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

Four Novelletten, Op. 52, No. 3 in A minor: String Orchestra Conductor Score & Parts

$45.00 USD
$45.00 USD
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Four Novelletten, Op. 52, No. 3 in A minor Cover Image
Four Novelletten, Op. 52, No. 3 in A minor: String Orchestra Conductor Score & Parts

Four Novelletten, Op. 52, No. 3 in A minor: String Orchestra Conductor Score & Parts

By Samuel Coleridge-Taylor

Item: 36-A726090
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Four Novelletten, Op. 52, No. 3 in A minor: Conductor Score

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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. 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.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 735816156138
SKU: 36-A726090
Instrumentation: String Orchestra, Ensemble Works

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) was a British composer whose gift for orchestration and command of the Romantic idiom secured his place among the most performed composers of his generation. Though his reputation dimmed considerably after his early death, his works for strings demonstrate remarkable sophistication in texture and emotional depth, and his influence on British music education remains significant. He composed extensively for amateur and student orchestras, understanding the needs of music-making communities while never compromising artistic standards.

Coleridge-Taylor's facility with string writing stemmed partly from his own violin skills and his close observation of how players at all levels responded to well-crafted parts. His programmatic sense, evident in works like the Hiawatha trilogy and the Three Caractacus Dances, infused his instrumental music with narrative tension and lyrical generosity. String orchestras of every size found his music both accessible and rewarding to perform.

Why we love this

This movement stands out for its emotional directness and the confident way Coleridge-Taylor places a solo violin at the heart of the texture, creating natural virtuosity without requiring prodigious technique. The optional percussion parts add orchestral color without demanding a separate section, making it genuinely flexible for schools with varying instrumentation. Programming this piece signals your orchestra's maturity: it's substantial enough to demand serious preparation, yet accessible enough that the ensemble can perform it with genuine musicianship rather than struggling with technical obstacles.

What to expect

A reverie tinged with melancholy, where a solo voice reflects quietly over shimmering, sympathetic accompaniment. The A minor tonality deepens the introspective mood, while Coleridge-Taylor's orchestration creates an almost chamber-like intimacy despite the full string section, leaving space for genuine emotional vulnerability to emerge.

Who it's for

Advanced high school orchestras and college-level ensembles seeking a Romantic-era masterwork that showcases a strong concertmaster or principal violinist. Directors programming early 20th-century British music or seeking pieces that demonstrate sophisticated string writing without extreme technical demands will find this movement both practical and artistically rewarding.

How to get the most out of it

  • Shape the violin solo line as you would a song; the emotional weight rests entirely on the soloist's ability to sustain phrasing through changes in harmony and texture beneath.
  • Balance the accompaniment voices so that pizzicato lower strings and sustained harmony parts never muddy the soloist's line, even when the dynamic indication suggests equality.
  • If using optional percussion, rehearse them carefully with the first violin part to ensure tambourine and triangle accents highlight rather than obscure the principal melodic moments.
  • Bring out the subtle coloristic shifts Coleridge-Taylor creates through divisi writing; these small textural changes carry expressive weight and prevent the movement from feeling static.

How to use it

Pair this with other Romantic miniatures or as a lyrical centerpiece in a program built around string repertoire from Dvořák or Tchaikovsky. It works beautifully in a thematic concert exploring the orchestra's romantic side, or as an encore-length work that provides contrast to more virtuosic or dramatic pieces on the same concert.

Skills your students will build

  • Sustaining lyrical phrasing across longer melodic lines with multiple harmonic shifts
  • Balancing a prominent solo voice against responsive but unobtrusive accompaniment textures
  • Adjusting intonation and tone to support a concertmaster's solo work
  • Interpreting rubato and expressive timing as an ensemble in response to a soloist's musical choices
  • Reading divisi string parts that create specific orchestral colors

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