Rosewood Duo Book

Tffi€RCS€W(@D E(DK

30 Duets lor Guitar and Flute (orAn anthology of music by major composers of the 18th,

by PETEB GREENWOOD and JEAN ROSENBLUM.

any C instrument)1gth. and 20th centuries transcribedA Play-along' recorci is ilrcluded.

TH€R@S€S/@D

ts@K30 Duets lor

Guitar and Flute(or any C instrumentl

An anthology oi music by majorcomposersof the 18ih, 1gih, and 20th cenruries tran-scribed by PETER GREENWOOD andJEAN HOSENBLIJM.A"Play-along' record

CARL FISCHER, Inc.62 cooperSquar., NewYo,NY IoO03

Coplrahl O 1977 by Carl Fischer, lnc , N€w York62 Cooper Square NewYork,NY l0OO3

coNr€NTs

tsAR@QU€MENUETITom lhe Notebooktot Anna Magdaleha Bach

Johann sebastian Bach (1645- 175o)

MENU9I tan Pteniet tivre de Dieces de clavecinJean-Philipp€ Rameau (1683 - 1784)

ITALIAN AIB i.om S,r'|e nA Mirorlor Flute and Slrinss

Georq Phillip T€l€mann (1631 - 1767)

MUSETTE from Ihe Noiebo oklotanna MagdateftaachJohann Sebasuan Bach (1685 -1750)

SlClUANAirom so,ala No. 2 ir Eb Malol lor Fluie and Harpsichord

Johann Sebastian Bach (1635 - 1750)

ALLEGBoirom tu.r,ra No, 2 (Die Kieine Kannetnusik)Georg PhilipTelemann (1661 - 1767)

GAVOTTE lrom Sonst6 to. F/u|e in C MaioLOp.l,No.7Georqe Frlderic Handel (1685 - 1759)

MAnCH from 7he Norebook lorAnna Magdalena Ba.hJohann Sebastiaf Bach{1645- 1750)

GTASSICALMI N U ET lrom Eighr Mirrers & tuios lot Pianalorte Ksl sa

woLlqang Amadeus Mozart (r756 - 1791)

ANDANTE iiom sonafa - c Maiortat Pianalade.Ks4s

wolfqans Amadels Mozart 11756 - 179i )

TWOGEFMAN OANCES

Ludwig van Beeihoven (i770 - 1827)

BAGAIELLELudwiS van Beethoven (1770 - 1327)

s R rNG SONG /Sehnslcht n ach den tunhlnse, Konn, lieb€r I ai, K596

worfoanq Amadeus Moai( (1756 _ 1791)

sON oo Then€ irom corce tto in D ^4aiot

09 27

Gt ITAB SOLO

San FEicis.q cA 9rH18(415) 980.7660

GUITAB FIUIE

13

16

12

18

18

19

19

20

20

21

101o

ll

't4

16

19

20

25

Luiqi Boccherini11743 - 1805)

Fransois Josph Gossec (1734 _ 1429)

POLONAISEWoltqanq Amadeus Moart (1756 _ 1791)

27

2A

ROAAANlIilGLITTLE ITALIAN SONG irom Albun tot the young, Op.39, No.15

Peter llyich Tchaikovsky (1840 - 1893)

GUITAF FLUTE

32 24

VALSE SENTIMENTALEFranz S.huberi {1797 - 1828) 33 24

THE SWAN lrom Carnival ot rhe A,,nalscamille saint-saens (1335 - 1921) 34 25

SERENADE {Sriirdcter)No 4 iiom Schmrarg€sargFranzschuberl(1797-1823) 35 25

two LiiNoLEF, Op 33FranzSchuberr(17s7- 1828)

Lendler No. 1 38 26Ujndler No.2 38 26

MAZUFT(A, Op 67, No.3Fr6d6rc Chopin (1810 - 18491 39 27

2@uru C€NTIURYPROMENADE from Chr'ldert Sude, Op.65, No.2

SergeProkofiev(1a91-1953) 42 30

LITTLE SONG

O mitri Kabalevsky (1904 - ) 43. 3l

PAvaNE PouB uNE rNFANre oErulr:Maorice Ravel(137s- 1937) 44 31

nivenrecaude Debussy(1862,1918) 46 32

Erik salie (1866- 1925) 50 34

' THE MECHANICAL DOLLDmitri shosrakovich ( 1906 - 1975) 51 34

Perhaps the mosicuriousthingabout Baroqu€ music isthai ii s noiatall baroque.The term Baroque was coined from the Portugese baffoco meaning deformed orirreg ular and was oig inally a d isparag ing refere nce to the asym metrical orname niaUonof 17th centuryarchitecture. Eventua lyihe terrn embraced allartfoms of the 17thand early 18th centuries and so music of the utmost regu arity and formal pertectioncame to be called Baroquel

The age ol the Baroque begins around I 600 and ends shortlyaiierthe death ofJ.S. Bach in 1750. Asthecu'lain rises on thlsspan ofapproximaiely 150years, allpowerin Europe resides in the Catholic church and the aristocracy. As ihe curtain falls,Prolestantism has successfullychallenged the supremacy ot Caihol cism and the Frcnchand American revoluiions signalthe end of aristocratic power.

These upheavals were accompanied by greaichanges in lheculture ofWesternEurope. New scientilic ideas flowed from the mlnds of Galileo, Newton and Keplerinew a rchitectu re from B ern ini and Borrorn ini: new intellectual modes from Descaries,Spinoza and flilton;heightened expressive{ess in painling from Rubens, VermeerCaravaggio and Rernbrandtand newconcepi! ol sound in musicirom an impressivelisr of cornposers such as lvlonteverdi, Purcell, vivaldi. Scanatu, Coupefin, Telemann,Handeland Bach to name buta few.

The predominant musical influence of this period stems initiallytrom ltaLybut bythe middle olthe 18th century, the various nations had assimilated the ltalian influenceand asseried thelr individual characterisiics Of the more notable achievements ofBaroque mus c, perhapsthe elevation of purely instrumental m usic io an independentstatus is the one most stronglyiell loday. Ourerachlevements of significance are thebirth ot opera {which has spawned such diverse forms as the modern symphonyandthe pop song), the harmonic and tonalsystem upon which allourmusic since then hasbeen based and the development ol nationalstyles.

Althoush it s tftre that no music is ever played exacilyas jt is wriiten, the music ofthls period granis the player ihe greatestfreedom indeparting from the wrliten musicThis departure is manifested in a number of ways the mosi important being orna-mentaiion, dynamics, tempo and rh',lhmlc alterauon (a detailed explanation of lasi

named elements is bevond the scope ot ihis book and the reader is encouraqed to

reJer to Dolmersch as listed in the bibliograpv)

The ornameniaiion oi certain noies (esseniiaLLv the maln or principaL ones and

cadentral notes) was conside.ed obllgatorv C. P. E Bach wroie' lt is not Llkelv that

anvooov cou,d qu"srion rnF ,recessnv of otnamells -l_ev a-' 'rol o1 v rse'Ll bLi

rno.spensab e rneYcorne(ll\e noles l"erqivelt'pnrire ll-er\reen ostconmo'rornaments are the trill (ir.), the nrordeni ( ,1v ) and the inve(ed mordent (

^v )

The til/ is begun on lhe note one scaLe step (whole or half) above the wriiien

,Drnrioalrlo,ewhl(\rs'o'cded1in'5eotolb,rIneqra'enol'npdlorneDrinc'paIo'"1--* 'n"tn.t oJl'reoltheenl elsLtedpoea rcbo?F l rn oarenthesFc this

."'.nrner'coi'iqure.ope"-s "ere lo' ire IUoenlsadDUrooernol']ornallvappes''rE"'"q,1""'rt'i",E' tar Tr-e nfioer o' a le'ttio'r' en p'oveo w " depet on t5e

Juratio" ot tne notea.O tneiempo Atslowtempitheornamentalnoieisheldbrieflv'ine" alioweo to rarr to tne principal note ai which time the alternations besin slowlv'

gruor"ii" o"*.lng .-" ;apid. Ouite oiten theirillwiLlcontajn an extra note tor more

elaborate eftect (Ex.1b) (IJ ,\){q":*:;.-i,'"'@- Played 5

Il

The morderl isa rapld alternation iror. the writlen note toihe noie one scale step

beLow (half or who e) and back io the wrliien note (Ex' 2a) When thedecorative note

;;ihe;than would ordinarilvappear in the scale (as in modulationsor minorkevs)the

necessary accidental appears above ihe svmbol (Ex 2b)

fne inveded nodenlls plaved from the written note to the nole one scale step

above and back to ihe written note lEx 2c)

Baroque mtrsicianswere expecied io dress upthebaf PY"-'1.:-t1:'.fli:^':1t1--""r.,i" "r".pL" "t;hai

might have been done is given in thealternale flute part

"i tn"li"il"" lli ovc. e. relema;n contrast and va rietv mav be ach ieved bv plavins a

ii."e in u tai.lv ittaisl,tforward nranner the first time whlle savinq the elaborate

ornarnentauon for lhe repeat.

Only minimal indications concerning tempoand dvnamics appear in the music ol

this ;eriod. A cei(ain latitude oJ cholce in iempo is undersiood since a savotte or

minJet mav olller suostanuallv from one composer to another or lrom one countrvto

;;;;;;. Ai;r;, ";" *,"icja; s a//eerro mav be anotheis andante rhe chorce or

dynamics was almost alwavs left to lhe performer'

ForaddiuonaLdetailed inlormatior on the Baroque period and the performance

practices ofthe lime, reierto the lollowinq sources:

1 Bukoizer Manired F Mlstc iD the Ea'oqde Era NewYorkiW.W. Norlon & Co. hc 1947

2 Darl Thurston rhe hlerprela,o' o/ Music NewYorki_ ;;i"hi.son 195a NewVork l_larper&Row lnc (paper)

:r n.rmes h A oo l1et. etp'-b arott."ML .atlre^Vl\h- )iaxrn'ncenr''i" -o1ool \o\elo&co Id \Dd Iandowska.Wanda Mlsic o/ rhe Pasl NewYorkrAliredA Knopi'lnc'1924

Tll€

BAROGII'€

Grazioso

M€NU€Tfrom The Notebook fot Anna Magdalena

Copyrishl O 1977 by Carl Fischer, lnc . New York62 Coooer Solare. NewYork. N Y. 1OOO3

Coo\ragor'.orooLclgrr. p.oticaron aaloeo- oarrvio16tes rhe F€deralCoovnohr L:w!rls,lsr...r/cd .ctuo.rs p.bt.de,jd--, ."ro,D o.r

7

Bach

JOHANN SEBASTIAN BACH(168s _ 1750)

AUegretto

M€NU€Tlrom Premier Iivre de pibces de clavectn

Colvnqhl Gr 1977 by Carl F scher, n< New York62 Coooer square. NewYorr. N Y 10003

Cotyino.or roproducina lhis publcaton in whole or in partviolaies the Federal Coov.ioht Law

Al rlqhts reserued includi.g public pe.tormanc€ lor profit

JEAN.PHILIPPE RAIVEAU(1683 - 1784)

'flr

TT

L-el

rr)Jr- r

Largo (.1)- l bear)

ITALIAN AIRfrom Sulte l, A Mlno,. for Flute and Strings

GEORG

I

='l 7 t

9

PH ILLIP TELEMANN(1681 - 1767)

FIute

Guitar

-l

Copyrghl O 1977 by Car F scher, lnc NewYo.k62 Cooper Square, New York, N.Y. 1OO03

Copying or.eproducifg this publlcalon i whol€ or in oarlviolales lhe Federa Copyright Law

AlaiqhG reserved includinq publc p€rlormance for protii.

l;

rrqf

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I4

"Note: The f ute parr conralns an alternaie veAion for demonsirarlng ornamenrarion po$ibi ities.

tot

MUS€TT€lrom fhe Notebook for Anna Magdalena Bach

JOHANN SEBASTIAN BACH(1685 - 1750)

Copviqhl Q 1977 by carlFlscher,lnc., NewYorka 62 Cooper Sqlar€, New York, N.Y 1OOO3

CopyifC or reproducinq lhis p!bllcaton lf whole or rn pa.t\,o ar.1 rre Fadqdrcoor.rgr" law

SICILIANA 11

u----->- z-?-----.--.--.

):ct' from Sonata No. 2 in Eb Major lor Flute and Ha.psichordo'o"

""oil;t|:?3j].--;--

fr-f/-;"-

r ,cr

Copyrght O 1977 by Ca. Fischer, nc, N€w York62 Cooper Squar€. New York, N Y lOOO3

Copy ns or reprodLcinq thk pubicaton in whoe or id oan. vrolares lh€ Federa Copyrshl Lawa' ,e . e.e1pda..d,agpb.,pe"o,- a".o,po,

Ar.t€GROlrcm Partita No.2 | Die Kleine Kammetmusik )

Copvfsht O 1977 bv CarlFsch€r. lnc. N€w Y6rk62 Cooper Square, NewYork, N.Y 10003

Copvinq or reFrodu.inq this pubication in whole or n parl

' voares lh€ Federa Copyrght Law.AlriShts reserv€d inc!dLnq pubic performance for proJit

GEORG PH ILLIP TELEMA.NN(1681 - 1767)

'Ftel

(

'r-$t 'r

fplx2x

GAVOTT€f rom Sonaaa fot Flute in C MaioL Op- 1, No.7

GEORGE FRIDERIC HANDEL

Copvrisht O 1977 by Can Fischer, lnc., New York62 Cooper Square. New York, N Y looo3

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oarlv'olates the Federa Copyriqht Law

All righls reserved including public p€rforhance for profit.

flt,t) J ))

tr()

(1685 - 1759)Tempo di Gavotta

N6023

MARCHltam The Notebook tor Anna Magdalena

"""1o"or* sEBASTTAN BAcH

(.f I r))

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'r'l r I.] LLIJcopyrlghl O 1977 by Ca. Fischer, nc. New Ydrk

62 Coooer Sauare New Yorl NY 1OO03copt ao "p'6dr- sr".pub' ar'o i.^hoco .pdl

violares the Feder. CopyrOht Law

(1685 - 175O)

,n--------

TH€

CLASSICAL

66 The lncredlble marriage ol u nearth ly naivet6 a nd worldly soph istlcaU on is perhaps

ihe most endearing quallty of the r.usic oJ the Classical perlod. lis innocent spirii,proiected throush worldly artiulness, is nowhere more pedectly man iested ihan irith€ mus c oi l"lozart. ln iact, ihatotherrnaslerofihe age, Josei Haydn, was moved tosaythat lf rnusic loverscouLd understand l\4ozart's mls c the way he hlmselfdid, "nal onswould vie wilh one another to possess such a lreas!r€ wlihin iheir wa Is.

This period, beginning about1750 (with the death ol J.S. Bach)and ending about1a27 {with the death ol Beethoven), derives iis name lrom the renewed interesi inGreek (Classical)architecture and its.elegant dispiayoJ rigorouslycontrolled fom- lna similar manner, the qualities ofclariiy, grace and restraintcharacterize the music ofHaydn, t',46zarl and early Beethoven and their guitarisi counterparts Fernando Sorand Mauro Giuliani. Here, as in the Baroque, the styie originated in ltaly bui wasbrought to its zenith in Germany.

Toward the niddle oi the 18th cent!ry, Baroque coLnterpoini gave way to moresingable lcantabllel melod es suppoded by harmon c textures oi the ltmostclaritvNo lonqer was the mus c heav y ornamenied by ihe player and only a few oi ihe

ornaments such as the irill and the mordent were retained as symbots. Theornameniation jtseltdid notdisappearbut ratherbecamean integratpartoiihe me ody.,Ex.3 shows how bar no.11 oi f/ozaars Ardarre (K.545) woutd appear had it beerLwritten by a Baroque composer.

Ex. 3 Andante - Mozatr lK.545llmea. no.

'

l']lozad (wriiten) Baroque (writte.)

A true expression ofthis music willbeachieved by playins gracefullywhlle striv ngfor a sense oi charm and wit. The tempo oughi to be held falrly steady usins rubaiojudiciously and infrequenily. Dynamics (p, t cresc, decresc.) play a very important'role bui must serve io underscore the iormal balance. ln olher words, dynamics arenotsimply sprinkled €ndomly, but raiherare used so as to bring outthearchitectureof the music.

For a more complete experience oftheClassicalspirltone miqht invesUgaie themarvelously precisedrawingsand painiings ofJacques-Louis Davidand Jean'Auqustelngres and the archlteclure otThomas Jelferson.

ihe iolowinq books mayaLso be olvalue ior additional inlormaiion onthe Classica oenod:

1. Einstein. Arl.ed Lltozart: His Chatacter, His Wark. Tr. A. MendeLand N. Broder. NewYork: Oxlord university Press,1s65

2 Lanq, Paull-1. Muslc n Westem Civir2anor. NewYork:W.W.Norton & Co,|nc,1940.

3 Lang, Paulli.|he Creanve wol/d ol Mozalt NewYork:W.WNorton & Co..1nc,1963.

18

MINU€TI(om Eight Minuets & Trios for Pianofarte, K315a

Alle$etto con Sazioso

WOLFGANG AIMADEUS MOZAHT(1756 - 1791 )

isl

, lur."* I nd\ beom'rted.T ill finge-rlgor DL.iliLare.ru'l,

Copyrght O 1977 by CarlFische., nc, N€wYork62 Cooper Square, NewYork, N Y 1OOO3

Opying or.€prodlcing this publication in whol€ or in panv olales the Federa Copyrisht Law

allrlshts r€s€rv€d includinq pub ic performance fo. prolit

ANDANT€lrcm Sonata in C Malor for Pianoforte, K545

Flute

Guit&

WOLFGANG AMADEUS I\,,IOZART(1756 - 1791)

3

'T-l

fl;m

Copyrght O 1977 by CarlFscher,lnc., New York62 Cooper Squa.e, New York, N Y 10003

Copying or reproduclns rh s publicat on in whoe orin padv oateslhe Federal Copyrqhr Law

At crls eee'. ed, cl'd '

q p b i( pe'fo--d (" 'o pofrN6023

21

tr

t<:' r= hold 2 throuslrout

N6023

22

N6028

T}/OG€RMAN DANC€S

No. 1

.nnvn.hi o 1977 bv car FEcrrer lnc NewYorr-A2t.ober Souari, New Yod N Y looolcoo,roor'-r:odr' qr 'p o arro 'n4hol"o'i111r - v'olirp<ihe F€deralCoovrahl LawAllrghts rese.ved nclud fg publc perlo'manc€ lor protn

23

LUDWIG VAN BEETHOVEN11710 - 1A27)

N6023

No.2

r r:t- iY

Coov'roht O 1977 by Car Fiecher ln. Newtorr6r?n..er SoLare NewYo'l NY loooJ

coolino oleoroouc arltsp'b'.a on ,noleo inoa't. v'olaLes lhe Federal Copvnghr Law;

'q ts-se'vedtr.Ld a oJo

'c pFjo' idr ' ' o oro I

DAGAT€tt€2),

LUDWIG VAN BEETHOVEN\1770 - 1A27)

------

.novr.hr O I977 bv CarlFscher,lnc N€w Yorl'62"coooer Souare N€w Yod N Y r0OO:

.i.o\ na o' 'eo;oo..irq

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at'ai's "..\pd,"ucrspLo'^ap'ro' "n.ero o'oal

tut

-

dim. e tu.

N6028

26SPRING SONG

(Sehnsucht nach dem Fr1hlinge, Komm, liebet Mai) K596

WOLFGANG AMADEUS MOZART(1756 - 1791i

Allegretto giocoso

Copyrlsht O 1977 by CarlFscher,lnc, New York62 CooperSqlare, New Yo.k, N Y 1oO03

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Alriqhls reserved incLdina public performa.ce lo. prolilN6023

RONDOTheme from Concerto in D Major, Op.27

'r )?t r

LUIGI BOCCHERINI(1743 - 1805)

r

tr

36\nr-l

Copvrighl O 1977 byCdr Fischer, Lnc, N€wYork62 Cooper Square, New York, N Y lO0O3

Copvina or reproducinq this oub ication in whoe or ln ra.i. voales lhe FederalCopy.ighl Law.Al riqhts reserv€d inc udin! public o€rlormance lor erolii

2a /^Q9 GAYOTT€

FRAN9OIS JOSEPH GOSSEC(1734 _ 1829)

Ef

-/ tegarc 3fmr

,r"(E

'lCopyright @ 1977 by CarlFscher,lnc., New York

62 Cooper Square. NewYork, N Y. rOOO3Copylng or r€p.oducing th s publcation nwholeorinpart

a violates lhe FederalCopyright LawAllriqhts rese.ved incL!dino publc peraormanc€ for orofir.

^fftaa.l

POLONAIS€WOLFGANG AMADEIJS MOZART

(1756 - 1791)

fE

17.ft

Copyrsht O 1977 by CarlFischer, lnc. New York62 Cooper Sqlare, New York, N.Y. 1OOO3

Coavinc or reproduc nq lhls pLblicatio. in whole or in Frtviolates the Federal Copyrlght Law.

Allrishts.eserved fcludifc p!blic performance for DroltN6023

Tl"eitrediblema',agFot.neanh',r..veteanowoaotysoohisricar.onrspe.rapslhe.-nost eaoea rlq qrdt,ry of L1a nLsr. or 11" Cru.,'"rr p".,oo. ,,, ,n"o.uii"oliprojected ihrough wortdly artfuiness, is nowhere more perrec|y manifesred ihan inthe music ol N4ozart. tn facr, ihat other master oi the

"e., .t.* ]"yJ", ,r"" 1"""i i"saythatif music toverscoutd undersrand [,4ozarts musiclhe way he h;m;[;id :;;tr:;;-

would vie wirh one anoiher to possess such a treasure wiihin their wa s.,This Deriod. begjnnrng abour 1750 rw h tne death ofJ.S. Bsch)and ending about

:::l,jy;11-'l: 9"*l 9' B.erhoven). deflves ris nare il.o.r, rrr" ,en.*eo iniJ..siinu eer (urasslcat)a.cntrecture and itseteganrd,sptay ot rigoroustycontro eo torm. ina.srmrarmanner the qJatities or ctarity, srace and,estrEi;t cha.a;i;, *ln"-.-rii".iHaydn Mozart and earty Beetnoven and rheir guira,t", -r",".p";";;;;;;;; ;;.and Mauro ciuJiani. Here. as ,n rhe Baroque. the sryre ongi*i.d r" rLry lii #sbrought to ils zenilh in Germanv

^.-^^."1".1tl",T,qdt" 9i rre r er- c"nr,ry, earooue cou.rerpo,'lt s.!e wal to io,e

lMro'. lca"l,o;t.t netoo.es sJopo-ted b/ 1a-no" c re"rr.e. .. tne urrosr c ar,r",\u ronger was rne .lus c hea\i,/ o,nanenled b, rhe ptdle. dnd on,r a ,ew y rne

F nzo

intense personal expression employed io capiure and describe every lmaginableemoiionalstaie. One of the fircttoexplore these hithedo uncharted resions was thegreat Spanish painter Francisco de Goya. He greatlv influenced the artisi who mostperfecily typifies ihe.omaniic spirit, Eugene Delacroix. whose sweeplng canvasses

are extravagenisymphonies otcolor. Of no less grandeurwere the highlv imaginaiiveilighis of slch poeis as Hugo, Goeihe, Lo.d Byron and the aiorementioned Baudelaire

Alihouqh Bomantics such as Bichard Straussand Sergei Rachnaninoti llved intothe 1940 s, ihe movement had burned itself oul by the beginning oi the 20th century'Nevertheless, its powerfulspirit lives on via recordingsand ihe conceri ha lwherethelarger portion of mosi programs are drawn fromthe Romantic repertojre.

Aconvincinq peiJormance ofthis music will be characterized bvacaret!lmoLdingofthe melody, ailexible give and take in tempo /ienpo rrbarol and a compassionaterendering of its musical and emotional meaning.'

Forlunherreadinss, reier to the lollowinq sosrces:

1 . Ei.srein Alir€d. Music i, rhe Romanttc Era. New York:w w No.ton &Co,lnc. 1947.

2. Newman, Ernest. rite otAichard Waqne.4voLs. NewYork:Allred A. Knopl, lnc., 1S33-46.

31

LITTL€ ITALIAN SONGIron' Album lor the Young, Op. 39, No '15

PETER ILYICH TCHAIKOVSKY(1840 - 1893i

Coovrqht O 1977 by Can Fis.hFr ln. N€wYorr62 Co.per sqlare NewYorl NY. 10003

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VAIS€ S€NTIM€NTAI€ 33

FRANZ SCHUBERT11797 - 1428)

Moderato

rE

5Z

r-----a m

Copyriohr O 1977 bv Car Fischer,lnc., New York62 Cooper Square, New York, N.Y. 10003

Copyinq or r€p.oducinq this p!blcation in whoe or i. Darr. vloares th€ FoderalCopvrahl L6w

al-r aa's 'ese

ved in! .d -q o.olc o.ror-a.(e lor orol't

r'

N6023

(t,'. TH€ SVANf(om Catnival of the Animals

CAM ILLE SAINT-SAENS(1835 - 1921 )

copynshr O 1977 by car Fscher nc.Newlork62 Coooer Square. New Yo4 NY 10OO3

rolvrnsoJ -podJ.irq hiqpuo a';o inwl-oeo inpdrr- v olare5 the Federa Copyraht LawAlrighls reserled ncludino pLblc performance for prolli

Ed,u

tir.u

Coovriqht Q 1977 by carlFisch€r,lnc., New York62 Cooper Sqlare, New York, N.Y. 10003

Qpylne or reproduc ng this pubication in whoe or npanviolat€s the F€dera Copyrghl Law

ALlriqhts resefted ncudinq pubic performancefor profit.

6f\._._=-/'\tty

S€R€NAD€(Standchen )

No. 4 from SchwaneneesangFRANZ SCHUBERT

Andante con moto

=_ ra

/rn- -,-

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TVO tANDt€ROp.33,No. 1

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No.2

FRANZ SCHUBERT\1797 - 1a2a)

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MAZURKAOp. 67, No. 3

Allegretto FR E DdR IC CHOPINi 181O - 1849)

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T\/€NTI€TH

CENTURY

EltFu

tfone we€ to listen toa numberoi Mlnuetsby Hardn, Mozart, Bach ssons, Clemeniiand Beethoven one aiier another, ll wou d be imrnedlatelyapparentthat,while individual

in character in many ways, there are many slmilarities which create a feeling of''sameness arnong them. A repetition oi this experiment using pieces bv Debussv,Siravinskv. Bartok, lves, Shoenbers, Prokofiev and Ravel would create quiie theopposjte impresslon. We now h ave a stylistic d iverslty from one com poser to the nextwhich isat once veryexciting and highlyconfusing. The pursu tol indiv dualitv, begunin earnest by the Romaniics, has continued unabated to ihis dav and ls one of theta.lemarks of modern art

ln the 1890 s a departure from the harmo;ic practice ol five cent!ries occurredwhich marked a nrajor iurn ng point ln the evoluiion oJ modern rnusic. One composerlargely responsible for ihis revolutionar/ gesture was Claude Debussy ln hls use offreely shiiting harrnonies and organicallydeveloped tornrs, we iind the seeds of themodern approach. At the same time (late 1800s, early 1900's) enormous changeswere being wrought upon the v sualarls by Van Gogh, Cezanne, Moneiand Plcasso.And while Ezra Pound and JamesJoycewere giving voice to the modern sensibility inpoeiryand prose, Sigmund Frbud and Albed Einstein were challenging ourconcepts

of human psychologyand our underctanding of iime and space.

To give the music of a modern cornposer, say Ravel, its proper infleciion, onemust acquaint oneseli with all the music of Ravel- On y in this way can a thoroughunderstand ing ol h is m usical character be developed. U nfortunately, ihere is little e lseto be said about periormance style in lhe 20th century. However, whai cant be s3idcan be heald since there existboth recordingsand live performances oltheworks olearly 2oth centurvcomDosers.In manycasesthe performersmay have specialinsightastosvle owing toacquaintancewith thecomposethimself. Such isthe casewith thepianist Fobert Casadesus, friend and compatriot of Maurice Ravel. Casadesus hasrecorded the Pavane included in this collectior,.

Further readinqswhich miqht be hslplllin und66tandins this period are:

1 Austin,Williamw.Mus,cn the fwentiath Century. NewYotk:W.W. Nodon &Co., !nc. 1966.

2. Copland, Aaron. Our Nsw Mrsic. New York: Mccraw-HillBook

TrM€Xfl€tlt

42 PROM€NAD€ltom Children's Sulte, Op. 65, No..2

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copvriqhr o 1977 by can Fischer,lnc, NewYork62 cooperSqlare, New York. N Y looo3

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Allegretto

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SERGE PROKOFIEV(1891 - 1953)

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DMITRI KABALEVSKY(1904 - )

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PAYAN€ POUR UN€ INFANT€ D€FUNT€

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MAURICE RAVEL(1875 - 1S37 )

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R€V€RI€CLAUDE DEBUSSY

(1862 - 1918)

vl*Hold Bb throughout the fiIst six measures.

Copyriqhr 6 1977 by C5r F'scher. nc N€w yo.[62 Coooer Souare New Yorl N \ r oon:l

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GYMNOPdD|€ No.,t.

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Copyriqhr O 1977 by Carl Fischer, lnc , New Yo.k62 Coop€. Square, New York, N Y lOOO3

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ERIK SATIE(1866 - 1925)

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Copyighr O 1977 by CarlFscher. lnc, New York62 Cooper Squar€, New York, N Y 10003

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Allriqhts reserled inc!dinq oublc pe o.hancefo. D.ofit

DMITRI SHOSTAKOVICH(1906 - 1975)Alle$etto

Harm

JEAN ROSENBLUMJean Rosenblum received her first musical training in North

Carolina where she studied with noted flutist and pedagogue,Charles Delaney and played jn the Winston-Salem SymphonyOrchestra. She was graduated from Oberlin Collese in 1963 with aB.A. in music.

After five years in New York City as a medical researchtechnician, Jean and her husband Stephen moved to West Athens,Maine to try their hand at subsistence farming. From 1968 to thepresent time she has been teaching and performing in Maine.Presently she is on the music staff at Colby College and is principalflutist with the Bangor Symphony Orchestra.

The flute Jean plays on the recording contained in this collectionwas handmade for her by the Verne Q. Powell Flute Company olBoston, Massachusetts. This instrument employs the new Coopersca/e - the first major improvement in tone hole placement{intonation) since the invention of the modern keyed flute byTheobald Boehm in 1847.

PETER GREENWOOD

Of his early years with the guitar Peter Greenwood says, l

began playing when I was 16 years old. I had a $12.00 'Stella' withstrings so high oif the lingerboard a steam roller couldn't havepushed 'em down. My idol was Chet Atkins. Several years later I

heard Andres Segovia and my fate was sealedl" He studied, taughtand performed in NewYorkCitylrom 1960to 1971when hemovedto Freedom, N,,laine where he and his wife Elaine built their home.

He began editorial work in the musical publishing field in 1970and his own antholagy, Pieces lor Classical Gultarwas released in1972. Peter currently pertorms throughout lvlaine as soloist, andwith Jean Rosenblum, as a member of the flute and guitar duo,,gosewood The guitar he plays on the recording was designed andbuilt for him by Thomas Humphrey of New York City.

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. Canr- Frscnp,R

TH€ROS€W@E

ts@K30 Duets for

Guilar and Flule(or any C instrument)

An anihology of music by majorcornposersof ihe l8th,1gth, and 20th centuries tran-scribed by PETER GREENWOOD andJEAN BOSENBLUIV.A"Piay-along record

fficRnr-prscHER, Inc.6ird 62 coopy sqlare, New Yorr, Ny 10003

Copyright -O 1977 by Car Fische., lnc, NewYork62 Cooper Square, New York, N.Y lOOO3

CONT€NIS

tsAR@@U€MENUETtTom lhe Norebooklot Anna Magdatena Bach

Johann Sebastian Bach 11635 - 17so)

MENVET nan Prchiet livre de pieces de clavecin,Jean-Philippe Fameau (1633 1734)

ITALIAN AtR from Suihs nA Mtrol ior Flule and StringsGeore Pniliip Telemann 11681 - 1767)

tnUSETTE trom lhe NoieOooklotAnna Magdalena BachJohann Sebasiian Bach (1665- 1750)

SlClLIANAfrom So,ata &o 2n Eb Malo. ior Flule and HarpsichordJohann Sebastian Bach (1645- 1750)

ALLEGROf.omPa.rra,!o.2lDie Kleine Kannenusik)Georg PhillipTelemann (1681 - 1767)

GAVOTTE irom Sonat! lo. F/ute in C MajoL OD. 1 , No. 7

Georgs Frideric Handet {1685 - 17591

MAFCH trom 7re /Vorebook lorAnna Magdaiena BachJohann S€bastian Bach (1685- 1750)

GTASSilGALMINUET lrom E/ght Miruers & Ttioslat Pianalorte. K315a

wolfsang Amadeus Mozn (1756 - 1791)

ANOANTE from So,ara li C Majatfot Pianotorte, Ks45wolloang Amade!s Mozarl (1756 1791)

IWOGERMAN OANCES

LJowig van Beethoven (l770 la2lt

BAGATELLELudwis van Beethoven (1770- 1827)

SRING SoNd/sehrsuchr n ach den Ftuhlinge, Konn,lieber Mai, K596

woliqanq Arnadeus Mozart {1756 - 1791)

BoNDo Ther.e lrom Concetta in o Maiat Qp.2TLu si Boccheri.i{1743 - 1805)

+PAGE

7

8

9

10

11

13

14

16

19

10

11

10

181a

19

l9

20

20

21

12

13

16

GAVOTTE

Frangois Joseph Gosc (1734 - 182s)

POLONAISE

Woltqanq Amadeus Moart (1756 - 17s1)

GUTTAN SOLO

ss! Franclsco, CA 94118

(4r5) 386-7660

25

27

28

ROAAAN]IICLITTLE ITALIAN SONG from Albun lot the voung, Ap.39.No.15

F€ter llyich Tchaikovsky(i840- 1893)

VAISE SENTIMENTALEFEnz &huberi {1797- 1828)

PAGE PAGE

32 24

33 24

THE SWAN from C€.niv6l ot rhe Anm./sCamille Sl€inl-Saens {1835 - 1921) 34 25

SERENADE 15€ndcherlNo. 4 lrom SchwarengesargrFranz Schube.t{1797 - 1a28) 36 25

TWO LTiNDLEF, Op.33Fdnz Schubert{17S7 - 1828)

I .ndler No 1 38 26

Lendte.No.2 38 26

MAZUFKA,Op.67, No.3F.6d6ric Chopin {1810 - 1849) 39 27

2@W C€NTIURYPBOMENADEtiom Ch;ldrerb guiae, op.65, No.2

Serse Prokotiev{18g1 - 1953) 42 30

LITTLE SONG

D mltri Kabalevsky (1904 - ) 43 31

PAVANE POUR IJNE INFANTE DEFUNTE

Mauric€ Ravel(1a7s - 1997) 44 31

FEvEFIEClaude Oebussy(1862- 1s18) 46 32

'. : ,.. . ., ', GYMNoPioIE No l. Erik Salie (1866- 1S25) 50 34

' THE MECHANICALDOLLomitri shostakovich (1906 - 1s7s) 51 34

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^'dri"'-;..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 musicofihis 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

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tel

(a)a ,,) ^ ^t^,4n t.)/ f \

cresc.

.opy '.n 19/ brCr rs he' la \p* \o'('tZ"C"ooer Sota e \e* Yor' N O0OI

fop,'nq o' "Pioo"'q '" ' ovio ales th€ F€deralCopyrghl Law

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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AlLrlshts reseNed inc udins public pedo.mance for proflt

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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voares rhe FederalCoPYriahr Law.Al

'lohls res€rved incLdlnC publc p€rformance for proll

Giocoso

10


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


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MUS€TT€frcm The Notebook fot Anna Magdatena Biach

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

GEORG PHILLIP TELEMANN(1681 - '1767)

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Copvriqht O 1977 by CarlFischer,l.c, NewYork62 cooper Square, N€w Yorl. N.Y IOOO3

icop/inq or'"p'od c'ag rr q dJb'icalio'vroares lhe Federa copyrlehl Law

Alrshts reserved inc !d na pub ic pe.lormance for proail

12

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

GEORGE FRIDERIC HANDEL(1685 - '17s9)

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MARCHlrcm The Notebook for Anna Magdalena Bach

.IOHANN SEBASTIAN BACH

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

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. (1685 - 1750)

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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 intemLsiL ott/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;s period. begin'r,ng abo,rt 1750 rwilh tne death otJ.S. Bach)and ending about1827 {wilh lhe death ot Beetloven). dorives tts nam€ rrom the renewed interesr incre€kiCtassicatr. rchrlectu€ and itsetegantorsptay ot,i9"ro"sty"";ff; i;;;. i;a.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",brought 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"*.No 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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TRIO

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 Iooo3

Coorirq o_ reproduc.g t1:s p.blEdiro. 1*hoeorioadq.r'r.s rhe Fed€ral Coovrioht Law.

17

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TVOG€RMAN DANC€S

No 1 LUDWIG VAN BEETHOVEN11770 - 1A271

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Copyrqhl O 19?7 by Car FEcher fc. N€wYor[. 62 CoooerSquaro. NewYor( N Y. 10003

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DAGAT€Tt€ 19

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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' in pa_!'olates lhe Federa Copyrqhi Law

Ailrghts reserv€d inc ud.s pub ic per{ormance lor profir.

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 BOCCHERINI{ 1743 - 1805)

tr. Ed

,.ra-rE

FRANQOIS JOSEPH GOSSEC(1734 - 1A291

POLONAIS€

a.nvnohr O 1977 bv car Frsche. in(, New York'62tooo€r Sq,a,e New Yod N Y 1o0o3Coryi.a or raproduclnq th s pLbicalio. in whole or in p3rl

violat€s the F€deralCopvrcht LawA lriqhts reseryed inclld ns publc perlormanceior prolit

WOLFGANG AMADEUS MOZART(1756 - 1791)

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' 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 intoihe 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€

15

PETER ILYICH TCHAIKOVSKY

FRANZ SCHUBERT(1797 - 1828)

(184O - 1893)

Coovnohr O 1977 by CarlF scher. lnc New York. 62toopersqu €.NewYdr NY looo3

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TH€ SVANlton Canival of the Animals

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_ CAMILLE SAINT'SAENS15 (1835 - 1921)

FRANZ SCHUBERT(1757 - 1A2A)

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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. Nv rnoo3'opv q o ..oroou! 19 rh,i p.btc..01' w.oteori.oa,r

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FREDERIC CHOPIN{1810 - 1849)

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convnohr o I977 bv carlF'scher.lnc.. NewYorl'62tooper squar;. New YorL. N Y 1oo03Corvr q o'ep odnirs rhi< pub iario, in whole o' in oarl- violateE the FederslCopyrcht LawAll.ights reserved including public pertormance for p.ofil.

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"nt t ut,

"n ir" 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.ooerry 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 said

canDe 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 has

recorded 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

30

PROlrt€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 LawAlLnghls r€se ed incldino public performance tor orofit

Allegr€tto


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LITTT€ SONG 3l

DMIIRI KABALEVSKY(1904 - )

Cantabile

PAYAN€ POUR UN€ INFAXT€ D€FUNT€

Dolce, Ina sempre Eonoramente

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MAURICE RAVEL(1875 - 1937)

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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 Law

Allrohrs reserved lfcludinq oub ic Derlormanceior orofil

tri

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CLAUDE DEBUSSY(1862 - 1918)

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R€V€RI€

Coovrqht @ 1977 by car F6cher,lnc, NewYorl. 62 Cooper Square New \or! N Y 1O0O3

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33

Eo-l a tempo

Tempo I

N602a

2P perdendosi

34

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

A1legIetto

)Jt '

@

tr*Gymnopaidiai \xerc ancient Greek cercmonial dances.


,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

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DMITRI SHOSTAKOVICH(1906 - 1975)

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TH€R@S€S/@D

ts@K30 Duets lor

Guitar and Flute(or any C instrumentl

An anthology oi music by majorcomposersof the 18ih, 1gih, and 20th cenruries tran-scribed by PETER GREENWOOD andJEAN HOSENBLIJM.A"Play-along' record

CARL FISCHER, Inc.62 cooperSquar., NewYo,NY IoO03

Coplrahl O 1977 by Carl Fischer, lnc , N€w York62 Cooper Square NewYork,NY l0OO3

coNr€NTs

tsAR@QU€MENUETITom lhe Notebooktot Anna Magdaleha Bach

Johann sebastian Bach (1645- 175o)

MENU9I tan Pteniet tivre de Dieces de clavecinJean-Philipp€ Rameau (1683 - 1784)

ITALIAN AIB i.om S,r'|e nA Mirorlor Flute and Slrinss

Georq Phillip T€l€mann (1631 - 1767)

MUSETTE from Ihe Noiebo oklotanna MagdateftaachJohann Sebasuan Bach (1685 -1750)

SlClUANAirom so,ala No. 2 ir Eb Malol lor Fluie and Harpsichord

Johann Sebastian Bach (1635 - 1750)

ALLEGBoirom tu.r,ra No, 2 (Die Kieine Kannetnusik)Georg PhilipTelemann (1661 - 1767)

GAVOTTE lrom Sonst6 to. F/u|e in C MaioLOp.l,No.7Georqe Frlderic Handel (1685 - 1759)

MAnCH from 7he Norebook lorAnna Magdalena Ba.hJohann Sebastiaf Bach{1645- 1750)

GTASSICALMI N U ET lrom Eighr Mirrers & tuios lot Pianalorte Ksl sa

woLlqang Amadeus Mozart (r756 - 1791)

ANDANTE iiom sonafa - c Maiortat Pianalade.Ks4s

wolfqans Amadels Mozart 11756 - 179i )

TWOGEFMAN OANCES

Ludwig van Beeihoven (i770 - 1827)

BAGAIELLELudwiS van Beethoven (1770 - 1327)

s R rNG SONG /Sehnslcht n ach den tunhlnse, Konn, lieb€r I ai, K596

worfoanq Amadeus Moai( (1756 _ 1791)

sON oo Then€ irom corce tto in D ^4aiot

09 27

Gt ITAB SOLO

San FEicis.q cA 9rH18(415) 980.7660

GUITAB FIUIE

13

16

12

18

18

19

19

20

20

21

101o

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't4

16

19

20

25

Luiqi Boccherini11743 - 1805)

Fransois Josph Gossec (1734 _ 1429)

POLONAISEWoltqanq Amadeus Moart (1756 _ 1791)

27

2A

ROAAANlIilGLITTLE ITALIAN SONG irom Albun tot the young, Op.39, No.15

Peter llyich Tchaikovsky (1840 - 1893)

GUITAF FLUTE

32 24

VALSE SENTIMENTALEFranz S.huberi {1797 - 1828) 33 24

THE SWAN lrom Carnival ot rhe A,,nalscamille saint-saens (1335 - 1921) 34 25

SERENADE {Sriirdcter)No 4 iiom Schmrarg€sargFranzschuberl(1797-1823) 35 25

two LiiNoLEF, Op 33FranzSchuberr(17s7- 1828)

Lendler No. 1 38 26Ujndler No.2 38 26

MAZUFT(A, Op 67, No.3Fr6d6rc Chopin (1810 - 18491 39 27

2@uru C€NTIURYPROMENADE from Chr'ldert Sude, Op.65, No.2

SergeProkofiev(1a91-1953) 42 30

LITTLE SONG

O mitri Kabalevsky (1904 - ) 43. 3l

PAvaNE PouB uNE rNFANre oErulr:Maorice Ravel(137s- 1937) 44 31

nivenrecaude Debussy(1862,1918) 46 32

Erik salie (1866- 1925) 50 34

' THE MECHANICAL DOLLDmitri shosrakovich ( 1906 - 1975) 51 34

Perhaps the mosicuriousthingabout Baroqu€ music isthai ii s noiatall baroque.The term Baroque was coined from the Portugese baffoco meaning deformed orirreg ular and was oig inally a d isparag ing refere nce to the asym metrical orname niaUonof 17th centuryarchitecture. Eventua lyihe terrn embraced allartfoms of the 17thand early 18th centuries and so music of the utmost regu arity and formal pertectioncame to be called Baroquel

The age ol the Baroque begins around I 600 and ends shortlyaiierthe death ofJ.S. Bach in 1750. Asthecu'lain rises on thlsspan ofapproximaiely 150years, allpowerin Europe resides in the Catholic church and the aristocracy. As ihe curtain falls,Prolestantism has successfullychallenged the supremacy ot Caihol cism and the Frcnchand American revoluiions signalthe end of aristocratic power.

These upheavals were accompanied by greaichanges in lheculture ofWesternEurope. New scientilic ideas flowed from the mlnds of Galileo, Newton and Keplerinew a rchitectu re from B ern ini and Borrorn ini: new intellectual modes from Descaries,Spinoza and flilton;heightened expressive{ess in painling from Rubens, VermeerCaravaggio and Rernbrandtand newconcepi! ol sound in musicirom an impressivelisr of cornposers such as lvlonteverdi, Purcell, vivaldi. Scanatu, Coupefin, Telemann,Handeland Bach to name buta few.

The predominant musical influence of this period stems initiallytrom ltaLybut bythe middle olthe 18th century, the various nations had assimilated the ltalian influenceand asseried thelr individual characterisiics Of the more notable achievements ofBaroque mus c, perhapsthe elevation of purely instrumental m usic io an independentstatus is the one most stronglyiell loday. Ourerachlevements of significance are thebirth ot opera {which has spawned such diverse forms as the modern symphonyandthe pop song), the harmonic and tonalsystem upon which allourmusic since then hasbeen based and the development ol nationalstyles.

Althoush it s tftre that no music is ever played exacilyas jt is wriiten, the music ofthls period granis the player ihe greatestfreedom indeparting from the wrliten musicThis departure is manifested in a number of ways the mosi important being orna-mentaiion, dynamics, tempo and rh',lhmlc alterauon (a detailed explanation of lasi

named elements is bevond the scope ot ihis book and the reader is encouraqed to

reJer to Dolmersch as listed in the bibliograpv)

The ornameniaiion oi certain noies (esseniiaLLv the maln or principaL ones and

cadentral notes) was conside.ed obllgatorv C. P. E Bach wroie' lt is not Llkelv that

anvooov cou,d qu"srion rnF ,recessnv of otnamells -l_ev a-' 'rol o1 v rse'Ll bLi

rno.spensab e rneYcorne(ll\e noles l"erqivelt'pnrire ll-er\reen ostconmo'rornaments are the trill (ir.), the nrordeni ( ,1v ) and the inve(ed mordent (

^v )

The til/ is begun on lhe note one scaLe step (whole or half) above the wriiien

,Drnrioalrlo,ewhl(\rs'o'cded1in'5eotolb,rIneqra'enol'npdlorneDrinc'paIo'"1--* 'n"tn.t oJl'reoltheenl elsLtedpoea rcbo?F l rn oarenthesFc this

."'.nrner'coi'iqure.ope"-s "ere lo' ire IUoenlsadDUrooernol']ornallvappes''rE"'"q,1""'rt'i",E' tar Tr-e nfioer o' a le'ttio'r' en p'oveo w " depet on t5e

Juratio" ot tne notea.O tneiempo Atslowtempitheornamentalnoieisheldbrieflv'ine" alioweo to rarr to tne principal note ai which time the alternations besin slowlv'

gruor"ii" o"*.lng .-" ;apid. Ouite oiten theirillwiLlcontajn an extra note tor more

elaborate eftect (Ex.1b) (IJ ,\){q":*:;.-i,'"'@- Played 5

Il

The morderl isa rapld alternation iror. the writlen note toihe noie one scale step

beLow (half or who e) and back io the wrliien note (Ex' 2a) When thedecorative note

;;ihe;than would ordinarilvappear in the scale (as in modulationsor minorkevs)the

necessary accidental appears above ihe svmbol (Ex 2b)

fne inveded nodenlls plaved from the written note to the nole one scale step

above and back to ihe written note lEx 2c)

Baroque mtrsicianswere expecied io dress upthebaf PY"-'1.:-t1:'.fli:^':1t1--""r.,i" "r".pL" "t;hai

might have been done is given in thealternale flute part

"i tn"li"il"" lli ovc. e. relema;n contrast and va rietv mav be ach ieved bv plavins a

ii."e in u tai.lv ittaisl,tforward nranner the first time whlle savinq the elaborate

ornarnentauon for lhe repeat.

Only minimal indications concerning tempoand dvnamics appear in the music ol

this ;eriod. A cei(ain latitude oJ cholce in iempo is undersiood since a savotte or

minJet mav olller suostanuallv from one composer to another or lrom one countrvto

;;;;;;. Ai;r;, ";" *,"icja; s a//eerro mav be anotheis andante rhe chorce or

dynamics was almost alwavs left to lhe performer'

ForaddiuonaLdetailed inlormatior on the Baroque period and the performance

practices ofthe lime, reierto the lollowinq sources:

1 Bukoizer Manired F Mlstc iD the Ea'oqde Era NewYorkiW.W. Norlon & Co. hc 1947

2 Darl Thurston rhe hlerprela,o' o/ Music NewYorki_ ;;i"hi.son 195a NewVork l_larper&Row lnc (paper)

:r n.rmes h A oo l1et. etp'-b arott."ML .atlre^Vl\h- )iaxrn'ncenr''i" -o1ool \o\elo&co Id \Dd Iandowska.Wanda Mlsic o/ rhe Pasl NewYorkrAliredA Knopi'lnc'1924

Tll€

BAROGII'€

Grazioso

M€NU€Tfrom The Notebook fot Anna Magdalena

Copyrishl O 1977 by Carl Fischer, lnc . New York62 Coooer Solare. NewYork. N Y. 1OOO3

Coo\ragor'.orooLclgrr. p.oticaron aaloeo- oarrvio16tes rhe F€deralCoovnohr L:w!rls,lsr...r/cd .ctuo.rs p.bt.de,jd--, ."ro,D o.r

7

Bach

JOHANN SEBASTIAN BACH(168s _ 1750)

AUegretto

M€NU€Tlrom Premier Iivre de pibces de clavectn

Colvnqhl Gr 1977 by Carl F scher, n< New York62 Coooer square. NewYorr. N Y 10003

Cotyino.or roproducina lhis publcaton in whole or in partviolaies the Federal Coov.ioht Law

Al rlqhts reserued includi.g public pe.tormanc€ lor profit

JEAN.PHILIPPE RAIVEAU(1683 - 1784)

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TT

L-el

rr)Jr- r

Largo (.1)- l bear)

ITALIAN AIRfrom Sulte l, A Mlno,. for Flute and Strings

GEORG

I

='l 7 t

9

PH ILLIP TELEMANN(1681 - 1767)

FIute

Guitar

-l

Copyrghl O 1977 by Car F scher, lnc NewYo.k62 Cooper Square, New York, N.Y. 1OO03

Copying or.eproducifg this publlcalon i whol€ or in oarlviolales lhe Federa Copyright Law

AlaiqhG reserved includinq publc p€rlormance for protii.

l;

rrqf

r

I4

"Note: The f ute parr conralns an alternaie veAion for demonsirarlng ornamenrarion po$ibi ities.

tot

MUS€TT€lrom fhe Notebook for Anna Magdalena Bach


Copviqhl Q 1977 by carlFlscher,lnc., NewYorka 62 Cooper Sqlar€, New York, N.Y 1OOO3

CopyifC or reproducinq lhis p!bllcaton lf whole or rn pa.t\,o ar.1 rre Fadqdrcoor.rgr" law