Abstract
Class Methods
Visual and aural models are vital tools of teaching. Suzuki demonstrated the power of immersing string students in the language of music by providing recorded audio models. Finally, we have methods that do just that for jazz strings. Both Wilkins's and Snidero's methods use some of the finest jazz violinists on the scene today to model jazz phrasing and articulation. Both methods are from series of books written for such instruments as sax and trumpet, making these books ideal for heterogeneous classes. The Snidero method includes versions for viola (Feldman soloist) and cello (Erik Friedlander soloist). The methods include 12 and 15 etudes, respectively, that incorporate traditional jazz language. These etudes are perfect for intermediate and advanced students (Suzuki Book 5 and up) that want to experience alternative styles. The etudes include flat keys and chromatics, traditionally underdeveloped skills in repertoire at this level. The CDs include tracks with and without the soloists. The latter should only be used once the etude is internalized or to practice improvising over the chord progressions. The Wilkins method uses various versions of the blues progression, while the Snidero method uses traditional jazz progressions. Both methods are excellent additions to modern string students' course of study. M.N.
Each of these two collections of folk songs is created for maximum performance flexibility. The string orchestra set includes a third violin part to double viola and a bass part that usually doubles cello. These arrangements also can be performed as a string quartet or with three violins and cello. The same tunes, in the same keys, are scored for four violins, four violas, or four cellos in the ensemble books, presenting options to feature quartets for a concert or solo-ensemble festival with any combination of instruments, even three violas and bass. The solo books present the same melodies with piano accompaniment for individual instruction or group solos. The editing for bowings, fingerings, and dynamics is meticulous. In the orchestra/quartet version, the melody is traded among different parts. Unfortunately, the ensemble settings leave the melody in the top part throughout; since players read off the score, all students could still learn the melody before playing the ensemble. Notes in the back of the books give words for the tunes, brief cultural information, and performance suggestions. M.S.
String Orchestra
This is a perfect piece if you have some “hot-shot” violinists and strong section leaders. Subtitled Alla Rustica, this suite is to remind the listener of Italian country fiddle music. The first part is in G major in 9/8 time, taken in three. The violin parts are not tricky rhythmically, but have challenging combinations of scale patterns like D-sharp to C-sharp, G-sharp to E-sharp, and a descending G harmonic minor scale. There are six measures of repeated notes that the arranger designates “off string,” but my group decided that playing long bow strokes for eighth note triplets and then changing to spiccato interrupted the flow. My violas, cellos, and basses thought their parts in this movement were repetitive. We subdivided the recitative-like second movement in eighth notes. Here is where a pianist would come in handy (a piano part is provided), playing a harpsichord setting on a keyboard. The unique idea is a short solo for each of the instruments, including bass, while everyone else holds a longer note. The solos are mostly scalar with some accidentals. The last movement in 2/4 goes at quite a clip. The cellos and basses have a running staccato bass line that keeps them working the whole time. We doubled the players on the 10-measure solo section to make it stronger (two on each part except for bass. This concerto, in a “friendly” key, could easily be used as a teaching piece to strive for a huge ensemble sound with lots of bow weight. S.P.
Hopkins has contributed a very accessible arrangement to the growing list of impressionist music available for young orchestras. This is a slow, solemn work that demands that your advancing middle school or young high school group play with good bow control, tone quality, and expressiveness. It would be an excellent choice for any concert as a contrast to the more active and energetic tunes in your repertoire. Set in C major, there is some challenging chromaticism in the middle of the piece, but no overwhelming technical difficulty. All parts can be played in first position with the exception of third position passages in first violin and two short sections of position work in the bass. The violas are treated to a prominent sixteenth-note passage near the end. The chief challenge is the expressive demands of this piece. Students always find it difficult to play slowly, with beautiful tone and vibrato, and demonstrate the necessary bow control. Here is a chance for your students to improve those skills and perform a beautiful piece from the standard repertoire. S.S.
This arrangement of the overture to one of Handel's popular operas provides a good teaching tool as well as a piece that students enjoy playing. Best suited to more advanced eighth grade or early high school level players, it features two sections. The first is stately and resonant with full chords and harmonies in G major. Hooked bowings and proper bow distribution are easily illustrated through this music. The second section is fugue-like in three parts with just enough doubling in parts to provide fullness. The fugue-like theme dances while featuring martelé eighth notes and slurred sixteenths. Although the first violin is typically more challenging, all parts provide a comparable level of difficulty. Occasional accidentals in all parts require high third finger in viola, extensions in cello, and much shifting in the bass. Violinists will find the sixteenth-note passages more easily playable when using fourth finger. Through this great concert opener, students are able to play using their fullest tone in a resonant key, resulting in a very large sound. Students feel challenged while also enjoying the music they are making, and this is a first choice of one group of intermediate-level high school students when asked what they would like to rehearse in orchestra class. K.M.
This cute pizzicato piece incorporates a D. C. al Coda and seems to be an ideal teaching piece for young string players. It gives students a lot of practice with accidentals, with forward extensions and low first fingers for most of the instruments (none for the bass). All parts are primarily on the D and A strings (with a few exceptions in the first violin part) and lie well within the first position. The harmonic structure features more modern harmonies, which may take some getting used to because of the added accidentals. This would be appropriate as an encore piece. M.D.
This is the story of a machine that plays some of the world's most famous melodies. It begins with the winding up of the machine and the gears turning in B-flat major. The famous melodies, all in G major, are “Ode to Joy,” “Eine Kleine Nachtmusik,” “Can Can,” and “Funeral March.” The machine winds up between each of these melodies. Toward the end, the machine breaks down and the famous melodies start to overlap and interplay with one another. As the machine dies, Chopin's “Funeral March” ends the piece. Percussion needed includes ratchet, desk clerk bell, and crash cymbal. The tempos vary between quarter note = 72 to 120. All parts are kept busy with melody or contrapuntal rhythm variations. There are some high third finger C-sharps in violin and viola parts and low first finger F-naturals in first violin. This exciting selection will teach storytelling and tone painting, high third fingers, sound effects, and flats while students learn famous melodies from the past. A.H.
Commissioned for the Richland School District II Orchestra in Columbia, South Carolina, for a performance at Carnegie Hall in 1997, this piece features melodies in E minor and D pentatonic. Standard meter is used, with the exception of one 5/4 measure. The piece starts very slowly and then changes to a more moderate speed after 11 measures. Suitable for high school string orchestra, it offers lots of ensemble challenges, as well as technical ones. Viola, second violin, and bass parts lie well within the first position. First violin and cello extend their ranges to the octave harmonic on the highest string. Some divisi sections in the inner voices and cello add texture and harmonic interest. The director's score gives the story behind the composition. This piece would be suitable for any performance, especially those requiring a contrasting, more contemplative mood. It would best be performed with a larger-sized orchestra to maintain the harmonic structure in the divisi sections. M.D.
Our students absolutely loved this piece! They instantly settled into the minor mode and produced a luscious sound. The piece is not difficult and sounds fantasic, but can be played with a gorgeous tone by an advanced group. We thought it could easily be included on a holiday program as a refreshing addition to the traditional literature. Students liked the fact that the melody is passed from section to section and changes tempo and style with smooth transitions. This piece has infinite possibilities for teaching material as it presents so many different stylistic changes. The lush harmonies and the fun allegro section make this a wonderful addition to any library. C.J.N.
As all compositions in Fischer's First Plus String Orchestra Series, this piece was created for students who have just completed their first year of lessons. The finger patterns, in D major, are very accessible, with both violin parts staying exclusively on the A and D strings. The viola and cello must also play on the G string but do not have C-sharps. The bass is the most challenging part, though no shifting is required. Bowing technique is limited to a few slurs and bow lifts while ensemble playing is made easy by the block style of this composition. The orchestra is divided into two sections, first/second violins and cello/bass. The violas alternate playing with either the violins or the cello/bass. Genuine musical interest is generated through the syncopated melodies played by all, giving that swinging fiddle feel—a wonderful surprise in repertoire for this level. In addition, percussion instruments can be played along with a fun four-measure unison clapping section. This hoedown fits the bill as a fine first ensemble experience. R.D.
This beginning orchestra piece is a very clever arrangement of Beethoven's Fifth Symphony, Dvorak's New World Symphony, and Tchaikovsky's 1812 Overture. It begins dramatically with Beethoven's famous four notes played in unison by the entire ensemble. Following the original score closely, Compello gives the music a remarkably authentic sound for first-year students. The section from the New World Symphony, based on the opening theme of the fourth movement, is equally well written. The 1812 Overture quotes all of the important themes before coming to a close. All sections play C-natural while second violins, violas, cellos, and basses also have D-sharp on the D string. Knowing how to subdivide would help students read the rhythms in the Beethoven and Dvorak sections. Although there is a lot of independent section playing, the second violins and violas have the same part. This is an excellent, refreshing arrangement that I strongly recommend. R.D.
An advanced middle school or young high school orchestra will find this arrangement of one of Boyce's pre-classical symphonies to be an interesting and even exciting work. It has three movements in the Italian sinfonia form. The first movement is a 4/4 allegro, the second an andante in 3/4, and the last a lively gigue in 6/8 time. The outer movements are in G, with the second movement in E minor. Rhythmic figures of moderate difficulty include eighths and sixteenths tied across the bar line and syncopations. Characteristic of Baroque and pre-classical music, the independence of the various parts requires students to count. Technically, this symphony is very approachable, with all parts in first position. All sections of the orchestra will find some challenging aspects. The basses have quite an interesting part, doubling the cello except when technical demands dictate a simpler line. The viola part is less difficult than the other parts, as is often true in this style. If you have strong basses and slightly weaker violas, this would be an excellent choice for your group as a concert or orchestra festival piece. S.S.
Violin
Unfortunately, these collections include no biographical information about this little-known Classical composer. Even his dates are incomplete (17?–1803). However, the music is a pleasant surprise, slightly Mozartian in character. All 24 of these duos (originally for two flutes) are in keys of one or two sharps and are playable in first position. Volume I uses the largest variety of meters, including 6/8. This would be a good collection to keep around for sight-reading practice. G.H.
With 27 tunes for the good to advanced fiddler, this collection works well for skilled readers. Aural learners can rely on the accompanying CD, which is recorded at performance tempo. The CD consists of simple, yet authentic, rhythm guitar back-up to the fiddle tunes, very similar to an actual contest format. Bodhran is added on the Cape Breton tunes. Tunes are organized into category sets for performance: show tunes, cross tunes, old time fiddle, Texas style, alternative, Scottish, and Cape Breton, including traditional tunes, such as “Devil's Dream” and “Mason's Apron.” Of particular interest are some less familiar tunes that Wheeler transcribed from memory. For most tunes, Wheeler provides a history of origin and detailed technical tips for both guitar accompaniment and fiddle. Specific notation, such as curved arrows and “f.f.” (fat finger), is explained. Historical vignettes, pictures of fiddlers, explanations of various types of fiddle contests, and an explanation of cross-tunes help students connect to the fiddling tradition. Wheeler acknowledges this book can be challenging for new fiddlers, and includes recommendations of books, CDs, and videos for the beginning fiddler. I found this book to be an excellent resource for both the amateur and serious contest fiddler. As I listened to the CD, I wanted to learn all of the tunes immediately! M.A.G.
This collection is conceived as an introductory book to the graded, four-volume Fiddle Club series. It includes an enhanced CD of model performances, PDF files of printable piano and guitar accompaniment parts, and Web support. Marshall and Crozman are pioneers in several regards, having been directors of the Calgary Fiddlers and the theatrical production Barrage. Although two pages of “tips and tricks” (selected scales and four exercises) are provided, the emphasis here is on repertoire. The 29 tunes include polkas, waltzes, jigs, hornpipes, and airs. Most provide a second violin part, and several are arranged for four violins. The tunes vary in the amount of finesse required (for example, use of double stops, dotted rhythms, or a wide range), but all are approachable, making this a resource for sampling based on student needs. Private teachers can incorporate this repertoire into their studio teaching, as can orchestra teachers interested in motivating ways to extend violin technique and musicianship. The model performances are enjoyable and authentic, with clear articulation, solid intonation and tone, and an appropriate vibrato, so possibilities for self-teaching are obvious. The piano accompaniments are panned to the right, allowing them to be isolated for practice and performance. Most tracks begin with vocal “count off” that might become tiresome. The printable piano and guitar files are welcome, implying a do-it-yourself approach to performance. A few recorded string band accompaniments—with double bass, guitar, banjo, and mandolin—would be a worthwhile consideration for future publications. B.P.S.
This is a wonderful collection for intermediate students of ethnic tunes in 28 styles from North America, the British Isles, and many parts of continental Europe. Especially interesting are the lesser-known central and eastern European styles. The 58 pieces range in difficulty from first position with high and low second fingers to third position with extensive accidentals and occasional octave harmonics. Harbar's arrangements present idiomatic ornaments and bowings for each style. The included CD has authentic accompaniments for each style, including guitar, accordion, penny whistle, other violins, or bass, and demonstrates stylistic nuances that cannot be notated. The CD provides an outstanding model of beautiful violin sound, and should motivate students to learn clean staccato, clear intonation, and stylistic variety. Photos throughout the book and brief written notes preceding each piece give tips about the origins and style (and help with pronunciation of some titles). Chord symbols are shown for all tunes, along with some suggested accompaniment rhythms. Several violin duos are also in this exciting collection. M.S.
Upon hearing the title, I expected a wordy book along the lines of the thinking man's guide to playing the violin. However, what I received is a rather typical collection of etudes in first position, not so novel in concept, yet quite novel in compilation and editing. With great clarity, Arron presents explanations of technique, suggestions for teaching and practicing, and elaborations upon the etudes he compiled. This book is a fabulous tool for guiding a student to understand the “whys,” and for teaching the necessary body manipulations for the “hows,” of violin playing. Each etude is accompanied by a set of bowing and rhythmic variations, thoroughly explained with suggestions regarding articulations and depictions of bow distribution. One etude is devoted to the development of a flexible wrist for bariolage, and yet another introduces pizzicato and its various forms. Arron also includes plenty of opportunities to work on the left hand, through the development of double stops, efficient use of the left hand, strong left-hand articulation, and trills. He offers suggestions for vibrato and includes ten short melodies that are ideal for incorporating a freshly learned vibrato into melodic contexts. C.L.
This book of 38 tunes is not for beginners, but for “classical violinists and advanced fiddlers.” Indeed, Weeg has, for some reason, included several classical pieces, such as “Carnival of Venice” and Bach's Badinerie and Inventions XIII and XIV. A comprehensive cross-section of fiddle tunes includes Bluegrass, Cajun, Classical, Country/American, French Canadian, Gospel, Scottish, and Irish. Most give historical information and performance tips, and guitar chords accompany each tune. Of particular interest are some duets and trios, forms usually lacking in fiddle books. Concise explanations are given for the basic differences between classical playing and fiddling, helpful to the violinist who is new to fiddling. I found the explanations for shuffle bowings (single, double, and triple) especially interesting. Weeg also gives helpful hints for successfully playing back-up or second fiddle. I gave this book a home in my library of fiddle books because of the wide variety of tunes and the detailed technical tips for successful performance. The only missing link is an accompaniment CD; violinists new to fiddling would benefit from hearing the tunes and accompaniments. M.A.G.
This is a wonderful arrangement of eight pieces by Fiocco (1703–1741), providing repertoire with musical and technical value. The collection does not include the famous Allegro, but has five dance movements and three character pieces that are sure to appeal to students' love of Baroque music. The viola set is mostly in B-flat major/G minor and C major/A minor; the violin set is the same pieces a fifth higher, so both present the same technical challenges for students and offer multiple opportunities for learning Baroque bowing styles, rhythmic patterns, and sixteenth-note figurations. Fingerings and bowings are carefully edited to use the first three positions, in both slower and faster tempi, helping traditional teachers using the Suzuki repertoire bridge the gap in Book IV between Seitz and Vivaldi concerti. M.S.
Cello
Moon Flowers, written for Roman Jablonski and Krystyna Borucinska, is a short fantasy piece that uses many extended techniques for both pianist and cellist. The title refers to a painting by French symbolist artist Odilon Redon. The composer completed the work on January 28, 1986, at 11:39 a.m., the same time that the space shuttle Challenger disaster occurred. The piece opens with a Largo con espressione cello solo. This develops into a “more lyrical fragment played by the cello and piano, which leads to the second section of the piece, Vivo, con anima.” This section of the piece exploits the widest ranges of dynamics and registers until the climax of the piece, “which suddenly is blown up by the soft, whispering sounds of cello which announce the recapitulation of the Largo-theme from the beginning.” I am more familiar with Ptaszynska's works for percussion, but this is an interesting addition to the cello repertoire. A.C.F.
Harp
We loved Volumes 1 and 2—and now Volume 3! Remember the traveling melodies? The Traveling Spider includes delightful versions of “The Itsy Bitsy Spider” as they might be played (rhythmically) in (Colombia, Brazil, and Paraguay. In addition, this volume includes “La Bamba” and eight original compositions. Four selections include both an easy and advanced arrangement, and one also has a version for harp and violin. One advanced tune is specifically for pedal harp. Ortiz includes extensive instructions for special effects and techniques, which include glisses while muffling strings, thumbnail glissandos, striking the soundboard, and repeated notes played p.d.l.t. I highly recommend all three volumes as well worth the effort. Ortiz's materials are educational, challenging, and unique, with his stated intention to “offer a book people can grow with and enjoy it at all levels.” D.G.V.
Guitar
Arkin has given us a jazz theory book that provides a thorough introduction to the principles underlying extended tonality in jazz harmony. The main flavors of jazz harmonization are covered, including major, harmonic, melodic, and dorian minor, all with and without chromatic alteration. Later chapters cover the blues and minor blues, secondary dominants, tritone substitution, and quartal harmony. One of the main points of the book is how chords can be interpreted in different ways based on voicing and context, offering ample exposition of theoretical concepts as well as illustration of how these concepts operate in musical examples analyzed bar by bar. The book also addresses why certain chord combinations work better than others due to voice leading. More theoretically oriented than a catalogue of substitutions, the book will provide a solid foundation in theoretical ideas, leading to a lifetime of exploration of endlessly varied harmonic possibilities on the instrument. Jazz guitar teachers looking to expand and solidify their students' theoretical understanding of jazz harmony will find Arkin's book to be helpful. It is well written and engaging and could provide an intermediate student with months of study examples, especially if the examples are expanded upon and further explored. The book ends with an original samba for two guitars and bass composed by Arkin, encompassing many of the ideas presented in the text. T.J.
Chamber Music
Orchestra directors and cello teachers seeking to enlarge their collection of early-grade cello quartets should tap into the offerings from Medici Music Press. These graded volumes offer a variety of time periods and composers—Purcell, Vaughan Williams, and Chopin, for example. Early pieces remain in lower positions with rhythms, dynamics, and articulations that reinforce skills presented in other early-grade methods. Bowings are included in the early volumes, but more advanced pieces leave them up to the performer or teacher. Other publications by Medici include string quartets, quintets (with two violas or double bass), and other instrumental combinations. Again, a variety of composers are represented. Particularly outstanding are the arrangements for string orchestra or quartet of Michael Haydn Divertimento for 2 Horns and String Orchestra and Fux Overture to Orfeo and Euridice. The format is clean and easy to read, and includes a score and CD of each piece. These editions are highly recommended for young players or older students as supplemental reading. J.E.
Rossini (1792–1868) was always a composer who accommodated the wishes of his patrons. Sir David Salomons, an accomplished amateur cellist, banker, and lord mayor of London, commissioned Rossini to write this piece for him and bassist Domenico Dragonetti. The score, in Rossini's hand, and the parts written out by Dragonetti remained unpublished in Salomons's estate until 1968. The first edition was printed in 1969 and has become a concert favorite. In three movements, with a performance time of about 14 minutes, this is a miniature of Rossini's operatic style of writing. The outer movements are in opera buffa style reminiscent of Barber of Seville, and the lovely andante movement is a lyrical aria with melodic elements that presage the ebbing storm motives later found in the William Tell Overture. Dragonetti was famous for his spiccato and technical velocity, and Rossini has provided ample opportunity for the bassist to display this in the allegro movements. This edition has a full score with separate cello and double bass parts that facilitate page turns. I find the editor's bowing markings appropriate to the style of the work. To be effective, this piece calls for a flawless, passionate performance, placing it in the advanced repertoire. M.F.
Before the 20th century, if a woman composer were to be recognized, she had to have worked in an all-female environment, such as a convent or a Venetian conservatory; been born into a musical family; or grown up in a family with court affiliations or patronage. Barring those conditions, she might use her husband's name—Amy Cheney Beach composed as Mrs. H.H. Beach—or use a pseudonym. As noted in my review of the first volume of these sonatas, originally published in London in 1715, the identity of Mrs. Philharmonica remains unknown. The three sonatas of Volume 2, in B minor, B-flat, and A, are very like those of Volume 1. Similar in musical style, the three Divertimenti that compose Volume 3, in D minor, F, and E-flat (and the three of Volume 4 still to come), are traditional trio-sonatas without independent cello parts. (Collectively designated “Divertimenti,” each of the three is labeled “Sonata” in the score.) The figured bass can be realized by any combination of cello and keyboard, alone or together. Unlike my review copy of Volume I, these comb-bound pages turn freely and lay flat. J.S.
Almost anyone who shows up can be part of this ensemble experience for three different parts and keyboard. The first part is written for C and B-flat instruments in treble clef. Second parts are for C, B-flat, E-flat, and F (horn) instruments in treble and alto clefs (violas). Third parts are for bass clef instruments, horn in F, tenor or baritone sax, and bass clarinet. The set is also designed for recorder ensemble. Composers included are Mozart, Purcell, Paisiello, Handel, Haydn, and Beethoven. Concert keys signatures are C, G, E-flat, B-flat major, and D minor. The pieces in the set are relatively short. Students who enjoy playing together might want to make selections for chamber concerts or perhaps use the tunes at receptions or banquets as background music. This intermediate-level collection will make a good addition to any chamber music library. P.C.
Each of these books includes three-, four-, and five-viola arrangements of well-known classics, as well as a Bach chorale setting and a new composition by Stuen-Walker. Book 1 also has one duet, setting Dvorák's “Humoresque” and Foster's “Way Down Upon the Swanee River.” The first volume is the former Suzuki Ensembles for Viola, Volume 3, while Book 2 adds new arrangements. Each piece is printed in the book first in score form, followed by the individual parts, making purchase of one book per performer necessary. Both score and parts indicate which viola is to lead a given phrase. Parts are carefully edited for fingerings and bowings, although not for page turns, and each part has melodic, rhythmic, and harmonic interest. Keys range from one sharp to three flats (Book I) and from C major to three sharps (Book 2). A few parts are written in treble clef, and most require half to third position, plus the octave harmonic. These books are great resources for promoting viola participation in solo-ensemble festival or featuring the viola section in a concert. M.S.
A wonderful resource for both students and professionals, this book provides a very good overview of the dances most commonly encountered in Western classical music. The music itself is for violin with piano accompaniment; however, the concise, yet thorough, descriptions of the dances would be good for any instrumentalist to have on hand. Presented alphabetically, each dance in the score is preceded by a sketched illustration and brief description of the dance, in both Polish and English. Included in each written description is each dance's historical background, defining musical characteristics, and an explanation of its basic choreography. The featured composers span the spectrum from Baroque through 20th century, and the works chosen to illustrate each dance are paradigmatic, although not the simplest technically. However, they provide wonderful challenging material for the advanced student or professional to use on the journey of learning about many of the dances in the world of Western classical music. Each dance is a work of its own merit and would be a beautiful addition to any concert program. C.L.
If you have searched for information about and pictures of Antonio Vivaldi, you will appreciate this book. Using paintings of the time, public records, letters, and other documents, Barbier paints a word picture of Venetian life during the time of Vivaldi (1678-1741). Venice attracts millions of tourists now, as it did during Vivaldi's lifetime. Opera houses abounded in the city, and artists, poets, musicians, and scholars were attracted to the place. Vivaldi conducted a world-famous girl's orchestra that performed for feast days and other occasions. Barbier's unique description of how the ospedali in Venice gave destitute girls a good music education and kept them until they were adults is interesting reading. You will enjoy the prints of paintings from the era. The best part of this book is the description of society as it may have been in the late 17th and early 18th centuries. This book is an excellent source for any music teacher, providing details about Vivaldi and his time not included in other sources. P.C.
CDs
Dan Trueman, composer, electric violinist and laptop aficionado, has produced a very fine CD of his recent works. Rhythmic energy, colorful harmonies, creative sounds, and distinct qualities from section to section and piece to piece offer variety and interest throughout the album. Trueman's inspirations for his compositions come from diverse places: the war in Iraq, an old recording, a Jackson Pollack painting, and even a computer-mutated wrestler. The latter is the improbable muse that inspired the title piece, Machine Language, the worthy centerpiece of the album. But perhaps another title for the CD would have done it more justice since, in many of the pieces, a listener would be hard-pressed to identify the computer-generated sounds amongst the very musical human-generated sounds. The performances are top-notch, with Trueman playing electric six-string violin, joined by members of the Daedalus Quartet, the Brentano String Quartet, the new-music group Non Sequitur, violinists Anna Lim and Courtney Orlando, and cellists Arash Amini and Florent Renard-Payen. Percussionist Danny Tunick deserves special note since he adds so much to the flavor and energy of the music, and the Tarab Cello Ensemble's colorful performance of the final number, A Capella, should inspire other cello ensembles to explore Trueman's work as an excellent addition to their repertory. C.W.
Videos
This video presents an entirely new and remarkable approach to exercise that unites body, mind, and spirit. The video is organized into three segments of 20-minute exercise stints that work out every part of the body. The exercise music, created by Lieberman, features Celtic, old-time, blues, and jazz performed by violin, cello, and bass. The system was created and is taught by Wise, and the three musicians (Lieberman, Martha Colby, and Saadi) are the exercisers on the video, as well as the accompanists. J.F.R.