Reviews

A BOY AND A GIRL (Gr. 4 String Orchestra). Eric Whitacre. Hal Leonard, 2019, $70

Originally composed in 2002 as choral work, Whitacre arranged A Boy and a Girl for string orchestra in 2007. The piece is a reflective tone poem divided into three sections. The first depicts a young couple enjoying a picnic. The following segment represents a relaxing day at the beach, and the work concludes by reflecting the peace and tranquility of a couple sharing a lifetime of happiness in their final resting place. A Boy and a Girl is suited for larger ensembles, as there are divisi parts in every section but the bass. Second violin and viola parts may be played in first position, while the first violin, cello, and bass parts lie in first and second position. That said, tone is the most critical element of the composition, and directors with more mature groups will want to explore upper position alternatives to open strings. There is no key signature, as all accidentals (and there are several) occur naturally. After the personal experience of early rehearsals, it was apparent and obvious that some of the slurs in all parts needed to be broken to maximize tone and efficiency. Rehearsal challenges include negotiating the sixteen meter changes, quarter note triplets, counting and feeling the unexpected silences, and bow distribution. This is an excellent piece to work on bow control and dynamic shifts. It contains many of the hallmarks of Samuel Barber’s Adagio for Strings, but it is suited to a wider range of groups. In the future, Mr. Whitacre intends to transcribe a collection of his vocal music for the string orchestra, and if A Boy and a Girl is a glimpse of things to come, teachers have a lot of reasons to be excited. J. W.

A SPOONFUL OF SUGAR (Gr. 2, String Orchestra with Piano). Richard and Robert Sherman, arr. Robert Longfield. Hal Leonard, 2021, $45

Who doesn’t love Mary Poppins? This would be sure to fit well in any movie or Broadway themed concert but would really be just great any time. This arrangement is just under two minutes, but what an exciting two minutes! Each section gets the melody all to themselves. G and D major are used. However, there are accidentals of A sharps, E sharps, and so on that provide a great teaching opportunity. As most students know the melody, the accidentals are much more accessible to younger players. The staccatos help make it crisp and neat just like Mary Poppins herself. The viola part includes a treble violin 3 part, if needed. This is sure to delight all who hear it! L. J.

APOCALYPTIC: SYMPHONY NO. 8, FINALE (Gr. 4, String Orchestra with opt. Timpani). Anton Bruckner, arr. Kirk Moss. Carl Fischer Music, 2021, $60

Kirk Moss shows admirable ambition in arranging the Finale of Bruckner’s Eighth Symphony for string orchestra with optional timpani. The title, Apocalyptic, a nickname sometimes given to the entire symphony, aptly captures the universe-storming mood of this arrangement.

Bruckner’s original work employs a huge orchestra and bombastic, brass-laden themes to make a powerful effect that spans over twenty minutes in performance in the fourth movement alone. Moss has judiciously chosen some of the most characteristic moments of the movement to present advanced high school students with the opportunity to work toward achieving the mood of Bruckner’s original work in the space of five minutes.

Moss has changed the key from the original C minor to D minor. This change allows the triumphant final D major section to take advantage of the sonority of the strings in that key. The key change eases a few difficulties earlier in the piece, but students will still face intriguing challenges in navigating Bruckner’s Late-Romantic harmonic language.

When listening to the original work, students will notice the massive brass sound immediately. Listening to the original will inspire students to strive for the biggest sound they can make, as violas, cellos, and basses take on the role of low brass, and violins take on the role of the trumpets.

Technical challenges are present for all instruments. Students will need to navigate a good deal of chromaticism to tune chords in a constantly shifting harmonic landscape. First violin and cello parts include passages in higher positions, and large leaps in chromatic contexts are present in the first violin part. The timpani part adds power and excitement and should be included if possible.

Large high school string orchestras with several advanced musicians in each section will be rewarded with a glimpse into the vastness of Bruckner’s music afforded by Apocalyptic. C. H.

ATLANTIS (Gr. 1, String Orchestra, opt. Piano). Todd Parrish. Carl Fischer Music, 2021, $48

Todd Parrish has written a great teaching piece for young students that is also fun to play. Atlantis is in B minor, 4/4, and in a moderate tempo. The piece begins with the note B in unison quarter notes for the whole orchestra. The quarter notes are staccato. The introduction moves to legato notes by the fifth measure, and when the melody enters in the cellos and basses in measure 9, the orchestra is back to staccato. This alternating between staccato and legato occurs throughout. Another element that is featured in this work is alternating dynamics, in the middle section in every measure. A long crescendo leads into the last section, which then comes down to piano, and ends with a legato and then staccato forte. I love how Mr. Parrish takes this simple theme and does so many interesting contrasts with it! For your students, they will need to know their G string notes. For directors, Atlantis is a wonderful opportunity to work on tone, musical style, and contrasts. The theme is a captivating tune, as well. Atlantis is an excellent choice for your first concert with your beginning students! G. P.

BACCHANALE (Gr. 3 ½, String Orchestra). Liam Ramsey-White. Carl Fischer Music, 2021, $55

This is a great piece for ensembles with four or more years of experience. It used all finger patterns and chromatic movement. Complex rhythms of hemiola and dotted eighth and sixteenth notes are used. Violin 1, cello, and bass parts use up to fifth position, and violin 2 and viola use third position. As this is an upper-level piece, there is not a treble clef viola/violin 3 part. Spiccato driving rhythms back a furious melody line. The melody is passed around between all parts, but the violas especially take the driving rhythm the most. The middle section is slower and melodic, but the driving rhythm comes back for the finish. D minor gives this piece a bit of a spooky yet exciting sound. I think I would most likely program this for a fall or Halloween concert, but it would make a great contrast piece anytime. Dynamics are a huge part beyond learning the basic notes and rhythms. This would be a great piece for advancing students, to challenge them, but also to show off their skills! L. J.

DESERT SUNRISE (Gr. 2, String Orchestra with Opt. Harp). James Oliver Lockett. Carl Fischer Music, 2021, $50

This grade 2 piece is accessible to students finishing up their second year of method book instruction. It includes low first finger and high third fingers for upper strings and extensions for cellos. Sixteenth notes, syncopation, and slurs of three to four notes are used. Violins use some third position while cellos use fourth and basses use half position. The lower strings are given more melody parts to give all parts independent emphasis. The viola part includes a treble third violin part to help double, if needed. The harp part is optional but is a very lovely addition. This lush piece includes repeated melody lines that are passed from part to part. This is a short little piece, just over a minute, but provides such nice color to the early orchestra concert. L. J.

GRANDE POLKA DES CHASSEURS À PIED DE LA LOUISIANE (Gr. 3.5, String Orchestra). Basile Jean Barès, arr. Eric Goldberg. Southern Music, 2021, $45

This toe-tapping polka was written originally for piano solo and published in 1860 while Barès was still enslaved. The arranger transposed the piece to the keys of A and E major to be more playable for strings. The melody and harmony float between the violins, with a brief appearance for cello and bass. The viola section provides a strong rhythmic drive that the other sections can rely upon. This work was written and published in 1860.

As with most polkas, the time is 2/4 and the tempo is 100 to the quarter note. Rhythms range from sixteenth notes to quarter notes, with a prevailing rhythm of the dotted eighth to sixteenth throughout the piece. It is sixty-five measures long, lasting approximately two minutes, starting in A major and transitioning to E major at measure 17. Dynamics range from piano to forte, and all instruments stay in first position except for the top divisi basses who go up to the D above middle C once in a descending scale. There are a variety of articulations to keep the notes interesting, including detaché, staccato, pizzicato, and accents. Not only is it a strong example of a composition by a black composer but also a playable introduction to more complicated key signatures for your orchestra. This piece is a delight. N. C.

INTO THE UNKNOWN FROM FROZEN 2 (Gr. 4, String Orchestra, Piano, Percussion, opt. Electric Bass). Kristen Anderson-Lopez and Robert Lopez, arr. Larry Moore. Hal Leonard, 2019, $55

This dynamic song from the movie Frozen 2 will delight and challenge your students in so many ways! The piece is in D major in a moderately quick tempo. There is an opening introduction featuring syncopation and the main motif in the upper strings. Shortly thereafter, the tune comes in the violas and cellos, followed by divisi first violins. As the tune moves along, over an ostinato in the cellos and basses, the first violins and violas play the tune, followed by an answering motif in the second violins. In the concluding section, the tune and answer from the violin sections are accompanied by triplets in the lower strings, coming together in a rousing finale.

As a teaching piece, this one is excellent for teaching syncopation and triplets. Syncopation is prevalent throughout. The piano playing triplets has the rhythmic pulse to keep everyone steady. The bass part also keeps a steady pulse throughout.

Bowing style includes crossing strings off the string with triplets in the upper strings. The first violin part is divisi in sections and does not go above third position. The bass part is easy and would work well with electric bass. The percussion adds some Hollywood glamor to the whole package. As student musicians may know this one, they should really enjoy learning the rhythms and playing this tune. It would make a fun addition to any winter concert. G. P.

MOUNTAIN RUN (Gr. 1 ½, String Orchestra with opt. Piano). Liam Ramsey-White. Carl Fischer Music, 2021, $48

This grade 1 piece is accessible to students finishing up their first year of method book instruction. There is great independence between upper and lower parts as well as more eighth notes. Two note slurs are found throughout. Staccatos and accents are used. Bass players will use third position. Piano is optional as well as the third violin part as a treble viola part. Imagine a morning run through the mountains as you play! Enjoy the lovely vistas throughout. D major makes this piece very accessible, yet it is a fun driving piece. It uses arco as well as pizzicato. First and second endings are used to help grow students’ musical navigation skills. This bright happy piece is sure to bring a smile to students and audience members alike! L. J.

TEMPO DI MINUETTO: IN THE STYLE OF PUGNANI (Gr. 3 ½, String Orchestra). Fritz Kreisler, arr. Deborah Baker Monday. Carl Fischer Music, 2021, $55

With Fritz Kreisler’s infamous pastiche, Tempo di Minuetto, seasoned arranger, Deborah Baker Monday, brings yet another exceptional work onto the string orchestra stage, this time drawing from the violin repertoire. Spanning four minutes, Tempo di Minuetto is an excellent selection for proficient-level string orchestras who possess a working knowledge of first through fifth position but seek to develop Baroque-style nuance with elements of Kreisler’s expressive phrasing, rubato, and continuous vibrato. Baker Monday’s arrangement is nearly identical in key and composition to Kreisler’s original score with slight alterations to mm. 52–56 and some ornamentation. The work is written in 3/4 time and in Minuet-Trio (ABA’) form. Beginning in D major with brief tonicizations of A major, the Minuet is marked Martiale, or in a march-like style at quarter = 80 bpm. It is followed by the Trio consisting of two repeated sections, both in G major with brief tonicizations in D major. The Trio is marked Grazioso, or in a gracefully elegant style, and is slightly faster than the Minuet at quarter = 92 bpm. Ranges in the first violin and cello parts are moderately high throughout, spanning first to fifth position. Octave-displaced pitches are available in the first violin part for less advanced students. The second violin and viola parts can be performed entirely in first position; however, like the first violin and cello parts, performing select passages in second and third position is recommended to help realize ornaments, double stops, and match timbres within phrases. The double bass parts are interesting and span first to third position on all four strings. Rhythmic patterns throughout are not difficult, but trills, appoggiaturas, mordents, and turns will need to be explored in detail. Before programming this arrangement, conductors will want to carefully examine Kreisler’s original piano score. Baker Monday’s reorchestration of the piano part omits many of Kreisler’s characteristic slurs, bowings, and articulations, thus losing some of work’s charm and dance-like character. She also adds several ritardando markings into the score that, when performed as written, may appear to break up the continuity of the work. If you don’t fancy Baker Monday’s changes, it’s no problem. Simply sharpen your no. 2 pencil and edit as needed. This arrangement is an excellent realization of Kreisler’s timeless musical brilliance and is sure to provide your students with a deeply satisfying musical experience repeatedly. J. M. D.

THE LAST FULL MEASURE OF DEVOTION (Gr. 5, String Orchestra). David Bobrowitz. Southern Music, 2021, $50

This dramatic piece, with a title taken from Abraham Lincoln’s Gettysburg Address, opens with a statement that is powerful, yet melancholy, and represents the great former president. This dramatic introduction leads to a powerful melody that is supported by the lower strings playing pizzicato. A torn nation is represented by a dissonant shortened version of My Country, ’Tis of Thee. As this section ends, a new fast tempo is played to represent the forces in conflict along with the death that all war brings. The first two sections return before the piece ends with the depiction of the horrible toll of battle, as bodies of American men lie on the bloodied battlefield.

The tempo starts at 64 to the quarter note, moving through 72, 120, and 140 before returning to the opening tempo of 64. The piece starts in 4/4, with a few 2/4 measures and a 5/4 measure before changing to 3/4 at measure 110. Rhythms range from sixteenth notes to whole notes, and articulations include detaché, staccato, accented, slurred, and legato. This piece is 148 measures long, lasting approximately seven minutes, and dynamics range from pianissimo to fortississimo. First violins on the bottom divisi only go into third position once, but the top part must travel into fifth position. Second violins and violas stay in first position, while cellos go to a high A (which could be a harmonic for less experienced cellists) and basses go to an E above middle C. This is a solemn and powerful piece commenting on the high price of war. N. C.

THE MANDALORIAN (Gr. 3–4 String Orchestra, 2 Percussion). Ludwig Göransson, arr. Robert Longfield. Hal Leonard, 2019, $55

Students will surely look forward to performing this main theme from the popular Disney+ series. The Mandalorian is an excellent piece for a director looking to build confidence in a less experienced cello and bass section. The driving electronic pulse of the original composition is carefully placed in first position for both sections. The low strings, along with the pair of essential percussion parts, provide the constant driving backbone that is perhaps the most critical component of the piece. Originally scored for a bass recorder with reverb and delay, the atmospheric “Hey Mando” introduction resides in the pair of echoing violin sections, while the sul ponticello violas add to the eerie mood. There is an indicated optional start in bar nine, but the opening is so iconic that it would be a shame to omit it. While the violin and viola sections are only required to play in first and second position, the higher grading is due to the more advanced right-hand technique required of the upper strings. This is a bow control piece with challenging string crossings, ties across bar lines, and multi-measure tremolo. Extra rehearsal time will be needed to address accidentals, syncopations, and a variety of articulations, quick arco/pizzicato exchanges, fast slurs, and repeated bowings that take place in a quick tempo. A set of parts also thoughtfully contains a violin 3 and a rehearsal piano. The Mandalorian will be an energetic rhythm and ensemble builder that students will relish. J. W.

THE RISE OF SKYWALKER (Gr. 4, String Quartet). John Williams, arr. Robert Longfield. Hal Leonard, 2019, $14.99

This lovely tune from the film Star Wars: The Rise of Skywalker is arranged here in a classic style by Robert Longfield. The tune starts in G major, 4/4, in the first violins. It’s soon handed over to the viola and cello before the key changes to C major. An eighth note ostinato by the second violin and viola accompanies the melody by the first violin. Eventually, all instruments come to a ritard, leading to a dramatic slower section, in which the quartet brings the theme to a harmonically warm and satisfying conclusion. For your student musicians, they will need the skills to play some accidentals, including D-flats and G-flats. There are a couple of meter changes and one key change. A full tone and the ability to play legato string crossings over slurs are essential. This arrangement is lovely and will put smiles on both the musicians and their audience. As a pop’s entertainment piece, it will also work well for any professional string quartet. G. P.

THIRD OF THREE (Gr. 4.5, String Orchestra). Camille Saint-Saëns, arr. Lynne Latham. Southern Music, 2021, $45

Camille Saint-Saëns’ Symphony No. 3 in C Minor, Op. 78 (The Organ Symphony), was probably the artistic peak of his career, writing the work almost as a type of “history” of his own career—virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of a cathedral-sized pipe organ. This arrangement for string orchestra is the serious, C minor 6/8 theme from the third movement of the symphony.

The tempo is a quick metronome marking of 68–74 for the dotted quarter note, with seventy-four measures (repeating almost the entire piece) and lasting approximately five minutes. Rhythms range from sixteenth notes to dotted-half notes, and articulations include detaché, staccato, accented, slurred, and legato. The dynamics range from piano to fortissimo. First violins must get into seventh position and stay there for a bit, second violins go into an extended third position with one Eb, violas stay in first position, cellos go to a high Ab, and basses go to an F above middle C. This piece is a good challenge for the advancing players to learn how to play nimbly and in tune in the upper positions. Crisp rhythms and sudden dynamic changes are also important features that add dramatic flair. N. C.

WHAT CHILD IS THIS (Gr. 3 String Orchestra with opt. Bells). Traditional, arr. Jeffery Turner. Carl Fischer Music, 2021, $55

While many directors undoubtedly have at least one version of this traditional hymn in their libraries, Jeffery Turner’s new arrangement is a breath of fresh air for the next school December concert. The tune opens con sordino with a series of dramatic, even cinematic, dynamic hairpins. Divided between the violins and the celli, the melodic material combines a few unexpected turns while retaining fidelity to the original tune. What makes Turner’s arrangement special is the chromaticism and chord substitutions of the accompanying figures. The extraordinary voice leading into an unexpected pair of key changes is reminiscent of Ralph Vaughan Williams. While the bell part is listed in the score as optional, every effort should be made to include it, as the playable part adds so much to the overall effect. The first position upper string parts lie predominately in the middle to lower registers. A good piece to feature a mature cello section, sul G and C writing requires players to shift to positions II, III, and IV. The bass is arco throughout, with many legato string crossings. Rehearsal considerations include the key changes, numerous accidentals, and extensions, using a mute, and maintaining a legato stroke across many string crossings. In addition, this work will provide a fantastic opportunity to work bow control, tone, and vibrato. The audience will hear a beloved favorite, but what the teacher and student will gain is so much more. J. W.

FOLK CAROLS FOR STRINGS (String Quartet). Gwyneth Walker. Galaxy Music Corporation, 2020, $35

There are not many publications for string quartet that are appealing, challenging, yet very accessible for intermediate-level players—students or amateurs. The set of new carol arrangements by Gwyneth Walker fills such niche and is a very welcome addition to the repertoire. The well-known carols—“Cherry Tree Carol,” “Jesus, Jesus, Rest Your Head,” “Go Tell It on the Mountain,” and “I Wonder as I Wander”—can be incorporated into church services or used for fun chamber music reading sessions, lessons, and background music. The set includes a score and individual parts for two violins, viola, and cello. While the music is not difficult, performers still must acquire a wide arsenal of techniques, such as tremolo glissandos, spiccato, snap pizzicato, bowing combinations, challenging rhythms, rolled pizzicato chords, and many more. This is a fun but educational and very useful publication. M. G.

LINUS AND LUCY (Gr. 2, String Quartet). Vince Guaraldi, arr. Robert Longfield. Hal Leonard, 2021, $14.99

Longfield’s Linus and Lucy for string quartet, part of Hal Leonard’s Pops Series, is a fun and accessible arrangement of Guaraldi’s classic Peanuts theme that your students will adore. Listed as grade 2, Longfield has transposed the work from A-flat to the more string-friendly key of G. The work includes the A and B sections (A B A A¹ B A Coda) of Guaraldi’s original seven-part rondo (A B A C A D A Coda). The first and second violins assume the right-hand melody of the original piano score and harmonize in homorhythmic patterns throughout. The viola part assumes the drone pedal with interludes of the famous quadruple eighth note statement accented on beats one and four in the B section. The cello is given the famous walking bass line originally in the left hand of the piano. To ensure everyone gets a moment with the theme, Longfield gives the lower strings (viola and cello) the melody in the A-prime section. Technically, the piece has been rhythmically simplified by moving the famous syncopated “across the bar line” ties on the beat. There are also dotted quarter-eight note rhythmic patterns with détaché and staccato articulations throughout. Students will need to know G major arpeggios, as well as a B-flat arpeggio that requires a cello backward extension. Overall, this is one for your program’s chamber music library. It’s cute, lively, and appropriate for your developing-level string quartet. Longfield’s string orchestra version with drum set is also available from Hal Leonard. J. M. D.

WON’T YOU BE MY NEIGHBOR? (Gr. 3+, String Quartet). Fred Rogers, arr. Larry Moore. Hal Leonard, 2021, $14.99

This is an excellent piece for a developing string quartet. This will be sure to bring smiles to the entire auditorium! G major is accessible, but with lots of accidentals. Triplets abound, both straight and swung. This piece has so many teaching opportunities for students to learn playing new rhythms independently but also working together as a quartet to swing rhythms together when necessary and changing tempos together smoothly. There is even a section where all play pizzicato. This is such a great statement piece! Whether you are having a quartet showcase or just need a pace change in your concert lineup, consider this. It will be a delight! L. J.

SELECTED VIOLIN STUDIES VOL. I BOWING TECHNIQUE (Intermediate to Advanced, Violin). Otakar Ševcˇík, ed. Klaus Hertel. Breitkopf & Härtel, €19.90

Otakar Ševčík (1852–1934) was a renowned Czech violin teacher who developed an extraordinary collection of technical studies for developing violinists. His complete works include Op. 1 to Op. 26, and they provide a carefully graded path through all aspects of violin technique. Ševčík’s Op. 2 includes six separate volumes addressing bowing: part 1–part 6. In this beautiful Breitkopf edition, Klaus Hertel has condensed and combined several volumes of Ševčík’s bowing works to include themes and select variations from School of Bowing Technique, Op. 2. Hertel has reduced the number of variations for each theme and added some new bowing and rhythmic patterns. The volume also includes the complete Op. 3, 40 Variations. This edition is beautifully bound with a soft cover and secure pages. When possible, the pages are organized so that the theme and variations can be studied without page turns. Hertel’s edition provides a valuable introduction to Otakar Ševčík’s bowing studies. A. L. C.

SELECTED VIOLIN STUDIES VOL. II LEFT-HAND TECHNIQUE (Intermediate to Advanced, Violin). Otakar Ševcˇík, ed. Klaus Hertel. Breitkopf & Härtel, €29.90

Otakar Ševčík’s complete works include many important studies exploring aspects of violin left-hand technique. In Hertel’s second volume of Selected Violin Studies, he has incorporated exercises for the left hand from Ševčík’s Op. 1, Op. 7, Op. 8, and Op. 9. This lovely Breitkopf edition is readable, sturdy, and a valuable resource. Approximately half the volume is reserved for left-hand exercises from Op. 1, School of Violin Technique. It includes chromatic fingerings, patterns in the first and second positions, third position, first and third extended positions, harmonics, and many double stops. Then, Hertel includes nineteen sets of exercises from Preliminary Studies for the Trill, Op. 7. All the shifting exercises from Op. 8 are included, but in a condensed manner; after the first exercise, each set is introduced only on the G string. The remainder of the volume is dedicated to the preparatory double-stopping studies in Op. 9. Here, Hertel rearranges the order of the studies and instead organizes the exercises by interval. This creates a useful tool for review or study of a specific interval. Both Volume I and Volume II are valuable resources for any violin teacher or serious student. A. L. C.

SONATAS FOR PIANOFORTE AND VIOLIN VOLUMES I AND II (Violin and Piano). Ludwig van Beethoven, ed. Clive Brown. Bärenreiter, 2020, $105

Bärenreiter’s beautiful two-volume set of Beethoven’s violin sonatas is a wonderful gift for any violinist. Both piano and violin parts are paperback bound with an easy-on-the-eyes cream color paper. Pages stay open easily and rests are carefully aligned with page turns in the violin part. Each volume includes both an Urtext violin part and a second, historically informed performance violin part edited and annotated by Clive Brown. The two volumes each contain five sonatas. Brown explains that one purpose of this scholarly edition is to present information regarding the performance of the sonatas during Beethoven’s time. Indeed, this is a wonderful resource as both a critical edition and as a source of information for performance practice. There is an entire section devoted to “reading between the lines of Beethoven’s notation.” Brown discusses issues such as tempo, ambiguous notation, dynamics, accents, expressive markings, articulation, and ornaments. Bärenreiter provides additional online resources to accompany the two-volume set. Brown explains that the online site delves further into “. . . evidence-based perspectives on Beethoven’s notational preconceptions and what he expected his notation to convey to the musicians of his own time.” This critical edition provides fascinating insight into Beethoven’s treasured violin sonatas. A. L. C.

SONATA NO. 1 IN C MINOR, OP. 19 (Gr. 5, Violin and Piano). Eduard Franck, ed. Nick Pfefferkorn. Breitkopf & Härtel, 2021, $25

The first movement, Allegro moderate con espressione, quasi fantasia, is so lovely. It opens with triple and quadruple stops. The piano and violin pass motive back and forth. An extended bariolage section is included in this first movement. It adds some nice variety to the piece. The second movement, Andante con espressione, transitions to A-flat major. This much slower and regal movement is so soothing yet not without interest and dynamic changes. The final movement, Allegro appassionato, moves back to C minor. It is an exciting movement with much variation of melody and techniques, including double stops and trills as well as tempo changes. This Urtext edition with edits by Nick Pfefferkorn is very clean and easy to read. It is a great piece as well as a great edition for both violin and piano. L. J.

PASSAGAGLIA (Gr. 6, Solo Viola). Heinrich Biber, arr. Jean Philippe Vasseur. Gerard Billaudot Editeur, 2016, $11.99

Heinrich Ignaz Franz Biber, born in 1644, composed this extraordinary passacaglia around the year 1680. His works are representative of the German-Austrian school of violin playing of the time. Originally written for solo violin, this work has been transcribed from G minor to C minor for the viola. The theme always appears in 12/8 meter, to emphasize its noble character. However, most of the passacaglia is in 6/8. This edition tries to follow the original manuscript as closely as possible. Some of the variations of the theme include trills, arpeggiated chords, virtuosic scales, leaps and jumps of notes, detached notes, dotted rhythms, and some scales into the upper positions.

For your most advanced students, this work is a good representation of solo music from the early Baroque period and has many advantages for study. If you would like your student to work on double stops, scales, or arpeggios, there is much to cover here. Some adjustment of bowings may be required to create ease of execution.

I truly enjoyed playing the Passagaglia. It is beautiful, spiritual in many ways, and deeply satisfying to perform. As a transcription for viola, it is perfectly suited, both in style and in depth of tone and substance. This is one piece that I will go back to, again and again. G. P.

92 PROGRESSIVE ETUDEN, OP. 60 (Cello). Friedrich August Kummer, ed. Martin Müller-Runte. Schott Music/Hal Leonard, 2017, Band 1 (Nos. 1–57) and Band 2 (Nos. 58–920) $20.99 each

I am always a pushover for a beautifully organized, pedagogically sound set of etudes. Kummer, a student of Friedrich Dotzauer and Bernhard Romberg, was appointed by Carl Maria von Weber to play cello at the Dresden Royal Opera House and later was the cello professor at the Dresden Conservatoire. Kummer’s students included Julius Goltermann and Bernhard Cossmann. Students might enjoy learning more about the connections and relationships between the composers they study and perform.

Kummer’s Op. 60 etudes are organized in the first band from the first position to position changes, string crossing exercises, and bow exercises for articulation and distribution. The key area is clearly labeled at the start of each etude.

The second band of etudes progresses into exercises in style, primarily cantabile and legato, followed by chromatic scales, arpeggio work across four strings, staccato, musical ornaments (turn, passing trill, and trill), double stops, thumb position, harmonics, octaves, and thirds and sixths.

I strongly recommend this work to studio teachers because the etudes span from beginners to advanced. These etudes are clearly fingered and can supplement and link to other etudes and pieces by Kummer’s teachers and students. These bands also incorporate a second cello accompanimental part to expand listening and support chamber music collaborative skills. A. C.

VIVALDI CONCERTO FOR TWO VIOLONCELLOS, STRINGS, AND BASSO CONTINUO IN G MINOR RV 531 (Bärenreiter Urtext: Score, Solo Parts, and Piano Reduction). Antonio Vivaldi, ed. Bettina Schwemer. Bärenreiter, 2021, $26

Unlike many other baroque composers, Antonio Vivaldi (1678–1741) was highly sympathetic to the cello, enriching our repertoire with nine sonatas (a tenth is lost), twenty-seven solo concertos, and multiple concertos for the cello and other instruments. Among his total output of more than five hundred concertos, there is only one for two cellos and it is a doozy—the outer movements being dramatic, energetic, and exciting and the central slow movement tender, expressive, and delicate (the solo celli are accompanied by just a continuo cello plus harpsichord). It was probably composed between 1713 and 1717 for members of the all-female orchestra of the Ospedale della Pietà (Devout Hospital of Mercy), the orphanage in Venice where Vivaldi served as violin teacher and music director for more than thirty years. Vivaldi’s music, tremendously popular during his lifetime and serving as an important influence on J. S. Bach, was neglected after his death. Almost all of it remained unknown and unplayed until the twentieth century, when composer-pianist Alfredo Casella propelled its resurrection—organizing a Vivaldi Week in 1939 during which the composer’s Gloria and l’Olympiade were performed.

The Double Cello Concerto has been available in several editions, beginning in 1949 with Malipiero’s for Ricordi and followed in 1952 by G. F. Ghedini’s for the International Music Company. However, most of these earlier offerings have rather intrusive editing and even note changes. Bettina Schwemer’s edition closely follows the autograph score (which can be viewed on IMSLP) and she notes that “slurs were used rather sparingly in the autograph . . . and the performers shall be encouraged to add them according to their own taste and skill.” The same is true regarding dynamics. Each solo part has a smaller cue-line with the other cello’s part, and page turns are facilitated by three-page spreads when necessary. J. S.

THE ENSEMBLE MUSICIAN: SIX PRINCIPLES FOR A MORE REWARDING LIFE IN MUSIC. Robin Fountain and Thomas E. Verrier. GIA Publications, 2020, $14.95

This is a short book that could be helpful to many musicians—students and professionals alike. The authors, professional conductors, and educators spent many hours observing and conversing with members of the Berlin Philharmonic and summarized their conclusions in six basic principles of ensemble playing. The principles are universal for all ensembles; a reader will find musical examples from standard symphonic repertoire as well as from wind symphony works. The book is structured effectively. The first short chapter gives a summary of all six principles, and the following chapters (two through seven) explain each concept in detail. Brief chapter eight is addressed to a conductor. It is a thought-provoking and useful part of the book. Chapter nine is essentially a conclusion. I was very excited to read the book, and I found it useful and applicable to my own performances and teaching. M. G.