Reviews

A STROLL IN THE PARK (Gr. 2, String Orchestra with Optional Piano). William Moats. Tempo Press, 2019, $50

As the title suggests, this piece moves along at a walking pace, like that of a march for a band, driven by the cello and double bass. There are two themes, one introduced by the violins and viola and another by the viola and cello. This piece is extremely accessible to students competent in first position. There are arco as well as pizzicato parts. An optional piano part adds rhythmic and harmonic support. Written in D major and 4/4 time, this piece will be a simple yet fun addition to your concert. It begins with the bass and cello pizzicato and the violins and viola enter with the same rhythm, yet harmonic parts. The upper strings then take the pizzicato while the bass, cello, and viola bow a new melody. With just a few slurs and one dotted rhythm, this piece is fairly simple rhythmic-wise. The switching between arco and pizzicato will require practice for smooth transitions. The dynamics play a huge role in making this simple piece more dramatic. The piece ends with a decrescendo as if the stroll continues on, and as they walk away the piece ends. It will be a fun addition that is simple in many ways, but also peppy and upbeat to keep interest. This may be a nice “breather” in your concert lineup between two more challenging pieces. The audience is sure to enjoy it! L. J.

ACROSS THE LAKE (Gr. 2 1/2, String Orchestra with Solo Violin). Mark Revell. Excelcia Music Publishing, 2019, $50.

This would be a great mood change or even an opener for any concert. Revell depicts a sunrise with all its beauty. A solo violin represents a bird singing its morning song across the lake and the chill that runs down your spine from experiencing such beauty. The introduction from the orchestra include long eight beat ties with crescendos from piano to forte just before the “bird” makes its first call. Written in G major, this piece is accessible to the young orchestra while teaching musicality. The solo violin part includes grace notes and trills, like that of bird calls. The parts only require first position, although shifting would help “soften” some harshness to allow for a more mellow sound. A violin 3 part is included to boost the viola section if needed. Dynamics range from pianissimo to forte, giving much variety. Long crescendos and decrescendos give motion but also beauty to the piece. This calm, peaceful piece is a wonderful change of pace, while still providing teaching opportunities for adding vibrato or just listening and playing with slow, beautiful tone. This is sure to win over the audience and draw them in to your performance! L. J.

AFTERNOON SOLILOQUY (Gr. 3, String Orchestra). Susan H. Day. Tempo Press, 2019, $55

Susan Day has again delivered a piece that is sure to become a favorite of students and teachers alike. Afternoon Soliloquy is a lovely, lyrical piece that brings to mind an afternoon stroll through the woods and provides a wealth of learning opportunities for intermediate musicians. The piece begins in D major and ends in G major, spending much time on the C and G strings for violas and cellos. Shifting for all musicians is minimal, moving into third position twice for first violins and keeping the bass players to D on the G string. After the graceful opening melody is introduced in a question-and-answer style by the first and second violins, the flowing line in the cellos becomes the center of attention. Although the cello part involves multiple string crossings similar to the cello line in Hofeldt’s Lullaby, it is bowed for ease of performance by younger players. For the second motive, the entire orchestra plays an identical, repeated syncopated rhythm with subtly shifting chords. This four-bar pattern is repeated with slight variations in the chord progression, providing an incredible opportunity for teaching the structure of individual chords and their inherent timbre/tone colors. Day weaves the melodic line throughout all instrument parts, keeping everyone engaged with just the right amount of technical and musical challenges. Afternoon Soliloquy would be a wonderful addition to your contest or festival program. L. C. W.

CURSE OF TORTUGA (Gr. 2 1/2, String Orchestra with Optional Piano). Tyler Arcari. Excelcia Music Publishing, 2019, $50

You can’t go wrong with pirate music! Curse of Tortuga is set to depict the pirates of Tortuga, an island in the Caribbean, and its vulnerability to pirate headquarters in the seventeenth century. Written in 3/4 time, the rhythm is not difficult. Repetitive eighth notes and long tremolo ties in the upper strings will require students to be counting and watching for entrances and note changes. Written in D major, the notes are very accessible to a young orchestra. Only first position is required in each part. Dynamics include piano through fortissimo, so the audience is sure to be engaged. Accents also bring out the pirate style and make it fun for all. A slow, chorale-like section interrupts the piece before concluding with the original, fast tempo. This will require students to be watching for tempo changes and being very careful to follow the conductor. A violin 3 part is included to help boost the viola section, if needed. The piano part is also optional. It is a great aid in rehearsal and can be used in performance, although not necessary. Your students will be tapping their feet right along with the audience. This is sure to be a concert favorite! L. J.

EVENING DUSK (Gr. 2, String Orchestra). Yukiko Nishimura. Excelcia Music Publishing, 2019, $50

Evening Dusk is a delicate, haunting waltz in 3/4 time that is brilliantly scored to maximize the lightness of the dance while keeping the parts highly playable by young string players. Written in D minor, the piece introduces B flats sparingly. This avoidance of the sixth note in the key adds to the baleful quality of the tune. The pedagogical focus of this work centers around accurate performance of F and C naturals and the stylistic performance aspects of the waltz. The violin 1 own the tune throughout, leaving the remaining sections to create the consistent waltzing effect of the tune through pizzicato eighths and portato quarter notes. There is a four-bar divisi viola line in quarter notes about halfway through the piece that provides a harmony to the melody, but the parts remain highly playable on the D and G strings. We should all be prepared to see many more excellent works for young orchestras by Yukiko Nishimura! L. C. W.

FANTASIA ON A THEME BY THOMAS TALLIS (Gr. 6, String Orchestra). Ralph Vaughan Williams, ed. Clark Suttle. Luck’s Music Library, 2018, $75

This work is known as one of the most magnificent in the string orchestra literature. It is a testament to the beauty of a great string sound. Written in 1910 by Ralph Vaughan Williams, it is based on a tune by the composer Thomas Tallis (1505-1585). It is written for three orchestral groups—a solo string quartet and two string orchestras. This recent edition, edited by Clark Suttle, explains how he feels the orchestras should be seated, how many players are involved, and which parts should go to which stands. In this work, although there are many sections when all groups are playing tutti, the second orchestra is often an echo of the first orchestra and sometimes the quartet is playing alone. In this edition, these sections are clearly marked in the score, which makes it easier for the conductor to know who is playing at any given time. In order to play this work with student musicians, the director will need to choose strong soloists for the quartet parts, as well as strong leaders for each section of the two orchestras. There are many meter changes, and the ebb and flow of the music in this piece needs a good sense of the beat and the direction of the phrase. As the orchestra builds to a dramatic crescendo, everyone needs to be committed to an intense sound and beautiful vibrato. This version of the Fantasia is excellent and aids in organizing the parts for the conductor. If you have the ensemble who can play this powerfully emotional work, please look into this new edition. G. P.

GEMINI (Gr. 3, String Orchestra with Piano). George Sweet. Excelcia Music Publishing, 2019, $55

Written as a reflection of the close-knit family of the composer born under the sign of Gemini, the harmony is also knitted closely and cascading to represent it passing down the generations. This is a unique piece, one that is sure to be enjoyed for all its technical nuances, but also for its beauty. A slower, ethereal introduction begins the piece and moves slightly faster when the first violins introduce the A theme. Written in 4/4, the rhythm is fairly straightforward using whole notes through quarter notes, with very few eighth notes. There are quite a few slurs, ties, and fermatas to keep the students alert, watching, and listening. Written in D major, the notes are also very accessible to young string orchestra. There are harmonic shifts that involve accidentals, but they should already be familiar notes to the students. The outside first violins need to shift to second position for thirteen measures. The cellos will need to shift out of first position for an E, but it only occurs twice. Dynamics range from piano to fortissimo with many crescendos and decrescendos to bring interest to the piece. However, the piece begins and ends peacefully, while having more aggressive parts throughout the different themes. There is a piano part included, complete with pedal markings. There is no violin 3 part. This will be a great piece to change up the traditional string literature and offer students the opportunity for branching out. Enjoy! L. J.

JURASSIC WORLD: FALLEN KINGDOM (Gr. 4, String Orchestra, Percussion) Michael Giacchino/Robert Longfield. Hal Leonard, 2018, $55

This dark and ominous arrangement by Longfield has terrific melodies, rhythms, and challenges for your student musicians! The different sections are named after places in the 2018 film. The first section is in 12/8 rhythm and the following section is in 6/4, presenting some counting challenges. Tempos change between each scene. There are large dramatic dynamic swings, including a tremelo in the opening, which goes from piano to forte, as well as one later that is sul ponticello. There is a beautiful violin solo in the second section and a celli section solo in the last section. The first violins go up to an F sharp above the staff. The cello part also goes to an F sharp above the staff. The other parts are non-shifting, except when the bass part occasionally goes to a C. This creepy trip to the dinosaur age is also disguised as a wonderful teaching piece. The rhythms, dynamics, notes, and changes of mood are all a part of this world. I thoroughly enjoyed it, as I know your orchestra will, too. G. P.

KINETIC DANCE (Gr. 3, String Orchestra). Jason Krug. Tempo Press, 2019, $58

Scientists define energy in motion as “kinetic,” so that should tell you a little bit about this piece! Written in 6/8, there are constant running eighth notes throughout the entire piece. Written entirely for string orchestra, there is no piano part or extra violin 3 part to assist the violas. Dynamics range from subito piano to a grand finale of fortississimo. The two-measure melody can become repetitious as it sent around the orchestra, so playing correct dynamics ensures that it stays fresh. The mood and harmonic structure changes, but the tempo and energy must remain consistent. This is a great piece for teaching constant energy despite what the dynamics may or may not say. The conductor will need to be aware and keep the orchestra from speeding or slowing with the change of dynamics, ties, accents, and other articulations. Written in F major, students will need to comfortable with naturals and B-flats. There are a few other accidentals, but nothing difficult. No shifting is required. The 6/8-time signature may prove to be challenging, but this is a great piece to reinforce it. The piece is so engaging, and the students will enjoy it so much, they won’t know how hard they are working! All parts divide at the end, except for the bass, to end with a huge ten-part finish! This is sure to be a piece enjoyed by all! L. J.

THE KNOBSTONE TRAIL (Gr. 4, Full Orchestra). Stephen Lias. Alias Press, 2019, $150

The Carmel High School Orchestra (Indiana) commissioned The Knobstone Trail for their 2019 performance at the Midwest Clinic. The piece is a 9 1/2-minute depiction of hiking the amazing Indiana Trail. Written for large symphony orchestra in the key of A minor, the work requires full winds and standard orchestral percussion in addition to vibraphone, three woodblocks, glockenspiel, four tom-toms, and gong. Three percussionists plus timpanist will be kept busy throughout the work. The piece includes a modest harp part that adds to the composition but is not required for performance. Based primarily in 4/4 time, the work also includes 2/4, 3/4, 3/8, and a brief section in 3/2 time with fairly straightforward rhythms, including sixteenth notes and sixteenth note triplets along with dotted versions of these rhythms. Additional technique demands for the strings include tremolo bowings along with trills while shifting is not in high demand. All sections need to be comfortable with 1/2 position. Both first and second violins need to play in third position. Cellos must play to fourth position to the A harmonic. Bass players range is extended to the E on the G-string below the harmonic. All shifting passages are brief unless musical decisions dictate use of positions on the lower strings. Elisabeth Ohly-Davis, who premiered the work, says,

The piece requires mature winds and brass who can handle rhythmic independence and complexity. The French Horn 1 part is soloistic and requires a top-notch player. Attention to detail for many precise articulations marked in all parts is necessary. The string parts are accessible, but students should have prior experience playing in half position and second position, among others. Some ear-training is needed to acclimate to some more unusual intervals used in this modern piece. D. S.

MYSTIC LAIR (Gr. 3.5, String Orchestra, opt. Piano). Sean O’Loughlin. Excelcia Music Publishing, 2019, $55

Although it is written for string ensemble, Mystic Lair is symphonic in its tonal and rhythmic complexity. The opening section is serene but do not let that fool you! The following contrasting section demands agility from all string sections. O’Loughlin’s use of rests is quite genius and the rhythmic intricacy and shifting meter between 4/4 and 3/4 in this work can be challenging. Albeit simple, this work requires the violin 1 section to be able to shift between first and third positions. Ability to create good accents and articulations is crucial in this work and students will be introduced to col legno. Advanced middle school students will be motivated to learn various aspects of string playing in this piece and energetic high school students will immensely enjoy this work. C. Y. S.

RIVERWIND (Gr. 2, String Orchestra with Piano). George Sweet. Excelcia Music Publishing, 2019, $50

Sweet has taken great care in the form of this piece. An introduction begins with lush sounds to herald the adventures to come. The A theme is faster paced and presented twice, with a variation the second time. It is passed through the parts, so each has a turn. The B theme is accompanied with lush harmonies like that of the introduction and the piece is finished with a polytonal C section and concluded with a coda that ends the piece dramatically. The piece is written in G major, making it very accessible. The third violin part is included to help give the viola section weight if needed. Dynamics range from piano to fortissimo with lots of crescendos and decrescendos to make it interesting and beautiful. Accompanying sections include pulsing quarter notes and should be somewhat accented to keep the piece moving forward. Accents should also be closely followed as they bring so much life to the piece. First position is all that is required, so this piece will be “easy” in that regard, allowing for more teaching to be done with the music-making aspects rather than the notes. Rhythms are also simple, ranging from whole notes to eighth notes in 4/4 time. Some staccatos give the piece character and technical changes. Your students will enjoy the adventure of this piece! It is sure to be one to bring interest and excitement to a concert. L. J.

SONATA IN B MINOR, K. 87, L. 33 (Gr. 3 String Orchestra) Domenico Scarlatti, arr. Yukiko Nishimura. Southern Music, 2019, $45

A welcome new Grade 3 transcription of a Baroque keyboard standard, this keeps true to the original by retaining the emphasis on flowing parts and inner voices. The piece generously spreads the melodic lines to all five sections, where violin 2 and viola parts are especially interesting. All parts have convenient rehearsal numbers with minimal published articulations and bowings to allow directors flexibility. Fingerings are provided for suggested fourth finger patterns and accidentals. Basses alternate between first and half position, and the celli have a phrase with an optional shift to third position. All other parts may be played in first position. Rehearsal challenges include accidentals, syncopations, slurs, and ties. This would be an excellent choice for the director wanting to work on section independence, as the counting and staggered entrances demand it. J. W.

SWEET NEW MOON (Gr. 3, String Orchestra, opt. Piano). Yukiko Nishimura. Excelcia Music Publishing, 2019, $55

This beautifully written work is full of elegant melodies and harmonies. Fans of the movie Calmi Cuori Appassionati by Isamu Nakae will be instantly struck by how this work is reminiscent of the movie’s soundtrack, particularly “The Whole Nine Yards.” Even in the più mosso passage, Nishimura’s writing remains graceful and subtle. The work’s independent part writing is well-balanced across all string sections and the added piano part enriches the timbral palette. By frequently employing non-harmonic tones, such as appoggiaturas, suspensions, and anticipations, the work challenges students to listen very carefully for correct intonation and the expressive qualities of non-harmonic tones. While shifting is not required in this work, it asks a lot from the right hand including drastic dynamic changes, passages with détaché string crossings, control of tone, and proper bow distribution. C. Y. S.

SYMPHONY IN D MAJOR, OP. 5 NO. 2: PRESTO (Gr. 4, String Orchestra). Johann Stamitz, arr. Robert D. McCashin. Tempo Press, 2019, $57

This warhorse standard of the early symphony has been superbly arranged by McCashin for performance by string orchestras, bringing back to the stage the music of an oft-forgotten composer. This movement provides students with the opportunity to perfect their bowing wrist flexibility and use of collé bowing technique through rapid, repetitive sixteenth notes in the upper strings. While the cellos and basses do not get to play any of the sixteenth note lines, they must focus their attention on performing stylistically accurate classical era music, which is certain to keep them busy! Although there are no shifts required beyond third position, students will find plenty of challenges in correctly executing turns in the violin parts (all of which have been written out) and accurately performing accidentals that pop up frequently. Beyond being a valuable learning experience for students, this is a tremendously fun piece to perform from the classical era. Neither the teacher nor the students will tire of this music easily. This is a “can’t miss” hit. L. C. W.

TALES FROM THE VIENNA WOODS (Gr. 3, String Orchestra). Johann Strauss II, arr. Robert Longfield. Tempo Press, 2019, $51

This beautiful group of waltzes by “The Waltz King” will lend a glimpse for your young musicians into Viennese style. They recall the beauty of the woods on the outskirts of Vienna. This arrangement by Longfield is very similar in style to the original. It starts with a strong introduction, culminating in tremelo in all parts, which leads to the waltz rhythms and the main melody. Throughout the piece, the melody in the first violins is mirrored a sixth lower in the second violins. The violas, cellos, and basses accompany with quarter notes. Sometimes the quarters are pizzicato and sometimes arco. When the second melody comes in, it starts off slowly and gradually works back into tempo. After a repeat, a dal segno takes us back to the prominent melody, and the piece ends with a coda that has a grand crescendo to the end. The viola section can learn to play offbeats in Viennese style, the cellos have a great deal of pizzicato, and the basses have fairly easy notes. The violin sections have beautiful melodic lines, with slurs that extend through each measure. This piece would also work well for string quintet.

If you have student violinists who shine and you would like to feature your violin section, I think this is the perfect piece. Not only is it lovely music which should be familiar to many, Tales from the Vienna Woods provides a chance to learn a new style and how to play with charm. G. P.

THE GATHERING OF EAGLES (ESKEKXW TA S’PAKWUS) (String Orchestra, Optional Piano). Bob Baker (Squamish First Nation), arr. Robert Buckley. Hal Leonard, 2019, $55

Music can be a means for sharing ideas and opening understanding. This publication is a piece to help in this effort. This arrangement for string orchestra honors the Squamish Nation tradition and allows us all to share a small part of this rich culture. The melody is nicely embellished with eighth notes that keep the song moving. This is shared by the violins playing legato and later in short arpeggios playable near the frog and off. The violas and cellos first present the melody followed by the violins. This piece is in a modal D key. The Bb is introduced in a very easy manner and can be a good introduction to the pitch. The percussion creates a very authentic presence with rattles or shakers and a Native Frame Drum (or Med. Tom). The percussion is optional, but it can be played by anyone and does create a perfect effect. There is an optional piano part. An audio symphonic band demo is available on www.YouTube.com. P. M. H.

A MILLION DREAMS FROM THE GREATEST SHOWMAN (String Quartet). Benj Pasek and Justin Paul, arr. James Kazik. Hal Leonard, 2017, $14.99

This quartet arrangement of the hit song from The Greatest Showman is presented in G major with straightforward rhythms including 1/8 notes and dotted-quarter note passages in the violins, but only quarter, half, and whole note rhythms in the viola and cello parts. The melody is exclusively presented in the violin 1 part, with the exception of a 4-measure violin 2 transition. The viola part features several trilled notes and the cello part alternates between pizzicato and slurred string crossings which will require some finesse. The arrangement uses a D.S. al coda to present the form, but the layout is straightforward and clean. The set also includes a score to aid in rehearsal. This is a nice arrangement for a young quartet to keep in their repertoire of background music or to present at an honors night or graduation ceremony. D. S.

GREEN ONIONS (Gr. 3, String Quartet). Al Jackson Jr., Steve Cropper, Booker T. Jones, and Lewis Steinberg, arr. Robert Longfield. Hal Leonard, 2018, $14.99

It is exciting to discover a new string quartet edition of the 1962 Booker T. & the M. G.’s soul instrumental Green Onions. Arranged from the original G minor/B-flat major to an easier D minor, all four parts are playable in first position. The cello has no accidentals and nicely replicates the bouncing bass line. The viola plays the right-hand parts of the unforgettable Hammond B3 original. Neither of the violin parts play on the E string as the melodic line splits between the two players. Perhaps most exciting is an optional 12-bar repeat that has both traditional notation and lead sheet chords for improvisation and additional solos. Less difficult than the suggested grade 3 on the cover, this arrangement will be a nice piece for the teacher who wants to include a lesson plan on a 12-bar blues pattern and work the basics of improvisation. J. W.

HARMONIC GALLERY (Gr. 5, Vibraphone, Violin, Viola, Cello, and Double Bass). Paul Lansky. Carl Fischer Music, 2018, $45

Harmonic Gallery, commissioned by Network for New Music for premiere at the Pennsylvania Academy of Fine Arts, is a musical analog of a museum exhibition in which paintings are shown in close proximity. There are three movements, surrounded by musical “frames” which comment on the harmonies of the movements.

The entire piece is a total of 514 measures long and runs approximately twenty minutes. The piece is written with no sharps or flats, though accidentals are present to change modality. The time signatures include 3/4 and 4/4 only, and bowings include legato, slurs, detaché, staccato, accents, pizzicato, and tenuto. Dynamics range from pianississimo to fortissimo and rhythms range from whole notes to sixteenth notes. The violin goes to fifth position, viola goes to third position in treble clef, and cello goes through both tenor and treble clefs and often plays a high D (ninth higher than middle C). Bass goes to the F sharp above middle C and must also play a low D, so would need an E-string extension. The vibraphone part uses many chords and also has single note melodic lines. Tempos include, for the quarter note, 76, 110, 146, and 150. The individual parts are not too difficult to play—an advanced high school group would be able to perform this piece well. The movements represent various art forms, including the nineteenth-century minuet in “Minuetto,” the early twentieth-century crumbling of tonality in “Angst,” and post-minimal and post-modern repetition and cadences in “Dance.” This is a very engaging piece and would be a great way to help advanced students work together as well as learn various music styles. N. C.

LIMBO ROCK (Gr. 3-4, String Quartet). Billy Strange and Jon Sheldon, arr. Robert Longfield. Hal Leonard, 2018, $14.99

Limbo Rock is a popular Caribbean dance song written and composed by Billy Strange and Jon Sheldon in the 1960s. This easy-to-medium string quartet music arranged by Robert Longfield is performed in the key of D (quarter note = 132) in 4/4 time and is appropriate for a grade level 3-4 (violin 1, violin 2, viola, cello). There are a variety of rhythmic patterns in the 1’50” piece that include quarter notes, eighth notes, whole notes, and a combination of rhythms with added ties. Accents, pizzicatos, and dynamic markings are subtle and easy to follow, while bowing suggestions are appropriate for each of the sections. At the beginning of the piece, the violin 1 and violin 2 share the same introduction melody while the viola and cello play rhythmically in unison. After the introduction, the violin 2 and viola play their rhythms in unison while the cello performs off beat with a few hook-bow patterns toward the end. The violin 1 and viola perform on all strings, violin 2 stays within the G, D, A string, and cello stays on the G and D strings. At the end of the piece, all instruments play accented notes. Pedagogically, this piece is a suitable arrangement for young musicians playing at easy-medium level continuing their skill development in string quartet playing. T. S. Y.

STRING QUARTET IN B-FLAT MAJOR, OP. 130 (Gr. 6, String quartet). Ludwig Van Beethoven. Bärenreiter, 2019, $22.95 (Parts), $12.26 (Score)

This miraculous quartet by Beethoven was first performed in 1826, a year before the composer’s death. The work is in six movements, a divertimento style. The original work contained the famed Grosse Fugue as the finale. However, Beethoven was urged by his publisher to change the finale and make the Grosse Fugue a separate work with its own opus number (op. 134). For a fee, Beethoven honored the request and the finale that was revised was the one published in the quartet. It’s interesting to note that the revised finale was the last piece that Beethoven wrote in his lifetime. The revised finale is the one included in this score and parts. The quartet is performed both ways, with either finale as accepted. Grand in scale, the first movement alternates between sections marked adagio non troppo and allegro. The following movements are Presto, Poco Scherzoso, Alla Danza Tedesca (German Dance), Cavatina, and the Finale (Allegro). The Cavatina is a famous movement and contains exquisite beauty. Beethoven’s late quartets are extremely challenging for most professionals. An established college ensemble could handle this work well. It has many technical challenges for all, but especially in the violin 1 part. Knowing that Beethoven was completely deaf at this point in his life makes this an even more extraordinary work, ahead of its time and a challenge to all who perform it. G. P.

JOY OF MUSIC: DISCOVERIES FROM THE SCHOTT ARCHIVES (Gr. 6, Violin and Piano). Ed. Wolfgang Birtel. Schott Music, 2020, $26.49

Marking the 250th anniversary of the Schott Music publishing house, Joy of Music is an anthology of rediscovered pieces for violin and piano from the Schott archives. The collection consists of mostly Romantic era works, including virtuosic encores, character pieces, arrangements of compositions for piano, and works inspired by opera melodies.

Advanced students, amateurs, or professionals would benefit most from this collection. While the overall technical level required is high, the anthology includes less and more demanding pieces. Good left-hand technique is necessary from beginning to end, including shifting into high positions, passages in double stops, and finger dexterity. Right hand considerations, depending on the piece, include off-the-string strokes, the playing of three and four note chords, and the ability to expressively phrase throughout.

The diversity of character in the anthology is gratifying. Lyrical works such as the Adagio sostenuto by Pugnani and Serenade by Beriot exist next to the virtuosic Gigue by Henryk Wieniawski. Several works on opera melodies are included, such as the Carmen March by Georges Bizet and the Fantasia on Humperdinck’s Hansel and Gretel by Berthold Tours. Arrangements of piano compositions, such as Chopin’s Mazurka Op. 17/1 and Rubinstein’s Romance Op. 10/5, round out the collection. S. K.

ITALIAN CLASSICS: FAVORITE ITALIAN MELODIES (Gr. 3-6, Violin and Piano). Various, arr. David Brooker. Universal Edition, 2018, $25.80

This is a fun collection of eleven famous Italian songs and melodies, including “O Sole Mio,” “La Donna è Mobile,” “Funiculì, Funiculà,” part of the William Tell Overture, and many others. Each arrangement is fairly short, usually just one page long for the violin, but all are thoughtfully done. The keys range from four flats to four sharps, but most are in the middle of that range. Shifting, spiccato, and double stops are required in places, but mostly the arrangements are at an intermediate level, though an advanced player could enjoy playing them with more finesse and beauty. The piano parts are interesting but mostly easy enough that a less skilled pianist could manage. This collection would be great for an opera lover or someone who loves Italian music, or just somebody looking to increase their repertoire and enjoy playing some popular tunes and beautiful melodies. H. M. F.

REFLECTIONS (Violin and Piano). Edward Thomas. E. C. Schirmer, 2018, $12

Reflections is an emotional short work of 140 measures for violin and piano by American composer Edward Thomas. It is in applied behavior analysis (ABA) form filled with colors and emotional angst. The larger, slow A sections are loosely based on chromatic movement filled with dynamics and varied articulations. The contrasting B section is quick, filled with rhythmic drive and scaler runs up and down the fingerboard and the piano keys, in a conversational type setting that finally unwinds back to the opening Moderato A section. The work incorporates a good amount of varied dynamics, articulations, and effects throughout. There is a line of harmonics, both natural and artificial, and some easy double-stops. The work also includes an opening long harmonic tremolo, some glissandos, and chords, but is unedited so there are no fingerings included in the parts. The highest pitch for the violin is the “A” two octaves above the open A string, which the violin reaches at the end of the work to finish on. This work is slightly difficult for a high school player but is filled with many possibilities for effects and colors. A compelling piece well worth performing. D. C. N.

SONDHEIM FOR CLASSICAL PLAYERS (Violin and Piano). Stephen Sondheim. Hal Leonard, 2019, $20

Intermediate to advanced students will enjoy bringing these well-loved melodies to life, and perhaps revisiting their theater experiences. Songs are included from the following shows: Anyone Can Whistle, Into the Woods, Sweeney Todd, A Little Night Music, and Sunday in the Park with George. With the access to a companion recorded piano accompaniment online, violinists can experience a fuller sense the drama and inspiration of each song. The online recording features an acoustic piano, and the accompaniments are straightforward and nicely paced. The practice accompaniment is a wonderful tool which can save time in preparing to perform with a live pianist. It can also model the character and tempi and serve as an “artistic” metronome. With wide variance in difficulty level (ranging from three to five) from song to song, violinists will need to navigate key signatures of up to four sharps and four flats, and compound time signatures as well as key changes and syncopated rhythms—and of course the appropriate expressiveness for the mature emotions of some songs will be a challenge. Playing songs from such a popular musical composer may be one of the most rewarding adventures a student (young or old) may have. Performing these songs for family and friends may bring satisfaction and sense of accomplishment. They would be perfect for a soirée, recital, or cocktail hour. The Sondheim for Classical Players, like so many other collections arranged for solo instruments, provides sparse bowings. When learning these pieces, be sure to listen to quality recordings that include the lyrics, to more fully portray the intention of the song. P. R.

CELTIC PLAY-ALONG (Gr. 3, Cello Plus CD and Piano Accompaniment). Arr. Martin Tourish. Universal Edition, 2018, $21.50

With background notes and performance suggestions, Martin Tourish introduces musicians to the world of Celtic music. The selected pieces span three centuries of music-making in Ireland, Scotland, Wales, Cornwall, and Brittany, but comprise only an introduction to this region. The included audio CD features full performances and play-along tracks at various tempi. Tunes included are “De-Sul Vyttyn,” “The New Rigged Ship,” “Beth yw’r Haf i Mi?,” “Tabhair dom do Lamh,” “Danse Macabre,” “The Athol Highlanders,” “Merch Megan,” and “The Forgotten Highland.” The piece lengths range from 42 to 117 measures long and key signatures range from two flats to two sharps. Modalities include major, minor, Dorian, and Mixolydian, and Time signatures are 3/4, 4/4, and 6/8. Bowings include legato, detaché, and staccato, with plenty of turns and grace notes. Rhythms range from whole notes to sixteenth notes and there are no dynamics listed other than some decrescendo markings. Tempos are, per the quarter note, 95, 100, 105, 115, 120, 125, 126, and 138, and there are D.S. al coda in seven of the eight pieces. There are several passages in tenor clef, going up to a B above middle C, so the cellist needs to be at a fairly high level of accomplishment. This collection is meant to inspire students to become acquainted with Celtic music and to embark upon their own journey. Go to the numerous festivals, sessions, and gatherings all around the world to meet others and play along. This is where the heart of this living tradition lies and is there for everyone. N. C.

SONATA NO. 1 IN D MINOR, OP. 109 (Cello and Piano). Gabriel Fauré, ed. Fabian Kolb. G. Henle Verlag, 2019, $25

Composed in the last decade of his life, (1917) Fauré completed this compelling work in just three weeks. The three movements are brilliant, with fresh, interactive dialogue between cello and piano. How fortunate we are as cellists to claim this composer as our champion! This sonata would be a crown jewel in any solo recital. From a spicy, concentrated, driving first movement, with hints of tango and jazz, and angular accented passages diffusing quickly to dolce interludes, through the achingly, beautifully dissonant, and lyrical second movement, with melodies as singular and heart penetrating as Barber, Menotti, or Prokofiev’s, with extended passages of harmonic tension to create the backdrop for patches of glorious resolution, to the sunnier exuberant finale moment, the work is spell-binding. There is an intense energy which runs throughout all three movements, perhaps reflective of his brief, focused, productive creative process. Advanced college students or professionals will appreciate the Henle Library edition, with sparse bowings originating from Fauré himself. Suggested piano fingerings are supplied by Markus Bellheim. The clean pages give musicians freedom to explore personal choices. Today, we fortunately have a plethora of recordings to inform our own decisions. The playing time is approximately twenty minutes. P. R.

THE COMPOSER’S GUIDE TO WRITING WELL FOR THE MODERN HARP. Yolanda Kondonassis. Carl Fischer Music, 2019, $26.99. Available from harp.com

This is a very useful volume for budding composers who are interested in writing or arranging for the pedal harp. How many times have you been given an arrangement or composition which was written for the harp and the composer or arranger had no idea about special effects or how to notate the music properly? This exhaustive volume includes sections such as A Brief History, Special Effects, Glissandi, Composing for Solo Harp, and Composing for the Harp in Ensemble. Kondonassis includes information on traditional terms, symbols, and effects. She shares simple information like how many fingers harpists use and string layout. There is a page showing feasible chord shapes which lay well into the hand and information about rhythmic notation and tied notes too. Muffling and harmonics are shown and explained thoroughly. This is an excellent resource. Highly recommended. D. G. V.

THE CONDUCTOR’S TOOLBOX. Richard Sparks. GIA Publications, 2019, $17.25

The Conductor’s Toolbox is an excellent resource covering many different rehearsal techniques for both new and experienced conductors. One aspect I love about this book is the formatting. Sparks writes short chapters, each with a practical guidance for over thirty topics, focusing on effective rehearsal techniques. It is a book you can read from cover to cover in a few days, or select specific topics you want to focus on, or an area needing fresh ideas. While this book is written for choral conductors, as an instrumental director I found the rehearsal techniques universal and incredibly helpful.

Another aspect of the book I appreciate is the use of non-musical practice ideas and inspiration. Sparks references John Wooden’s coaching techniques, Daniel Coyle’s research on talent and practice, and many others. I enjoyed reading different perspectives of effective teaching, not only relating to music. It’s a fantastic resource for leading any type of ensemble rehearsal and I highly recommend it. R. A. H.

THE QUELBE METHOD: MUSIC FUNDAMENTALS IN QUELBE ENSEMBLES. Dale Francis. iUniverse, 2012, $27.95

Quelbe is the eclectic genre that the musicians of the Virgin Islands created during their Danish administration during the 1700s. It combines African, European, and Taino musical elements. Francis gives a comprehensive approach to build musicianship and performance skills. Three-part arrangements are included and are open to interpretation. Students will learn rhythms from the culture, melody, and harmony structures and concepts, as well as learn to play melodies and chord progressions by ear. Practical theory, ear training, rhythm, technique, and performance activities allow students of all ages to further develop their abilities to read and write music, play by ear, and improvise. This book is written with guitar, string, winds, and other folk instruments in mind. Francis begins with staff, clef, and chromatic scales. Charts are included for chromatic scales on guitar, violin, viola, cello, and double bass. Francis also includes study guides for teaching rhythm, major scales with fingering for strings, intervals, chords and harmony, diatonic chords and harmony, and key signatures. They are reinforced with tests provided in the back of the book. There are also scope-and-sequence for class structure as well as lesson plans. These tools alone make this book worth the money! To reinforce each teaching, Francis includes traditional Quelbe folk songs written for each part for solo and ensemble playing. Lead sheets are also included, if that is a preferred method. This book is a great musical teaching resource aside from the Quelbe method, but it also includes great information, music, and teaching for using the actual method. This is a great book to add to any music teacher’s library, but especially the string teacher, both in the classroom and private setting. L. J.