Five Pieces in Folk Style

9
ROBERT SCHUMANN Fünf Stücke im Volkston, Op. 102 (Five Pieces in Popular Form) für Pianoforte und Violoncello Violoncello About this edition of the cello part. Source: the file IMSLP70965-PMLP54967-Schumann_-_5_Stucke_im_Volkston_Op102__B_H__cello.pdf in Petrucci Music Library, downloaded in January, 2011. That file is a scan of the cello part in the Breitkopf & Härtel edition, n.d. (ca.1909), plate E.B.848a/b, in the public domain. The problem: The original contains many passages notated in treble clef but intended to be performed one octave lower than written. Such use of treble clef is often called "false treble clef", because of the necessity of making a downward transposition of one octave while playing. Today, many cellists find it difficult to sight-read false treble clef. The solution: Without changing any of the concert pitches, I have reset all such passages to use clefs that are more popular with  present-day cellists, namely, bass clef, tenor clef, and "tr ue" treble clef, i.e. treble cl ef requiring no octave transpostion. Tom Potter  Nashville, Tennessee Cello part edited by Tom Potter to correct "false treble clef". 1/20/2011

Transcript of Five Pieces in Folk Style

Page 1: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 1/8

ROBERT SCHUMANN

Fünf Stücke im Volkston, Op. 102(Five Pieces in Popular Form)für Pianoforte und Violoncello

Violoncello

About this edition of the cello part.

Source: the file IMSLP70965-PMLP54967-Schumann_-_5_Stucke_im_Volkston_Op102__B_H__cello.pdf in Petrucci Music Library, downloaded in January, 2011. That file is a scan of the cello part in the Breitkopf &Härtel edition, n.d. (ca.1909), plate E.B.848a/b, in the public domain.

The problem:The original contains many passages notated in treble clef but intended to be performed one octave lower thanwritten. Such use of treble clef is often called "false treble clef", because of the necessity of making a downwardtransposition of one octave while playing. Today, many cellists find it difficult to sight-read false treble clef.

The solution:Without changing any of the concert pitches, I have reset all such passages to use clefs that are more popular with

present-day cellists, namely, bass clef, tenor clef, and "true" treble clef, i.e. treble clef requiring no octavetranspostion.

Tom Potter Nashville, Tennessee

Cello part edited by Tom Potter to correct "false treble clef".

1/20/2011

Page 2: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 2/8

B42Cello

q»¡™§Mit Humor.

œ pœœ.œ. œ.œ.œ. œœœ. œ. œ#.œ#.œ. œœœœœœ

œœ.œ. œ.œ.œ. œœ

B7

œ. œ. œ#.œ#.œ. œœœœœ œ#œœ.œ.cresc.

œ.œ.œ. œnœœœœ.œ.œ. œ# œœ. œ#.B

cresc.

13

œ#œœ. œ. œ.œ.œ. œœœœœ.œ.œ. œ# œœœ#œœœœ. œ. œ.œ.œ. œœ

B19

œ. œ. œ#.œ#.œ. œœœœœœœœ.œ. œ.œ.œ. œœœ. œ. œ#.œ#.œ. œœœœœ?

?sÍ

25 œœœœœœœœ#sÍœœœœœœœœ# œœœœœœœœ# œœœœœœ#œœ#

?sÍ

29 œœœœœœœœ#sÍœœœœœœœœ# œœœœœœœœ# œœœœœ

? π

33 œœœœœœœœ# œœœœœœœœ# œœœœœœœœ# œœœœœœ#œœ#?37 œœœœœœœœ# œœœœœœœœ# œœœœœœœœ# œœœœœB

B41

œF œœ.œ.

œ.œ.œ. œ

œœ. œ. œ#.œ#.œ. œœœœœœ

œœ.œ.

œ.œ.œ. œ

œ

B47

œ. œ. œ#.œ#.œ. œœœœœ cresc.œ#œœ. œ. œ.œ.œ. œn œœœœ.œ.œ. œ# œœ. œ#.

B53

œ#œœ. œ. œ.œ.œ. œn œœœœ.œ.œ. œ# œœ.^œ#.œ.

œ f

œœ. œ. œ.œ.œ. œœ

Fünf Stücke im VolkstonRobert Schumann, Op. 102

Transcription donated to Public Domain, 2011, Tom Potter

For Cello and Piano

I. Vanitas Vanitatum

Page 3: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 3/8

B b59

œ. œ. œ#.œ#.œ. œœœ.^œ.œ.

œœœ.œ. œ.œ.œ. œœœ. œ. œ#.œ#.œ. œœœœœ?

?b65 ..œœ

Íjœ

..œœ

Íjœ

..œœ

Íjœ

..œœ

Íjœ

..œœjœ..œœjœ

..œœ# jœ˙# ..œœn

Íjœ

..œœ

Íjœ

..œœ

Íjœ

?b Í76

..œœ jœ..œœ jœ..œœ jœ ..œœ# jœ˙# œb f œœ.œ.œ.œ.œ.œ. œœœ.œ.œ.œ.œ.œ.?b

83 œœœn.œ.œœœ.œ. œœœ.œ.œœœ.œ. œbœœ.œ.œ.œ.œ.œ. œœœ.œ.œ.œ.œ.œ.

?b87 œœœn.œ.œœœ.œ. œœœ.œ.œœj

œ.œ

f jœ

.œ jœ

.œb

Jœœ

.œb

Jœœ.œ j

œ.œ j

œ?b n95

.œ jœ.œ JœB œ

f œœ.œ. œ.œ.œ.œœœ.œ.œ.œ.œ. œœœœœœœœ.œ.

B102 œ.œ.œ. œœœ. œ. œ.œ.œ. œœœœœœ#œœ. œ. œœœbœn œ3 œœœ.œ.œ.

B108 œ#œœ#^œœ

? œ#œœ.œ. œ.œ.œ. œn œœœœ.œ.œ. œ# œœœ#œBœ f

œœ.œ.

B114 œ.œ.œ.œœœ.œ. œ#.œ#.œ. œœœœœdim.

œœœ.œ. œ#.œ.œ.œœœ.œ. œ#.œ#.œ. œœœ?

?sÍ

121

œ# œÓ sÍœ# œ ∑ œœ# œ#˙ œœœœ#œœœœJœœJœ#&œ#œœnœn

&129

n ƒ .œ Jœœ#>

? Jœœ

œœ#>œ

œJœœ>

Jœœ‰œœ#œœ& Jœ f ‰jœ# f ‰œ pœœ.œn. œ.œ.œ.œœb?

?136 œ. œ. œ.œ.œ#. œœœ.œ.œ. œœœ. œ#. œ.œ.œ. œb œœb. œ. œ.œ.œ. œœœ.œn.œ.

?142

œ#Í

œ ˙ œ#Í

œ ˙Œœ#œœ#œ#? cresc.

œœœœœœ#œ#œœœœœœ#œ#7

7

pizz.Jœ‰Jœœœ‰

3n c e m o s on

Page 4: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 4/8

?bII. Langsam. q = 74

œ p

œ .œJœœœœœœœœ .œ

Jœœœœœœ œœœ

?b8 œ

π

œ .œ Jœœœœœ œœœ œœ œœn œœœ3 .œn œœ

?b nbbb15 œœ .œ

Jœœœœœœœœ .œJœœœœœœ œœœ

?bbbb21 A

F œœœœœœœœœœnœ˙ œœœœœœœœœœJœœb Jœ

?bbbb27

œœœ ‰œœœ .œœœ œœœn œœœœ œœ?bbbb nnnnb

33 œœœœœœ3 3

.œœœ œN p

œ .œJœœœœœœœ

πœ .œ

?b40

œœœ

œœ œœœB˙

.œ Jœœœ

œœ˙

.œ Jœœœ

œœBb

48 œœœ˙ .œJœ œœœœœœœœ œ œœœ? œœœ

?b56 œœ .œ

Jœœœœœœœœ .œ

Jœœœœœœ œœœB

Bb63 ˙

pœœœœœœœœ œœœ˙ œœœœœœœœœœJœœJœœœœ?

?b70

‰œœœ .œnœœ Jœ#œJœœb œ˙ ˙ ˙ ˙ pizz.

œJœœœœ‰ jœ‰

4n c e m o s on

Page 5: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 5/8

Page 6: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 6/8

? ##cIV. Nicht zu rasch. q = 152

Jœ# f œœœœ#œœœœ

S ˙ œœ .œ

f Jœœœœœ œœœœ.œJœœ# œ

? ##6 . œœn

S

œœœœœœœœn

S

œœœœœœœ.œJœœœœœ œœœœ.œJœœ#œ

? ##12 . œœn

S œœœœœœœœn

S œœœœœœœ.œJœœœ. ŒBw

pœ œœœ#œ

3

B##19 ˙ # ˙ w œ œœœ#œ

3

˙ # ˙ w œ œœœnœ3

B##27

˙ ˙ ˙ ˙sÍ..œœœœ3 ˙ ˙ sÍ..œœœœ3 ˙ #? w p? ##

34 œ œœœ#œ3

˙ # ˙ w œ œœœ#œ3

˙ # ˙˙ w? ##

42 œ œœœnœ3

˙ n ˙ ˙..œ>œœœ3

˙ ˙ ..œ>œœœ3

cresc.

˙ .œ# Jœ f? ##

49 œœœœ#œœœœS ˙ œœ.œ

f Jœœœœœ œœœœ.œJœœ#œ. œœn

S œœœœœœœ

? ##56 œn

S œœœœœœœ.œ

f Jœœœœœ œœœœ.œJœœ#œ. œœn

S œœœœœœœ

? ##62 œn

S œœœœœœœ.œ

Jœœœœ

œ pœœœœœ

S . œœœœœœœœœ

œ pœ

? ##67 œœœœ

S œ œœœœœœœœBœœœœœnœœœœœœœœœœ#œœœœœœnœœœ

B##72 œœœœœœœ#œœœœœœœœœœœœœœœœJœ

f

.œJœœœ? . Œ

6Fünf Stücke im Volkston

Page 7: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 7/8

?42V. Stark und markirt. q = 144

œ f œœœ3

œœœœœ3 œœœ# œœœœ# œœœœœ# œœ?6

œS

œœœœœœnœœœœœœœœœ#œœnœ#œœ#œœ3 3 œœ#œœ#œœ

?12

œS œœ#œœœœ#œœ# œ

S œœ#œœœœ#œœ#&˙

S ˙ œœœ

&19

œœœ. œ. ˙ p

œ œœœœn œœ.œ#.œ.3

œ# œnS œœ œ œœœ

&26

œnœœ.œ#.œ.3

œ# œnS œœ œ œœœBœœœ.œ.œ.3

œ.œœœb cresc.œ

œ

B33 œ œœœ˙S

œ œœœ#3? œœ p

œœœœœœœ.œ#.œ.3 œ# œnŸ

?40

œœ œœœœcresc.

œ# œœ. œ#. œ.3 œœœ. œ.œ.3

S

œ œb œœ

?46

œ œœœœœœœ# œœ3 3

œœœœ# œœœ f œS œœœœœœ3

3

?51

œœœ. œ. œ# œœ. œ. œ œœœ3

œœœœœ3 œœœœ

?56 œ

œ#œœ#œœ3 3

œS œœ#œ3 œœœ#œœ#3

œS œœ#œ3 œœœ#œœ#3

&˙S

&62 ˙ œœœœœœ.œ.? n p ˙ S ˙ œ œ f œœœ ?72

œœbS ˙ jœ œb>œ>œ>‰œ>œ

>œ>bC corda

œbS œb œœbœbœœ# Œ

7n c e m o s on

Page 8: Five Pieces in Folk Style

7/31/2019 Five Pieces in Folk Style

http://slidepdf.com/reader/full/five-pieces-in-folk-style 8/8

?81

˙ œS œ œ œœœb ˙ œS œœœ3 œbœœ#œœ3

œS œœœ3 œbœœ#œœ3

? p

89

œn œ>.œ#. œ#.3 Œœ#>œ.œn.3 Œ œ>.œn. œ#.3 Œ œ#>. œ#.œ.3 B˙ # œœœ#œn3 œœœ#œ#3

Bcresc.

97 ˙ b œœœnœn3 œœœnœ#3

cresc.

œœœœœœœœœœœœœœœ# œ#?

?105

Jœ‰ œnS œœ3 Œ œ

S œœ3 Œ œ

S œœ3 œœœœœ#œf œS œœ

œœœœnœœ

?111 œœœ# œœœœ# œœœœœ#œœ

3 3 œS œœœœœœnœœœœœœ

?117 œœœ#œœnœ#œœ#œœ3 3 œœ#œœ#œœœS œ

œ#œœœœ#œœ# œS œœ#œ3

?123 œœœ#œœ#&˙S

˙ œœœœœœ.œ. ˙ p

œ œœœœnœœ.œ#.œ.

&131

œ# œnS œœ œ œœœœnœœ.œ#.œ.3

œ# œnS œœB œœœ

œœœœ.œ.œ.3

B139 œ.œœœbcresc.œœ œ œœœ

S œœœœ#3? œœ

pœœœœœnœœ.œ#.œ.

3

œ# nŸ

?148

œœ œœœœcresc.

œ#œœ.œ#.œ.3 œœœ.œ.œ.3

œ œbS

œœ œœœœœœœœ#œœ3 3

?156

œœœœ#œœ ƒ œjœ œœœ3

œœœœœ#œBœœ#œœn œ

œœœœœ??161 œœœœ#œœœœœœ#œœœjœ œœœ

3

œœœœœ#œœjœ œœœ3

œœœœœ#œ?

dim.

167 ˙ ˙ Jœ œœJœJœœœJœB˙dim.

œ œœœœœœœœœœœ ? JœœœS ‰

8Fünf Stücke im Volkston