String Orchestra Music
Identifieur interne : 000170 ( Istex/Corpus ); précédent : 000169; suivant : 000171String Orchestra Music
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- Music Educators Journal [ 0027-4321 ] ; 1937-10.
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DOI: 10.2307/3385190
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ISTEX:E7A92AE11B46EF1B84A6B6E6B7196D4BD25DCCFBLe document en format XML
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H. McKay</json:string><json:string>J. Isaac</json:string><json:string>Ernest Toch</json:string><json:string>Edgar Schenkman</json:string><json:string>G. Schirmer</json:string><json:string>Oscar Rasbach</json:string><json:string>Henry Purcell</json:string><json:string>J. Fischer</json:string><json:string>Forrest L. Buchtel</json:string><json:string>Jean-Baptiste Lully</json:string><json:string>Albert Schirmer</json:string><json:string>Son Priedemann</json:string><json:string>A. Walter</json:string><json:string>Jacques Wolfe</json:string><json:string>Alfred Pochon</json:string><json:string>William B. Coburn</json:string><json:string>Robert Schumann</json:string><json:string>Fabien Sevitzky</json:string><json:string>Peter Buys</json:string><json:string>C. Fischer</json:string><json:string>Paul White</json:string><json:string>Guy Maier</json:string><json:string>Faith EternaL</json:string><json:string>Arthur Wallace</json:string><json:string>N. Tcherepnine</json:string><json:string>Sebastian Bach</json:string><json:string>Louis Hintze</json:string><json:string>German Song</json:string><json:string>Werner Janssen</json:string><json:string>Wesley G. Sontag</json:string><json:string>G. Selected</json:string><json:string>Albert Stoessel</json:string><json:string>Ada Kindergarten</json:string><json:string>G. Iasilli</json:string><json:string>Carl Bohm</json:string></persName><placeName></placeName><ref_url></ref_url><ref_bibl></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-JZK67C8F-C</json:string></ark><publicationDate>1937</publicationDate><copyrightDate>1937</copyrightDate><doi><json:string>10.2307/3385190</json:string></doi><id>E7A92AE11B46EF1B84A6B6E6B7196D4BD25DCCFB</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/M70-JZK67C8F-C/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/M70-JZK67C8F-C/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/M70-JZK67C8F-C/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">String Orchestra Music</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1937</date></publicationStmt><notesStmt><note type="review-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">String Orchestra Music</title><idno type="istex">E7A92AE11B46EF1B84A6B6E6B7196D4BD25DCCFB</idno><idno type="ark">ark:/67375/M70-JZK67C8F-C</idno><idno type="DOI">10.2307/3385190</idno><idno type="article-id">10.2307_3385190</idno></analytic><monogr><title level="j">Music Educators Journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1937-10"></date><biblScope unit="volume">24</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="58">58</biblScope><biblScope unit="page" to="58">58</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1937</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1937-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/M70-JZK67C8F-C/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3385190</article-id><article-id pub-id-type="publisher-id">10.2307_3385190</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>String Orchestra Music</article-title></title-group><pub-date pub-type="ppub"><month>10</month><year>1937</year></pub-date><volume>24</volume><issue>2</issue><fpage>58</fpage><lpage>58</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>October/November 1937</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> The Language of the Baton. By Adolf Schmid. [G. Schirmer, Inc., New York, 1937, pp. vii + 123, $ 3.00.] A thorough elementary treatise on the techniques of conducting, presented in a brief, concise manner. A short chapter on the history of the baton and a longer discussion of the methods of conducting cadenzas and recitatives this distinguish book from works of like nature. Thirteen illustrations of conducting movements enhance the value of the book for the young conductor. Most valuable, however, are the more than one hundred excerpts from standard composidetions, each of which is thoroughly scribed from the conductor’ s viewpoint. One feature of the book which deserves particular mention and which is unique in books of this type is the presentation of beat diagrams for each measure or larger unit of many of the excerpts. For all the excerpts, the author has a beat diagram for those presented measures or units which he considers difficult to conduct. This particularly method of analysis should prove most valuable to anyone beginning the art of conducting. the book is primarily a Although treatise on orchestral conducting, there are many fundamental disprinciples cussed which are general enough to be useful to all conductors. The musical excerpts are very well chosen and represent a wide range of the literature. An attractive and durable binding, together with large print and professional layout, makes this volume a valuable asset to elementary classes in conducting. The author announces in the conclusion the contents of a second volume which should prove even more inthan the present volume.teresting Archie N. Jones. The Band on Parade. By Raymond Dvorak. (C. Fischer, $ 2.00, cloth cov Drill masters and drum majors er). will welcome this addition to the scant information now available on how to band. develop and train the marching Every department of this phase of band work is treated carefully and thoroughly in this book. Chapter one on musical performance emphasizes a phase of band work which is many times neglected in the march The idea that everybody seesing units. and that few people hear is doomed to if band leaders pass out of existence, follow the advice given in this chapter. An extremely high standard of musical is held up which should performance call attention not only to the formation being made on the field but to the musical background as well. The paragraph on “ Sousa style,” although not entirely new, brings home again the opand making portunity of standardizing more musical renditions of the favorite works of the “ March King.” Chapter two gives the author’ s plan for placing the various instruments the ranks of the band. throughout There are suggested line-ups for several standard-sized bands. In each of these groups a careful balance of instruments is outlined which brings out the importance of balance in the march Time was when school bandsing unit. with a tuba, bass drum, and solo cornet player could toot and beat and nothing was said about it. But now, careful work on the part of some band leaders makes it much more difficult for this type of band to get by. The cuts the various showing and instruments players at the carry, play, and rest positions are very good and can be used to help the appearance of most bands, if adopted throughout the band uniformly. The section the color guard treating should clarify the proper use of this section. It would be a good assignment for every drum major to have to read the on the drum major and the chapter drum before appearing again in public. A careful following of the suggestions given here would place marching bands and their leaders on a much higher level in the eyes of most people. The paragraph directed to drummers contains much food for thought. In chapter five on band maneuvers, there are charts and cuts for developing greater precision and care in the exe All the cution of marching movements. necessary signals used by the drum major for both marching and playing are treated in detail in this section. “ Planning Special Maneuvers” and the following chapter carry valuable suggestions for those seeking new ideas for a football parade. Mr. Dvorak’ s wealth of practical experience makes the advice concerning entry to the field, flag maneuvers without signals, and raising, many other allied subjects especially valuable. The charts and explanations are all detailed and very clear. Anyone new at this phase of band work will find herein many models to follow. Philip Burman’ s chapter on twirling the baton is another valuable contribution. The various twirls are carefully explained and charted so that a beginner could learn twirling by careful read On the concludinging and practice. pages is found a fine list of appropriate music for “ the band on parade.”-Ralph E. Rush. The Scholes Music ankdbook. By edited Percy for American Scholes, readers by Will Earhart. (M. Witmark & Sons, New York, $ 1.50). This is a small reference 100-page book giving the meaning and pronunciation of the technical words commonly found in concert programs and program notes. Unlike most books of the kind, subjects are into grouped rather chapters than treated from a strictly alphabetical for instance, words dealing standpoint; with such technical matters as scales, and chords are grouped in intervals, Chapter I, words dealing with forms and styles in Chapter IV, etc. This gives the author the great advantage of discussion within a given progressive chapter, at the saving of much space and at the gain of much clarity. A general index of terms at the beginning of the book gives the reader quick access to whatever type of information he may desire. For the concertgoer, the radio listener and the not-very-far-advanced student, the book is an admirable one. Advanced students will quickly become conscious of the omission of many terms, an omission due to the limitations of the field the author chose to cover. Of course these very omissions make the book the more useful to the readers for whom it was primarily intended. Nowhere better than in this book does Dr. Scholes exhibit his uncanny skill for saying things neatly and in a way which is easily understood by the person devoid of technical background. -Paul J. Weaver. “ I INSTTBujaN-X-AL i ‘ raODS The Aeolian String Ensemble Method, Book 2. By George Dasch and Aileen Bennett. (Fitz Simons, conductor’ s score, $ 1.00, other books for strings, 60 cents.) For group or individual instruction of students in intermediate stages of advancement. The book contains diversified program materials, much of which is drawn from the works of the masters. Interspersing the work are projects or drills, devised for the mastery of technical difficulties to be encountered in each succeeding composition. The 48-page conductor’ s score includes a piano part, and it shows the various parts to be complete with bowing and rehearsal markings. Daily Lip Drills for Trombone, Euphonunm, and Tuba. By Elmer Ronka. A 35-page (C. Fischer, price $ 1.25.) method containing a chart of the seven positions; a series of exercises for legato and staccato the major playing; and minor scales, and studies in chromatic intervals and arpeggios. Attention is given to the matter of double and triple tonguing. For advanced students, or at least those having had some elementary work. Method for Piano Accor Elementary dion. L. H. Mc Question. (Leo Feist, price 50 cents.) Beginning at the very this method introduces beginning, the student to the staff and to note and rest values. A diagram of the keyboard, together with fingering illustrations, is given, after which there are exercises and scales with an intersprinkling of folk song material arranged for the accordion. BAND muu Sli Overture to “ Benvenuto Cellini.” By Berlioz, arranged by Franz Henning. No. 101, Edwin Franko Goldman Repertory. (G. Schirmer, conductor’ s threeline score and set of parts complete, $ 3.50.) Difficult. Waltzes from “ Die Pledermaus.” By Strauss, arranged by Franz Henning. (G. Schirmer, three-line score and parts complete, $ 2.50.) No. 96 Edwin Franko Goldman Repertory. Medium in difficulty. March to the Scaffold from “ Symphonie Fantastique.” By Berlioz, transcribed by Erik W. G. Leidz6n. (C. Fischer, standard $ 3.50; concert $ 5.00; symphonic three $ 6.50, all including line conductor’ s score.) Performing time, 5 minutes. Difficult. Classicana Band Polio, Volume I. Edited and arranged by J. S. Zamecnik. (Fox, conductor’ s score $ 2.00, each part 50 cents.) Contains ten numbers selected from the works of Grieg, Schumann, Massenet, etc.; Tschaikowsky, suitably arranged for players of medium advancement. America Band Swings Book. Arranged by Paul Yoder. (Feist, conductor’ s condensed score, 60 cents; parts each, 35 cents.) Among the tunes contained in this book are: “ Runnin‘ Wild;” “ Darktown Strutters’ Ball;” “ Schnitzelbank,” etc.-sixteen in all. Over There Pantasie. Arranged by Ferde Grof6, scored for band by Erik W. G. Leidzen. The Fantasie (Feist.) includes several tunes of the World War era. The number is medium, tending in spots to be difficult. The Maid of Asturia Overture. By Benedetto Secchi, arranged by G. Iasilli. (C. Fischer, standard $ 3.50; concert $ 5.00; symphonic $ 6.50, with three-line conductor’ s score.) Difficult. Also from Carl Fischer comes (1) Victoria, triumphal march, by Eugenio de Teixeira, arranged by Charles J. Roberts. Prices of standard, concert, and symphonic instrumentation are $ 3.00, $ 4.50, $ 5.75. Four-line score. Perform- Twelve Modulatory Studies for the S a m u e l Lifschey. Viola. By (G. Schirmer, price 75 cents.) Based on the nineteenth of the Viola Caprices, Op. 22, by B. Campagnoli, the studies in this 25-page volume are arranged in a series of modulations which take the student through all the keys. Varied bowings and changes in rhythmic figuration are indicated to ensure technical facility. This is by no means a book for but is rather one for stubeginners, dents of some advancement. Etudes Pifteen and Scales for the Oboe. By Bruno Labate. (C. Fischer, price $ 1.00.) For advanced students, the book contains fifteen etudes for the development of precision and accuracy in tone production; the last few pages of the book are devoted to scale and arpeggio work. Page 56 Music Educators Journal Medium.ing time, 4-3/4 minutes. (2) A Barnyard Competition, humorous Standard sketch, by R. B. Hayward. instrumentation $ 2.50. It has words for those who care to sing, and it has sound effects for those who have talent for of our giving dramatic representations friends: the rooster, barnyard cow, horse, duck, dog, donkey, and of course the cuckoo. Its classification may be either easy or difficult, depending upon the talent available! The Wanderer’ s Call Overture. By Gus Guentzel. three-line (Barnhouse, score and parts, $ 5.00.) Performing time 81/2 minutes. Medium. Faith EternaL By Peter Buys. (Barnhouse, two-line score and parts, $ 4.00.) The number is a fantasy based on the tune “ The Old Rugged Cross.” Performance time, 8 minutes. Medium. from L’ Arl6sienne Suite“ Farandole, No. 2. By Bizet, arranged by G. Iasilli. standard (C. Fischer, $ 3.50; concert $ 5.00; symphonic $ 6.50, all including four-line score.) Performing time, 3-2/3 minutes. Medium. 07Wn 14x% A. jaubxC Gingham Books, No. IV. By Maia (G. Schirmer, $ 1.00 complete, Bang. extra parts 20 cents.) for Arranged four violins and piano, this book contains eleven selections from folk song and classic literature in easy arrangements for students in intermediate The book instages of advancement. cludes full score, with fingering and bowing marks. Ten Polk Songs and Dances. By Wesley G. Sontag. (G. Schirmer, $ 1.00, extra parts 10 cents.) Arranged for four violins with piano accompaniment, cello part optional. Full score and parts give fingering and bowing marks. Easy. Liszt Pantasle. Arranged by William B. Coburn. For four violins, (Belwin.) and C, or viola ad libitum, solo, A, B, with piano accompaniment. Based on themes from “ Les Preludes” and “ Liebestraum,” No. 3. Difficult. Pantasie. Rimsky-Korsakow Arranged Coburn. For by William (Belwin.) four violins, piano accompaniment, viola ad libitum. Based on “ Dance of the Buffoons,” “ Hymn to the Sun,” “ Song of India,” etc. Difficult. Fantasie. (Belwin.) For Tschaikowsky four violins, piano accompaniment, viola ad libitum. Based on themes from symphonies No. 5 and 6, “ Waltz of the Flowers,” “ None but the Lonely Heart.” Difficult. Other Belwin releases for the same are: (1) Strauss string instrumentation based on familiar Viennese Fantasie, waltz themes. in difficulty. Medium based on famed (2) Spain Fantasie, Difficult. Spanish melodies. Wind Instruments for Horn Suite Quartet. By N. Tcherepnine, arranged by Isador Philipp. score and parts complete (Associated, Contains six very interesting $ 1.25.) and worth-while numbers as follows: (2) The Hunt; (1) Nocturne Prelude; (3‘) Old German Song; (4) Choral Dance; (5) Popular Russian Song; (6) Choral -diversified in content and requiring different styles of playing. Medium to difficult. Suite for Four Horns. By F. H. Mc Kay. (Barnhouse, $ 2.00 complete, score and parts). The Suite contains four short and rather easy numbers. Other Barnhouse ensembles include: (1) Scherzo for Wood-Wind Quintet. By Gus Guentzel. Four-page score and parts complete, $ 1.25. Medium. (2) Three of a Kind, trio for cornets or trombones. By Forrest L. Buchtel. Three-page piano conductor score and parts complete, $ 1.00. Rather easy. (3) Interlude, brass quartet. By F. H. Mc Kay. Two-page score and parts complete, $ 1.00. Medium. STRI.NG Ot Ru K-’ f-xjA mS ub In modo d’ un Marcia. From the Quintet for Piano and Strings, Op. 44, by Robert Schumann, transcribed by A. Walter Kramer. (G. Schirmer, score and parts $ 2.50, extra parts 30 cents.) Difficult. Oscar Rasbach, Song without Words. arranged by Louis Hintze. (G. Schirmer, score and parts $ 1.25, extra parts 20 A short and melodious number, cents.) comparatively easy. Polk Song Album. By Alfred Pochon. (C. Fischer, string quartet, including bass part ad libitum, but no full score, $ 2.00; extra parts 40 cents.) Suitable for string as well as for orchestra, Contains 14 folk songs string quartet. of various nations. Medium in difficulty. Sinfonietta. By Paul White. (Elkanscore $ 1.00, parts 30 Vogel, 27-page The three movements cents.) are (1) Allegro; (2) Andante; (3) Allegro. There are scale passages, and arpeggiations, double stops in the course of each movement which will require the abilities of advanced players for effective It is rather an elaborate performance. composition. Come Now, Thou Saviour. By Johann Sebastian Bach, transcribed by Edgar Schenkman. score and parts (Galaxy, $ 1.25; score 75 cents; parts 15 cents.) Six-page score with piano ad libitum. Difficult. PIANO MATERIAL Twenty Pieces from Bach’ s Book for Son Priedemann. Selected and His edited by Guy Maier. (J. Fischer, 75 The selections chosen for incents.) clusion in this 37-page book are several Preludes from the Well-Tempered Clavichord and other fascinating pieces which the Clavier Book arranged comprised by Bach for his son, many of them quite unknown until now. None of the Little Preludes and Fugues or the Two- and Three-Part inventions are included. The first pages of the book are devoted to Bach’ s of embellishments explanation and their application, with his own original fingering. Oreat Songs Made Simple. By Arthur Wallace Hepner and Jacques Wolfe. (G. Selected from the works of Schirmer.) from the thiroutstanding composers teenth century to the nineteenth incluthe book contains sive, twenty-five musical with historical pieces and the pieces are biographical narratives; in easy arrangements suitable for young pianists or for adult beginners. Beginning with a song from Adam de la Hale’ s “ Robin and Marion,” known as the first comic opera, the pieces comprise the of some of the early Italian songs writers, those of Purcell, Gluck, Bach, Handel, Haydn, Mozart, Beethoven, Brahms, Tschaikowsky, Franck, Grieg, etc. The authors recommend the volume as an aid in “ combining music history, music appreciation, and practical at the piano keyboard” in application class or individual instruction. Class Book. By Ada Kindergarten Richter. The book is (Presser, $ 1.00.) subtitled “ A Piano Approach for Little Tots.” It is intended for the very young beginner from four to six years of age. The author uses “ Goldilocks and the Three Bears” as the foundation story. The story is told in words, music, and in pictures. The pictures accompanying each of the 29 lessons may be colored words are by the children. Although given with the music for the purpose of telling the story, the author stresses the fact that this is not a singing method. It is a very simple method, however, the pieces being written in the key of C throughout and no piece progressing beyond the five-finger position. The last ten pages of the 72-page book Symphonie Bl6giaque. By Tschaikowby Erno Rapee. (C. sky, arranged 1st and 2nd movements, Sets Fischer; A, B, C, each, $ 8.50, $ 11.00, $ 13.25 re3rd movement, Sets A, B, C, spectively; to the $ 4.50, $ 5.75, $ 7.00.) Belonging Fischer American Orchestra Edition, each movement is scored for full orchestra and each is published separ The work in its original form ately. was for violin, cello, and piano and was known as Trio in A Minor, Op. 50. The three movements are titled (1) “ Pezzo Elegiaco;” (2) “ Tema con Vaand (3) ” Variazione Finale e riazioni;“ Coda.” Although the prices given above include scores are scores, separate obtainable for each of three movements: one and $ 3.50 for movements three. Diffitwo, $ 2.00 for movement cult. Poster Suite. By Werner Janssen. (Birchard, score $ 5.00.) Scored for small orchestra, the 43-page score shows the work to be based on five of the most popular of Foster melodies. The work with “ Jeanie with the Light begins Brown Hair” and closes with “ Oh, Susannah.” Difficult. The Giant Based on the Fugue. Choral Prelude “ We All Believe in One God” by Bach. Transcribed for symphony orchestra by Fabien Sevitzky. Difficult. (Birchard.) Pinocchio. By Ernest Toch. (Associated, Sets A, B, C, including score, $ 5.75, $ 8.75, $ 10.25.) Based on the legendary figure in Italian folk lore of that name, Pinocchio is an overture, requiring 7 minutes for performance. Score, priced $ 2.50; extra strings, separately 25 cents. Difficult. Perpetual Motion. By Carl Bohm, arranged by Merle J. Isaac. (Fitz Simons, FO $ 1.50, SO $ 1.00, piano-conductor 30 Of mecents, extra parts 20 cents.) dium difficulty. airn XR Km: sU 81< Stringed Instruments Suite from the Opera “ Armide et Renaud.” By Jean-Baptiste Lully, selected and edited by Albert Stoessel. (G. Schirmer, score and parts $ 2.50, piano ad libitum, extra parts 25 cents.) Contains (1) Overture; (2) Entr6e; (3) Men Rondeau. Not difficult. uet; (4) Air; (5) This and the following two numbers are part of the Juilliard Intermediate Series. Suite from the Opera “ Dido and Aeneas.” selected By Henry Purcell and edited Stoessel. (G. by Albert score and parts $ 3.50, piano Schirmer, ad libitum, extra parts 35 cents.) Contains (1) Overture; (2) The Triumphing With Dance; (3) Chorus: Drooping (4) The Witches’ Wings; Dance; (5) Sailors’ Hornpipe. Not difficult. Toccata and Bergm-stsci-. By Frescoand edited by Albert baldi, selected Stoessel. (G. Schirmer, score and parts $ 2.50, organ ad libitum, extra parts 25 Not difficult. cents.) for String Quartet. ‘ slllaie By AlA fred Pochon. (C. Fischer, $ 1.00.) in melodious composition, three-page Some double stopping, maincharacter. ly in second violin and viola parts; some two against three note groupings, requiring the abilities of advanced players for effective performance. Mountain Sunset. By Earl Mc Coy. For violin quar(C. Fischer, 75 cents.) tet or string ensemble with piano acand bass viola, companiment, cello, Ballad type. Medium. parts ad libitum. Page 58 Music Educators Journal Medium.ing time, 4-3/4 minutes. (2) A Barnyard Competition, humorous R. B. Hayward. Standard sketch, by instrumentation $ 2.50. It has words for those who care to sing, and it has sound effects for those who have talent for of our giving dramatic representations friends: the rooster, barnyard cow, horse, duck, dog, donkey, and of course the cuckoo. Its classification may be either easy or difficult, depending upon the talent available! The Wanderer’ s Call Overture. By Gus Guentzel. three-line (Barnhouse, score and parts, $ 5.00.) Performing time 81/2 minutes. Medium. Faith EternaL By Peter Buys. (Barnhouse, two-line score and parts, $ 4.00.) The number is a fantasy based on the tune “ The Old Rugged Cross.” Performance time, 8 minutes. Medium. from L’ Arl6sienne Suite“ Farandole, No. 2. By Bizet, arranged by G. Iasilli. standard (C. Fischer, $ 3.50; concert $ 5.00; symphonic $ 6.50, all including four-line score.) Performing time, 3-2/3 minutes. Medium. 07Wn 14x% A. jaubxC Gingham Books, No. IV. By Maia (G. Schirmer, $ 1.00 complete, Bang. extra parts 20 cents.) for Arranged four violins and piano, this book contains eleven selections from folk song and classic literature in easy arrangements for students in intermediate The book instages of advancement. cludes full score, with fingering and bowing marks. Ten Polk Songs and Dances. By Wesley G. Sontag. (G. Schirmer, $ 1.00, extra parts 10 cents.) for Arranged four violins with piano accompaniment, cello part optional. Full score and parts give fingering and bowing marks. Easy. Liszt Pantasle. Arranged by William B. Coburn. For four violins, (Belwin.) solo, A, B, and C, or viola ad libitum, with piano accompaniment. Based on themes from “ Les Preludes” and “ Liebestraum,” No. 3. Difficult. Pantasie. Rimsky-Korsakow Arranged Coburn. For by William (Belwin.) four violins, piano accompaniment, viola ad libitum. Based on “ Dance of the Buffoons,” “ Hymn to the Sun,” “ Song of India,” etc. Difficult. Fantasie. (Belwin.) For Tschaikowsky four violins, piano accompaniment, viola ad libitum. Based on themes from symphonies No. 5 and 6, “ Waltz of the Flowers,” “ None but the Lonely Heart.” Difficult. Other Belwin releases for the same are: (1) Strauss string instrumentation based on familiar Viennese Fantasie, waltz themes. in difficulty. Medium based on famed (2) Spain Fantasie, Difficult. Spanish melodies. Wind Instruments for Horn Suite Quartet. By N. Tcherepnine, arranged by Isador Philipp. score and parts complete (Associated, Contains six very interesting $ 1.25.) and worth-while numbers as follows: (2) The Hunt; (1) Nocturne Prelude; (3‘) Old German Song; (4) Choral Dance; (5) Popular Russian Song; (6) Choral -diversified in content and requiring different styles of playing. Medium to difficult. Suite for Four Horns. By F. H. Mc Kay. (Barnhouse, $ 2.00 complete, score and parts). The Suite contains four short and rather easy numbers. Other Barnhouse ensembles include: (1) Scherzo for Wood-Wind Quintet. By Gus Guentzel. Four-page score and parts complete, $ 1.25. Medium. (2) Three of a Kind, trio for cornets or trombones. By Forrest L. Buchtel. Three-page piano conductor score and parts complete, $ 1.00. Rather easy. (3) Interlude, brass quartet. By F. H. Mc Kay. Two-page score and parts complete, $ 1.00. Medium. STRI.NG Ot Ru K-’ f-xjA mS ub In modo d’ un Marcia. From the Quintet for Piano and Strings, Op. 44, by Robert Schumann, transcribed by A. Walter Kramer. (G. Schirmer, score and parts $ 2.50, extra parts 30 cents.) Difficult. Oscar Rasbach, Song without Words. arranged by Louis Hintze. (G. Schirmer, score and parts $ 1.25, extra parts 20 A short and melodious number, cents.) comparatively easy. Polk Song Album. By Alfred Pochon. (C. Fischer, string quartet, including bass part ad libitum, but no full score, $ 2.00; extra parts 40 cents.) Suitable for string as well as for orchestra, Contains 14 folk songs string quartet. of various nations. Medium in difficulty. Sinfonietta. By Paul White. (Elkanscore $ 1.00, parts 30 Vogel, 27-page The three movements cents.) are (1) Allegro; (2) Andante; (3) Allegro. There are scale passages, and arpeggiations, double stops in the course of each movement which will require the abilities of advanced players for effective It is rather an elaborate performance. composition. Come Now, Thou Saviour. By Johann Sebastian Bach, transcribed by Edgar Schenkman. score and parts (Galaxy, $ 1.25; score 75 cents; parts 15 cents.) Six-page score with piano ad libitum. Difficult. PIANO MATERIAL Twenty Pieces from Bach’ s Book for Son Priedemann. Selected and His edited by Guy Maier. (J. Fischer, 75 The selections chosen for incents.) clusion in this 37-page book are several Preludes from the Well-Tempered Clavichord and other fascinating pieces which the Clavier Book arranged comprised by Bach for his son, many of them quite unknown until now. None of the Little Preludes and Fugues or the Two- and Three-Part inventions are included. The first pages of the book are devoted to Bach’ s of embellishments explanation and their application, with his own original fingering. Oreat Songs Made Simple. By Arthur Wallace Hepner and Jacques Wolfe. (G. Selected from the works of Schirmer.) from the thiroutstanding composers teenth century to the nineteenth incluthe book contains sive, twenty-five musical with historical pieces and the pieces are biographical narratives; in easy arrangements suitable for young pianists or for adult beginners. Beginning with a song from Adam de la Hale’ s “ Robin and Marion,” known as the first comic opera, the pieces comprise the of some of the early Italian songs writers, those of Purcell, Gluck, Bach, Handel, Haydn, Mozart, Beethoven, Brahms, Tschaikowsky, Franck, Grieg, etc. The authors recommend the volume as an aid in “ combining music history, music appreciation, and practical at the piano keyboard” in application class or individual instruction. Class Book. By Ada Kindergarten Richter. The book is (Presser, $ 1.00.) subtitled “ A Piano Approach for Little Tots.” It is intended for the very young beginner from four to six years of age. The author uses “ Goldilocks and the Three Bears” as the foundation story. The story is told in words, music, and in pictures. The pictures accompanying each of the 29 lessons may be colored words are by the children. Although given with the music for the purpose of telling the story, the author stresses the fact that this is not a singing method. It is a very simple method, however, the pieces being written in the key of C throughout and no piece progressing beyond the five-finger position. The last ten pages of the 72-page book Symphonie Bl6giaque. By Tschaikowby Erno Rapee. (C. sky, arranged 1st and 2nd movements, Sets Fischer; each, $ 8.50, $ 11.00, $ 13.25 reA, B, C, 3rd movement, Sets A, B, C, spectively; to the $ 4.50, $ 5.75, $ 7.00.) Belonging Fischer American Orchestra Edition, each movement is scored for full orchestra and each is published separ The work in its original form ately. was for violin, cello, and piano and was known as Trio in A Minor, Op. 50. The three movements are titled (1) “ Pezzo Elegiaco;” (2) “ Tema con Variazioni;” and (3) “ Variazione Finale e Coda.” Although the prices given above include scores are scores, separate obtainable for each of three movements: one and $ 3.50 for movements three. Diffitwo, $ 2.00 for movement cult. Poster Suite. By Werner Janssen. (Birchard, score $ 5.00.) Scored for small orchestra, the 43-page score shows the work to be based on five of the most popular of Foster melodies. The work with “ Jeanie with the Light begins Brown Hair” and closes with “ Oh, Susannah.” Difficult. The Giant Based on the Fugue. Choral Prelude “ We All Believe in One God” by Bach. Transcribed for symphony orchestra by Fabien Sevitzky. Difficult. (Birchard.) Pinocchio. By Ernest Toch. (Associated, Sets A, B, C, including score, $ 5.75, $ 8.75, $ 10.25.) Based on the legendary figure in Italian folk lore of that name, Pinocchio is an overture, requiring 7 minutes for performance. Score, priced $ 2.50; extra strings, separately 25 cents. Difficult. Perpetual Motion. By Carl Bohm, arranged by Merle J. Isaac. (Fitz Simons, FO $ 1.50, SO $ 1.00, piano-conductor 30 Of mecents, extra parts 20 cents.) dium difficulty. airn XR Km: sU 81< Stringed Instruments Suite from the Opera “ Armide et Renaud.” By Jean-Baptiste Lully, selected and edited by Albert Stoessel. (G. Schirmer, score and parts $ 2.50, piano ad libitum, extra parts 25 cents.) Contains (1) Overture; (2) Entr6e; (3) Menuet; (4) Air; (5) Rondeau. Not difficult. This and the following two numbers are part of the Juilliard Intermediate Series. Suite from the Opera “ Dido and Aeneas.” selected By Henry Purcell and edited Stoessel. (G. by Albert Schirmer, score and parts $ 3.50, piano ad libitum, extra parts 35 cents.) Contains (1) Overture; (2) The Triumphing With Dance; (3) Chorus: Drooping (4) The Witches’ Wings; Dance; (5) Sailors’ Hornpipe. Not difficult. Toccata and Bergm-stsci-. By Frescoand edited by Albert baldi, selected Stoessel. score and parts (G. Schirmer, $ 2.50, organ ad libitum, extra parts 25 Not difficult. cents.) for String Quartet. ‘ slllaie By AlA fred Pochon. (C. Fischer, $ 1.00.) in melodious composition, three-page Some double stopping, maincharacter. ly in second violin and viola parts; some two against three note groupings, requiring the abilities of advanced players for effective performance. Mountain Sunset. By Earl Mc Coy. For violin quar(C. Fischer, 75 cents.) tet or string ensemble with piano acand bass viola, companiment, cello, Ballad type. Medium. parts ad libitum. Page 58 Music Educators Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>String Orchestra Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>String Orchestra Music</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1937-10</dateIssued><copyrightDate encoding="w3cdtf">1937</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1937</date><detail type="volume"><caption>vol.</caption><number>24</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>58</start><end>58</end></extent></part></relatedItem><identifier type="istex">E7A92AE11B46EF1B84A6B6E6B7196D4BD25DCCFB</identifier><identifier type="ark">ark:/67375/M70-JZK67C8F-C</identifier><identifier type="DOI">10.2307/3385190</identifier><identifier type="ArticleID">10.2307_3385190</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-JZK67C8F-C/record.json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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