students who are navigating the fingerboard map and combining music reading, aural, and bowing skills to this left-hand-challenges. That being said, I love the work and look forward to programming it! Performance Time: three minutes. B. A. W.

CROWN OF ARAGON (Gr. 1.5, String Orchestra, Percussion). Seth Bedford. Carl –Fischer, 2019, $48.

This stately pavane is in the Renaissance style and is in ABA form. The keys of D minor and F major are explored, and it is in 4/4, quarter note = 100. The rhythmic pulse remains throughout, and all instruments get to experience playing it. Pizzicato and arco are both used. The cello and bass parts are given the melody, and the opportunity to explore dynamic contrast will be important for advanced beginners’ musical development. The skills needed for this piece include changing from arco to pizzicato. Bass players will need to shift to third position, and the director will need to write in the fingering for the shift. B flat appears in all parts. Basic bowing skills should be sufficient for students. I had my university string pedagogy students read this wonderful piece, and they agreed that students would enjoy playing it. It has all the atmosphere of a lovely renaissance procession. By adding the triangle and hand drum percussion parts, it would be even more fun. Enjoy! G. P.

DARKWING (Gr. 1, String Orchestra, Piano). Peter Terry. Excelcia, 2019, $45.

This piece is designed to sound like the migration of starlings. The composer often witnessed their tight and complex flight patterns and desired to reinvent that in a piece of music. The piece has an underlying rhythmic groove that drives the piece with strict, forceful rhythm. The rhythm is countered by a free, lyrical melody. The time signature is 4/4, the key D major, but with the middle section centers on G major without changing key signatures. There are two sections that are repeated with parts only to be performed on the section time. If the director does not wish to repeat, the second part only can be played the first time. Dynamics include mezzoforte to fortissimo with crescendos and decrescendos. Rhythms include eighth notes, quarter notes, half notes, dotted half notes, and whole notes. Violins and violas are instructed to use fourth fingers. Cello and bass parts are identical. A third violin part is included as the viola part in treble clef. The viola part fluctuates throughout playing with the violins and playing with the cello and bass parts. A few slurs and ties are also used to enforce that technique. This intense and peppy piece is sure to be a favorite of students and audience while being a great teaching tool! This might be great for a fall concert to connect the changing of seasons with bird migration and depicting that change with this upbeat piece! L. J.

DORIAN’S BARN (Gr. 1.5, String Orchestra). Bud Woodruff. Carl Fischer, 2018, $50.

What a fun piece to introduce modes to string students! This piece is written primarily in E dorian (two sharps) and is packed with fun for both players and audience. The fiddle rhythms will be ones that your students will latch onto and enjoy playing. Violin 3 is included as the viola part in treble clef. There are also viola solo line cues in the Violin 2 part as well. A piano part is also included that is not needed for performance but is a useful tool in rehearsal. Simple rhythms of quarter notes, eighth notes, and sixteenth notes make up the melody. The low strings play the melody while the upper strings pizzicato. Contrasts in dynamics make the piece even more interesting! The soft sections draw the listener in! The upper strings take the melody back for a bit before handing it off to the cellos. The cello part plays the melody, while the other parts pizzicato. They all come back together to reinstate the main theme and end with a unison pizzicato note. There are simple slurs which are great for reinforcing at this level of playing as well as the opposite use of staccatos. Each section of the orchestra gets a time to shine, so no one feel left out. It is piece that is sure to inspire with its bit of mysterious sound all while causing you to tap your toe along! L. J.

DRIFTING (Gr. 3, String Orchestra). Bruce W. Tippette. Carl Fischer, 2018, $60.

This piece, which is constantly moving, depicts an object gently drifting down a river in the woods. Between turns and calm waters, the object eventually comes upon roaring rapids and ends coming into open waters. The beginning, in E minor, 6/8, is in a slow but moving tempo. It starts with pizzicato in the lower strings. The main theme appears near the beginning in the first violins and is passed among the sections. Eventually, a new motive is introduced, with more driving rhythms in the lower strings. After a few modulations, the original theme comes back, with a strong and decisive conclusion. The last chord is in E major. Students who play this piece should have a good sense of phrasing and style. Vibrato is essential, and a good grasp of 6/8 rhythm is needed. Some accidentals, including A sharps and D sharps, are in this work. Although there is nothing high in any section, there is some third position marked in the viola part. The first violin part goes to a harmonic E, over the staff. This piece is hauntingly beautiful and recalls sounds of nature. It has a unique mood throughout, which is a tribute to Mr. Tippette and his ability to create the feeling of floating in the water. If you are looking for a piece that can paint a picture, and will challenge your orchestra students, you can make that happen with this lovely work. G. P.

HEALING LIGHT (Gr. 3-4, String Orchestra, Percussion, Opt. Piano). John Leavitt. Hal Leonard, 2019, $45.

Quoting the traditional Hebrew folk song Avinu Malkenu, this haunting and poignant melody will stay with you long after the concert has ended. Healing Light is not a complete arrangement of the traditional Hebrew song that is sung for Rosh Hashana and Yom Kippur. Rather, Leavitt used the ancient song to inspire this composition for string orchestra and percussion, including snippets of the original tune throughout. Although only sixty measures in length, the meter is 6/8 and the tempo is 44-48 to the dotted quarter note. The song shifts between A harmonic and melodic minor with many accidentals throughout. There are often independent parts for every section. First violins shift to third position (C natural) and cellos are required to shift to G sharp above the staff. Slurred string crossings in the cellos are a challenge, as are low F sharps and G sharps for the violas. The percussion parts are a must for this piece to possess the full range of timbres intended by the composer. Three players are needed to cover the parts. Leavitt calls for a vibraphone and crotales (antique cymbals), neither of which may be readily available for your program. The accessible teaching moments with this piece are endless! There are cultural music connections to make, historical influences and outcomes to explore, and musical development opportunities, technically and lyrically. This arrangement is a solid representative of the Hebrew folk song tradition without falling into cultural appropriation traps. I recommend listening to the original hymn on YouTube with your students to better understand the original context of the song. L. C. W.

SLEEP, MY CHILD (Gr. 2.5, String Orchestra). Larry Clark. Carl Fischer, 2018, $70.

A heart-wrenching composition encapsulates the emotions of remembering orchestra director Kevin Frye from Tampa, Florida. The piece begins by setting the tone with original material, followed by a violin solo based on the Jewish folk song Shlof, Mayn Kind (Sleep, My Child). It develops through harmonic presentations before building to a climax and concludes with a hopeful tone. The time signature is mostly 3/4, with some 4/4 measures, and tempos range from quarter note equaling fifty up to sixty-four beats per minute. The piece begins D minor and moves to E minor. All parts stay in first position except for the first violin which goes to a high C in third position. String bowings and techniques include legato, detaché, accents, slurs, and ties. Rhythms range from dotted half notes to sixteenth notes and dynamics range from piano to fortissimo. The piece incorporates original material to set the mood before moving into the folk song that resented by a solo violin with orchestral accompaniment. The harmonies expand to not only the traditional Jewish harmonies but also some Jazz harmonies. This is a beautiful piece well suited for middle or high school, and which allows for contemplation but ends joyfully. It is seventy-two measures and lasts 4:40 minutes. N. C.

SYMPHONY NO. 2 “ROMANTIC” 1ST MOVEMENT (Gr. 4, String Orchestra, Opt. Harp), Howard Hanson, arr. Todd Parrish. Carl Fisher, 2019, $70.

Symphony No. 2 is one of the most popular American symphonies ever written. It has been featured in movies and for years was the “theme” song for the Interlochen Arts Academy. This arrangement focuses on the beautiful second theme of the first movement. After being stated in the key of Eb major, it has a contrasting section before returning in the key of Db major. A solid knowledge of these keys, playing in flats, enharmonic notation, and accidentals are essential to performance of this piece. The cellos split and venture to the tenor clef for a feature melody and often cover the horn solos from the original. The violas join the first violins in part of the melody. This is a magnificent, beautiful, grand sounding arrangement, for a full mature string orchestra. P. M. H.

TO THE OCEAN (Gr. 3.5, String Orchestra). Nishimura, Yukiko. Carl Fischer, 2019 $55.

To the Ocean is a four-minute work in A major appropriate for advancing high school orchestras. In three brief sections, the opening and closing parts are centered around spiccato bow strokes including hooked up-bow spiccato that is presented in a motivating figure to introduce or reinforce this technique. The A major key demands extensions for all instruments on the G string (C string for violas) and most of the spiccato stroke is in the second violins and violas in repeated eighth-note patterns. The opening motive has a syncopated quarter note figure that is played by the violins and violas while the cellos and basses are mostly doubled, the basses to get a couple moments to themselves that add interest to their part. The melodic middle section provides a legato alternative to the outer parts offering some nice phrasing opportunities. Shifting demands are through third position in the first violins—though there are occasional harmonic Es interspersed in the melody. The cello part is best played with the included second and third position fingerings that are provided, but not required. Bass parts stop at third position, while second and viola parts do not require shifting but could be added for musical purposes. A piano part is included but is not necessary for performance. To the Ocean expresses a sea-faring voyage filled with excitement and hope and would be a nice contrast on your program. D. S.

WANDERN ACH WANDERN (Gr. 3, String Orchestra). A. Neuendorff, arr. Lloyd Conley. Tempo Press, 2019, $48.

This beautiful arrangement of the aria “Wanderers oh Wanderers” from Neuendorff’s operetta Der Rattenfänger von Hameln (The Pied Piper of Hamelin) is a great way to add a lyrical piece to any program. The romantic theme is first introduced by the cellos and is played also by the first violins and violas; the second violins and basses provide the accompaniment. The time signature of 9/8 may be new to some students, but Conley simplifies the original melody by changing all of the doted rhythms to straight eighth notes and omits some of the larger leaps. Challenges will include playing with a sustained sound, avoiding accents when transitioning from slurred eighth notes to a single eighth note, and ensemble during tempo changes and fermatas. The slower tempo and simplified rhythm also provide an excellent opportunity to work on playing in different keys and reading accidentals. The first verse transitions between A major and F major and the second verse modulates to D major and B-flat major. In addition to the key changes, there are accidentals that require awareness of varied finger placements. At just over three minutes this arrangement provides not only a lovely melody but also many opportunities to introduce new skills for every section of the ensemble. J. R. M.

ELECTRIC BLUE SAND (Gr. 6, String Quintet or String Orchestra). Stephen Lias. Alias Press, 2018, $26.99.

Written for Sybarite5, Electric Blue Sand is an irreverent romp for string quintet or string orchestra, with influences of popular music. The title (and cover image) is drawn from a compelling NASA image of the surface of Mars that appeared in the news the day the piece was finished. The time signatures predominantly used are 4/4 and 3/4, but there is a rhythmic lick of one measure 2/4, two measures 6/16, and one measure 2/8 that shows up seven times and is very energizing. The tempo is marked as quarter note equaling 100, or “whatever grooves the best.” The key signature is C major, with lots of accidentals throughout the piece. First violin goes to fifth position, second violin and viola to third position, cello and bass go to thumb position. String bowings and techniques include detaché, staccato, accents, pizzicato, glissando, tremolo, slide, slurs, and ties. Basses also do string slaps as well as hand percussion on body of bass. Rhythms range from dotted half notes to sixteenth notes, including grace notes. Dynamics range from pianissimo to fortissimo and include sforzando accents. The music is indeed driving and rhythmic and suited for an advanced string ensemble with excellent counting skills. This piece is 133 measures and lasts 5:00 minutes. N. C.

FIREWORK (Gr. 3 String Quartet) Katy Perry, Mikkel Erikson, Tor Erik Hermansen, Esther Dean, and Sandy Wilhelm, arr. Robert Longfield. Hal Leonard, 2018, $14.99.

This fresh string quartet version of Firework is a faithful adaptation of Katy Perry’s 2010 number one hit song. It retains the original four-bar introduction, and an optional D.S. matches the vocals and structure of the radio single. Longfield generously shifts the key from the original A flat to a student friendly D major, and the simplified rhythms do not take away from the spirit of the song. While there are ties, rapid string crossings, syncopations, and some quick double up-bows that will take some rehearsal, this arrangement is a highly playable version of the song that is a lot closer to a Grade 2 than the designated Grade 3. The entire piece may be performed in first position in all parts, and while the vocal line stays mainly in the Violin 1 part, the melody is also shared with the cello and Violin 2. The rhythmic drive of the club rhythms is nicely replicated in the Violin 2 and viola parts. Not only will students enjoy playing this, but Firework will serve as a nice way to freshen up the pops section of a gig folder for the weekend player. J. W.

LET US BREAK BREAD TOGETHER (Violin, Cello, Piano). Gwyneth Walker. E.C. Schirmer, 2019, $15.

This delightful piano trio is inspired by the traditional African American tune “Let Us Break Bread Together.” An excellent choice for an advanced high school piano trio; there is an equal emphasis on tone and blend between the three parts. The trio is an adaptation of Walker’s SATB choral and piano work that was dedicated to the memory of Heather Heyer, who died in 2017 at the Charlottesville Unite the Right rally. Written in the D major, the moderate tempo (quarter note = 108) flows well with the cantabile setting and gentle melody. Rhythms are based on the speech pattern “Lord have mercy on us and bring us peace.” The violin and cello share most of the straightforward rhythms in opposition to the piano, and advanced high school students will be able to perform the piece with a reasonable amount of rehearsal. The violin features a wide range in a melody that moves from the G string to the upper positions of the E string, while the cellist has a few sections in treble clef. There are written rolled tenths in the piano which may present challenges for a player with smaller hands. With a length of 82 bars, the trio will fit well within many church services for students and teachers alike. J. W.

MATTSEE FOR STRING QUARTET (Gr. 6). Johanna Doderer. Doblinger, 2018, $17.75.

Mattsee is a depiction of a stunning piece of landscape in Austria and is rich and dramatic, rugged and large-scale; nothing pretty or picturesque here. The musical lines unfold simultaneously and then interweave dynamically. It starts out slow, like calm breathing, but then grows into a dense sound network through lines developing in parallel. The first violin part goes up to fifth through seventh positions often, with the highest note being an A flat. The second violin goes as high as F# and plays in third through fifth positions quite a bit. The viola and cello stay almost entirely in first position, with just a few measures going to upper positions for a high F# (viola) or G (cello). String bowings and techniques include legato, detaché, pizzicato, Bartok pizzicato, staccato, spiccato, col legno, sul ponticello, trills, and tremolo. The tempo is moderato with the quarter note equaling 108 beats per minute, moving to an allegro for forty measures with the quarter note equaling 120 beats, and then back to the moderato for the last ninety-one measures. The time signature is 4/4, and the key signature has no sharps or flats, but there are plenty of accidentals throughout the piece. Rhythms range from whole notes to sixteenth notes, including triplet passages, and dynamics range from pianississimo to fortississimo. This is a stunning work that string quartets from advanced high school through professional could really enjoy working on and performing. This piece is a total of 311 measures and lasts 10:30 minutes. N. C.

SOUL BOSSA NOVA (Gr. 3-4, String Quartet). Quincy Jones, arr. Robert Longfield. Hal Leonard, 2018, $14.99.

Written and composed by record producer Quincy Jones, Robert Longfield arranges the energetic Soul Bossa Nova. This medium arrangement for string quartet playing is in the key of G “Bright bossa nova” (quarter note = 144) in 4/4 time and is appropriate for a grade level 3-4. There are a variety of rhythmic patterns represented with off-beat notes and rests within the 2:40 piece that include quarter notes, eighth notes, dotted quarter notes, whole notes, and a combination of rhythms with added ties. Accents, staccatos, tenutos, and dynamic markings are often performed, easy to follow, while bowing suggestions are appropriate for each of the sections in this level of playing. Throughout the piece, the Violin 1 carries the main melody, while the Violin 2 follows along with harmony. The Violin 2 and viola perform unison on three different measures of chromatic ascending and descending scale on the G and A string with the same pitches Bb to C natural to C sharp. During the development section of the piece, the cello performs chromatics on the G to D string; C# extension fourth to D, then to D # followed by the E natural. There are two separate endings to the piece in which the cello performs hook bow patterns in the first ending and the violin one plays chromatics on the A string; B natural to C natural to Bb. In the second ending, the violins and viola perform chromatic scales in unison. Pedagogically, this piece is suitable for more advanced musicians learning the style of string quartet playing. T. S. Y.

STRING QUARTET IN E FLAT MAJOR, OP. 51. Antonin Dvořák, ed. Hartmut Schick. Bärenreiter, 2019, Parts €29.95, Score €12.95.

As one of the greatest composers of the Romantic era, Antonin Dvořák (1841–1905) produced masterworks in most genres, including a large quantity of chamber music. Among these works are his fourteen string quartets, beginning with the String Quartet No. 1 in A major (1862) and culminating with the String Quartet No. 14 in A flat major, Opus 105 (1895). Written over the course of his career, Dvořák’s string quartets provide an insight into his compositional development; from the Wagner influenced and lengthy early quartets, followed by the simpler, more populist style of his middle quartets, and finally a masterful synthesis of all these elements in the final two works. One constant however is Dvořák’s mastery of the string quartet idiom, which is not surprising considering his experiences as a professional viola player.

The String Quartet No. 10 was composed in 1878–1879 following the success of Dvořàk’s Moravian Duets and the Slavonic Dances, Opus 46. The Slavic element in these works prompted Jean Becker, leader of the acclaimed Florentine Quartet, and Dvořàk’s publisher Franz Simrock to request compositions in a more overtly nationalistic style. Therefore, 1878 saw the composition of the three Slavonic Rhapsodies and the String Sextet in A major, Opus 48, as well as the String Quartet No. 10, thereby ushering in Dvořàk’s more nationalistic middle period. Completed in three months, the String Quartet No. 10 was subjected to a number of informal performances and revisions prior to its official premiere by the Florentine Quartet on November 10, 1879. This work and the sextet with it which it was often paired were deemed “masterly and worthy of the highest praise.” The String Quartet No.10 was Dvořàk’s first string quartet to succeed on the international stage, leading to a series of chamber music masterpieces scarcely matched by any other composer in the Romantic era.

This new Bärenreiter edition was edited from a variety of primary sources. These include the autograph manuscript and first edition of the score, engraver’s copy and parts. In addition, a partial autograph and first edition of the arrangement for four-hand piano reduction was used. Misprints have been corrected and inconsistencies among different source material are clearly marked. The parts and score are beautifully printed and easy to read. The excellent and informative preface written by Hartmut Schick is translated into German, Czech, and English. This new edition continues Bärenreiter’s tradition of excellence and will be of great value for musicians interested in this masterpiece of the string quartet repertoire. P. E. C.

BLUE PIECE (Violin/Piano). Libby Larsen. Galaxy Music Corporation, 2019, $8.

Libby Larsen is one of the most performed and prolific living composers in the United States. Blue Piece was premiered at the Kansas Music Educators Conference in 2010. In a short preface to the piece, Larsen writes that it is a musical poem which honors the twelve-bar blues and encourages the performer to be “languid and humid” with the music. The piece is about two minutes long and should be accessible to an intermediate student yet is interesting and challenging enough for a professional. As far as technical challenges, there is shifting up to sixth position, a section in five flats, and some places to bend the pitch and slide into notes. To really play the piece well, the performer would need to be able to vary their vibrato, their bow speed, and to play with a rich, sustained sound. This is a great addition to the repertoire and could be used as a fun diversion for a student who needs something less serious or as an encore or lighter part of a longer recital. H. M. F.

EINE KLEINE NACHTMUSIK (Advanced, Violin Solo). Mozart/Roman Kim. Bärenreiter, 2019, $15.90.

If you are looking for a technical and musical challenge for your advanced violin students (or those who think they are advanced), this is just the piece for you! Roman Kim has arranged the first movement of Mozart’s Eine Kleine Nachtmusik for solo violin. All of the fun phrasings and rhythmic textures that we enjoy in the original are included in this adventurous arrangement. To achieve this feat, Kim uses double stops, triple stops, and quadruple stops. The piece includes detailed fingering instructions for left-hand pizzicato, as well as delightful use of the left thumb. Kim’s ideas are sure to expand the horizons of your students and help them to dream big. To tempt you further, there are sample pages and a fun video of Kim performing this piece available on the publisher’s website (www.baerenreiter.com). D. G.

IN MY GARDEN 2 (Violin/Piano). Aleksey Igudesman. Universal Edition, 2018, $19.95.

This is the second volume in the In My Garden Series, and Igudesman’s sense of humor and whimsical creativity are present throughout. The collection includes ten tunes named for vegetables and fruits like The Potato, The Broccoli, The Blueberry, The Lemon, and The Zucchini. Igudesman introduces each piece with an entertaining descriptor that suits the title. For example, The Orange should be performed “Rollingly” and The Pea should be performed “Pea-cefully.” Students will especially enjoy the funny and charming poems that accompany each tune. The violin part is written for the beginning to intermediate-level player, while the piano part is accessible to an advanced- to intermediate-level pianist. Each piece presents interesting challenges for the young player. For example, Igudesman includes a variety of rhythmic challenges like ties, triplets, and hemiola. Although none of the pieces require the violinist to shift, an extensive variety of finger patterns in first position are used throughout the volume. The student needs to be familiar with low one, high and low three, and low four. Some of the pieces require an ability to switch quickly between different finger patterns and perform chromatic scalar passages. Students will achieve an improved understanding of fingerboard geography after working through this delightful volume. A. C.

MOVIE THEMES FOR CLASSICAL PLAYERS (Violin/Piano). Hal Leonard, 2019, $19.99.

This collection of “Distinguished Music From 13 Big Screen Classics,” as noted on the front cover, includes a piano score and a pull-out violin part. As a continuation of the “For Classical Players” series from Hal Leonard, this is a perfect collection for any player who wants to take a break from the standard repertoire. The thirteen included pieces are “Waltz for Peppy” from The Artist, “Themes from Cinema Paradiso” from Cinema Paradiso, “Theme from E.T.” from E.T. (The Extra-Terrestrial), “The Godfather (Love Theme)” from The Godfather, “Theme from Jurassic Park” from Jurassic Park, “Mia & Sebastian’s Theme” from La La Land, “Theme from Lawrence of Arabia” from Lawrence of Arabia, “Gabriel’s Oboe” from The Mission, “He’s a Pirate” from Pirates of the Caribbean: The Curse of the Black Pearl, “Romeo and Juliet (Love Theme)” from Romeo and Juliet, “Theme from Schindler’s List” from Schindler’s List, “Dreamers Awake” from 12 Monkeys, and “Scene D’Amour” from Vertigo.

These are well-written and edited intermediate-level arrangements, with clearly marked dynamics, bowings, and tempo/phrasing indications. The violin part rarely extends beyond fifth position (“Theme from E.T.” reaches a G6, and “Theme from Schindler’s List” reaches an A6). Double stops and chords are used sparingly, but always idiomatically. All pieces are in the two- to five-minute range, so they are ideal for recital or encore performances. Many of the pieces in this collection have indeed withstood the test of time and are classics within the film music genre. There are timeless melodies here from John Williams, Ennio and Andrea Morricone, Nino Rota, Maurice Jarre, and Bernard Herrmann. Whether music from The Artist, La La Land, Pirates of the Caribbean, and 12 Monkeys belongs in the same category is open for debate. B. B.

PAGINULA (Violin/Piano). Daniel S. Godfrey. Carl Fischer, 2019, $11.99.

Daniel Godfrey was born in 1949 and is currently chair of the music department at Northeastern University. He composed this piece as a contribution to Boston-based Music for Food, an organization that performs concerts whose proceeds go to combating food insecurity, homelessness, and domestic violence. Paginula means “little page” or, perhaps, “album leaf.” The piece packs quite a few difficulties and would be best suited to more advanced students. There are challenging rhythms, mixed meters, numerous accidentals and chromaticism, some high shifting, and quite a lot of double stops and broken octaves. The piece is cute and fun overall with a bit of drama, some driving sixteenth note ostinatos, and enough rubato to satisfy any overly passionate urges. The pages are well laid out as far as page turns and the print is clear and easily read. H. M. F.

SONATA FOR ARPEGGIONE AND PIANO D 821 (Gr. 5-7, Violin/Piano). Franz Schubert. Schott/Universal Edition, 2017, $18.95.

Although Schubert composed his Sonata for Arpeggione and Piano in 1824, it remained unpublished until the first edition in 1871, which was arranged for cello and piano. While the work has since been performed on a wide array of instruments, these transcriptions are primarily based upon the 1871 edition. In this new urtext version for violin and piano, the publishers have returned to Schubert’s autograph score and the violin part created by Anton Diabelli. Diabelli was guaranteed the publishing rights to the Arpeggione sonata in 1829 and created a manuscript arrangement of the solo part for violin, which he never published. The violin version of the Arpeggione sonata is a wonderful addition to the standard violin repertoire for both performers and teachers. The romantic and passionate music is filled with plenty of technical hurdles such as spiccato (during string crossings and alternating with slurs), up-bow staccato, fast passages ending in high positions, repeated chords containing three and four notes, and slow, sustained bowing. Since there are no fingerings or bow direction markings, performers will have the opportunity to create solutions for lyrical and technical passages and also make choices about bow direction and divisions for long slurs. While the entire work is wonderful to perform (ca. twenty-five minutes), the first movement or the attacca second and third movements can be performed alone. The edition includes a detailed preface and critical notes regarding the autograph score and Diabelli’s arrangement. J. R. M.

CONCERTO FOR VIOLA AND ORCHESTRA (Solo Part/Piano Reduction). Benhzad Ranjbaran. Theodore Presser, 2019, $38.99.

Whenever one thinks of substantial viola concertos, the first works that come to mind are pieces by Walton, Hindemith, and Bartok. This is ironic, especially because Bartok did not even finish much more than the solo viola part of his concerto before he passed away. Yet, these three works are still the most often played concertos by viola students and professional performers in competitions and auditions. Less often played are wonderful concertos by Schnittke, Rózsa, and so on; however, the fact remains that violists need more exciting concert pieces to play.

The concerto by Benhzad Ranjbaran, premiered in 2014, seems to partially answer this need. There are hunting melodies in this piece and many beautiful moments. There are many changes of moods and colors. There are exciting fast passages and opportunities to showcase your virtuosity. And there is a beautiful and natural mixture of Western and Eastern music styles in this work.

The viola part is quite idiomatic for the instrument. Is it difficult? Yes, but it seems that the main problem-solving barrier for new learners will be at the very beginning—when working out rhythms, notes, melodic and harmonic relations, and fingerings; the piece should feel easier and more manageable after this initial step. Some passages are reminiscent of violin and viola etudes and caprices. Also, there are many parallel movements in chords and in double stops. A performer of this concerto will need to have a broad technical arsenal that includes skills to play beautifully and easily in high positions, good bow control, familiarity with melodic passages that include augmented intervals, and double stops, especially in sixths, sevenths, and octaves among others. The piece lasts twenty-five minutes. M. G.

FANTASIE RUSSE NO. 2 (Grade 4, Viola/Piano). Leo Portnoff. Gerard Billaudot Editeur, 2018, $16.99.

While I wouldn’t typically suggest my viola students perform a violin transcription, I think this is a fantastic piece for violists! It is an expressive and lively work that resonates well on the instrument and gives young violists an introduction to twentieth-century music.

The Russian Fantasy No. 2 is a short solo piece (about three to four minutes) and includes lyrical melodies, a brief cadenza, and driving double stops and arpeggiated passages. It is excellent for students because it packs many different left-hand techniques and bowing styles, all into one page of music. Most of the piece is in first and third positions, but with a more advanced student, you can play some of the lyrical passages up in higher positions to create a variety of tone colors. This edition was transcribed by Arielle Gill, who has included a few pages of practice ideas, phrasing options and bowing techniques. I have found this edition to be a great introduction to the possibilities of phrasing for my students. While I often try to stick to works written for the viola, I think this is an excellent exception. My viola students love it! R. A. H.

SCALES AND ARPEGGIOS WITH SHIFTING PRACTICE (Viola). Cindy Moyer. Galaxy Music Corporation, 2018, $23.

Moyer’s new scale book states it is preparatory to Galamian and Flesh scales, and it would be a nice addition to any private viola teacher’s library. The book is organized chromatically, and, as long as students are able to play three-octave scales, can easily be used with any level of student. It includes major scales and all three versions of minor scales. Each scale is presented with three- and four-note groupings, and two sets of fingerings, one Galamian-style, the other Flesh-style. Bowing and rhythm suggestions, as well as an acceleration exercise, are presented at the beginning of the book, and can be used with each of the scales. The most unique feature of the book is the shifting practice for each scale, and an excellent addition to the book. It likely is the most useful aspect of the book, and a welcome and distinctive addition to yet another scale book. The introduction to scales in double stops is also a nice, albeit short, addition, complete with parenthetical reminders about good hand position and analytical suggestions, such as “Is the interval between your first and second finger a half step or a whole step?” In the arpeggios, occasionally a string letter is included, but not always the correct one (i.e. pages 12 and 14 suggest C5 played on the G string, when it should be the D), thus I encourage future editions to rectify such oversights, and to be more consistent about including string-letters, which are useful for students new to treble clef and high positions. K. L. M.

CONCERTO FOR CELLO AND ORCHESTRA, OP. 132 (Non-Graded, Solo Part, Piano Reduction). Lowell Liebermann. Theodore Presser, 2019, $22.49.

Accomplished cellists looking for a new challenge and vehicle for personal expression will luxuriate in this evocative concerto, comprising three movements. The concerto was commissioned by a consortium of American professional orchestras, with the premiere in Toledo, with Julian Schwarz, cellist. The Recitativo lento, motto libero includes many contrasting sections, from the full-throated, emotional lento opening to a driving, almost frenetic allegro, to profound and colorful explorations, and a super cool surprise ending. The thrilling second movement, Largo, includes powerfully moving melodies, some in unison with the piano, combining classical and movie music sensibilities. The transcendent, elegiac pleading phrases could be better bowed, to allow for more open use of the bow for sostenuto. Cellists who love to shred will enjoy the final movement, Allegro energico. Although a piano reduction can never fully capture the colors of the orchestra, and in this particular case, prominent harp and xylophone passages, the carefully orchestrated parts complement the solo well. This concerto requires major chops and a full artistic palette. Large intervallic leaps, and every inch of the fingerboard are used! Liebermann’s Cello Concerto combines many techniques and, to my ear, infuses composers such as Prokofiev, Rutter, Bloch, and John Williams, with a dash of Klezmer! It may become a staple and adds a fresh option for all professional cellists looking for a meaningful musical adventure. P. R.

CLASSICAL GUITAR ALBUM: NEW AND WELL-KNOWN PIECES (Classical Guitar Lesson, Volumes 1–3). Paul Coles. Universal Edition, 2018, €12.50 Each.

The stated purpose of this is to progressively introduce necessary classical guitar techniques. This is done throughout the three-volume series. The books include pieces of baroque Spanish classical and contemporary influence. Volume 1 does not have introductory lessons such as staff and note identification information. Therefore, it may not be designed for beginners that need an introduction to music. Consequently, this may be enjoyed by students who have a foundation in reading notes and are interested in developing classical guitar knowledge, skills, and abilities with an interesting collection of songs with diverse influences. At the back of the book is a glossary of technical terms that is a good resource for classical guitar pedagogy. Volume 1 has quarter and eighth-note rhythms and stays within the confines of beginner material. The songs are in the keys of C, D, G, and F, and they are typically 16 bar pieces. Volume 2 seems like a seamless continuation of Volume 1. It also progresses at a moderate rate to allow students to reinforce what they learned in previous lessons. It has gradually advancing difficulty, while the rhythms and note values remain manageable for the learner. However, the Volume 2 pieces are longer than those in Volume 1, and the keys of A and E are added along with more accidentals, and triplets in 2/4 and 6/8 time eighth notes. The arrangements present more two-part melodic passages harmonized in thirds and fourths. This eases the students into the intermediate-level skills. Volume 3 adds pieces with wider harmonies (fifths, sixths, sevenths, and octaves), longer phrases, uses eighth and sixteenth notes in the melodies, and three-note harmonized passages. However, there is enough repetition and clarity in the harmonic and melodic structures and form to make even these more advanced pieces fun to play. D. F.

THE GUITAR WORKBOOK: A FRESH APPROACH TO EXPLORATION AND MASTERY (Guitar Workbook). Scott A Seifried. Oxford University Press, 2017, $26.50.

The stated intent of this book is to help students become better guitarists and provide understanding of basic music. The author has strategically placed explanations throughout that introduce the topics and clearly the lesson objectives. Wherever necessary, there are pictures and diagrams that display the, fingering, hand form, body posture, and explanations of the notation, tablature, and chord diagrams. There are also tables that layout other concepts such as chord construction. This workbook includes four creative projects and an assessment grading rubric. The lessons may be good for any age above seven that has an interest in learning theoretical concepts for developing creative performance skills. The lessons teach how to play by ear and read chord diagrams and lead sheets. The book engages students in classical and popular guitar concepts that are fundamentals for reading notes, chord symbols, and guitar diagrams. This may be described as a comprehensive workbook that is appropriate for students with beginner level musicianship. The notes stay within the first position range throughout and is limited to the dotted quarter in difficulty. The lessons generally are developed with half, quarter, and eighth notes with few dotted quarter notes. Therefore, it would achieve its purpose as a guitar workbook that accommodates students’ needs for comprehensive coverage of core music fundamentals. In addition to learning how to read notes and chords notated on the staff, students would learn how to build triads, harmonize melodies, and create arpeggiated accompaniment. This is necessary for students interested in developing skills for popular, commercial, and jazz guitar pedagogy. This workbook is a good concept for guitar instruction. What stands out to me is that the finger placement picture shows an actual hand model that demonstrates good hand and finger placement technique. D. F.

UN CAFÉ CON ASTOR (Two Guitars). Mauro Godoy Villalobos. Universal Edition, 2017, €6.99.

Written as an homage to Astor Piazzolla, Un Café con Astor is an engaging, energetic work for two guitars that will leave you feeling as though you have heard all of the various moods of Piazzolla’s music. This piece is clearly intended for advanced/professional performers, with complicated techniques, complex tonalities, and rhythmic intricacies that are clearly above the average player’s abilities. The music opens in 6/8 with forte chords in both guitars that quickly drives into a sublime Argentinian style melody. The listener’s attention is immediately captured by the various sound effects called for in the composition. A helpful guide to the many required sound effects is included in the front of the score. The second theme is titled “Adagio misterioso” and radically downshifts the tempo into a contemplative, restive tenor. Tremolo strumming is used to create an eerie sound to begin this theme’s melody, whereas a percussive tapping is used to bring the music back to an upbeat, driving tempo for the close of the work. This clever composition is refreshing and, for the right players, a stimulating challenge worthy of mastery. L. C. W.

GABRIEL FAURÉ—TWO MASTERPIECES FOR SOLO HARP: IMPROMPTU, OP. 86, AND UNE CHÂTELAINE EN SA TOUR, OP. 110 (Solo Harp). Gabriel Fauré, ed. Carl Swanson. Carl Fischer, 2019, $22.

Carl Swanson’s edition of two staples of harp repertoire is presented thoughtfully and accurately here. In his preface, Swanson recounts a fascinating background story about his teacher, Pierre Jamet, who studied under Alphonse Hasselmans at the Conservatory and knew Fauré. He also includes the text of Paul Verlaine’s poem that is the namesake of the second piece in this collection. He also explains two corrections to Une Châtelaine that have not previously been published. The preface on its own is useful in providing background for both pieces. In the Impromptu, he has included all pedal changes, frequent pedal diagrams and repair points, and placed notes of the right hand in the top staff and left hand in the bottom staff wherever possible, which greatly facilitates reading from a harpist perspective. He has also graciously respelled many notes that harpists often spend a great deal of time erasing and rewriting, most notably in the section at measure 156 that sits in the unusual key of F-flat major. He also includes just a few suggested fingerings that are especially useful to harpists whose hands are not well-suited to intervals of a twelfth. He follows suit in his edits for Une Châtelaine, but here is where harpists can breathe a sigh of relief at not having to reinvent the wheel in redistributing notes between the hands, respelling notes enharmonically, and figuring out the tricky pedaling. Since I had learned the Impromptu from the Durand edition, I feel that the time involved in personally editing my score was productive, but having not learned Une Châtelaine, I can tell you I will be using Carl Swanson’s edition—and I would have students do the same. I highly recommend this publication. V. P.

THE ART OF STRING TEACHING. Michael Hopkins. Gia Publications, 2018, $59.95.

This is the book that we have all been waiting for! Many of us have known about and have visited Michael Hopkins’ website stringtechnique.com many times. The Art of String Teaching, Part 1 and Part 2, are companion texts to his website, laying out the pedagogical material for the teaching of string instruments with a clear scope and sequence. These books are not just for the non-string playing orchestra director. I am finding myself turning to them again and again for new ideas, games, and strategies. The first volume contains all the basic information that you need to know for setting up and teaching beginning string players: instruments and parts, historical overview, planning and assessing, foundations of posture and position, developmental considerations, and repertoire. The second volume focuses on the specific developmental needs of intermediate and advanced players, including bowing techniques, finger patterns, extensions, shifting, vibrato, tuning, improvisation, conducting demands, rehearsal strategies, and recruiting. The best feature of these books is the QR codes and links for the accompanying videos for each chapter. All the videos can be found on YouTube and they offer tremendous support for both string teachers and their students. After using these books for my string technique classes, I cannot recommend them enough! The price for two large volumes of immediately applicable pedagogical material is a bargain and is absolutely worth every penny. L. C. W.

TEACHING BODY MAPPING TO CHILDREN. Jennifer Johnson. GIA Publications, 2017, $24.95.

A valuable resource for both studio and classroom teachers, Teaching Body Mapping to Children, provides insightful ways to help your students avoid and overcome injury. According to Johnson, the body map is the “picture we have of ourselves in our brain,” and the goal of body mapping is to become aware of this map and correct any inaccuracies. Each chapter focuses on common injuries affecting specific areas of the body, including the hands, arms, neck, back, and feet, and addresses conditions such as carpel tunnel syndrome, temporomandibular joint (TMJ) disorders, and tendinitis in the forearms. Misconceptions regarding the function of the body (or “mismapping”) are examined followed by specific exercises designed to help students achieve a more accurate body map. Johnson’s experience teaching children is evident in these activities; they are playful and often include memorable titles and stories such as “Barbie Goes Swimming!” and “The Two Jaws of a Muppet Puppet.” In addition, short introductions to each chapter help instructors identify signs of an incorrect body map. The concepts presented are clear and easy to incorporate into lesson plans and provide important tools for helping students avoid injury. J. R. M.