Abstract

All Strings
Habits of A Successful String Musician: A Comprehensive Curriculum for use during Fundamentals Time. Christopher Selby, Scott Rush, Rich Moon. Gia, Teacher Score $34.95; Student Books $9.95
Most directors wish for more time to address technique, so materials that increase efficiency are welcomed. This well-crafted method allows teachers to incorporate technical aspects of string playing in group or individual settings. This book is designed to help developing string players improve their craft as students, players, and musicians. The instructor book has a purpose statement, how to use it section, thoughts on teaching students to teach themselves, and a copy of the student introduction. There are eight technical sections, along with rich appendices of materials. Major concepts covered are tone/articulation, lower positions, shifting exercises, higher positions, major and minor scales/arpeggios/thirds, chorales, rhythm charts, and sight-reading samples. The teacher manual presents each in score format (no piano score). The student books focus on individual parts and aspects, much like a standard method book. Most selections are unison, except for chorales, tuning exercises, etc. One of many compelling aspects of this method is that all students can practice these in class and at home. Two is the depth and breadth of the work (including some 130 sight-reading examples), focusing on many of the most common elements students will encounter. Three is the collaborative possibilities between varied instrument groups; any combination or number of string players could work together. Four is the clear layout for teachers, with the straightforward structure, easy-to-read scores, and clearly-labeled content and pedagogical purpose of each section. Fifth is the option to choose discrete exercises and routines to customize for specific classes and ability levels. If you need an efficient, straightforward, inexpensive collection to strengthen your teaching and student learning, this is a fine choice to add to the regular routine. C.R.
String Orchestra
America, the Beautiful (Gr. 2.5). Samuel Augustus Ward, Arr. Carmen Dragon, Adapted Douglas E. Wagner. Belwin, 2012, $45
Parts in this grand work are carefully edited with fingerings and bowings appropriate for young orchestra. Cellos and basses play tremolo at the opening Cellos then have two measures of fancy slurs, including string crossings. First violins have the most challenging part, with both C-natural and C-sharp on the A string, first-finger B-natural and B-flat, occasionally slurred to lowered fourth-finger A-flat on D string The A-flat is also slurred to low-third-finger G-flat; seconds also play both fourth-finger D-flat and third-finger C-sharp on the G string, providing opportunities to learn enharmonic intervals. Violas slide from high third-finger C sharp back to C natural and play E flat on the D string Cellos have first- and fourth-finger extensions. One passage in the introduction combines an interesting rhythmic pattern with a somewhat difficult fingering, a good challenge for this level performer. To play this adaptation wall take careful rehearsal, but it would work well for a concert needing patriotic fervor. M.J.Z.
Asobu (Gr. 1/2). Keiko Yamada. Carl Fischer, 2014, $40
Asobu, which means “play,” is for beginning orchestra in “lively” 4/4 G major (no accidentals). Violin 2 and viola double, as do cello and bass. The melody switches between upper and lower strings during the first ten measures. Violins and violas can use fourth finger to avoid string changes. The melody repeats, but the pentatonic tune is very interesting All parts use quarter, eighth, half and whole notes; repeated eighth notes are the same pitch. There are bow lifts, and lower strings play arco and pizzicato. This delightful piece is more interesting with dynamic changes: forte, mezzo forte, mezzo piano, piano, Crescendos and accents. The length, faster tempo, and Asian tonality gives students the illusion of playing “grown-up” music. P.N.
Bonanza (Gr. 2, Opt. Pno, Perc). Jay Livingston & Ray Evans, Arr. Robert Longfield. Hal Leonard, 2010, $40
The TV western “Bonanza” lives in perpetuity via reruns. For many, the bold, galloping theme is instantly recognizable, and its vitality and bravado appeals to succeeding generations. This arrangement retains the theme's two major sections: the first kinetic and driving, the second more expansive. Thematic materials are presented in two slightly varied yet parallel statements (in G and C major, respectively). The work is largely diatonic, with the exception of brief secondary dominant gestures: seconds encounter C-sharp on the G string, violas A-flat on D, and cellos B-flat on A. Throughout, accompaniment lines emphasize terse motivic figures; bow placement and style are the chief pedagogical concerns. Rapid double down-bows, staggered changes, and sporadic accents should further extend right-hand technique. All parts share the melodic line, though basses, with the exception of eight measures, are generally confined to repetitive pizzicato chord tones (I/V). A drum set would make a strong contribution to the overall texture; piano (optional) doubles the strings. Longfield has crafted a straightforward, compelling arrangement of a television classic. M.L.
Brazilian Spice (Gr. 4, Keyboard, Elec. Bass, Drum Set, Congas). Cathy Morris. Fjh, 2013, $60
This fast-paced, fun, and exciting piece transforms your orchestra into a Latin band. The tempo is marked “Aggressive.” In D minor and cut time, it uses the typical batucada rhythm, characterized by repetitive style and fast pace, supplemented by syncopated Samba rhythms and tremolo. The piece features a violin soloist (acoustic or electric) playing a bluesy melody full of traditional, yet challenging, rhythms over a single chord with a busy exciting accompaniment for the ensemble. While tutti strings do not shift, the violin solo is aggressive and technical. Ideally, a featured soloist could be brought in to help the group with style. A Brazilian Samba group would include varied percussion; Morris substitutes non-traditional drum set and congas to create an exciting Samba sound. I.K.
Central Coach Special (Gr. 4, Pno, Perc) Calvin Custer, Hal Leonard, 1979/2013, $45
If you are looking for a great fiddle tune for your advanced players, this barn dance is it! The A-major dance, with a middle section in G, is in ABA form, with introduction and coda. Syncopated rhythms pervade the Moderato opening, settling into the main theme eight measures in. Musicians play many double stops non divisi, with a fingered note and an open string Violins occasionally have glissandos and quadruple-stop pizzicato. Other sections play off-beat pizzicato. The piano functions as a solo instrument in the middle section, followed by separate solos for cello and bass sections. Triangle and cowbell add to the barnyard feel. The lively coda includes glissando, bass snap pizzicato, and a cymbal crash on the last note. G.P.
Chins and Pins(Gr. 1/2, Opt. Pno). Richard Meyer. Highland/Etling, 2013, $42
Once again, Meyer gives beginners a chance to sound amazing in this D-major conversation between the chins (violins/violas) and pins (cellos/basses). Every student gets to play both melody and accompaniment. Students stay focused with frequent changes between arco and pizzicato. With everything students learn in their first year, including lift-sets, eighth notes, and D.S. al fine, this will become indispensible in your repertoire! L.L.
“D” JAM BLUES (Gr. 2.5, pno, opt. perc). Williams Owens. FJH, 2013, $45
This catchy 4/4 introduction to twelve-bar blues wall be one your students can't get enough of! Every section is equally important. Violins start and end with melody, while violas have some solo measures in the middle, with cues in violin parts just in case. Cello and bass play the all-important bass line. All parts have dotted rhythms and eighth-note pickups, playable in first position. A great concert closer that will certainly leave audience and students wanting more! K.H.
Daylight Breaking (Gr. 3). Deborah Baker Monday. Kendor, 2013, $52
Monday's delightful tune evokes memories from her travels across the United States. In D, it includes four eighth-note slurs, dotted quarter-eighth rhythms (slurred and separate), and syncopation. It also uses string crossings, B-flats, E-flats, C-naturals, third position in first violins, and third and fourth position in cellos. Best suited for advanced middle school or as an “easy read” for a high school ensemble. J.A.S.
Forest Incantations (Gr. 4). Alan Lee Silva. Carl Fischer, 2013, $55
This exciting, rhythmic piece is perfect for intermediate high school ensemble. The overall structure is fast-slow-fast. The opening in E minor is characterized by marcato bowings, accents, and a driving sixteenth-note pattern in lower strings. The central slow section features a lovely and lyrical violin solo. The closing portion, with some variation, is reminiscent of the fiery opening. First violins need to play comfortably in fifth position, while seconds only play in third. Lower string parts, while not high, would benefit from more artistic fingerings. Bowing styles include marcato, staccato, and 2 Dynamics range from pp to ff. Each section is featured with both melodies and countermelodies. I.K.
The Fox (Gr. 3, Perc, Pno). Words/Music Tor Hermansen, Mikkel Eriksen, Nicholas Boundy, Baard Ylvisaaker, Vegard Ylvisaaker, & Christian Lochstoer, Arr. Larry Moore. Hal Leonard, 2014, $50
What fun to find the music for “What Does the Fox Say.” Written in D 4/4, divisi parts in first violin create some rhythmic challenge, but other parts are mostly block rhythms. Viola and cello have interesting melodic material. Cellos require position work. There are chromatic alterations in first violin and cello parts. The piano part is independent from the string parts and, for sixteen measures, is really needed. Featuring a cool glissando ending for violins, The Fox would be a fun addition to a pops concert. M.C.
Lightly Latin (Gr. 3, Drum Set, Cowbell). Henry Mancini, Arr. Robert Longfield. Hal Leonard, 2013, $45
Mancini wrote this for the 1950's TV series, “Mr. Lucky,” and performed it often with his combo. Longfield's C-major arrangement is perfect for a night at the pops! A fast cha-cha opens with descending pizzicato eighth notes in violins and accompanying eighths in cello and bass. Seconds and violas then enter with the Latin melody. After the melody repeats, first violins enter with glissandos while violas and cellos continue the melody. Throughout, the Latin beat is passed among different sections of the orchestra, with cowbell and drum set providing a steady background. After a return to the middle section, a rhythmic coda ends with a rousing cha-cha-cha! G.P.
Lyric Pieces (Gr. 2.5, Opt. Pno). Edvard Grieg, Arr. Robert Mccashin. Fjh, 2013, $45
McCashin's excellent arrangement introduces students to Grieg's works, with all voices interesting throughout. The luscious, full melodies of the first (“Song of the Peasant”) and second (“Ballad”) movements are especially beautiful. The third and final movement (“Sailor's Song”) is a lighter, quicker selection, a nice closer to the suite. The first movement is in G, the second in E minor, and the third in C. All parts are playable in first position; vibrato would make the sound more mature and full. Great if you're looking for a slow, lyrical, romantic selection! K.H.
Mammoth (Gr. 1, Opt. Pno). Sean O'Loughlin, Carl Fischer, 2014, $40
This is a powerful, driving piece allowing all instruments to perform interesting melody and countermelody sections. In 4/4, young players are introduced to mild syncopation by juxtaposing some parts playing on the off-beat (2 and 4) while others play boldly on the beat. Bowing articulations, dynamics and dramatic pauses give this piece its power. The accented opening gives a heart-thumping appeal, while one-measure Crescendos from p-f, followed by a measure of silence, give it a heart-stopping flair. This work sounds tougher and bigger than its appropriately labeled grade 1. Each part is doubled by at least one other instrument. Students learn through easy counting, dynamics and bowing articulations, including resetting the bow to play up on beat four to prepare for down bow on one. Both audience and players will feel lifted by the performance of Mammoth. Second-year strings who learned this piece reported, “It makes me feel powerful, it's fun, and it makes my imagination soar and roar!” P.J.
Queen of the Night'S Aria from the Magic Flute (Gr. 3.5). W.A. Mozart, Arr. Bob Lipton. Fjh, 2013, $50
Lip ton's arrangement of Mozart's popular aria offers a lot of teaching material for high schoolers. This advanced work features solo first and second violins and a first violin solo for the dramatic coloratura section. In D minor, it includes eighth-and sixteenth-note triplets, E-flats, rapid sixteenth-note passages, fermatas, and tempo changes. An excellent teaching piece for solos/concerti, opera and Mozart's life. J.A.S.
Pi'S Lullaby (Gr. 3–4, Pno/Celeste, Perc). Mychael Danna & Bombay Jayashri, Arr. Ted Ricketts. Hal Leonard, 2012, $45
From the hit movie, Life of Pi, this beautiful, lyrical, introspective selection begins with a violin and cello solo interchange; a viola solo ends the work. In G, the meter regularly changes from 3/4 to 4/4 throughout. Rhythmic challenges include dotted-quarter notes and eighths tied to quarter and dotted-quarter notes in all parts. First violins and cellos briefly go to third position; other parts are playable in first position. Great if you are looking to program something soft, calm, and slower! K.H.
Selections from Mamma Mia! (Gr. 3.5, Opt. Pno, Drumset). Benny Andersson, Stig Anderson, & Bjorn Ulvaeus, Arr. Michael Hopkins. Alfred, 2013, $58
Absolute wow factor for this dazzling medley of ABBA songs, “Mamma Mia,” “Chiquitita,” and “Money Money.” My eighth-grade jazz orchestra was challenged by the sixteenth-note runs, bouncy accented sections, and frequent string crossings. Hopkins’ edited parts are educationally sound. Third-year players can accomplish the six cello shifts for accidentals and high A-string notes. Seconds, violas, and basses are just slightly less demanding. Strong players on all parts keep the independent syncopated rhythms alive. I suggest adding a jazz pianist and drum set to enhance and drive the orchestra forward to a sensational concert success. T.M.
Salute to Mancini (Gr. 2–3, Opt. Pno, Perc). Henry Mancini, Arr. James Kazik. Hal Leonard, 2013, $50
Give your young middle school orchestra the joy of performing standards with Kazik's accessible compilation of some of Mancini's best-known works! “The Pink Panther” gets your orchestra swingin’ with the short chromatic passages and long tones synonymous with this tune. “Moon River” features first violins on melody; all voices can work on vibrato and balance. “Peter Gunn” gets cellos and basses groovin’ on a driving duple pulse, while upper strings play tremolo, short glissandi, and triplets. Firsts commonly have the melody throughout, with minimal third position which can be easily transposed down an octave. The other voices are fairly vertical, allowing for simultaneous teaching of multiple parts. Everyone wall definitely hum along as you perform this compilation! J.M.
Sicilienne from Pelléas Et Mélisande (Gr. 3.5). Gabriel Fauré, arr. John O'Neill. FJH, 2013, $45
In the original G minor, this arrangement of Fauré's masterpiece is excellent for teaching 6/8. It also features A-flats, most notably in first position on the E string for firsts, great for enharmonies. The relaxed tempo also permits advancing high school students to show off or develop their vibrato. An excellent addition to any program. J.A.S.
Samaurai (Gr. 1, Opt. Pno). Keiko Yamada. Carl Fischer, 2013, $40
Samauri is a statement piece for any beginning string orchestra! In G, it begins with a strong rhythmic fanfare. Violins introduce a legato melody while the rest of the orchestra remains on staccato harmony. This piece gives students a chance to perform accents and staccato while also counting tied notes. Violins use the E string and basses use the A string while each section alternates playing the melody. A nice full sound for your orchestra! L.L.
Shadows across the Moon (Gr. 3). John Caponegro. Kendor, 2013, $52
This is one of Caponegro's series of fine compositions for young orchestras. The title refers to the way different atmospheric conditions affect our view of the moon. Approximately four-and-a-half minutes long, with an attractive modal quality, it is multi-sectional, featuring several meter and tempo changes. All parts are playable in first position, except one passage where violins perform natural harmonics an octave above the open strings. Bowing challenges include staccato and legato, consecutive down bows, and hooked bowings, both up and down. Pizzicato, tremolo, and trills are also featured. The parts and score are clearly printed and supplied with bowings and fingerings—a fine addition to string orchestra repertoire. P.C.
Sprinkles on Top (Gr. 1, Opt. Pno). George T. Frueh. Kendor, 2013, $42
This catchy D-major tune introduces students to swing style. Viola and second violin parts are identical; upper strings play arco throughout, while basses maintain a pizzicato walking bass line. Cellos alternate doubling basses and joining upper strings. All parts use only A, D, and G strings and are playable in first position. The structure is AABA, with a suggested cut if desired. An unusually appealing, yet easy, beginning orchestra selection that will leave your students tapping their feet, singing, and wanting more! K.H.
The Stars and Stripes Forever (Gr. 4). John Phillip Sousa, Arr. Carrie Lane Gruselle. Fjh, 2013, $55
This rousing arrangement of Sousa's classic gets the audience clapping. A faithful arrangement of the original for band, completely accessible for Grade 4 orchestra, it is in cut-time A-major march form. Students learn off-the-string bowing, accidentals, grace notes, off beats, and retaking at the frog. The opening melody is in Violin 1, third position. Violas and cellos have the B-section melody; cellos also play in third position. The D-major trio includes the famous theme in cellos. The piccolo solo of the original is cleverly placed as a solo for any instrument; on the recording, a bass plays the first part, and a violin the second. This crowd-pleaser is a great addition to your library! G.P.
Treasure (Gr. Medium, Opt. Pno, Drum Set). Bruno Mars, Ari Levine, Philip Lawrence, & Phredely Brown, Arr. Larry Moore. Hal Leonard, 2013, $50
Moore's arrangement of this pop hit is true to the original and serves as great entertainment for your advanced ensemble and their audience. Hooked rhythms, sixteenth notes, grace notes, divisi, and a D.S. al Coda offer great learning tools for students. An added drum set helps create the disco feel depicted so well in Mars’ recording. A must for any pops concert! J.A.S.
Waltz (From CoppÉLia). (Gr. 2). Leo Delibes, arr. Robert Longfield. Hal Leonard, 2012, $40
Longfield makes Delibes’ romantic waltz very accessible to its original lilt and flow?. Perhaps under-graded, this C-major arrangement with few sixteenth notes is deceivingly challenging; it should be performed in one, making the many eighth-note passages and off-beat entrances much faster. Bowings switch quickly from legato to spiccato in the melody, with many retakes not indicated in the score. Basses perform only downbeats; care is needed to prevent ponderous and heavy playing. First violins shoulder much of the melodic material, with many string crossings throughout all parts. Young high school or advanced middle school students will benefit technically and musically from this piece. L.K.H.
Wired (Gr. 3). Lauren Bernofsky. Fjh, 2013, $50
Pass out this energetic selection, and students will begin taking their instruments home and practicing on their own. Each section has interesting parts, all in first position. The running sixteenth notes in all sections allow you to teach tension-free bowing motion. The heavy low-string melody requires precise articulations and bow control to produce clarity with good tone quality Careful counting during multi-measure rests will help performers overcome the few awkward entrances. Your students will truly enjoy this piece and not realize all of the technique they learned along the way! D.P.
Yosemite Falls (Gr. 4). Sean O'Loughlin. Carl Fischer, 2012, $55
This rugged and vigorous work is a bold, effective concert opener or closer. The melodic material encompasses a ritornello and two distinct themes, all related in style. Heavy syncopation and disjunct motion dominate, while the second subject is somewhat more expansive and lyrical; pervasive sixteenth-note figures create a highly-charged atmosphere from start to finish. Weighty staccato, displaced accents, and obsessive ostinati add intensity O'Loughlin's harmonic vocabulary relies strongly on quintal sonorities and, in the second theme, flashes of bitonality Sixteenth-note figures in all parts are typically limited to short motivic outbursts. Isolated, syncopated eighth notes in accompanying voices may prove challenging. Pitch content lies squarely in G, though O'Loughlin occasionally exploits the flattened seventh scale degree. First violins shift to third, fifth, and sixth positions; cello and bass extend to fourth and fifth, respectively; inner parts remain entirely in first position. Combinations of slurred staccato, accents, and sixteenth notes require precision and clarity. Dynamics are usually terraced, except short Crescendos heralding new phrases, and an early transitional passage marked by brief, nervous volume surges. Textural thickness and voice independence require strength and parity throughout the orchestra. For a balanced group seeking a strong, spirited selection, this is a terrific choice. M.L.
Violin
2 Nocturnes for Violin and Piano, Op. 9, no. 2, Op. 27, no. 2. Frederic Chopin, arr. Pablo de Sarasate/Birtel/Eichhorn. Schott/Hal Leonard, 2013, $12.99
Sarasate's arrangements of Chopin's Nocturnes are just as lovely and technically demanding as his original compositions. The op. 9, no. 2 provides many opportunities for virtuosic runs and lyrical melodies. The opus 27, no. 2 is longer and more difficult, with passages of challenging double stops. With many opportunities for expressive shifts, string color is kept consistent throughout. This edition has clear and consistent articulations and markings. The fingerings are carefully chosen to reflect the style of Sarasate's time. Appropriate for graduate students or professionals, violinists will appreciate this thoughtful edition. A.C.
24 CAPRICES, Op. 1. Niccolo Paganini, ed. Mario Hossen. Doblinger/Hal Leonard, €18,95
Paganim's Caprices show revolutionary imagination in sonority and musical depth. From the first 1820 edition, they have never ceased to interest generation after generation of violinists. I grew up with Flesch's Peters edition and Galamian's International edition, and it is eye-opening to see Doblinger's new Urtext. Hossen's fantastic editing job follows the manuscript faithfully, comparing the main source with the first published Ricordi editions of 1820 and 1836, preserving the composer's original articulation marking and bowings. This deserves to be the edition by which others are judged. L.H.
Viola
The Abc'S of Viola for the Absolute Beginner (Gr. 1). Janice Tucker Rhoda. Carl Fischer, 2013, $16.99
This beginning method is a valuable resource for a private viola instructor, but also can be used in the beginning orchestra class setting along with the violin and cello books. The exercises begin with open strings, pizzicato, adding the viola hold and bow hold (great accurate pictures), and then notes on each string consecutively—each with a solo featuring that string. The included CD has play along tracks for all the songs as well as pdf piano parts. The book teaches rhythms, bowings, musical terms, C-natural, F-natural. Duets, scales, and one theory worksheet are included. For future editions, additional pdf theory worksheets could be easily added. I include this series in my music library because it contains thirty-four solos (three are full pages) as well as six well-arranged duets. This series can be used for first- and second-year school orchestra students as well as to provide all concert songs and practice tracks for everyone! T.M.
Complete Technique for Violin/Viola, Book 1. Janice Tucker Rhoda. Carl Fischer, 2014, $16.99
Rhoda continues to provide our community with creative, concise, organized material for viola and violin students. These 400 exercises in the first five positions are for “advanced beginner to upper level students.” This collection is a great supplement to other studies, as well as additional stimulus for the motivated learner. There are several “memorize the notes” pages, with space for the students to write notes on the staff. Many helpful hints throughout book alert students to a particular practice goal or method, e.g. “Cross strings smoothly,” “Apply a bite with the index finger at the beginning of each note,” or “Move left elbow over to the right with fingers above the G string.” Another nice feature is a link on Rhoda's website to sample pages from each book (http://www.abcsofstrings.com/completetechnique.html). D.G.
Harp
Canto Xxi (Gr. 5). Samuel Adler, Ed. June Han. Ludwig/Masters, 2013, $5.95
Inspired by the associations of King David with the harp and his affinity for religious chants, Adler has written an original chant for the harp, as part of his Canto series. Following a brief introduction, the chant is introduced and interwoven throughout the work until it returns in measure 89 near the end. Written for Bridget Kibbey and June Han, Adler's intelligent architectural construction and thoughtful lyricism can be heard in this work. It exploits the range and resonance of the harp in dexterous hands that alternate between melismatic figurations and rhythmic intervallic passages centering around various tonal centers. One can hear Han's own poetic interpretation of Adler's work on the Naxos label. A.Y.
The Courage to Play the Next Note: Harp Improv for Beginners. A Comprehensive Lesson Book on the Art of Improvisation for the Harp. Lynda Kuckenbrod. www.therapyharp.com, 2014, $20 with Dvd
Are you afraid to improvise? Worried you will make a mistake? Kuckenbrod has created this wonderful guide so all can start improvising and be successful! The lessons begin with very simple concepts using only a C major chord. You can use the DVD as support for each lesson, to be more confident in what you are learning. You could use this book as a self-study or get together with a friend or a harp circle to give it a try. Highly recommended! D.G.V.
Chamber Music
Corelli Triosonaten, Band 2, Volume 2: Op. 2, Op. 4. (Gr. 4, 2 Vn, Vc, Continuo). Arcangelo Corelli, Ed. Bernhard Moosbauer. Wiener ÜRtext/Theodore Presser, 2013, $43.50
These beautiful trio sonatas are perfectly set as teachable pieces for your advanced students, as well as performance by any trio. They may be played with just the cello as continuo, or with the harpsichord part. Figured bass is included, realized by Jochen Reutter. The violin parts are equals, answering one another often; cello occasionally answers the violins. Notes are fairly simple, but students need to count ties over bar lines and syncopated rhythms. These sonatas are great for working on Baroque style. Several contain dance movements, including Allemanda, Giga, Sarabanda, and Corrente. The highlight of the collection is the Ciaccona, op. 2/12. These variations on a short harmonic progression feature several beautiful moments in the ground bass and sixteenth-note exchanges in the violin parts. The music flows effortlessly, and ends peacefully. This volume is a must for students interested in mastering Baroque performance practice. It also will work very nicely for professionals who are interested in these masterpieces of the Baroque trio literature. G.P.
Variations on a Scottish Air. (Gr. 2.5, 4 Vn, Opt. Va 1–2). Arr. Percy Hall. Ludwig/Masters, 2013, $9.95
This slightly challenging arrangement sets the beautiful and well-known “Auld Lang Syne.” Parts can be assigned in a variety of ways to fill instrumentation needs. The diverse variations include a waltz, march, dirge, and jig. Key signatures change frequently and include G and D major, and D minor. The first violinist shifts to third position. Students encounter cut time, 6/8, several tempo changes, and a few short sixteenth-note runs. Teachers and performers will enjoy this enchanting arrangement. A.C.
Vorspiel Zu Tristan Und Isolde (2 Vn, 2 Va, 2 Vc). Richard Wagner, Arr. Sebastian Gürtler. Edition Walhall, Franz Biersack, 2013, €19,80
This new addition to our rather small string sextet repertoire caught my eye—chamber music lovers, here is your sole chance to experience Wagner's massive orchestration reduced for only six people. As Gidon Kremer wrote in his foreword, “Gürtler has done the impossible: with great love and finesse, he has transformed music that every musician and music lover has in their ear into a splendid ‘feast of sound.”’ The arranger writes in the preface, “An adaption or arrangement is always a creative process;” this edition offers performers a shorter alternative ending. I cannot wait to add this masterful arrangement to our warhorses: Brahms’ Op. 18 and Op. 36; Schoenberg's Verklärte Nacht; and Tchaikovsky's Souvenir de Fhrence. L.H.
Books
Eine Kleine Nachtmusik, Kv525. Wolfgang Amadeus Mozart, Introduction Wolfgang Rehm. BäRenreiter, 2013, €179
One critical edition has a stroke at the end of measure 5, another has a dot—what did Mozart actually write? When such questions arise, a facsimile edition is an ideal source. Eine Kleine Nachtmusik is so justly famous a piece that it is now receiving its second facsimile edition: the first, also by Bärenreiter, is from 1955. Why redo such a good thing? For several reasons! Since the 1955 edition is no longer in print, a new edition makes this resource available again. Also, the new edition improves on the quality of the facsimile: while the 1955 edition was like a photocopy, this new edition reproduces not only the color but even the rough, weathered edges of the pages (the facsimile is hand-trimmed). This brings an uncanny and inspirational sense of closeness to Mozart. Finally, we now get a separate, revised, expanded bilingual scholarly discussion (English and German). This essay updates the history of the manuscript, findings on the occasion of the piece's composition, discussion of the missing Minuet (included in the list of movements in Mozart's personal catalog of compositions, but not included in the manuscript, which is missing page 3), and a reproduction of a discarded earlier draft for the slow movement, K525a. All is housed in a beautiful cloth-covered box. This aesthetic and scholarly gem is a necessary purchase for every well-appointed academic library. A.K.
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