Four Novelletten, Op. 52, No. 4 in D Major Cover Image

Four Novelletten, Op. 52, No. 4 in D Major: Conductor Score

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Four Novelletten, Op. 52, No. 4 in D Major Cover Image
Four Novelletten, Op. 52, No. 4 in D Major: Conductor Score

Four Novelletten, Op. 52, No. 4 in D Major: Conductor Score

By Samuel Coleridge-Taylor

Item: 36-A726101
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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. 4 in D Major , though intended as the finale of the set, works equally well as a concert opener. 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: 1-63-887361-5
ISBN13: 978-1-63-887361-7
UPC: 660355130021
SKU: 36-A726101
Instrumentation: tambourine, triangle, str

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875-1912) was a British composer whose prolific career spanned the late Romantic era. Born in London to a mixed-race family during a period of significant racial prejudice, he achieved remarkable recognition as a conductor and composer, studying at the Royal College of Music and later teaching there. His concert programming decisions reveal his deep investment in his own works; Coleridge-Taylor repeatedly conducted the Four Novelletten throughout his career, a testament to his confidence in the piece's artistic merit.

Coleridge-Taylor's compositional voice blended romantic lyricism with sophisticated orchestration. Though he is often remembered for his large choral works, including the trilogy Hiawatha, his instrumental music demonstrates equal craftsmanship and imagination, particularly in his sensitive writing for strings. His death at age 37 cut short a career of genuine influence on British musical life.

Why we love this

Coleridge-Taylor's orchestration for strings is genuinely painterly; each movement opens a different window onto romantic sentiment without ever lapsing into sentimentality. The fourth movement works brilliantly as an opener precisely because it combines structural clarity with enough harmonic sophistication to engage listeners immediately. This is a work that feels fresh every time you rehearse it.

What to expect

Lyrical warmth meets rhythmic vitality. The piece unfolds with the grace of a well-told story, moving between moments of intimate elegance and spirited forward momentum. D major radiates a natural brightness that Coleridge-Taylor exploits through shimmering figurations and carefully orchestrated counterpoint.

Who it's for

String orchestra directors looking for a concert opener that sounds ambitious without overwhelming younger ensembles will find this movement immediately gratifying. High school and collegiate string orchestras with at least two years of ensemble experience can navigate the romantic idiom and orchestral balance it demands.

How to get the most out of it

  • Balance the optional percussion carefully. The tambourine and triangle should color rather than dominate; think of them as strategic accents rather than constant accompaniment.
  • Shape the D major tonality through gradual dynamic growth in sections marked con moto. Let the key's brightness emerge through careful attention to phrase contour rather than sudden dynamic shifts.
  • The string writing spans a wide dynamic range. Ensure your violas and cellos can sing during moments when they carry inner voices; this is not background accompaniment music.
  • Lock the rhythm section (cello and bass) as a unit, particularly in passages with syncopated accompaniment figures. Their precision will free the violins to breathe more expressively.

How to use it

Open a concert with this movement to establish an accessible, engaging tone that puts audiences at ease while demonstrating your ensemble's technical control. It pairs naturally with other Romantic-era string repertoire or serves as a graceful anchor between contemporary and classical works. Consider programming it alongside the other movements from the set if your ensemble wants to explore a complete multi-movement work.

Skills your students will build

  • Balance and blend in multi-textured string writing
  • Phrasing across romantic harmonic progressions
  • Coordinating optional percussion with string ensemble
  • Reading and executing dynamic contrasts across multiple parts simultaneously
  • Sustaining lyrical tone at moderate tempi

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