102042608 rosewood duo book

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Perhapsthe moslcuriouslhing aboul Baroque music isihal it s trotatall"baroque.'The term Baroque was coined from the Portugese barroco meanins deiormed orirequLarand was originallyadisparaging reierence tothe asym metrical ornamentaiio nof 17th ceniury archiiecture. EventualLy the ierm embraced allart iorms oi the 17ihand early 18ih centuries and so mlsic oi the utmost regularityand iormaipedectioncame to be called Baroquel

The age of the Baroque begins around 1600 and ends shodlyafie.the death ofJ.S. Bach ln 1750.Asthe curtain rises on ihisspan of approxlmaie ly 1 50 yea rs, all powerin Europe resldes in the Caiholic church and the aristocracy. As the curtain falls,Prolestantism hassuccessiullychalLengedthe suprernacy olCatholicism and the Frenchand American revolliions signal the end of aristocratic power.

These upheavals were accompanied bygreatchanges in the culiure ofWesternEurooe. New scientific ideas llowed from the minds oi Ga ileo, Newion and Keplerlnewarchitectire from Bernlni and Borrorninii new intellectual modesfiom Descartes,Spinoza and [4ilton; heiqhiened expressiveness in painling f.om Rubens, Vermeer,caravaggioand Rembrandiand newconcepts oi sound ln rnusic from an impressivelistofcomposerssuchas Monteverdi, Purcell,Vivaldi, Scarlatti, Couperin, Telemann,tsanrjeland Ba.h io name bui a few

The predominant musical influence oi thls period stems iniiiallytrom ltaly but byihe middleolthelSihcentury,ihevarousnaiionshadassimilatedthe lialian iniluenceand asserted their individual characterjsiics. Oi the mole notable achievements olBaroque music, perhaps the elevation of purely instrumentalmusic toan independentsialus is lhe one most strongly feltioday. Oiherachievernents oi siqnilicance are thebirih ol opera (which has spawned such diverse forms aslhe rnodern symphonyandthe popsong), the harmonic and tonalsystem upon which allour muslc sincethen hasbeen based and ihe developmeni ol naiional siyles.

Alihough it s true ihai no musjc is ever played exacily as it is wriiten, ttre music olihis per od grants the playerihe greaiesifreedorn in departing frorn the written music.This departure is manilested ir a number of ways, the mosl lmportant belnq orna-mentation, dynarnics, tempo and rhj,,thmic alteration (a detaied explanation of last



named elements js beyond the scope oi ihis book and the reader is encouraged rorefer to Dolmersch as listed in the btbtiograpy).

The ornamentation of certain notes (essentialty the main or principat ones andcadential noies) was considered ob igatory. C p. E. Bach wroie, ;tt is ;or tiketv rhaidrybod' coLld que<lion the necess ty o, orrdmerrs. ltey are rot ontv usetul bU;indispensable. They connectthe notes; ihey gjve thern tife.,,The three mostcommonornaments are the rrill(tr.), the mordenr( ,lr )and the inverted mordent( f ).

Thp ,ril/ is begu'r on I e ro e ore rcate creo rwl-ote or 1a .)dboJe the dr:nen(principal)note which is indicated

in ihis edition by the grace note tied torhe principatnote. The rhyihmic outline ot the eniire figure appears above it tn oarentheses. Thispare nihetical fig ure appears here forthe srudent s atd burdoes notnorma yappearinBaroque notaiion. (Ex 1a). The number of atternaUons ernptoyed wi depend on thedirralion of the note and the iempo. Atstowrempiihe ornamenta note ishetd brieity,then allowed to fall to ihe principat nore at which time the atternaiions begin stowti,gradually becoming more rapid. Ouite often the tri wi containan exira notetormoreelaboralF etlecl(Ex 1b, ,,|). I)/l^'dr

i"'-;..Jirr@fi)

The mo.dertisa rapid atternation irom th€ written noie toihe note one scate stepbelow (half or whole)and back to the written noie (Ex. 2a). When the decorarive noteis oiherthan would ordinarilyappear in the scate (as in rnodutations ormjnorkeys)thenecessary accidental appearc above the symbot (Ex. 2b).

note io the noie one scale step

wrhten

rhe inverted nordentisptayed from the wrin€nabove and back to the written note (Ex. 2c).

Baroque musicians were expected to d.ess up the bare notes in a fairtyetaboraiemanner. An exarnple oJwhatmighthave beendone isgiven ntheatternateftute partoftheltalianAirbyG.P.Telemann.Contrastandvarietymaybeachievedbyptayingapiece in a faidy straightiorward manner ihe Jtrsr rime white saving the etabo;teornamentalion for ihe repeat.

Onlyminimat indicationsconcerning tempoanddynamicsappearin ihe musicof

ihis period. A certair laiitude oi choice in rempo is understood since a gavoite orminuet maydiiiersubstantialLy from one composerto anotheror from one countrv roalorne Aga ,r. one mu5icia'rs d//egro mdv oe a-olner's andd4le. the ct^o c; ofdynamics was almost atw,rys eft io the performer.

Foradditiona detalled iniormation on the Baroque Deriod and the oerformanceDr.cl.ceso'rl " i-F ere-o r-e.otowrnq so r.Fr1 Bukolzer, Manlred F.Music in the Baraque Eft. New\otk

W.W. Norton & Co.. Lnc.19472 Dart, Thurston. 7h6 /nrerpre&rion o/ M!s,c. New york:

llltchinson,1954 NewYork: Harper a Fow, nc (pap€r)3 Do metsch, Arnold. Ihe hle@retation otthe Mosjc af the Xvthh

and XVtthh Centuries. tondan: Nove o & Co., Ltd. ND.. ,1 LancJowska, Wanda. Mlstc o/ rhe past. Newyork: Atfred A Knopi,tnc,1924



Grazioso

M€NU€Tlrcm The Notebook t'ot Anna

,E

frcm Premier livre de pibces de clavecin

tel

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Magdalena BachJOHANN SEBASTIAN BACH

(1685 - 1750)

J EAN.PHILIPPE RAMEAU(1683 - 1784

M€NU€T

Allegretto

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ITATIAN AIRfrom Suite in / Mlnor tor Flute and Strinqs

GEORG PH ILLIP TELEMANNLargo()=rbeat) (1681 - 1767)

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ATT€RNAT€ Y€RSIONDEMONSTRATI NG OR NAN,1 ENTATION POSSI B I LITI ES

CoDvnahl O 1977 bv CarlFs.her ln. NewYor|62 coooer Souare New Yorr N Y 10003

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Giocoso

10

JOHANN SEBASTIAN BACH(1685 - 1750)

stctuANAfrom Sonaaa No. 2 in Eb M ajot fot Flute and Harpsichord

JOHANN SEBASTIAN BACH(1685 - 1750)

=-

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Copyriahr O 1977 bv cad Fscher. tnc. N€w york

.62CooperSolarP N€wYo.l N Y tOOO3bllar on i- $ o. o, i p""

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MUS€TT€frcm The Notebook fot Anna Magdatena Biach

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E5l /'i--\

Ar.t€GROfrctn Partita No.2 ( Die Kleine Kammetmusik )

GEORG PHILLIP TELEMAN(1681 - '176

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12

GAVOTT€from Sonata lot Flute tn C Majot. Op 1, No.7

GEORGE FRIDERIC HANDEL(1685 - '17s9)

4t

(.DJ

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MARCHlrcm The Notebook for Anna Magdalena Bach

.IOHANN SEBASTIAN BAC

Copyricht O 1977 by Car Fischer,lnc., N€w Yo.k

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. (1685 - 175

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TH€

CTASSICAL

66 . The incredibte mariage of unearthty naivete and wortdtysophisricaiion is perhapsthe mosi endearins quatity of the muslc oi rhe cta*i"a rl"ri"o rt" i"""ceii"piiit-pro;ecred through wondt/ dniu'ies5 is row,]Fre more perlelri/ nd1 te:ted lla'r intemLsiLott/ozad tr.d. . rhatolher11aste-or rne age..Jose,iadn ;;;;;;,;saythatifmusictoverscoutdunderstandMozarr,smusicihewayheh;;s;;;;;,;;;;;;

would vie wiih one another to possess such a rreasure wirhi; iheir wa s .,

_ ^_ -Ih;speriod. begin'r,ng abo,rt 1750 rwilh tne death otJ.S. Bach)and ending about827 {wilh lhe death ot Beetloven). dorives tts nam€ rrom the renewed interesr incre€kiCtassicatr. rchrlectu€ and itsetegantorsptay ot,i9"ro"sty"";ff; i;;;. i;.srmlar manner. the quatities ot ctarity, grace and r;*"i"t"r,".1L"r"-t""_rn"ii"ofHaydn Mozart and earty Beetnoven and tneir s ujran"t .ount".p" n" i",nunCi 6J,and Mauro ciuriani. Here. as,n,he Baroque. rhe sryre orisrn"to ii, rli, i"i,i",rought to its zenith in c6rmany.

-owa d the nrddte oi t-e i8[ cer rury, BdroquF.oLnre,oornr qave ,aa, ro nores,r gable rcadrib,/eJ netoores s .ppon.d by ndrnonic re,rure: ot rje n.":, ir"*.o lolqer was the nus.c ne:u y orrrnert"O ol ,." pfrve, u.O o.f, . t* oi ri,.



ornaments such as lhe lri I and the rnordent were retained as symbols Theo.nameniat on itseltdid notdisappearbut ratherbecame an integra pa rt of the melody.Ex.3 shows how bar no.11 of N4ozarts Ardarre (K.545)woutd appear had iibeenwritten by a Baroque cornposer

Ex.3 Andahte - Mazai 1K.545)ima. no- rr)

Mozan (writen) €eoque lwrltten)

A true expression oflhis music willbe achieved by playir'g gracefuLlywhilestrlvinglora sense ol charm and wit. The tempo ought to be held fairly steady usins rubaiojudiciously and infrequently. Dynamics (p, I cresc, decresc.) play a very importantrole bul must setue to underscore the rorrnal balance. ln other words, dynamics arenot simplysprinkled randomly, bul ratherare used soasio brins out the a rch iteclu.e

For a rnore complete experience ol the Classicalspiril one miqht investigate thernarvelously precise drawingsand paintings ofJacques'Louis David and Jean-Augustelngres and the architeclure of Thomas Jelferson.

The tollowinq books may a so be ofvalue tor add tional inlormation onthe C assi.alperiodl

1. Einslein Alf.ed. Mozarrr HtsCharccter. His watk It. a Merdeand N. Broder. NewYo.k:Oxlord U.iversity Press 1965

2.la.g ParlH. Musjcin wesletn Civilizalian New York W. WNorton a Co , lnc. 1940

3 La.g. Paul H. Ihe crearve Wotld al Mazart New York W WNo(on A Co , lnc 1963

15



(Turns ( * ) may be omitted.Td fingering on D facilitates turn)

Pianototte, K315aWOLFGANG AMADEUS MOZART

(1756 - 1791)

AMADEUS MOZART( 1756 - 1791)

MINU€Ttrcm Eight Minuets & Trios fot

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ANDANT€l@m Sonata in C Major for Pianoforte' K545

WOLFGANG

coo!flohl o 1977 bv Car Fscher, L.c NewYorl

. a?'..on.rs.uare Newrorl N.l Iooo3Coorirq o_ reproduc.g t1:s p.blEdiro. 1*hoeorioadq.r'r.s rhe Fed€ral Coovrioht Law.



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TVOG€RMAN DANC€SNo 1 LUDWIG VAN BEETHOVEN

11770 - 1A271

TRIO D

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No2

Copyrqhl O 19?7 by Car FEcher fc. N€wYor[

. 62 CoooerSquaro. NewYor( N Y. 10003Copyinq or rop.oducinq lhls p!bicaton in whoL€ or in oartv olates the Federsl Copyrighl Law



DAGAT€Tt€ 19

P

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LUDWIG VAN BEETHOVEN\1770 - 1427)

.----...-..-:\

AI\,4ADEUS MOZART(1756 - 1791)

SPRING SOX6(Sehnsucht nach dem Fr]hlinge, Komm, Iieber Mai) K596

WOLFGANG

Copynsht O 1977 by CarlFs.her ln. N€w York62 Cooper Square. New Yo4. N Y lOOO3

@pJ,nq o ''prooL aq r. p rbi alo r w ol" o' inpa_

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20

RONDOTheme from Concetto in D Majot, Op.27

GAVOTT€

Copyright O 1977 by Can Fischer, tnc, New York

-62 Coooer Sauare. New Yorl NY. 10003

Ctrp)'ng o.."p od c'ns I s pub'-"l,oa,a who 4 o .n oavioales rhe Federa Copyrghr Law

LUIGI BOCCHERIN{ 1743 - 1805

tr. Ed

,.ra-rE

FRANQOIS JOSEPH GOSSEC(1734 - 1A29



POLONAIS€

a.nvnohr O 1977 bv car Frsche. in(, New York'62tooo€r Sq,a,e New Yod N Y 1o0o3

Coryi.a or raproduclnq th s pLbicalio. in whole or in p3rlviolat€s the F€deralCopvrcht LawA lriqhts reseryed inclld ns publc perlormanceior prolit

WOLFGANG AMADEUS MOZART(1756 - 1791)

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F-

' Romanticism is prealselysiiuated neither inchoice ofsubjects norin exacttruth,bui in a mode ol feeling. . . inumacy, spirltuaiity, color, aspkalion iowardsihe infinitel'Such was the prevailing artistic mood at ihe middle of the 1gth cenlurv as stated bvone of the greatest poets of that time, Charles Baudelaire. lt was ihe 1gih centu.j/which saw the artisi freed lrom ihe resiraint ot social and religious conveniions. Hebegan to lookwithin himself. The ide3 oian"exiernalself andan"innerself"wasbornand is stjllvery m'rch alive to ih s day.

Musically ihls rneant thal the classical concem lor the balance ol lorm andcontent became subordinaied to the expresslon of personal emoi on. Thus it wasLLrdwig Van Beethovenwhose late works broke with the formaland emotionalrestmintsoi ihe Classical style and slgnaled the e niry of ihe Rorna ntic. The h u ndred years followinqhis death in 1827 witnessed a voluminous outburst oi compositions ot the mostastonishing diversity. Asampling of this greatva ety a nd diversity begins wiih Schubert,Chopin, Schumann, and L szt, contin!es with Grieg, Tchaikovskv and Dvol6k andends with Wagner, Mahler, Strauss and Rachmaninol{. Formal considerations werepushedtosuch extrernesthaiChopincould writea p€lude lasting thirtyJ ve secondswhllea Mahlersymphony mighi have six rnoveme nts, the iirst being foiryJive minuteslongl

Nowallwas poetry. Palnting, sculpiure and musicwere treated asvlsualand auralpoei.y. Paradoxically, the poeis were wriling "rnuslc.' N4usic became a vehicle for



intense personalexpression employed to capture and describe every imasinableemotionalstate. One of the filstioexplore these hiilierto uncharted regions was thegreat Spanish painter Francisco de Goya. He qrcally influenced the artistwho mostoe rfectly tvpifies the romantic soirii, ELrqene Delacroix, whose sweeping canvassesare extravagent symphonies of color. Of no ess g rande ur were the hig h ly imag inative{lights ot such poets as Hugo, Goethe, Lord Byron and iheaiorerneniioned Baudelaire.

Alihough Romantics such as Richard Stra!ssand Sergei Rachmaninofi lved into

ihe i940's, the movementhad burned itselfoutbythebeginning oithe 20ihcentury.Neveriheless, its powerful sp kit lives o n via recordingsand the conceir hallwhere thelarger portion of most programsare drawn from the Romantic reperioire.

A convincing perlormance of this music willbe characterized bya careful moldingofthe melody, aflexible give and take inlempo ftempo rubalo)and acompassionaterendering ol iis rnusicaland emotional " meaning. '

For l!rther readinqs, reierto the tollowing so0ces:

1. Einslein Alfred. Music in ahe Fomannc Era. NewYork:W W. Nonon a Co.,lnc.,1947.

2 Newman, Ernest Life otFichard Wasre.4vos. NewYork:Allred A. Knopf, !nc.,1s33 46.



LITTL€ ITALIAN SONGtrom Album for the Young, Op. 39, No

VALS€ S€NTIM€XTAL€

15PETER ILYICH TCHAIKOVSKY

FRANZ SCHUBERT(1797 - 1828)

(184O - 1893)

Coovnohr O 1977 by CarlF scher. lnc New York

. 62toopersqu €.NewYdr NYlooo3

Coovi.a o' r€prodrinqrn,pibl!"rio i wl'oeo' 1oa tvoates lhe Federa coovrioht Law



TH€ SVANlton Canival of the Animals

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,

_ CAMILLE SAINT'SAENS15 (1835 - 1921)

FRANZ SCHUBERT(1757 - 1A2A

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And.nte.on moro

{Standchen)No. 4 from Schwanengesang

S€R€NAD€

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Allegretto

T\/O LINDL€ROp. 33,

No. 1 FRANZ SCHUBERT11797 _ 1A281

Con grazia

No.2

CopyrOhr O 1977 bv CartF sche. tn. Newyort62 Coooer Sauare N€w yorr.

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MAZURKAOp. 67, No. 3

FREDERIC CHOPIN{1810 - 1849)

Allegretto a

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Fine fjl a temoo

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convnohr o I977 bv carlF'scher.lnc.. NewYorl'62tooper squar;. New YorL. N Y 1oo03

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D. S. aI Fine



TH€

TW€NTI€TH

CENTURY

riltr=ll

lfonewereto tisten toa numberof [4inuetsbyHaydn, Mozart, Bach,ssons,Ctementiand Beethoven one afte r anoiher, it woutd be immediut"rv

"ppur"ntt ut,

"nir" inOiuiU'ruijn character in many ways, there are many simit*itL.

"r,i"n l*lt" ,l""ii"s?"sameness" among rhern A repe.irior or ttris exoerinert Js;n9 p,eces bv Deoussy,srraunskr/ Barto(, tv€s S.roe1be,9 p-otottev and B;vet woutd .reare quite th;We nowhdveasryt,strc divers,tytrorr ore co nposer to in- n"rrwnrcn rsaton.e verye\crtrrg and highryconfusrrg. rhe pursuit ot,mlvrdua,.ty. oes;;rn e3'1est by the qoTartics has.onl nLeo uTbaled ro thrs oayard,i";";li;;trademarks of modern art.

. . ln the 1890 s a departure irom the harmonjc praciice ofiive cent!ries occurredIll'^1. Tl!"-1: l:,9''1'lins por^ in rheevorurion "'..0"- '*i". o."."-p".#raJgFry,respons bte for rh:s revotuttola-y gFstu,e was C,auOe Oeoussy. fr nis use oirreery sn n.ng na mo.tes and o,ganlca,ty devetoped torns, we t,nd the seeds of t,r;n^od-ern app.oach, Ar rhe sane t,ne rtdre t BOO s edrty l gO0 s j enor""r;.;;;;;"were oer.lq wrouShl uDon lhe visuatpn< nv V,n Gogh, Ceza'lne, Monet and pica;And while fzm Pound and JamesJovce wa.e qiv;ns v""" r" t

"i""A"i""."""irr',-i.oerry an0 prose. siqmJnd t-.FJd ano Atoen Einsleln were cha Fngrng o,rcorce;rs

"" 2g



of human psychology and our understanding of time and space

To give the music of a modern composer, sav Ravel its proper inflection. onemust acquaint oneself with all the music of Ravel Onlv in this wav can a thoroughunderstandinq of his musical character be developed Unfortunatelv, there is liitle else

to be said about periormance style ln the 2oth century' However, whatcan't be saidcanDe heard since Ihereexistbolh recorc:ngsand live perlormances ot lhe wor\s ofearly 2Olhce4lurycomposers.ln nanycasesthe p'erforners mavhave specla' lnsigl'lastostyle owing to acquaintance with the composer himsolf Such is ihe case with ihepianist Robert Casadesus, lriend and compatriot oi Mauice Ravel Casadesus hasrecorded the Pavane included in thiscollectioh-

Furtherreadingswhlchmishtbehelpful inundeFtandingthisperiodarel

1. Auslin, William W. Mrsic i, rhe Ttetriet Cerlurv NewYork:w.w. Norton&co,lnc, 1966.

2. Copland,Aaron. OurNew Music. New York: l\,lcc raw_H ill Book

T\reNfl€IH

29



30PROlrt€NAD€

trom Childrcn's Sulte, Op. 65, No. 2

Copvrishl @ 1977 bv CarlFischer,lfc., New York62 CooperSquar., NewYork, N.Y. lOO03

Copt :g o' reprodu('.q lhis p rbl..6rio. in *ho F or ra 06r. vrolates the Federal Coovrtoht Law

AlLnghls r€se ed incldino public performance tor orofit

Allegr€ttoSERGE PROKOFIEV

(1891 - 1953)

?

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LITTT€ SONGDMIIRI KABALEVSKY

(1904 -

Cantabile

PAYAN€ POUR UN€ INFAXT€ D€FUNT€

Dolce, Ina sempre Eonoramente

nf

Eol

MAURICE RAVEL(1875 - 1937)

l=5]

p

p

poco pitt lento

coFyriqhr O 1977 by CarlFischer,lnc., NewYo.k62 Cooper Sqlare, New York, N.Y. 10OO3

aop/'ns o 'eproduc, e il'is pubicol:o- in wl'ol€ or ia paiiv'olates the Fed€ra Copyrsht LawAllrohrs reserved lfcludinq oub ic Derlormanceior orofil

tri

nry



dllal6

-:=>-pP

CLAUDE DEBUSSY(1862 - 1918)

,/:-..---=\

Sostenuto W

R€V€RI€

Coovrqht @ 1977 by car F6cher,lnc, NewYorl

. 62 CooperSquare New

\or!N

Y1O0O3

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33

Eo-l a tempo

Tempo I

N602a

2P perdendosi



34

GYMNOP€D|€ No.l*ERIK SATIE(1866 - 1925)ent et do

A1legIetto

)Jt '

@

tr*Gymnopaidiai \xerc ancient Greek cercmonial dances.

TH€ M€CHANICAL DOLI

,E

Copvrisht O 1977 bV CarlFische., nc, New York6? Cooper Square, New York, N Y 1OOO3

CopJr.q o cpod acrrsp.o(ario'rsloreo_,noan' vrolares rhe FederarCopyrahr Law.

Al rghts res€r!€d inciuding p!bic performa.ce fo. profil

@l

DMITRI SHOSTAKOVICH(1906 - 1975)

-==J1pFingering to facilitateoptional high B

@

102042608 rosewood duo book

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