Reviews

ALLEY CATS (Gr. 3., String Orchestra). Doug Spata. Wingert-Jones, 2022, $60

For those new to shifting, this jazzy piece encourages sliding up and down the fingerboard on the same fingers (1–1, 2–2, 3–3) on the A, D, G, and C string for every instrument. The piece, in D minor, conveys the articulation of the swung style throughout. A few tricky syncopated entrances will require cues from the conductor and precision of ensemble tempo. The lower strings will enjoy the boogie-woogie slap bass toward the end of the piece. (E.A.R.)

BASILE’S GALOP, OP. 9 (Gr. 2.5, String Orchestra). Basile Barès, Arr. Jeffrey S. Bishop. Neil A. Kjos, 2023, $60

Basile Barès (1845–1902) was born in New Orleans, Louisiana and began life as a slave serving Adolf Périer, who owned Périer Piano and Music Emporium. In 1860, Barès was one of the first African Americans granted a copyright for a musical composition—which occurred while he was still enslaved and at only sixteen years of age! The work was Grande polka des Chasseurs à Pied de la Louisiane, originally composed for piano. The piece has found a new adaptation through Music by Black Composers: Classical Music from Africa and the African Diaspora (a project of the Rachel Barton Pine Foundation) as it is included in violin volume 1.

Now, Barés’ music is becoming more available for string orchestra. Basile’s Galop, Op. 9 was originally written for piano and was published in 1869. Bishop moves the key from the original C major/F major/B-flat major to D major/G major, removing the Brilliante section from the original. However, the arranger adds a short, but incredibly fun double bass solo (or soli) feature to transition in the D.C al Fine. Each section includes accessible chromatic alterations (D-sharp, G-sharp, C-natural, B-flat, and E-flat) with suggested fingerings included. The opening section is mostly performed in the violin and violas with the cellos and basses accompanying. In the second section, the violas and the cellos perform the melody with the violins and double basses accompanying. Then the double basses take over the transition back to the beginning. This arrangement provides something for everyone!

Excellent rehearsal suggestions are included by the arranger and note the style contrasts of the bow styles to implement—spiccato in the opening and legato in the second half and the dramatic dynamic contracts that should be implemented. Overall, this is such an enjoyable arrangement, and I can’t wait to program it! (B.A.W.)

CHARMING CZARDAS (Hungarian Dance) (Gr. 2.5, String Orchestra, Piano). Loreta Fin. Wilfin Music, 2019, $45

This piece lives up to its name of being charming and fun to play as an orchestra. A fresh take on the Hungarian Dance Czardas. Tempos and time signatures include Andante 4/4 and an Allegro 4/4 using caesura between each section. It is in D minor with some sharp accidentals to add color. The piece lays comfortably in the range of all four instruments in first position and is appropriate for your third-year players. While every section gets the melody at some point, the cellos really get to show off their skill in the middle of the song. Students will need to know tremolo and accents. The switch from arco to pizzicato is quick. This is a great piece to work on accelerando. There are lots of flashy string crossings that present a good challenge for your students. Students can work on their independent playing during the divisi sections. This piece is a great addition to any music library as you and your students will love playing it. (J.M.)

COLORADO RIVER ADVENTURE (Gr. 4, String Orchestra). Doug Spata. Kendor, 2023, $70

Want to go on a thrilling river ride through rapids and gentle waters alike? Doug Spata’s Colorado River Adventure takes you there! The opening has pulsating sixteenth note patterns shadowing over a glowing melody in the basses and cellos. All instruments alternate between the sixteenth note patterns and the syncopated melody. The middle section is slower, more expressive, and has a lovely tune in the violas. Tempo I returns and the rhythm propels with different combinations of instruments carrying the melody. This leads to a dramatic conclusion, with all instruments playing the sixteenth notes to the fortissimo ending. Students should be able to play sixteenth notes, accented at times, with very little bow. The melodies are syncopated and have ties over the bar line. The feeling of riding the rapids and seeing the beauty of the scenery shines throughout. Get ready for a great adventure, as this is an exciting ride! (G.P.)

DYNAMISM (Gr. 2.5, String Orchestra). Kathryn Griesinger. Carl Fischer, 2022, $55

This exciting work is full of energy! The opening is gentle and in A minor. Gradually, a counter melody appears in the first violins while the cello and bass sections are playing a syncopated accompaniment. A pizzicato section and dramatic dynamics lead to B minor with syncopated accents in all parts. Accents on eighth notes with the melody over them leads to a dramatic ending with the syncopated rhythm dominating and driving to the end. Many technical skills can be taught using this piece including syncopation, accents on off beats, cello and viola extensions, and some third position in the first violins. Dynamics are gentle at first but build throughout the work. There is a key change. All instruments have active roles. What I enjoy about Dynamism is the beautiful melody, accompanied by counter melody over the active rhythmic base. Students will like the spirit of strength which surrounds the entire work. Dynamism is definitely a good choice, both for its teaching qualities and for the driving force of the music. (G.P.)

ENIGMA (Gr. 2, String Orchestra). Ben Snoek. Wingert-Jones, 2021, $60

This is a great piece for competition! It is often difficult to find pieces for junior high students in minor tonalities, but this one is perfect for working in this mode. The piece begins with a mysterious melody in the low string sections, which they will be excited to play! The line quickly morphs into a more upbeat and energetic section with driving rhythms to keep the excitement going. A repeated refrain is presented throughout the piece that helps tie together the various sections and provides a reference point for the students to go toward. It would be good to have the students highlight/circle, etc. these repeated sections so that the form of the piece can be easily seen. Basses will need to be able to shift and often are in octaves with the cello section. If you have a strong viola section needing a challenge, this is a great piece to have them try and work on reading the violin 2 part with third position. Highly recommend! (A.M.C.)

FIDDLER’S FAREWELL (Gr. 2.5, String Orchestra, Opt. Piano). Loreta Fin. Wilfin Music, 2022, $45

Loreta Fin has been an orchestra director in Australia for over thirty-five years. A salute to her Irish roots, she dedicated this piece as a parting gift to her school. Filled with fun, Fiddler’s Farewell is reminiscent of an Irish jig. In 6/8, it is rhythmically dancelike. The bowing is both hooked and separate. The eighth note rhythm occurs in all instruments but the basses, who play dotted quarter notes and keep the pulse steady. There are two breaks from the melody which feature pizzicato in all sections. The tune is delightful and reoccurs several times. Student musicians will need to know how to coordinate left and right hands while alternating between separate and hooked bowings. Counting in 6/8 is necessary for everyone. Staying steady and playing in the middle of the bow are essential, as well as everyone using the same amount of bow. Notes are all in first position for all instruments. If you are looking for a fun Irish tune for your young orchestra, Fiddler’s Farewell is an easy fit. It is a good teaching piece and should put a smile on everyone’s faces. (G.P.)

FLOWING IN THE WIND (Gr. 3, String Orchestra). Yukiko Nishimura. Southern Music, 2022, $40

The ever-prolific Yukiko Nishimura has done it again. Listed by the publisher as a Grade 3 work, directors will find this to be a highly playable piece to concentrate on tone. The piece does exactly what the title suggests, as from start to finish it constantly flows. The lullaby-like melodic line is generously spread to four of the five sections of the orchestra. While a challenging cello part contains multiple shifts between second and third position, the rest of the orchestra may play this entirely in first position. Rehearsal time will need to be dedicated to quick pizzicato/arco exchanges in the bass, some wide leaps within slurs, several rallentandi, and many accidentals. Two-thirds of the measures in the composition contain accidentals! The Andante tempo marking keeps the flow, and this is a great piece to work on slurs of variable speeds and bow control. Perhaps better suited for larger groups, the Violin II, Viola, and Cello parts are all divisi. Not only a stellar piece to work on tone, Flowing in the Wind may just be one of the more gorgeous tunes students will play all year. (J.W.)

FREEDOM (Gr. 3–4, String Orchestra, Piano, Drum Set, Wood Block, Tambourine, Wind Chimes, Cowbell). Tierce Person, Autumn Rowe, Andrae Alexander, Jonathan Batiste, Arr. Paul Murtha. Hal Leonard, 2021, $55

This is an uplifting, funky, jazzy groove fest from beginning to end, much like a spiritual. It is based on a “Grammy-award winning anthem to freedom.” Violin 1 carries the melody for the first half and then cellos take over for a time, with violins eventually taking it back. To pull off this work, students will need to be rhythmically mature, taking syncopation to another level by trying to stay relaxed and “in the pocket,” more swing than sharp. There are a multitude of dotted rhythms as well as dotted combinations and eighth rests. Mixed ties and slurs add to the complexity of the bowings. Accidentals abound, so students will need to be adept with a variety of finger patterns. There is next to no position work except for the very beginning in the first violins.

Sections will need to agree on note lengths and articulation, so the vibe of the piece is consistent in tone and style. Once the music gets started, it should just maintain and keep the good times rolling all the way to the end. There is a marked spot where one violinist might solo or the whole section plays it together, as well as a featured cello section solo. This would be a great way to incorporate percussion parts into the orchestra setting and expose percussionists to the world of orchestral percussion but in a familiar genre and feel. This piece truly bubbles over with exuberance and unrestrained joy! (K.R.V.)

HUMBLE HEART (Gr. 2, String Orchestra). Larry Clark. Excelcia, 2022, $60

The composer states,

The genesis of the work and its title come from my desire to write a piece that demonstrates through music how humbled I am by the success that I have been fortunate to achieve as a composer. I wanted the piece to be sentimental as I reflect on what I have accomplished in music, which I am truly humbled by all of it.

This piece begins with a lush melody in G major, featuring primarily the first violin. This is followed by an 18-measure animato section with a cello melody and a contrasting staccato harmonic accompaniment in the upper strings and bass. The piece concludes by modulating to D major with a return of the opening theme for the final twelve bars. Right hand considerations include three and four note slurs in the cello part and the first violin uses extended three and four beat slurs across the bar lines and crossing strings. Second violin and viola have a limited number of two-note slurs. Rhythm challenges include an eighth note-dotted quarter figure in the cello accompaniment and use of eighth note rests on the beat in the bass part in the animato section. The second violin and viola play a melodic passage in the four-bar introduction and then work together as a harmonic accompaniment throughout the piece using primarily quarter note, half note, and dotted half figures to support the melodic line. In the G major section, the cello part requires use of an F-sharp extension on the C string as well as one descending four-note passage using the G-sharp and F-sharp extended pattern on the D string. The cello part also includes the second finger pattern on the A string and F-natural accidentals on the D string and C string. The modulation to D major at the end requires the use of extensions on both the C string and the G string in the cello part only. This piece was originally conceived as a work for a solo instrument and the cello and violin 1 part are more challenging than the inner and bass part. This would be a good piece to program when you might have a few advanced players that you wish to challenge. (F.O.)

JALAPEÑO TANGO (Gr. 3, String Orchestra). Christian A. Williams. Wingert-Jones, 2023, $65

Are you ready for a spirited tango to add variety to your concert? Jalapeño Tango is the answer! Written in E minor, this tango features syncopation countered by the traditional tango rhythm. Everyone gets involved, including pizzicato and arco in the cello and bass sections, triplet themes in the upper strings, and a long viola soli section with a swirling tune accompanied by pizzicato. There are beautiful moments of trills and grace notes which add joy and spark to this piece. There are several accidentals and your orchestra should be prepared to play a lot of syncopation. The cello and bass parts are often in octaves. Tango style should be observed throughout, including playing a strict staccato in the accompaniment. All instruments are active and involved in this work. Jalapeño Tango is aptly named. It is a concert piece with all the spice that you would like in a tango, and it is a challenge as well. Performing this one will be a joy! (G.P.)

JET STREAM (Gr. 3, String Orchestra). R. Scott Whittington. Neil A. Kjos, 2023, $65

The composition notes give a concise and apt description of this piece, which is inspired by our planet’s atmospheric phenomenon of the same name: “Jet Stream is a high-energy musical adventure with strong melodies and infectious rhythmic components. It is based on a three-note rhythmic motif, which is explored and played out in several different forms.” It most certainly is that: a jazzy and chromatic romp from beginning to end. There are contrasting moments of longer, sustained lines in against one or more moving parts.

Students will need to be comfortable with brief chromatic fingering sections which repeat frequently with some variants. There is a key change from three sharps to two. Players should be able to negotiate combinations of slurred and hooked bows, dotted rhythms, ties, and syncopation. Cellists learn a unique technique, called “Hammer-on,” where the first of two notes is plucked, and the second is simply articulated by “hammering” the next finger into the string. Piano and drum kit parts are included (and “highly recommended”) and there is an opportunity for improvisation between mm. 69 and 76. Challenging and exhilarating, this work is indeed a true force of nature! (K.R.V.)

LEAVING HOME FROM AVATOR: THE WAY OF THE WATER (Gr. 3–4, String Orchestra + Percussion). Simon Franglen, Arr. Paul Murtha. Hal Leonard, 2023, $55

Students will undoubtedly be enthusiastic to perform this new Paul Murtha arrangement of music from this popular science fiction film from 2022. An excellent choice for directors looking to collaborate and feature a percussion section, the two percussion parts contain up to six different parts that may be performed between two and six players. All string parts lie in first position, but there is still plenty of technical opportunities for instruction. The piece contains a full range of dynamics, staggered bowings, and tremolo effects. Syncopated rhythms will require some patience and drill work in rehearsal and ties of varied length (including nested ties within slurs) will present challenges. The instrumentation may best be suited for larger ensembles, as the violin 2, viola, and cello sections are divisi. That said, the set of parts includes violin 3 and a helpful piano part that doubles the strings to make this a highly playable arrangement. (J.W.)

MUSIC FROM STRANGER THINGS (Gr. 3–4, String Orchestra, Piano, Perc.). Arr. Sean O’Loughlin, Hal Leonard, 2022, $60

This arrangement is a medley of music from the hit Netflix series Stranger Things, including the show’s main title theme, “Separate Ways (Worlds Apart)” by Journey, “Master of Puppets” by Metallica, “Should I Stay or Should I Go” by The Clash, and “Running Up That Hill” by Kate Bush. As with most medleys, the work gives students the opportunity to experience transitions between pieces with dissimilar tempos and feels, but in relatively friendly key signatures (G major and D major). The arrangement makes full use of the modal options within these key signatures, with “Separate Ways” and “Master of Puppets” in E minor, and “Running Up That Hill” in B minor.

The piece requires two percussionists, one on timpani and one performing suspended cymbal, concert bass drum, and drum set. The drum set shines, especially, in the tunes by Metallica, The Clash, and Kate Bush, and would be a perfect fit for a music student in your program who may be learning drum set. The piano part mostly doubles the strings, but also provides useful rhythmic reinforcement when the strings have sustained material. The individual parts provide many opportunities for practicing syncopation in popular context, slurs with four notes, and rhythmic grooves, especially for the low strings. The parts and score are very detailed with ample bowings and very detailed articulation markings. This is a well-done arrangement with a lot of range sure to be a crowd pleaser in your pops concerts! (P.K.)

NORDLYS (Gr. 3, String Orchestra). Marcia Stockton. Tempo Press, 2021, $55

Nordlys is Norwegian for the northern lights, or aurora borealis. This piece captivates from beginning to end, stirring the imagination of this phenomenon of the night skies. “This music evokes the aurora’s powerful otherworldly quality. The violins’ opening ostinato is the aurora itself, swirling in waves of dancing light.”

This work uses modal and less traditional harmonies to set the tone and create the sonic landscape of the light show that is northern lights. Because of the non-traditional and modal elements, attention will be needed to train inexperienced ears and build confidence in tuning and executing these less familiar or non-consonant chords. Students will be expected to navigate numerous accidentals, both sharps and flats. They will need to have a thorough knowledge of the fingerboard and how to find high and low fingerings on virtually every finger. Some position work, mostly third position, will be needed in violin 1 and cello parts.

There is often one voice playing an ostinato pattern or melody line alongside more unified movement in the other voices. There is never a unison involving all sections at once, though many times several parts are rhythmically aligned. Students need to subdivide and keep the integrity of the beat when they are playing the distinct part. At rehearsal letter E, the cellos are featured in a beautifully orchestrated rendition of a Norwegian folk tune, later re-stated in the violin 2 and viola parts.

Having been fortunate enough to witness one such event in northern Minnesota in late summer several decades ago, I am still enthralled by the memory of the rapidly swirling and shifting light show, like being inside a kaleidoscope on autopilot. Though it was essentially mono chromatic, it was spectacular, nonetheless. This piece does a wonderful job of transporting one to the wonder and awe of being immersed in the experience of the northern lights in all their glory. (K.R.V.)

PEACH TREE MARCH (Gr. 0.5, String Orchestra, Opt. Piano). Emily Golan. Wingert-Jones, 2022, $45

There is nothing more exciting for beginning orchestra students than playing their first piece that is not out of the method book. Peach Tree March fits the bill! In D major, rhythms line up for all parts in the opening. Quarter note arpeggios and quarter rests make up most of the melodic sequence. The cellos and basses then have the melody while the rest of the orchestra accompanies. After a crescendo to forte, there is a section in pizzicato. In the next section, the first violins, cellos, and basses are aligned in rhythm while the seconds and violas have a slightly different quarter note rhythm. Everyone is aligned rhythmically in the last strong section which ends the piece. Counting quarter notes and rests is an important skill for students at this level. There are no note issues, and all the notes are in the D major scale. Dynamics are important here as well. There is no shifting in the bass part. I loved this piece for its simplicity and its easy access for a beginning orchestra. I can feel the energy of young student musicians performing Peach Tree March in their first concert. This one is a winner! (G.P.)

PENGUINS ON PARADE (Gr. 2, String Orchestra, Opt. Piano). Susan H. Day. Kendor, 2021, $60

This clever piece follows penguins as they march along. Each stepwise move upward is a forward penguin movement and each musical stepwise downward is the penguin going backward. As accidentals enter the picture, individual penguins step out on their own. After reaching their destination in measure 46, they start heading on the journey home. The cello and bass parts are doubled and provide the driving beat of the piece.

Penguins on Parade is in G major. There are accidentals throughout. Quick changes between pizzicato and arco occur several times. There are accents and tenuto markings on some notes. Rhythmically, this piece is very accessible. The optional piano doubles the string parts. The unique nature of the premise makes this an interesting work and one that can be used to teach accidentals as well as to study how penguins live and work just like an orchestra: together! (G.P.)

PLAYFUL (Gr. 3, String Orchestra). Shirl Jae Atwell. Neil A. Kjos, 2017, $52

Think about childhood games you played, and you have the spirit of Playful!

The rhythm is in 2/4, and alternates between syncopated and straight eighth notes.

All instruments have these patterns and are often in unison rhythmically. Cello and bass parts are sometimes aligned separately from the upper strings. The piece should not be played too fast and rushing should be kept in check. Accents highlight every other measure at the beginning and these accents bring life to the piece. Bows should be kept in the middle to keep the work light and buoyant. First violins do have several brief moments that go up to high E. All other instruments have notes in range for this level. Although this is a rhythmically inspired work, Playful is fun for all, and should bring your students some musical joy. (G.P.)

RHAPSODY IN BLUE (Gr. 4+, String Orchestra). George Gershwin, Arr. Michael Hopkins. Kendor, 2021, $70

This arrangement is designed to allow Grade 4+ string orchestra groups to experience all the themes from Gershwin’s classic work for piano and orchestra. The opening idea of the clarinet glissando is assigned to the violas. A very different idea! Perhaps one person could perform it or the entire section. Listening to the original clarinet solo can help with the interpretation. Gershwin’s style requires many chromatic alterations in all the parts. There are many finger slides and chromatic notes. The basic melodies of the piece are included, and a lush sound can be produced by a full string section. The cellos play one of the main melodies. There is a third violin part provided for the viola. Most of the parts can be played in first through third position.

Notes are provided for the history and historical value of this composition. This is a good opportunity for the development of “Jazz” on the classical stage being presented to students. This is an excellent addition to the string library. A recording of this piece can be accessed on the publisher website. This recording is very basic, but some of the interpretation, especially in length of notes and phrasing, is questionable. (P.M.H.)

RUNNING UP THAT HILL (Gr. 3, String Orchestra, Percussion, Piano). Kate Bush, Arr. Paul Murtha. Hal Leonard, 2023, $55

Made popular by the Netflix series Stranger Things, your students are likely to recognize this piece and get excited to play it in their school orchestra. This song has a techno-pop style commonly associated with the 80s, but not often seen in a string orchestra setting. The piece stays in a quick 4/4 time signature throughout. With only one sharp in the key signature, the work remains in E minor for the duration of the piece. It sits in the middle range for most of the string instruments, making it very accessible to a less experienced ensemble. This piece would be great for a high school orchestra or pops ensemble. It has some rhythmic challenges but those are easily overcome by listening to the pulse in the bass section and being familiar with the piece. The melody is almost always in the first violin part. A variety of bow strokes are used, namely legato, staccato, and marcato strokes. Your students will enjoy rocking out to this fun arrangement. If you are wanting to update your pops music library, this would make a great addition! (J.M.)

SHADY GROVE (Gr. 2, String Orchestra). Traditional, Arr. Renata Bratt. Belwin, 2016, $49

An excellent song for getting your orchestra outside of their comfort zone! This fun arrangement of this traditional folk tune encourages young musicians to switch between playing their instruments and playing. Your students could explore different covers of the folk song to hear how differently it can be played and sung. The piece is in cut time throughout but could be conducted in four. The piece has only one sharp in the key signature. The song can be played in first position throughout and the viola part can also be played by third violins. The vocal lines are printed in the clef of the instrument so your low strings may need to be told to sing an octave higher than written. Second- and third-year players will be able to play this piece, though you may want to find a group with strong singers. Any students in both orchestra and choir would find this song accessible. Everyone gets a chance to sing and play the melody, even the basses! In typical bluegrass style, the accents are on two and four. The cellos have a few loures. This is a great piece for bluegrass lovers new and old! If you like including fiddle pieces in your program, this is a worthwhile song to check out. (J.M.)

SPIRIT (Gr. 4.5, String Orchestra) Tyler Arcari. Excelcia, 2023, $70

This original piece opens with a pensive violin solo, accompanied by sustained viola and cellos. The texture gives way to a rousing, rhythmically energetic, and Celtic-inspired A Dorian melody in the first violins. The melody is shared among the each section, with several brisk moments for cellists and bassists to enjoy. The middle section features a viola solo and slower, more introspective character in 4/4 time, before winding back up to a spirited ending with many very satisfying tutti moments.

A piano part is provided to assist during rehearsal, providing pitch reinforcement and rhythmic support for the melodic line. Otherwise, the parts are well edited, and contain detailed bowings and articulation markings with clear divisi and unison markings. The violin 2 and viola parts are mostly in first position, with some higher position moments in the violin 1; however, the tempo and challenges of playing and counting in compound meter will keep your students busy! The transition in and out of the slower middle section will also provide an opportunity to watch and listen for tempo changes, fermatas, and time signature changes. Your students will also have an opportunity to contemplate how to best create contrast, as the piece has a wide dynamic range and variety of articulations.

Spirit is a piece with range and depth that will challenge your strings with the demands of playing both lyrical and rhythmic material in compound time signatures. Its catchy melodies are well suited as an opening or a closing piece on your program, particularly if you would like to feature a strong violinist or violist in your ensemble. (P.K.)

SYMPHONY CONCERTANTE NO. 2 IN G MAJOR, OP. 13 (Gr. 4, String Orchestra, 2 Violin Soloists). Joseph Bologne Chevalier de Saint-Georges, ed. Clark Suttle. Luck’s Music Library, 2022, $135

This beautiful piece written by Joseph Bologne (also known as Chevalier de Saint-Georges) was first published in 1778. Bologne was the first man of African descent to become well known as a violinist and composer. He lived from 1745 to 1799.

In this edition, the two outer movements are featured: Allegro and Rondo. The Allegro movement is in sonata allegro form and starts out in a lovely theme. When the soloists enter, they first are featured one at a time, with the other soloist playing the section part. The solo parts are often scale or arpeggiated sections in sixteenth notes and the orchestral parts are strong with trills, chords, and sometimes playing in thirds below the soloists. The Rondo is a pure rondo in form and has at its center a theme in G minor. An extended section of the first violin soloist playing arpeggiated runs is a feature of the minor section, while the second soloist plays the melody with the first violin section. For the soloists, the parts are more of Grade 5, although the orchestra parts are Grade 4. The violin solo parts go up to a high A and feature extended scale-like and arpeggiated passages.

Note wise, most of the piece stays in G major, although there are some accidentals. Classical style must be maintained throughout, including playing spiccato on the eighth note passages. In tutti sections, all instruments are playing in unison at times. Divisi may be required for chords. This is a delightful work that deserves recognition in the violin repertoire. It is of a very high standard and if you have the soloists to play it, it is a worthwhile experience for all your musicians in your ensemble. (G.P.)

THE VIBES OF VISBY (Gr. 0.5, String Orchestra). Janelle Zook Cunalata. Wingert-Jones, 2023, $45

Looking for a piece for your beginners with simple note patterns but challenging rhythms? This piece uses the first six notes of the D major scale in a peppy tempo that will be fun for young string players. Scored for violin 1, 2, viola, cello, bass, and optional piano, the violin 2 and viola parts are the same, as well as the cello and bass parts, providing confidence for each grouping of instruments. Violins and violas often play on the off beats, instilling a sense of syncopation in your group from the start! The melody starts with a set of eighth notes on the first beat of the phrase, reinforcing strong beats with rapid bow motion. A call and response section in arco and pizzicato adds interest to all parts. For more experienced players, this piece offers an excellent opportunity for introduction of fourth fingers for violin and viola but can also be played beautifully with open strings. (G.R.G)

TROIS DANSES ROYALES (Gr. 1, String Orchestra). John Dupuis. Wingert-Jones, 2023, $50

This piece is a delightful romp through the iconic Palace of Versailles in France. It serves as a great way to introduce early orchestras to multi-movement works in the traditional slow-fast-slow format. Each movement is composed with a different meter and the style and character reflect a specific location around the palace and grounds.

While the movements consist primarily of the basic note values and rhythms, students will need to recognize and execute ties and short slurs, as well as double up bows, staccatos, and accents. Written in the key of D major, the upper strings will nonetheless be required to know where to find C-sharp on the G string. While much of the music is homogeneous, there are places where independent voices or alternating statements between the sections of the orchestra will demand independent thinking and listening, particularly in the third movement. Students are certain to be challenged and thoroughly entertained throughout! (K.R.V.)

MELODY FOR TWO VIOLINS (Two Violins). Vera Ivanova. 2000, $10, $5 for pdf. http://veraivanova.com/work.php?query=melodyfortwoviolins

Melody for Two Violins is a duet that would work great for two violinists who are working to improve their comfort taking time and musicianship. The violin 1 line is the melody, which is full of moments of silence and places for rubato. Although, this part does not go above third position, it is sure to challenge any player with its wide variety of rhythms. This short piece rhythmically includes triplets, grace notes, syncopations, and more while also having many accidentals. This part also includes extended techniques like left-hand pizzicato and a wide range of dynamics from pp to f brought out by crescendos and decrescendos.

The accompaniment part (violin 2) is much easier in terms of counting with half notes and quarter notes, making it a great exercise in listening and learning other parts. Dynamically, the violin 2 part can serve to explore varying dynamics from pp to f using the whole bow and experimenting on different weights to gain different sounds. This would be a great shorter piece to include in any studio or student recital and is sure to stretch any student musically! (R.B.)

TICO TICO (Gr. 3–4, String Quartet). Zequinha de Abreu, Arr. James Kazik. Hal Leonard, 2023, $14.99

This is a great string quartet arrangement of a familiar Brazilian song! The title roughly translates to “Sparrow in the Cornmeal.” The music is a nice introduction to Choro music, which your students may or may not be familiar with. You could share the English and Portuguese lyrics with your students to increase their understanding of the piece and connect with it more. The piece is in cut time throughout. It alternates between A minor and A major, often using accidentals. No shifting is needed, making it more accessible to less experienced players. Your high school chamber groups will love this piece. Your students might recognize it from the video game Just Dance 2017 or the cartoon Tom and Jerry. The first violin usually has the melody, though the other players have solis. A variety of bow strokes are employed, including marcato, staccato, and tenutos. The syncopated groove is invigorating and presents a fun challenge. A great inclusion to any chamber music library! (J.M.)

SIX LIEDER OF CLARA SCHUMANN (Violin, Piano). Clara Schumann, Arr. Lauren Taylor. Carl Fischer, 2022, $16.99

New York City-based composer Lauren Taylor has released an arrangement of Clara Schumann’s Sechs Lieder (Six Songs), Op. 13, for violin and piano. This collection sets poems by Heinrich Heine, Emanuel Geibel, and Friedrich Rückert. The first song, “Ich Stand in dunkeln Träumen” (“I Stood in Dark Dreams”), is transposed from E-flat major to the friendlier key of F major. A piano cue is provided in the beginning, and the part also contains bowings, fingerings, dynamic, and tempo markings. “Sie liebten sich beide” (“They Loved Each Other”) is transposed to F-sharp minor from G minor and is also quite detailed in its dynamic and articulation markings. The other pieces are similarly detailed, and the engraving and attention to detail are spectacular throughout.

This collection provides an accessible entry point into the music of Clara Schumann, a historically important female composer who is underrepresented in stringed instrument literature. The writing for violin, all in first position and with very detailed guidance for fingerings and bowings, is simpler than that found in Schumann’s Three Romances for Violin and Piano, Op. 22 written for Joseph Joachim. The consideration of the lyrics, included in both the original German and in English translations provided by Samantha Finley, also provides a developing student with a valuable interpretive exercise. I recommend this highly for any studio teacher looking to expand and diversify their advanced beginner and intermediate repertoire offerings for students. (P.K.)

VIOLIN SONATA IN A MINOR, OP. 34 (Gr. 6, Violin, Piano). Amy Beach. Luck’s Music Library, 1896, $25

This beautiful violin and piano sonata by American composer Amy Beach begins with a first movement in sonata form, with several opportunities for long phrasemaking rivaling that of the Brahms sonatas. There are many high position work moments on the E and G strings in the movement. The second movement is a ternary-form scherzo marked molto vivace, with a cheerful melody containing lots of syncopation and variety in articulations and bow strokes. The third movement, marked largo con dolore, begins with a lush piano introduction, followed by an incredibly long first phrase in the violin part, that would require exceptional bow control. It also contains a challenging slow double stop passage in the middle. The fourth movement, marked allegro con fuoco, is in sonata form with a fugue section mid-movement.

This sonata is a great choice for students comfortable in higher positions with very developed left hand and bow technique. It would challenge them, particularly in movements 1 and 3, to think very carefully about their bow distribution and sustain choices, and some of the movements are quite independent from the piano. It contains many stylistic similarities to the Brahms violin sonatas. The edition is cleanly engraved but would require a knowledgeable violinist (or teacher) to advise regarding fingerings and bowings. There are some notated fingerings and pedaling directions in the piano part. This piece would be a great fit in an advanced undergraduate or graduate student’s recital, if they are joined by a very capable pianist. There are many beautiful recordings available online as a reference, including one performed by Ambache Ensemble released on the Chandos label. (P.K.)

SONATA FOR SOLO VIOLIN (Violin). Lauren Bernofsky. Presser, 2022, $12.99

This three-movement work for solo violin was commissioned by violinist Megan Healy as part of the Maud Powell Project, which celebrated the 100th anniversary of the 19th Amendment. Maud Powell, according to the website of the Maud Powell Society for Music and Education, was one of the first American-born violinists to achieve international recognition, touring extensively in North America and giving the U.S. premiere of major pieces, including the Tchaikovsky and Sibelius violin concertos. Lauren Bernofsky’s Sonata for Solo Violin is one of the set of pieces commissioned by Megan Healy in memory of this historically significant violinist.

The first movement, titled “Preludio” and inspired by the three-note half-step motive in the beginning movement of Bach’s E major Partita, contains many references to Bach, but is clearly also its own piece. The middle movement, slow in tempo and marked “Sadly reflective,” seems more inspired by slower movements of solo Bach. The final movement marked “White-hot” has clear references to Rock and Klezmer styles.

Bernofsky is also a violinist and this is apparent in her idiomatic writing style. The movements use open strings in double stops often, and any potentially challenging writing (like the parallel fifths in the third movement) is done in a friendly register of the instrument. There are also ample technical instructions to help a student with interpreting a new score. One example includes guidance on how to play multiple lines in the second movement, like the “Andante” movement of J.S. Bach’s Sonata No. 2 in A. There are also fingerings throughout the movements. The rhythmic notation and engraving are clean and easy to read. This piece is a fantastic addition to the solo repertoire and would be suitable for an advanced violinist who is comfortable playing double stops and more chromatic material in high positions. (P.K.)

SONATA NO. 1 IN D MINOR, Op. 75 (Violin, Piano). Camille Saint-Saëns. Bärenreiter, 2022, 31.95€

Saint-Saëns wrote his first Sonata for Violin and Piano in 1885 for the violinist Martin-Pierre Marsick, who had performed the Concerto No. 3 in B minor, Introduction and Rondo Capriccioso, and other works by Saint-Saëns. The piece ended up being officially premiered by a different violinist, Otto Peiniger, though Marsick was able to read through it beforehand. If you are not familiar with the sonata, I would urge you to seek out a recording, as it is worth listening to as well as playing. The work has only two movements. The first movement is full of energy, with a haunting melody, running sixteenth notes, a variety of key changes, and meter and tempo changes to keep it all interesting and keep the listener on their toes. The second movement starts with delightful spiccato passages and a wonderful sense of lightness, but my favorite part is later in the movement when the tempo goes to Allegro molto and the violinist can really show off their virtuosity, from there to the end of the piece. This latest edition is very clear and easy to read, with page turns in the best possible places and measure numbers on every line. The violin part does not include any fingerings, so the performer would need to figure those out on their own, but I do not see that as an issue as this is a piece for advanced players. The preface contains historical information about the work as well as a wealth of information about the various editions in the past and what this definitive edition is based on. There’s some interesting information about piano pedaling and Saint-Saëns’ pedal philosophy, which is worth reading. Though it is expensive, this is an extremely high-quality edition and would be an excellent addition to any music library. (H.M.F.)

FEVER PITCH: An Unaccompanied Solo for Viola (or Violin). Sarah Wallin Huff. https://sarahwallinhuff.com. 2017. Viola or Violin part $8

Fever Pitch was originally composed for viola, but a violin transposition is also available. As per the composer’s website, the approximately six-minute solo offers the artist a “‘fever pitch’ of drama, melody, and virtuosity.” It is a fun piece that offers many opportunities for viola or violin students to develop technically and musically. Staying mostly within first and third positions, the piece explores double stops, string crossings, and utilizes several different keys and tempos. I would classify the work as Grade 5, as it has a nice mix of both technical and expressive challenges. It can aid in developing a strong and varied vibrato and allow your students to explore their expressivity. As the composer notes at the Molto espressivo, “freely slide in and out of occasional notes, for maximum schmaltz.” It presents a fun opportunity to explore portamento and will aid the student in learning how much is just right. Courtesy accidentals are not included, and their lack will challenge your student to pay attention to what is on the page! It is a nice piece that I can see myself programming. Wallin Huff is a composer, violinist, and lecturer at California State Polytechnic University-Pomona. (K.L.M.)

IN THE SHADE OF AN ACACIA TREE (Viola). Ayumi Okada. https://ayumiokada.com. Available on Sheet Music Plus, 2016, $4.99

In the Shade of an Acacia Tree is, according to the composer’s website, inspired by “the way of life of a family living in the desert of the UAE with various animals.” It is a short, approximately two-minute work, perfect for exploring long lines, double stops, and the sad phrasing that colors much of the solo viola canon. Moving between four flats and five sharps, the piece can help students learn that key signatures beyond their comfort zone are not all that scary or inaccessible. While a majority of the piece can be played in first position, security with shifting is necessary, as the piece concludes with a short treble clef section, including a false harmonic. I would classify the work as Grade 4 and could see myself programming this work on one of my own recitals. It is beautiful and melodically pleasing. A native of Kyoto, Japan, Okada is now based in New York. (K.L.M.)