String Orchestra Repertoire Listening Log

1. Leroy Anderson – Plink, Plank, Plunk

This piece was completed a long time ago, 1951, and was written by Leroy
Anderson. Leroy Anderson, despite writing many works for various other ensembles
such as Sleigh Ride, Buglers Holiday, and Clarinet Candy, was primarily a bass player. He
described playing a string instrument as an excellent experience, commenting that it
gives you valuable technological knowledge of the most important part of the orchestra.
Anderson was fascinated using Pizzicato in orchestra, and designed a piece based
around it. While this piece is primarily comedic, it showcases just how versatile a string
instrument can be.

Onto the piece itself, we are immediately hit with a very catchy melody that the
upper strings are playing. All of this while the bassline is laying down a simple
arpeggiating bass line to accompany the melody. It’s so fascinating just how different
the sound of a string instrument can be just by plucking the strings. Adding to the
comedic purpose of the piece, there are random accented notes that happen during the
melody that surprises the audience. While the melody of this piece repeats itself many
times, there are a few instances where we hear other noises besides Pizzicato. The first
is a whistle-like sound that looks like it is created by running your finger very fast down
the side of the body of your instrument. Next bassists have moments where it is almost
like they slam the body of their instrument to create a banging like sound. These noises
just add to the randomness and comedic aspect of the piece

My thoughts on this piece can be summed up by looking at the performers. They

are really into it and are enjoying it so much! It looks like a fun piece to play especially
when you are very skilled and it isn’t that difficult. Overall, this piece was most likely
made to please the crowd and make them laugh; and I believe Leroy Anderson did a
great job of executing that.

2. Jean Sibelius – Andante Festivo

Andante Festivo was written in 1938 and premiered with Sibelius conducting
1939. This piece was originally scored as a string quartet piece, but was then later
composed as a full orchestra piece. The history of this piece is quite interesting. It was
written mainly because of how much Sibelius listened to the radio in the 1930s. He
wanted to compose a piece for the radio to accommodate the distortions created by the
loudspeakers of this time. Another interesting fact is that this piece was Sibelius’s last
performance as a conductor, and it was played at his funeral.

Talking about the piece itself, it is very lyrical and beautiful. It’s obvious this
piece was composed for the purpose of being gorgeous and to commemorate a
composer such as Sibelius. Aspects that make this piece so lyrical are the musical
 elements that shape this piece. Firstly, the vibrato in this piece is immaculate. It creates
such a comforting sense of warmth and adds to the gorgeousness of this piece. Upper
string vibrato is much easier than lower string vibrato, so giving the melody to the upper
strings most of the piece was a great writing idea. Another aspect that makes this piece
so beautiful are the dynamics being played. There is such a vast array of dynamic
contrast that is created by the long bow strokes, and it shapes the piece greatly. As the
camera zooms in on the performers, we can notice how great their performance skills
are. One great example is bow holds, especially the bow holds in the Cellos.

This piece, in my opinion, is very gorgeous and welcoming. It just speaks the
name “beautiful strings” and really shows off how amazing these string instruments can
sound. After reading the history of the piece, it’s very interesting to see how this piece
ended up on the radio in the 1930s and, with a great choice, was picked to play at the
composer’s funeral.

3. Vivaldi- La Fiola, Apollo’s Fire

The main name for this piece is Apollo’s Fire. Of course, this piece was named
after the classical Greek god of music and the sun, Apollo. While it was originally
composed by Vivaldi, it was then founded and arranged by Jeannette Sorrell. The Folia
was an ancient Spanish/Portuguese dance which traditionally got faster and wilder
toward the end. The girls who danced it were called “mad”, hence the name Folia
(which translates to madness or folly.)

Perhaps the thing that catches most people off guard when watching and
listening to this piece is the harpsichord part. If you understand the history of it,
however, it won’t be as confusing. Since this is based off a piece by Vivaldi, a baroque
composer, a harpsichord part is very normal. Vivaldi also primarily focuses on writing
violin parts and concertos. In this piece, we hear a lot more technicality in the lower
strings than we normally do in a modern piece. This could be because of the baroque
arrangement being done. This is a longer piece, and the piece switches a lot between
moods. There are times where it’s very technical and the bows strokes are short, while
other times the bow strokes are long and very lyrical. When looking at the ensemble
itself, there is a lot of communication going on. Communication such as eye-contact and
body movements help the ensemble stay and move together as one.

When I think of this piece, I think of the pieces I hear in music history. The
structure and form of this piece as well as the instrumentation really gives it that
baroque sound and feeling. This video is a great demonstration of how to communicate
efficiently with an ensemble.

4. Jenkins- Soweto Suite for Strings

 Soweto Suite for Strings was premiered on August 19th, 2012, in Soweto; a town
in South Africa. Since this was composed for South Africa, every player in this ensemble
is African American. This Suite was made as a dedication to Buskaid, a group of people
whose mission is to give people in South Africa the benefit of playing and teaching string
instruments to South Africans. This piece was also dedicated to Rosemary Nalden, the
founder of Buskaid.

Going onto the performance itself, we can see just how lengthy it is. The piece is
divided up into four different movements: Better is Peace, Virgo virginum, Benedictus,
and Paradisi Gloria. Each movement has its own unique style and aspects to it. Before
we get into the music, it’s important to note the percussion instruments in this piece.
They help add a very African feel to the piece that accompanies the orchestra. The first
movement is very joyous and full of life. It’s a great way to open up a four-movement
piece that is trying to represent South African music. The second movement is the slow
and beautiful movement, the third movement is a waltz kind of style movement, and
then the fourth is a very lush and finale type movement. Something interesting is how
most of the performers are standing up while playing. It helps them enter the musical
mood as well as helps them stay together.

My opinion on this entire piece is like how I feel about a lot of other four-
movement works. I’m a huge fan of the second and third movements because of their
contrasting styles. It’s interesting how this piece was composed to utilize every single
string group. Every single instrument that was being played in the ensemble had a great
moment and feature to themselves at least once.

5. Barber- Adagio for Strings

This piece was originally the second movement of a much larger piece called
String Quartet, Op. 11, which was composed in 1936. Barber, the composer, sent this
movement from the piece to another conductor named Arturo Toscanini. The conductor
sent it back to Barber without notes because he memorized the piece already and was
going to perform it in the Rockefeller center. This piece was also inspired by a poem
written by Virgil, called Georgics.

This is another lyrical and gorgeous piece played by a full orchestra. While the
piece is very slow, the vibrato that is being played throughout the orchestra is very
relevant in the music. The main melody is in the upper strings, and their melodies
typically end off with a long held out note. The lower strings the entire piece is playing
low and long-drawn-out notes. One big aspect of this piece are the dynamics that are
being played. They are super obvious and the swells the orchestra plays are nothing
short of amazing. The climax of the piece was a huge upper voice chord that sounded
dissonant.
 My first reaction to this piece was just how lush and gorgeous it was. The
orchestra that performed this in the recording on YouTube did a spectacular job of
selling it. They overexaggerated their dynamics, had matching bow lengths, and overall
had great intonation. The concert was also outside in what looked like a beautiful
architecture landmark, which helped create an amazing atmosphere for both the
listeners and the performers.

6. Elgar- Introduction and Allegro

This piece was written in 1905 by Sir Edward Elgar, and performed that same
year by the London Symphony Orchestra. Though it started as a mediocre piece, this
piece became a masterpiece very quickly among the general audience and by
composers in general. This is a multi-layered symphonic poem for string orchestra which
features several different themes within it. This piece was written as a dedication to
Samuel Sanford, who helped Elgar get his honorary doctorate at Yale University in 1905.

The piece itself has a ton of different layers to it. This opening section is very
fanfare like and gives a good introductory statement to the piece. Following this section
is an expressive and romantic section that features long bow strokes and great dynamic
contrast. These two sections can be seen as the introduction part of the piece. We then
move into the allegro section which begins with a theme that is built around an eighth
note motif. A lot of interesting and very technical musical elements go on during this
section; a big one being a hemiola figure restatement of the introductory fanfare. There
is also a fugue that happens near the middle of the piece.

In my opinion, this is one of the most sophisticated pieces I’ve ever heard an
orchestra play. It has a lot of different musical elements in it and the way the orchestra
contrasted those elements made for a great performance. Another comment I have is
about the video. It’s a great video that pays close attention to the individual performers
and we can see just how great they are at the instrument up close. Their bow holds,
instrument carriage, and musical intent makes each performer such a staple part of the
ensemble.

7. Sculthorpe- Little Suite for String Orchestra

Little Suite for String Orchestra Was written by Peter Sculthorpe in 1983. The first
ever performance of this piece was the Australian Chamber Orchestra at the Opera
House in Sydney, Australia. Not much is known about this piece, or it was written just
for a fun idea. I looked everywhere for program notes and found nothing that relates to
this piece.

When we listen to the piece, it can somewhat make sense of why there really are
not any program notes. Firstly, this piece is split into 3 different movements, hence the
name “Little Suite”. The first movement of this piece is called Sea Chant. It’s a very lush
 and exciting yet slow movement that is great for an introductory movement. While
there isn’t a video for this movement, we can tell the bow strokes are long yet quick for
each drawn out note. This movement overall makes the listener feel like they are
looking at the ocean. The second movement is the slower movement, and it is entitled
Little Serenade. This one is the beautiful lullaby style that most multi-movement works
need. The last movement, as the title says, is a waltz style movement.

8. Holst- St. Paul’s Suite

Arguably the most known composer on this log, Gustav Holst is an English
composer and arranger, known mainly for his suites such as First Suite in E flat, Second
Suite in F, and The Planet’s Suite. St. Paul’s Suite was originally named simple Suite in C
but was eventually changed. This piece was written in 1913 but was not published until
1922 due to revisions that had to be made. This suite was one of the many pieces that
he wrote for the school’s students. The reason why he wrote this piece for this school
was because they let him borrow their soundproof studio.

Onto the piece itself, it’s lengthy consisting of 4 different movements within it.
To start, the first movement Jig is as the title implies, it’s a jig. It’s a very light and quick
first movement, as well as alternating between 6/8 time and 9/8 time. After this, a
contrasting theme is introduced, and then it goes back to the original jig. Movement two
is entitled Ostinato, and it opens with an ostinato in the lower violin part. The main
melody of this section is introduced but the upper solo violin. After this movement, the
third movement is entitled Intermezzo. This is a slower movement, with the main theme
being introduced by pizzicato chords. There is also a beautiful violin and viola duet. The
final melody is then played by a quartet. The last movement is called Finale (The
Dargason), which is an arrangement from his popular “Fantasia on the Dargason” from
Second Suite in F. This last movement also contains melodies from “Greensleeves” being
played on the Cellos.

I absolutely loved listening to this piece. Holst is one of my favorite composers

and I think he has some of the best composing done by anyone in history. Second Suite
in F was personally a piece I played my senior year of high school and hearing the last
movement of this piece gave me a lot of nostalgia. The melodies Holst introduced in this
piece were just as catchy and creative as the ones he put in his other pieces he
composed.

9. Britten- Simple Symphony

This next piece was written by Benjamin Britten from December 1933-1934.
Britten used bits and pieces of compositions he did when he was a teenager to use them
as an inspiration for composing this piece. The piece was performed in 1934 at Stuart
Hall in Norwich, which is a district in Norfolk, England. This piece was dedicated to
 Audrey Alston, who was Britten’s viola teacher during his childhood. Each movement
has 2 themes which Britten wrote in his childhood.

Like many symphonies, this piece is a multi-movement work consisting of 4

movements. One thing about the titles of the movements is every title is a mini
alliteration; meaning each word starts with the same letter. Starting with the first
movement, Boisterous Bourrée, there is a strong introductory statement with technical
rhythms trading off the upper and lower strings. After that, it leads into a beautiful slow
section switching off between lyrical and technical. The next movement is called Playful
Pizzicato, and it’s just as the title implies. The movement is fully pizzicato playing and is
very light and playful. The next movement is entitled Sentimental Saraband, and it is the
very beautiful and slow movement of the piece. There is a lot of vibrato as well as
dynamic shaping that goes on within it. The last movement is called Frolicsome Finale.
This is a very quick and exciting way to end off the entire symphony. There is a lot of
technical playing and fast bows going with as well as louder dynamic levels.

There is a lot to take away from this piece. Like a lot of symphonies, it has a lot of
contrasting styles that go along with the theme of the piece. This piece focuses on the
childhood of the composer, because of that I think that’s how the names of the
movements got their names. For example, Playful Pizzicato can be read in a humorous
way, and I think the composer is trying to portray his childhood, which was very fun, in
the melodies and titles of this piece.

10. Hovhaness- Psalm and Fugue

Lastly, Psalm and Fugue was composed by Alas Hovhaness in 1940. Hovhaness
was an American-Armenian composer who was primarily a 20 th-century composer. This
piece is in the style of a 20th-century piece. Psalm and Fugue primarily focuses on the
divisi parts in the violin, viola, and cello parts. Perhaps the greatest challenge for the
performers is when it gets very powerful, and they must sustain the energy in the
passage.

This piece overall stays at around a moderate tempo. The opening begins with
the entire orchestra playing a gorgeous tune, with the violin part getting the main
melody. The parts where this piece does speed up it doesn’t get too technical, but it
does get more rhythm. The psalm is introduced in the beginning of this piece mainly,
but then occurs more throughout the piece as it progresses. The Fugue is introduced
around the middle of the piece and the subject of the Fugue is first introduced in the
lower violin part. The fugue then adds more and more instruments until it gets broad
and grows to the end of the piece.

I’ve personally always liked fugues, and the way the author implemented it into
the piece was very cool. One thing I liked was the two contrasting styles while still
keeping it into one big piece. The recording that was linked looked like they were
around high school level, and they played a pretty good version of the piece. I was
impressed by their vibrato and musicianship throughout the piece.