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

Four Novelletten, Op. 52, No. 4 in D Major: String Orchestra, Ensemble Works, Oversized Score

$30.00 USD
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Four Novelletten, Op. 52, No. 4 in D Major Cover Image
Four Novelletten, Op. 52, No. 4 in D Major: String Orchestra, Ensemble Works, Oversized Score

Four Novelletten, Op. 52, No. 4 in D Major: String Orchestra, Ensemble Works, Oversized Score

By Samuel Coleridge-Taylor

Item: 36-A726101OS
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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. 11x14 oversized score.

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Additional Details
Series: Kalmus Oversized Score Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852458-4
ISBN13: 979-8-88-852458-9
UPC: 676737741594
SKU: 36-A726101OS
Instrumentation: Perc(1 opt. player: Tambourine.Triangle): Str (8-8-5-5-5 in set)

More about this title

About the Composer: Samuel Coleridge-Taylor

Samuel Coleridge-Taylor (1875, 1912) was a British composer who achieved remarkable prominence during his lifetime, conducting orchestras throughout Europe and America while maintaining an active compositional practice. Though he died at just 37, he left behind a substantial catalogue that bridged Victorian romanticism and emerging modernist approaches to orchestration, earning him recognition as one of the most performed British composers of his era.

Coleridge-Taylor's gift for accessible yet sophisticated writing made him a natural voice for educational and amateur ensembles. He understood the string orchestra as an instrument capable of both intimate lyricism and colorful orchestral effects, a sensibility evident throughout his chamber and orchestral works.

Why we love this

Coleridge-Taylor treats the string orchestra with genuine sophistication here, moving beyond predictable passagework to explore texture and balance in ways that feel modern even today. The optional percussion adds another layer without demanding it, so you can program flexibly depending on what works for your ensemble. No. 4 functions equally well as a concert opener or finale, giving you genuine programming versatility.

What to expect

Nostalgic yet refined, like walking through a formal garden at dusk. The D major brightness carries a gentle melancholy, with the optional percussion adding occasional shimmer without overwhelming the intimate dialogue between string sections. There's a graciousness to the orchestration that feels distinctly Edwardian, neither oversentimental nor cold.

Who it's for

This works for advanced high school orchestras and college string ensembles seeking substantial repertoire that doesn't demand soloists or unusual instrumentation. Directors looking for concert-ready material that showcases both ensemble maturity and romantic sensibility will find this genuinely rewarding.

How to get the most out of it

  • Balance the principal voices carefully across the violin sections. Coleridge-Taylor layers melodic material throughout the ensemble rather than concentrating it in the firsts alone.
  • Take advantage of the optional percussion parts to add shimmer and definition to key harmonic moments; they're written to enhance rather than dominate.
  • Shape the D major tonality with brightness in your tone without sacrificing the romantic warmth that gives this movement its character.
  • Allow rubato in the cantabile passages, especially transitions between sections. The 1903 date places this squarely in a tradition where string orchestras led with expression.

How to use it

Open a concert with this if you want to establish elegance and control immediately. Alternatively, pair it with other chamber-scale orchestral works from the early 20th century to build a program exploring how composers reimagined the string orchestra during that period. It also sits naturally on a concert focused on British orchestral music.

Skills your students will build

  • Balancing multiple melodic lines across the ensemble
  • Sustaining tone quality through longer lyrical passages
  • Responding to expressive rubato within a structured harmonic framework
  • Executing clean harmonic transitions and modulations
  • Coordinating with optional percussion parts while maintaining string independence

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