Four Novelletten, Op. 52, No. 2 in C Major Cover Image

Four Novelletten, Op. 52, No. 2 in C Major: Conductor Score

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Four Novelletten, Op. 52, No. 2 in C Major Cover Image
Four Novelletten, Op. 52, No. 2 in C Major: Conductor Score

Four Novelletten, Op. 52, No. 2 in C Major: Conductor Score

By Samuel Coleridge-Taylor

Item: 36-A725901
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Four Novelletten, Op. 52, No. 2 in C Major: String Orchestra Conductor Score & Parts

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Description
Samuel Coleridge-Taylor's (1875-1912) FOUR NOVELLETTEN, Op. 52, is a brilliantly crafted set of four short movements for string orchestra, with optional tambourine and triangle. Its title possibly inspired by Robert Schumann's set of piano miniatures, NOVELLETTEN, Op. 21, Coleridge-Taylor wrote his 1903 work for strings, infusing romantic sentimentality with a coloristic exploration of the modern string orchestra. Despite his publisher's early lack of success with the work, it must certainly have been one of the composer's favorite works as he programmed the set repeatedly on concerts he conducted throughout his career. No. 2 in C Major contrasts two dance-like sections; one duple and one triple. Instrumentation in set: Perc(1 opt. player: Tambourine.Triangle): Str (8-8-5-5-5 in set). Each of the four movements from the suite are available separately from the publisher.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887359-3
ISBN13: 978-1-63-887359-4
UPC: 660355155772
SKU: 36-A725901
Instrumentation: tambourine, triangle, str

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) stands as one of the most performed British composers of the early twentieth century, yet his reputation has dimmed considerably since his death. A student of Charles Villiers Stanford at the Royal College of Music, he developed a gift for accessible, tuneful writing that appealed to amateur and professional musicians alike. His orchestral works, chamber music, and choral pieces circulated widely throughout Britain and America during his lifetime, and he conducted his own compositions frequently.

Coleridge-Taylor's harmonic language sits comfortably in the Romantic tradition, drawing on the richness of late nineteenth-century string writing while maintaining clarity and forward momentum. He was particularly skilled at orchestration for strings, understanding how to balance color with structural coherence. The Four Novelletten exemplify his approach: modest in scope, generous in melody, and crafted with genuine care for the capabilities of the ensemble performing them.

Why we love this

This movement offers the rare combination of genuine musical substance and practical manageability. Coleridge-Taylor avoids both the brittle minimalism of some short pieces and the bloat of overextended ideas; instead, he gives you two contrasting sections that actually develop their material and create satisfying musical narrative. The optional percussion adds textural interest without complicating logistics, and the piece sits beautifully under student hands while rewarding careful attention to phrasing and balance.

What to expect

A graceful musical sketch that moves between gentle, swaying lyricism and a lighter, rhythmically energetic section. The piece has the quality of a well-written waltz or dance that never overstays its welcome; it speaks clearly without demanding virtuosity from the ensemble or the listener.

Who it's for

Intermediate to advanced high school orchestras and capable college-level community ensembles. This is also an excellent choice for chamber orchestras or string orchestra programs looking for concert filler that reads as substantive rather than throwaway.

How to get the most out of it

  • Shape the opening melody with gentle forward motion; resist the urge to linger on downbeats, which flattens the dance-like character.
  • Balance the duple and triple sections not by changing tempo dramatically, but by adjusting the character of the accompaniment figures so each section feels rhythmically distinct.
  • If using percussion, resist over-prominence; the tambourine and triangle should color rather than lead.
  • Bring out inner voices in the string parts during transitions between sections; Coleridge-Taylor's orchestration rewards attention to the viola and cello harmonic foundation.

How to use it

Pair this with other string-focused works from the early twentieth century, or program it as a palate-cleanser between weightier pieces. The moderate length and transparent orchestration make it ideal for mixed repertoire concerts where you want to showcase the orchestra's flexibility. It also works well in educational contexts as a model of economical harmonic language and clear formal design.

Skills your students will build

  • Balancing melody and accompaniment across multiple string sections
  • Transition between contrasting metric and rhythmic characters (duple vs. triple feel)
  • Ensemble coordination in rubato-inflected Romantic phrasing
  • Awareness of orchestral color and voice independence in string writing
  • Reading and executing optional percussion parts while maintaining ensemble cohesion

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