Four Novelletten, Op. 52, No. 3 in A minor Cover Image

Four Novelletten, Op. 52, No. 3 in A minor: Conductor Score

$10.00 USD

Four Novelletten, Op. 52, No. 3 in A minor: Conductor Score

Name: Four Novelletten, Op. 52, No. 3 in A minor: Conductor Score
Brand: Alfred Music
SKU: 36-A726001
Price: 10.00 USD
Availability: InStock

By Samuel Coleridge-Taylor

Item: 36-A726001

$10.00

Shipped

One moment…

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. 3 in A minor features a solo violin, revealing an emotional virtuosity and speaking to the composer's love for his instrument. 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.

Four Novelletten, Op. 52, No. 3 in A minor: Conductor Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

Request This Title

Tell us you want it.

Start Your Free Trial

Explore everything that's ready to play right now.

No sample pages found.

No sample audio found.

No sample videos found.

Series: Kalmus Orchestra Library

Publisher: Keiser Productions, Inc.

ISBN10: 1-63-887360-7

ISBN13: 978-1-63-887360-0

UPC: 660355142338

SKU: 36-A726001

Instrumentation: tambourine, triangle, str

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) was a British conductor and composer whose career bridged Victorian and Edwardian concert life. Though he died at just 37, he left behind a substantial catalog of orchestral and choral works that earned him respect from both audiences and fellow musicians. His gift for memorable melody and skillful orchestration made him a fixture on the concert programs he conducted, and he championed his own works with the conviction of a composer who truly believed in them.

Coleridge-Taylor's output included symphonies, overtures, and numerous shorter orchestral pieces, many written for practical performance rather than posterity. The Four Novelletten exemplifies his approach: a set of intimate, well-crafted movements that showcase the string orchestra's expressive range without requiring vast forces. His repeated programming of these pieces throughout his conducting career speaks to their genuine appeal in the rehearsal room and concert hall.

Show moreShow less

Why we love this

This movement stands out for its unabashed solo violin writing in an otherwise ensemble-centered suite, giving the concertmaster real responsibility and presence. The optional percussion parts add textural variety without complicating logistics, and the overall romanticism feels genuine rather than derivative. For programs seeking substantial but accessible string repertoire, this delivers musical weight in compact form.

What to expect

A moment of intimate confession framed by the warmth of full strings. The solo violin's emotional virtuosity sits at the work's emotional center, expressing something vulnerable and searching. Coleridge-Taylor's orchestration colors these feelings in soft, sympathetic hues without ever overwhelming the soloist's voice.

Who it's for

String orchestras with a skilled concertmaster and the maturity to balance solo writing against ensemble texture. This works equally well in school string programs, community orchestras, and semi-professional ensembles seeking substantial Romantic repertoire.

How to get the most out of it

Balance the solo violin's emotional narrative against the string section by rehearsing the accompaniment as true support rather than competing voices. The solo's virtuosity matters only if the orchestra knows when to recede.
Attend to the optional percussion carefully during rehearsal even if you ultimately use them. Their presence subtly shifts the work's color and pacing, so decide early rather than improvising at dress rehearsal.
Shape the phrase endings with deliberation. Coleridge-Taylor's phrasing wants space to breathe, and rushing between sections flattens the work's romantic character.

How to use it

Pair this with other Romantic string works to build a thematic concert, or present it as a contrast piece between more dramatic selections. Its compact length makes it ideal as a concert opener that establishes the ensemble's lyrical capabilities before tackling larger works. The optional percussion parts also make it flexible for concert settings where you want subtle atmospheric enhancement.