These have the same scale-based parts for the upper voice as "Weights and Measures" for solo recorder, but the articulations and dynamics here are more suited to strings.
The second voice in the first (above) version is a dedicated violin part, which could also be played on the viola (as a violin and viola duet, or as a recorder--or flute and violin or viola duet), and the version for two violas is set a fifth lower, with both parts in the alto clef. The second voice in the two-viola version can be paired with the solo alto recorder version of the original. Everything can be mixed and matched.
Single-page (for tablet use) and duplex (for double-sided printing) PDFs are available on this page of the IMSLP.
September 26, 2020
This is an antiphonal piece that follows the rhythms found in the text of Madeline, a children’s book written in 1939 by Ludwig Bemelmans. The words that correspond to the musical phrases can be found in the book, which can be found in many libraries and bookstores.
During this time of social distancing, musicians have been looking for ways to play together by way of video communication. Truly synchronous two-way communication is not yet possible, so this piece explores the horizontal musical communication that is operative in antiphonal music.
I have found that the piece works better on a direct communication platform like FaceTime than it does on a conference-based platform like Zoom.
I have made modular settings so that this piece can be played by two violins, two clarinets, violin and clarinet, two violas, viola and guitar, oboe and guitar, flute and guitar, violin and guitar, violin and viola, viola and cello, oboe and viola, flute and viola, bassoon and cello, bassoon and viola, two cellos, and two bassoons.
I wrote this piece so that musicians can have the pleasure of communicating with one another in real time, which is a necessity in times of social isolation. In the time that follows the Covid-19 pandemic (whenever that may be), this piece could be performed in a way that injects freedom in the sections marked “allow for random cacophony.”.
November 22 UPDATE: Here is a video of a Zoom performance of the version for violin and viola played by musicians in Michigan and Texas.
Here's a performance by clarinetist Jade Garcia and violinist Emily Rumney
The Schoen Duo has made three videos: one with the music alone, one with the music and pages from the book, and one with the addition of the spoken text! This link will get you to all three.
This piece, commissioned by Robin Kearton, is available on this page of the IMSLP. You can also listen to Robin and me play a rollicking game of leap frog here.
Here is a performance by the Slapin-Solomon Duo (followed by "New Year's Greeting):
Many people know this traditional Thanksgiving Hymn as "Come, Ye Thankful People, Come," but you might not know that its original name was "St. George's, Windsor." It was written by Sir George Job Elvey (1816-1893) who was the organist there. The Hymn works very well as a duet for violin and viola.
You can click on the images for a larger view, and a PDF is available on this page of the IMSLP. Here's a note about the piece from the Psalter Hymnal Handbook
George J. Elvey (PHH 48) composed ST. GEORGE'S WINDSOR as a setting for James Montgomery's text "Hark! The Song of Jubilee," with which it was published in Edward H. Thorne's Selection of Psalm and Hymn Tunes (1858). The tune has been associated with Alford's text since publication of the hymn in the 1861 edition of Hymns Ancient and Modern. ST. GEORGE'S WINDSOR is named after the chapel in Windsor, England, where Elvey was organist for forty-seven years.
This serviceable Victorian tune is held together by the rhythmic motive of the opening phrase. Sing the opening stanzas in parts, but sing the prayer of stanza 4 in unison. Use of the descant by C. S. Lang (PHH 253) with stanza 4 may suggest a foretaste of heaven's glory.
Here are some settings of that other Thanksgiving favorite, "We Gather Together" that can be played by any combination of instruments. The melody comes from the 16th-century popular song "Hey wilder dan wild" (wilder than wild), and this setting from 1626 by Adrianus Valerius is called "Wilt heden nu treden".
UPDATE for 2020: I have made versions of "Come, Ye Thankful People Come" for string orchestra, bassoon quintet, and trombone quartet with bass trombone that you can access through this link.
I have made a large number of string quartet arrangements of popular and once-popular songs over the years, and I have now made PDF files of them available (for free) to anyone who would like them. Please send me an message (see below), and I will invite you join to the dropbox folder where they reside.
import.ab218fc6@statcounter.com
