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I PROGRAIÍ NOTES

John Dowland (1563-i626): Ayre


t Dowland \^'as an English comPoser. of
rheA,iña ^r ñ,repn
tioe of F-lr
Queen-'Eli"abeü'
;;J,-ina.prayo:rüti i{¡rii"", shakeipeare.
It was an a ge of famous men, of
Ir atso was an age oi aci'enrure'
u,hom rhe grearcst "ffi;. gróuj J'iátlibr"'J;-,;; ;h;;áióalifornia. sir
sir Francis DraI:e ,rir.i rro,í"á rne \\'orlc
\\'alter Rale:gh iounoed

I ili;r-sr E;ltiiit cotonv in the ¡'lsw


Anar'¡cisascnglalrinmodernEngüsh).ItwasaccomPanledonthelute,epluckedstiinginstrume'
*iin to*. resenllance to the guiar'
I ia¡c-Antoine Cherpentier ( 1634'170a)
:Carols lrom Messe De Llinuit
the rsost pou'erful
XiV ( 1643-l?15)' This Frenchofnonarch'
I ÍJ,tn:'llll':i fliJ'l*::'":1"-1"?io',oo?'rhe magniii..o.. "ni urllii"n..
atso for his Patronage of rhe aru'
his courr. end fortunatelr'

works
¿s u'ell as a dozen masses and other sacreci
Charpentier \\'role more than fifteen.oPeras' of nu-U.r of French Chnstmas carols'
I ltlass ior Christmas E'e makes use
ii¡irii'rii "

Diderick Buxtehude ( 163?-170?): Sarabande


t coincided ,*'ith thar of charpenrier. rhev li'ed
Arthouch the life of Buxtehude armost exactly*'ere rhe gal'e.t' uia iu*uty óf Prris: Buxten'¡dc conttned
diffcrenr uorids. Charpenrier's surroundings
iri entirel'

himserf mosrrr. ro rhe [r.,"i.i.' and rhe "t;;;


i;fi: iiii, in'r,ií nirir'. p.nútark' later in thc ¡-orrh German
B:clt' r"iren still
I citv of Lübeck. S.,'.rn.l.is. his influet;'"ti'"'iJtipittá'
,n3¡. ¡¡rr.eiled more rhan ru.o h;;;;; ,ir;;:
, voune-proíit
bv his instruction'
fnt gittiionunn
rosr ot'ii riu Jóuur on
Sebastistt
fot¡¡. ro h¿¡r Euxrehucie plar

and ro

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2
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Flute
Preparatory Exercise I
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,TJ'

,r{

("Nor¡' oh now
1. Ayre
I needs must Pan")
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f Íirlrr' N" Yrtl
¡all I
Gcpyrighr O l{Cl^trrf 5y Crrt 1r..,
t o.^attc^ot CoPYr,glrl $tvtld
(o¡r.¡ ^t ¡r,t Debh¡cha^ rá tb¡a Frl
¡..aatalsarñt -
r¡i ,té.tcl (.9vrrlrl l.' 'ñ
o{?05 ^ll
',ot¡rc¡ dH'.|
r{rrr ndna te¡L. xrl.td. lot ,'ald.
N5073
orttoto ur
I o;cuEsrA ruvF¡¡:! vzllllxj49

I
)reoaratory Exercise
I
I
2. Carols
I Allegretto
from "lrlesse de
rol
Minuit pour Noel"
\,lARC.ANTOINE
(
ClJ ARPE N'TIER
l6l4-¡70r)
IJ

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lorr c¡' note s


LC
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I optional
-u.+ +
ts

I ctetc. f __rf
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P

I r¡
Jcf

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I Crpyr[hr O ra€ltt¡ll ly Corl firrhrr. l¡t., Nr Yrrl
l^tar^.tú^.1 Ccpytíjht StctnJ
c-'irr .r -:.'::.::: l::-?::,;:._,::^_: -iore r í¡ rcrr
F \t,4 *
I
PreparatorY Exercise
.-
I
---

3. Sarabande
t
l¡u'er
?íl
notes optiona.l
lel
DI ETRICH BUXTEHUD

2
i
(r63 7. I 707)
..í: -Í-
{-+-
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*t-f

----
- t
_B
1st Vin.
I
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f+

-+ s
t- €
t
-]
=
lrf
:=- D cresc.

Cr¡rri¡hr O Acttff lI 5y Ccrl lirhrr, lrt-


-tt.r^.t-^.l (oP7ri9ll tomd
Xe Yorl T
C-r¡a, .e-at1 rh'a Pbl;..r'oa rhala d ¡' Fd
r-t.rai rh. ,aa.ral Ca9tttgil' tar.
Ns073 l¡ v¡l'r

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all .ila F¡.-r.l i{k,.iit Plh. rr{nxo
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I ArcangeJo Corelli ( I 653-17 13) : Gavotta
It :t: tht time of the great
corelii was born inro an age u'hcn the vioün u'as coming into prominence' and. most famous of aii' Anton¡us
I 'iol¡,
.:iakers oi Crerio*aati,e-Ámari fámi¡V.-ihe óuaineri fámily,
srrai,.r,iius. (The la¡rer alone made mori-ii,á;;i;";;i,un¿te¿
i-;'¡; ;";..iry to hanán. In the hands of a good playcr they
insíruments')
could produce
Their
lones
violins u'ere eraceful
of amazittg bcauty'
slow melodies have ¡ noble' sustained
Corelli was the right composer to prove the worth of the violin. His vigorous. This is espect'rll\ cirdcnl rrt
I sinsine cuali*,. and his vivacious'dance rnor=rn.rrt,
,,ii oát,á,ro, í irict¡ is trom one of his violin sonat3s'
sound futl and

I Jean-Philippe Rameau ( 1683'1164): Air Tendre

Great ad'ances in science and thought n'ere made in Rameau's timc:


for exampie' $ith ¡n impro'ed mrcro-
Rameau himself v'rote a lrcatlse
scopc one .oul¿ noru-sJ. ii"v li;i"i rhinls swimming in a drop of water.

I frivolous rasre of ri,r notirity, and'Rameau found mosr favor


u'irh
taste in Paris r'as linired bv the
on the basic pr:ncrples of harmony ar,d iho;d srrrciure. But'musical airv dance movcmenls' The Atr
ligtrt.
is originallv for the harpsichord. the solt-toned
Tcndre is one of th.;rl;;;c;ruiin¿ delicitery exprcssive. It
keyboard instrument that preceded the piano'
I ceorge Frideric Handel ( 1685-1759): Llarch lrom the opera Rinaldo

I \ñtrcn Handel wen¡ to London in l7ll, the popular enrenainment was.oPe-ra We would describc it today
as a
..grand ,p..,t.ui"i'; fiu"d *'irh lnagnificeñt. paEeants.anp Pfo!!1si:",1t_. eiaborate scen3s. costly cos'
rumes. ancl eyen such ex¡ravagances as a figirr bitween the hero and a lion.
(Of course tl:: hero \\'on. t
H."¿.r poured into r,iiof.r"r-un endless flo-*'of music. unsurpassed in beauty of melodv and nobility of
t style. In'larer ¡'ears h: r+'iote oratorios. the mo:t famous of u'hich is Messiah'

Handel composed u,irh great speed. Rinaldo u'as done in fourreen.davs. In 35 ¡'ears
he v,'rote approxtmatelY
;Oó;r;;. 2b orarorios.-an! a great number of *'orks of many other kinds.

I Some well remenbered authors were Handel's contemporaries in London: Daniel Dcfoe(Dictionarv
Tiiioel,lcseph Rddison (Speaator). Jcnarhan Swifl 16ulliver's Travels), and Samuel Johnson
(Robinson

of the English Language).


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{'I- t'-', -\;
''^ . t,t.JFitc¡.g Dl
oneur:rÁ )uvbN¡L r{¡ircA}.'A, A ( I
Preparatory txercise I
++
:---f--:-L-: . ,-?-t-t: t p.

I
4" Gavotta
from Violin Sonata, op. 5, no. 9
ARCANGELO CORELLI
I
Allegro
++

Lorver notes optional


EE - * iÉ.t ,- 83.

@,
2 ?* 2

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+
+ i?
'-+-

Catt';gh @ by C¡rl fixlcr. l*- Xr¡ yrrl JJ ráIL


^{Crtrtf (.ttr;O¡l
litrn.r..^., Staehd
Caary;a ar rrDraaer,.t rAr. tsbl.aatra. r¡ rla¡a t ¡ F.t
¡{1.,?. rb r-.r.1 Carrr'Chl !F
úArr r.¡.r'.a .xi{¡a,{ tE5li. tsd.ffi. |.r D-l¡t.
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I PreparatorY Exerctse
&t? ít r:5.l
X.
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OL
ñ->
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^^f?ít=?
I L,ower notes oPtional
¡
ctesc.

t 5. Air Tendre
I JEAN.PHILLIPPE RA\IEAU
' r 168l'l?6{)

Anda¡¡ti¡ro grazioso
+
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I DO
+ +
+ '-t- -a-

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I Lower notes option3l /¡>
I s +
L.

t ,rt' crcsc.
Copyright O lAC$tIl¡ bv C¡rl ' ''.'',
CÉr{
,ñttt.arrriol Cc77tq' t+torJ
ot tatddr^l rñ.1 tel¡rta '.''
ln(.' }¿e¡ l¡rl
-i¡t f '¡ F'l
rrorar.r lha ,aoarcl Cogt: 9^t lat.
N3073 lll rrllla terñ q¡9.r^t F¡ba Frlotxxa lot

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T:it,4 ¿- I
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6.
'March 'l r""! I
Allegro non t rop po
from the opera "Rinaldo"
CEORGE FRIDERIC HANDE,L
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E ts ( lóE-<.¡759)

--Z t
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lst Vlu.

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Lower notes optional
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crescc ¡aIL
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Crpyri¡h @ rclt¡r¡ by Crrl fir<lrer, l¡c- Xe Y¡rl
llt tso¡ ¡aol ( o ¡ ¡ tig}.l Eccal
(o¡rirl t tq¡JÉ;i? rN¡ FlL...:- ¿. rLb r ¡. tsrl
.-5rrr .h. ,-.r.1 Crrrilll lF,
N50?3 ¡ll thl¡ n¡-a ¡rLr+{ ¡11,. ple¡ b d't,
Lcopold Mozart ( l7l9-1787): Hurvest Song
To thc world in general,.Leopold M-ozart is merely the father of one of rhe grearesr geniuses in rhe hisror'
of music. Wolfgai,e Amadeus.'To violinists he is a rJac¡ii",f,ó wrore an insrrüction merhod rhat r'as id;ii
recognized as aurhoritarive in its time. "
But Leopold lrlozar¡ also'*'as a composer. u'irh a considerable oulput ro his credir. \\/hile nor one of the
immorta,ls. he nevertheless mi.':ht be better kno*'n todaf if he u,ere not so complerel¡'oversl-rado,-.1 úi
son.
i
Joseph Ha¡'dn ( 1732-1809): Country Round
To generations of sludents. Joseph Havdn has been "Papa Haydn." Jusrt¡,so. for so much of his music is
*'arm'hearted and cheerful. and his melodies have the simplicity and beaury of folk sonts.
we sh.ould.not forget. however. that Havdn was one of the greai composers oí t¡e eighteenrh cenrun,.
He
pla¡'ed a'i¡al role in building rhe formi o{ tl: s¡mphony año rne tttii'rfquuit.i.;;;;;;;"'n.,"lrr'ritit,
for orchestra and voices, The Creation and Thc Srasons. are masrerpieiei of rhe iirsr rank.
Ludwig Van Beerhove.n ( l770-1827): Theme lrom chorar Fantasia, op. g0
Grcat and far-reaching changes occurred betwcen 1750 and 1800. In France the absolurc monarch' was
dcstro.vcd: the r¡atchword wa.s "Liberty, Equaliry, Fraternity." ln iñli iró""r.y i¡i-ó;;i;r;;i;;'oi'ln¿.-
pendence proclaimed tha¡ "all men are created equal." Haydh was con¡ent for álmost lhiny lears
ro ,.*.
a feudal lord: Beethoven let the_nobrliry know ¡hát he waí no man's inferior. fainiingr inbri-Hr,O"-i"
pou'dered ure and court dress: Beethoven dressed to suit himself.
.
The Choral Fa¡t:asia (for piano. chorus. and orchestra) was s,rirten for a concert of Beerho'en's music
given December ll. 1308. lt r*'as a mcmorable occasion. for ir includ.¿ r¡i fiisi-perfotman:es
poser's Fifrh cnd sixrh s1'mphorues, rr+'o of his grcatest masrerpieccs. - ----- r-
oí rhe com-

The text oI the Fantas¡a is a tribu:e to art, tha¡ unites men in peace and brorherhood. The Thcme
reyeals
severai character¡stics of Be¿thoven's style-a simpie melody rhit moves up and down rhe
scui., r-tiptui".rt
kind of harmonrzarion. and a srrong, insistent rhythm.
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t '.¿rlEiAJ
I ORCUTS'!A
l¿E
lUvBlilL li E¡lC^N^,
^.C
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t0
I
Preparatory Exercise
,^
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-^- +. -
\t,
--t*
-tft
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1 . Flarvest Song I
L EOPOLD \1 OZAR T
(l7l9.l?6 tl
Allegrctto
i a-t
7--,8 ,} - Ist \'l

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------l
t
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n =
.ñ, -j+

,rt' 4

==-
t I

poco á poco cl'esc.

N50?3
CrpTrighr O r.rCA4t-IlI by Corl tiritrrr, lac.. Xrq Yrrl
,.t. tr. ú^¿t Cc2 ¡ ij}.t bcvta é
t
I
Catri{ .r e'Éett^t rh,r tsDl.r.rc. ;. -lal. t ;á Ftl

I
F¡cr.r rE fd.t.l C.ttt'th l.-.
All .;tlt¡ .F..a rd¡n,rr' tv¡hr Ftl¡tnxa la. D?.1,!.
I ORQUESTA f t,\'tll;lL
t|or-o DF.
t.l:).J.'/.N4. A.C.

I Inwer notes opt¡onal


PreparatorY Exercise )^ E.
I 2 i L7 C\
-+ ¿ 22

I
I 8. Country Round JOSEPH H.AYD¡*
r l?3:.tS09)
Allegretto .:ql

I 2L XL t-e t
-...

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t
I f' f, + 2:> 2ll /-r, + í-
L=\
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s-^ O^
I ! cresc. ,tf cresc.
t
t
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I ?27-+ 7=
I ( !rv,.chr Ga $Cl^f
ctesc.
Ia¡ bv C'¡tl f ¡xhrr, lat.' Xrr trrl
f allarg.
lrt.ñaróaol (3j7rr9lrt Srtrrrd

I
C¡¿,,r¡ or r.tradel.ñg rh;a tvlli.l,F i. -Fta ¡^ trrl
I-i073 !,.t6tai iF lñirr.l
iilrá,tii
Cattr{ht lF. -
lo? t.fi|.
,{\r¡ .¡"t!.a tebl,. Fdüffia
^r¡
l2 I
Preparatory [xercise t
e.t .í)¡
Lower notes optional
e É* +

eJl I
9. Theme frorn Chc. al Fantasia I
Attegrctro ¡¡¡a no¡r rrop¡ro
; ttzoto)*'."?:jt:':1,[":i:tttf\'r?f-,r::'
tszas ),rdontr. cott
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I
!7 --+ Í7^?
' ,r{
I cresc.
--rf
++=LG
-
E+ + I
I , t?f

* -ñ-¿¡-.. EE
:+ I
eresc. f I
I +

Cog;ri¡hr @ rctl¡t¡
l.hñ.tb..t
Cart¡l ., ry..si{
lll ?ifrh ñ{a
Ccl¡tilt bcuoJ
tla ¡ra¿{ar;¡r
r¡hñ .1. t-rol (tr4lr - lÉ. -
a¡¡-ria ¡r}t{ ¡ia¡ la
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lr Cr¡l lilor. lx- Xor }¡rl
tt ¡a ¡ tsrt

'!tl¡.

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Hecror Berlioz ( 1803-1869): Arta lrom the Oratorio L'eniance Du Christ

I The srories abour Hector Berlioz are numerous-his grear shock of hair. his determination lc m¡rn' an
actress he had never met the did marry her), his enoÍmous orches¡ras and the f¿ntast¡c
thcm Proc::cc.
new souncis he ma.je

with tender feeling. Perhaps


I Bur rhis Artaisdifferent from what one expec¡s. lr is quier and gentle and filled
this is the re¡l B'¡rlioz-and the other just his "public image."

Rich¡rd\\'acner ( t8l3-1833): Hvmna¡tdBannet'Themt tromthe .ra Die Meistcrsrnger l/or.\'irr;rbclg


I Waener influenced thc developmen¡ of music more srrongl¡'rhan -;1!'other comPoser in the nrneteenth
..oiuw. lilosr of his operas ar! based on Germanic legends. but D¡¿ lleitersinger is an onginal comedr
deatin! with the lr{asrersiogers' Guild'
I Guitds were g,orkmenls "unions" thar gre\¡'up during the lrliddle Ages. The N{astersingers \rerc drfferent
in ri¡at music s.as nor.their rrade bur rheir hobbv. Hans Sachs ( l49J-1576), the most famous of thc Ilastr
singers. is rhe cenrral figurc in Wagner's opera. He desciibed himself in th;s rhlme:
I "l am Hans Sachs, a shoe-
I{akcr. and a poet. too."

I Jacques Offenbach (1819-1880): lltaltzirom the oPererla


Offenb¡ch is besr knou'n for rhe brilliant
LaG
opera. The Tales oi Hoi
e-Duchess De Gérolstct¡t
,-n. but his popularit¡'rn Prris \\:as built
on his operett3s. of which he '¡'rote more than one hundred.
I An Offenbacfi opererra is like a Broadwav musical show-tig]r¡-hearted. witty, and filled sirh melodious
runes and colorful dance. The Waltz frcm La Grandc-Duchesse is a good cxamPle of the style.
A¡hough rhe European theatre has producgd- manl/ l'erv popr:lar musical shows. such as Johann S:rauss's
I Fledcrmaus and FranzLehar's The ilerrv lVidov', a number of 3"¡rerican composeis also belong i¡ :¡ first
rank in rhqr caregory-for instance. \'ic¡or Herber¡. Irving Belr'n. Jerome Kern, George Gersh¡'¡n. and
Richard Rodgers.

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I oRcuEsTA tu\'¿l:lL I'lr.xtcAliA' Ac
- .i-
fv r\.?,- ta_

l1
I '--

.¡ .¡'-- -¡ 1-
PñCL I'DA3 OS
OBQUES?,\ ¡UVElrll, l,lZxlCaliA.
^..C I
Preparatory Exercise
.G> +i) +21 €'
t
++-___;

---- t
r 0. Aria from the oratorio t
"L'enfance du Christ" HECTOR BERLIOZ. oP. 2-s

Allegretto grazioso t¡r .e


( l 803.1 8ó9 )

I
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- -
E t
I
E3¡6rver notes optional
..-
G-
I
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+ .Cl- t
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--_-1 -- ==--
E!
* r-).
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---=
t-+ +2 -a_
EB
-4. ,-t 7+
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l-= -

tar
4>P I
-+4: -+-
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rall.
t
N50?3
Crpyr;ghr O $Cr ¡rlr 5y Crrl firhrr, l¡c., Xcr l¡rl
I ¡to ¿ ¡oto ecl Co2¡.ight tcc tto d
Cagt;ñl at ñ/.a!.i.a
Afl r{h!r ñ¡'d
--
¡{lí,4
rh.r retL..t¡añ ¡. ttata r i¡ Ftl
r'alcrcr ib t-.,c1 Cattr,Chl la'
F¡h. Fld..da lJ
-_
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I
,1 ,

I Ft-. '¡-

I Preparatory Exercise

I
I 11. Hymn and Banner Theme
from the opera "Die iiieistersinger von Nürnberg"
RICHARD \\'AGNER
I
t
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pf
t
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t +
I tt
I Coer"ghr rO ¡{C¡rtIlf by Crrl li*ler, lñ(., x.r V.?l
ler....r'.^al CcpVijhl lattod
Co;¡n¡ or [#e.r.l tl¡a re¡sca.6 * !|Ll. t ú Ftt
rúbra¡ lM ,-...1 Ctttrtñr la!.
ll Enr¡ nrñ{ lu l¡1,r.
fr¡rl,rie F5t¡a Flffia
\-¡073
t
'l
I6 TlnrTn
Preparatory Exercise
I

12. Waltzfrom the operetta,


t
La Grande-Duchesse de Gérolstein"
JACQUES Or.Unoo.*l
( r8t9,t660)
Alleero ¡¡roderato
t¡.

¿t¿ L

t
I

I
cresc.
j073
CegTril¡ O ,{c¡l¡t¡ 57 Crrl l;
,.t.?E)aal CtV¡á9ht 3 .'od
Cos¡:q e.r.rar.6l
.¡lor.a tt !k¡
. l-.- N* fort
tEllrrt¡d - -rb - ; F,l
,-.el <qr,, ,
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..'ñl{ p:¡< F. ¡.*' l( Fr¡r.

t
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:¡ya.¡r