Character Suites Volume 4

This red Volume 4 is a fiery one, full of energy — lively, rhythmically interesting melodies, some of which have been choreographed in different ways by teenage string ensembles in both Ireland and Sweden, and which somehow always stay fresh and exciting. The technical level is a little mixed in this volume: while Showtime and Berlin Bear are accessible for junior orchestras, the other movements call for a more intermediate to advanced playing level to really do them justice.

Suite of the Fair explores different attractions in an amusement park. Young players often enjoy sharing their own amusement park memories here, and after playing through the movements, discussing what each piece might be about. Show Time has often been used as an opener for both orchestra and chamber music concerts. Tired Pony is a melancholy piece, painting the image of an old circus pony — walking the same tiny circle with small kids on its back for decades, all the while dreaming of being wild and free on adventures of its own (which the middle part of the piece explores). We recently heard that this piece was used by a young quartet for a competition in Germany. Star Flyer is a challenge for finger speed, and also introduces sliding fingers and a slow glissando up to the natural harmonic — it has become a firm favourite among more ambitious students. Berlin Bear is a slightly longer, more substantial piece in two parts with a Da Capo. It's often played as a single movement for both quartets and orchestras, as it fits naturally into almost any performance context.

The Joraalsa Suite is one of my personal favourites. Joraalsa Salsa is a hit that lends itself beautifully to memorisation, as it's built on four lively ostinatos, layered in one by one and woven together into an intricate salsa rhythm. To succeed with this one, it needs careful preparation — lots of rhythm training: clapping, walking and clapping, speech choir, sometimes even a sung arrangement. Only once the ostinatos are secure, individually and combined, should the playing begin. Here's the recipe for success:
Rhythm lyrics for the cellists: "Celli have the bassline, it is important, will you listen to us, 'cause celli have the..." (for orchestras that say "cellos" instead of "celli," go with that, of course). The violas (and third violins, who are honorary violas): "(rest) Violas got the rhythm, (rest) violas got the rhythm." The hardest rhythm to manage is in the second violins — here, try the encouraging words: "We áre the best, we áre the best, we áre the best, we áre the best." The first violins also have a syncopated rhythm in their melody, which lends itself to simple words: "We've got the melody, we've got the melody, we've got..." For the breaks (bars 69, 81 and 97), make up words to the rhythm that speak to the players and situation you're working with, to keep everyone engaged.
This salsa has been choreographed and performed in so many ways, contexts and countries — it's well worth the effort it takes!
Tango Tale is another highlight! A dramatic tango where melody crotchet triplets play against straight crotchets in the accompaniment, creating a wonderfully intense effect. For many of our students, this is their first encounter with this particular rhythmic challenge. The melody moves through the voices, and every part is genuinely satisfying to play. Again, a great concert piece — and perfect for dramatic choreography, which has been done numerous times!
Moon Groove is another high-energy piece, challenging players with bow-speed control (the upper strings at the start) and finger speed (the cello part, which opens the whole piece alone). The Winter Waltz is a sweet, very short little waltz that hasn't been performed as often as the other three movements.
And since I'm always asked what "Joraalsa" means: I simply wrote this suite for a young quartet whose name was formed from the first two letters of each player's name — JOshua, RAsmus, ALanna, SArah. Not that mysterious, really :)