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Philip Hawthorn and Caroline Phipps Edited by Jenny Tyler and Helen Davies Series editor: Anthony Marks
Designed by Kim Blundell and Lindy Dark Cover design by Russell Punter
Illu ted by Joseph McEwan, Guy Smith and Peter Dennis Cover illustration by Ross Watton • USIC
ts by Daniel Scott and Caroline Phipps Music engravings by Poco Ltd and Michael Durnin
Contents Section 1 Baroque music 4 Classical music 22 Romantic music 38 Playing the pieces in section 1 62 Glossary 64 Composer chart 66 Section 2 Theatre music 68 Music for dancing 86 Religious music 100 Descriptive music 110 Playing the pieces in section 2 126 Index 128
Pieces in this book Trumpet tune (Purcell), 6 When I am laid in earth (Purcell), 7 Adagio (AlbinonilGiazotto), 8 Spring (Vivaldi), 9 AlIa Danza (Handel), 10 Arrival of the Queen of Sheba (Handel), 12 Thine be the Glory (Handel), 14 Canon in D (Pachelbel), 15 Viola concerto in G (Telemann), 16 Brandenburg concerto no.3 (Bach), 17 Air on the G string (Bach), 18 Minuet in G (Bach), 20 Rule, Britannia (Arne), 21 Bourree (Leopold Mozart), 24 Che faro (Gluck), 25 Emperor's hymn (Haydn), 26 String quartet in D (Haydn), 27 Clarinet concerto (Mozart), 28 Romance (Mozart), 29 Symphony no.40 (Mozart), 30 Duet from The Magic Flute (Mozart)., 32 Ode to Joy (Beethoven), 33 Pastoral Symphony (Beethoven), 34 Minuet in G (Beethoven), 35 Moonlight Sonata (Beethoven), 36 Impromptu (Schubert), 40 The Unfinished Symphony (Schubert), 41 Serenade (Schubert), 42 Caprice no.24 (Paganini), 44 William Tell overture (Rossini), 45 Harold in Italy (Berlioz), 46 The Jolly Peasant (Schumann), 47 The Wild Horseman (Schumann), 48 Prelude op.28, no.7 (Chopin), 49 Nocturne op.9, no.2 (Chopin), 50 Violin concerto in E minor (Mendelssohn),52 Liebestraume (Liszt), 54 La donna e mobile (Verdi), 55 Ride of the Valkyries (Wagner), 56 Bridal chorus (Wagner), 57 Symphony no.3 (Brahms), 58 Swan Lake (Tchaikovsky), 59 Piano concerto no.l (Tchaikovsky), 60 Solveig's song (Grieg), 61
Terzettino (Mozart), 70 Fidelio (Beethoven), 72 The Barber of Seville overture (Rossini), 73 Drinking song (Verdi), 74 Anvil chorus (Verdi), 76 Soldiers' chorus (Gounod), 78 March of the kings (Bizet), 79 Du und du (Strauss), 80 Morning (Grieg), 81 Flower duet (Delibes), 82 Pizzicati (Delibes), 84 Sleeping Beauty waltz (Tchaikovsky),85 Musette (J. S. Bach), 88 German dance (Mozart), 89 Minuet in A (Boccherini), 90 The Blue Danube waltz nO.l (Strauss), 92 Hungarian dance no.5 (Brahms), 94 Dance of the hours (Ponchielli), 95 Slavonic dance op.46, no.8 (Dvorak), 96 Eugene One gin waltz (Tchaikovsky), 97 Norwegian dance op.35, no.2 (Grieg),98 Polovtsian dance no.l (Borodin), 99 Wachet auf! (J. S. Bach), 102 Jesu, joy of man's desiring (J. S. Bach), 104 The Heavens are telling the glory of God (Haydn), 105 The Lord's my shepherd (J. S. Irvine), 106 Jerusalem (Parry), 107 Go down Moses, 108 Swing low, sweet chariot, 109 Autumn (Vivaldi), 112 Nocturne (Mendelssohn), 114 Hebrides overture (Mendelssohn), 116 Nocturne op.15, no.2 (Chopin), 117 Romeo and Juliet (Tchaikovsky), 118 Promenade (Musorgsky), 120 Vltava (Smetana), 121 Scheherazade (Rimsky-Korsakov), 122 The girl with the flaxen hair (Debussy), 124
Introduction The tunes in this book are taken from popular pieces of classical music, and have been specially arranged and simplified to make them easy to play. Many of them should be familiar, even those with titles that you may not recognize. The pieces are grouped in three sections according to the period in which they were written. At the beginning of each section there is an introduction to the music and composers of that period.
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Most pieces of music have a number, called an opus number. (Opus is the Latin word for "work"). In the 17th century, composers began to number their works as they were published, opus 1 (or op.l), opus 2 and so on. Often a single opus number was given to a group of pieces published together in one book. When several pieces appeared with the same opus number, each one was given a second number, for example, op.l, no.4. Composers often gave their music titles as well. For example, Beethoven called his sixth symphony the Pastoral Symphony. Sometimes titles were added later by other people. Beethoven's sonata op.27, no.2 was given the name Moonlight Sonata.
The Baroque period Baroque is the name given to the cantatas Oratorios European style of art, architecture and music from about 1600 to 1750. Buildings were very ornate, and music echoed this. Baroque music started in Italy, and worked its way north to Germany, France and England. It is known for its contrasts of speed and volume. Many new styles or forms of music An oratorio is a musical story or drama, usually were developed in the Baroque period, on a religious theme. It is performed by a choir some of these are described here. On the and orchestra without costumes, scenery or opposite page you can find out about the action. Cantatas are similar to oratorios but they Baroque composers whose music are more an act of worship, often including appears in this section. popular hymn tunes. Opera The concerto grosso Dance music and suites i, -
An opera is like a play where some or all of the words are sung. The first operas were staged in private homes in the 1590s by a group of poets and composers called the Camerata. The first public opera house (a special theatre for opera) was opened in Venice in 1637.
In the Baroque period, a type
of piece called the concerto grosso was popuJar. It was written for a small group of instruments and a larger orchestra. The orchestra acted mainly as an accompaniment, while the smaller group played special solo parts.
The first piano
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Baroque composers began to use dance music in their works. An example of this is the minuet, a dance which was very popular at the court of Louis XIV in France. A suite is a group of pieces of music, often including several different dance styles.
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Example of a baroque orchestra. Harpsichord
The first piano was made in about 1700 by an Italian called Cristofori. Pianos didn't really become popular, though, until later in the 18th century. Until then, the main keyboard instruments were the harpsichord, virginal, spinet and clavichord. Only on the clavichord were the strings struck, as they are on a piano. The others had quills to pluck the strings. 4
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An orchestra is a large group of instruments. In the Baroque period, an orchestra had up to
around 40 players. More than half of the instruments in an orchestra are strings. There are also sections of brass, woodwind and percussion instruments. Baroque orchestras were directed by the ha.l-psichord player or the lead violinist.
Baroque composers
Henry Purcell
Tomaso Albinoni
Antonio Vivaldi
(1659-1695)
(1671-1751)
(1678-1741)
Purcell was the most famous English Baroque composer. He had a song published when he was eight, and at 20 became the organist at Westminster Abbey in London. He wrote over 500 works, including music for 40 plays. He also wrote for royal occasions such as coronations, and the funeral of Queen Mary in 1695.
Albinoni was an Italian composer. He wrote over 40 cantatas, many concertos and a lot of other instrumental music, majnly for strings. He also wrote over 50 operas. He lived most of his early life in Venice, where he opened a singing school with his wife, Margherita, in 1709. After her death, he directed his operas all over Europe.
Vivaldi was an Italian composer who also trained to be a priest. From 1703 he taught the violin at a girls' school in Venice. He is best known for his development of the concerto, and wrote about 550 of them for various instruments. Although he was a famous musician for much of his life, he died a poor man.
George Frideric Handel
Johann Sebastian Bach
Thomas Arne
(1685-1759) Handel was born in Germany. His father didn't want him to be a musician, so as a boy he had to play in secret. He lived in Italy for a while, then went to England and became a British subject in 1726. He composed for kings George I and George II. Handel wrote many kinds of music, including oratorios, operas and concertos.
(1685-1750) Bach was born into a famous German musical family, and held important posts as a musician at the courts of Weimar and Cathen. He was an excellent organist, violinist and harpsichord player. His music later influenced ma.ny other composers, including Mozart, Beethoven and Mendelssohn.
(1710-1778) Arne was one of the most famous English composers of the late 18th century. He was noted for writing pleasant melodies. He wrote over 30 operas, and lots of music and songs for plays, including those of Shakespeare. The tune for which he is best remembered is now known as Rule, Britannia. 5
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This tune is from the opera Dido and Aeneas. It is based on The Aeneid, a story by the Roman poet Virgil.
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The Classical period Some people call all serious music "classical", but the word is mainly used to describe the music of the second half of the 18th century. Classical music reflects the confidence and prosperity of this period. New instruments enabled composers to
The symphony
A symphony is a piece of music for an orchestra. In the Classical period, most symphonies had four sections, called movements. Each one had its own speed and sty Ie, often in the pattern shown below.
develop new sounds, harmonies and musical forms. Some of these forms are explained below. At this time, Vienna was one of the most important musical cities. Haydn, Mozart and Beethoven, the three greatest composers of the age, lived there for much of their lives.
The sonata
The concerto A concerto is a piece of music for an orchestra and a soloist. It developed from the Baroque form, the concerto grosso (see page 4). The concerto usually had three movements, like those shown below.
Classical sonatas were written for either a single keyboard instrument, or for a keyboard and one other instrument. They usually had three or four movements (see below).
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During the 18th century, the piano gradually grew in popularity. Unlike the harpsichord, it could play loudly (forte) and softly (piano). This meant that a much wider variety of music could be played on it. In the 18th century, Cristofori's invention was called the "fortepiano". Later, it became known as the pianoforte, and eventually it was shortened to just the piano. Today, the word Fortepiano is used for an instrument built in the early 18th century. 22
2 trumpets 3 bassoons
2 harpsichords
As new instruments were invented or developed, orchestras grew in size. Above you can see the most common orchestral instruments of the classical period, though others were frequently included as well. Orchestras were usually still directed by the harpsichord player or lead violinist.
Classicalconnposers -
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rranz Joseph Haydn (1732-1809) \
Haydn was born in Rohrau, Austria. He trained as a choirboy, and sang in the choir of St. Stephen's Cathedral in Vienna for ten years. In 1766, he became music director at the court of the Esterhazys, a rich Hungarian family. He worked for them, on and off, for most of his life. Haydn wrote nearly every form of music, including
108 symphonies, many string quartets, operas and church music. His music was popular all over Europe. He visited many major European cities, including London. In the 1780's he became very good friends with Mozart (see below), who dedicated a set of string quartets to him.
Wolfgang Amadeus Mozart (1756-1791)
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Mozart was an Austrian composer, and wrote his first music at the age of five. At seven he went on a concert tour of Europe. Above you can see a poster for a concert he gave in England.
Mozart wrote his first symphony at the age of nine. He lived in Salzburg, Paris and Munich, but settled in Vienna in 1781. He often appeared as the soloist and conductor for his own music.
Mozart wrote a huge amount of music, including 41 symphonies, 27 piano concertos, religious music, chamber music and 19 operas. Above is a scene from his opera The Magic Flute.
Ludwig van Beethoven (1770-1827) Beethoven was born in Bonn, Germany, where his father and grandfather were both musicians. From 1792, he lived in Vienna. His early pieces included the Moonlight Sonata for piano, three piano concertos, and two symphonies. From about 1802, he was troubled by gradual and incurable deafness. But he continued writing all kinds of music. Because of pieces like his third, fifth and sixth ..u.t, ......., ......"'''', the opera Fidelio
was when he wrote some of his greatest music. His last string quartets contain some of the most challenging music ever written. In his ninth symphony, he used a choir as well as an orchestra, to increase the dramatic effect of the music. and two more piano concertos, he became known as the greatest composer of his day. By the end of his life he was almost totally deaf, but this 23
Bourree
Leopold was the father of Wolfgang Amadeus Mozart. He was also a musician.
The picture on the left shows Salzburg, the city where Leopold Mozart lived and worked.
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This tune comes from Beethoven's ninth symphony. It is called the Choral Symphony because it was the first one to include a choir.
Beethoven's birthplace in Bonn, Germany.
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Moonlight Sonata
This sonata (op.27, no.2) was written in 1801. It was dedicated to a Countess with whom Beethoven was in love.
It got its name because a poet called Rellstab said it reminded him of moonlight on a lake.
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Beethoven played the piano at the first performances of much of his piano music. On the left is a picture of his grand piano.
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The Romantic period 'Romantic' is the word used for a new style of music that developed in Europe in the 19th century. It was often inspired by other arts, especially poetry and painting. Romantic composers tried to write music that expressed their feelings and emotions, and much of their work is very dramatic and moving. Some people view Beethoven as the
first Romantic composer; he introduced Romantic styles and expressions into his later music. He was followed by Schubert and then many others. You can find out about them on the opposite page. Romantic composers, especially when they performed as well, were often very popular and had huge followings. You can find out more on page 54.
The orchestra
The Romantic piano
Keys on a clarinet A harp-the pedals were invented in 1810.
During the Romantic period, the piano became the most popular instrument. It was much more strongly built, so its sound was able to fill the large concert halls that were being built. It was also given more keys. In the picture below you can see an upright piano.
Valves on a trumpet
By about 1830, the orchestra looked more or less like it does today. There could be anywhere between 70 and 100 instruments, depending on the type of music. Many instruments were improved by the invention of valves and keys (see above). The harp was also included in orchestras from about 1820. As orchestras grew larger, it was no longer practical for one of the musicians to direct the others and play at the same time. Since the eary 19th century, most orchestras have been directed by a separate musician called a conductor. A conductor stands in front of the orchestra, beating time with one hand, and telling the orchestra how loudly or softly to with the other. The introduction of a conductor meant that very precise directions could be given to the orchestra. 38
As a result, composers began to write more complex music with greater variation in
dynamics and tempo. The conductor was able to control the speed, volume and mood of the music very accurately, so composers began to be more adventurous in the kind of music they wrote for the orchestra.
These were first produced on a large scale in the 1870s and were the kind most people had in their homes.
Romantic music During the Romantic period, many different types of music were popular. On the right, you can read about some of the most important Romantic styles.
Music for ...... H
expressed a mood (Chopin's Nocturnes).
Opera - with exotic settings and romantic or adventurous plots.
Romantic composers Franz g"'UULUII:,&-
Nicolo Pag-anini
(1797-1828)
(1782-1840)
Austrian
(1792-1868)
Italian
Italian
Schubert was known mainly as a writer of songs, but he also composed beautiful instrumental music, such as the Trout Quintet.
Paganini was not only a composer, but also a virtuoso performer. He played the violin to wildly enthusiastic audiences.
Coming from a musical family, Rossini wrote his first opera at 18. He composed 40 more, including The Barber of Seville.
Hector
(1803-1869)
Robert Schumann
French
Felix Mendelssohn
(1810-1856)
(1809-1847)
German
German
w"",...
Berlioz was a very inventive composer. He was also a very emotional man, and this is reflected in much of his music.
A gifted pianist, Schumann wrote piano and orchestral music. He composed over 300 songs, many influenced by his love for his wife, Clara.
Mendelssohn was a pianist and conductor as well as a composer. He played and conducted his music all over Europe.
Fryderyk Chopin
Franz Liszt
Giuseppe-Verdi
(1811-1886)
(1810-1849)
( 1813-1901)
Hungarian
Italian
Liszt was a brilliant concert pianist by the age of 12. His piano music is among the most difficult ever written.
Almost all Verdi's music is opera. He wrote and directed allover Europe. Among his best known are Afda, La Traviata and Rigoletto.
Polish Chopin was one of the greatest composers of piano music. He influenced many others, including Liszt, Tchaikovsky and Grieg.
(1813-1883)
Johannes Brahms
German
CaDdllEi .. Saint-Saens
(1833-1897)
(1835-1921)
German
French
Richard Wagner
Much of Wagner's music was political. He was banished from Germany for 11 years. His 4 operas called The Ring of the Nibelung last 18 hours.
Brahms wrote a wide variety of music, including four symphonies and many songs. He was a close friend of Schumann.
Pyotr Il'yich Tchaikovsky
Edvard Grieg
Giacomo Puccini
(1843-1907)
(1858-1924)
(1840-1893)
Norwegian
Italian
Grieg promoted Norwegian music as a composer, pianist and conductor. Two famous works are the Piano Concerto, and Peer Gynt.
After seeing Verdi's Afda, Puccini dedicated himself to opera. Among his best known works are La Boheme and Madam Butterfly.
Russian Tchaikovsky is famous for many types of music: symphonies, concertos, and ballets such as Swan Lake and The Nutcracker.
Saint-Saens was a famous pianist, organist and composer. He was admired by Liszt and influenced many others, including Ravel.
39
Impromptu op.142, no.3
An impromptu is meant to sound as if it is being improvised, that is, made up on the spot.
The picture on the left shows Schubert's room with his piano.
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This symphony, Schubert's eighth, only has two movements. It is thought he didn't finish it because he got tired of it.
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This piece is the music to a song. Schubert wrote over 600 songs, called Lieder.
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A caprice is a lighthearted piece of music written to be played in a carefree style.
Paganini wrote this piece for the violin. He was a brilliant and popular violinist.
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William Tell overture
The picture shows characters from an 1844 production at London's Covent Garden.
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Pilgrimage.
Berlioz was also a famous conductor.
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This is the town of Leipzig, where Schumann studied.
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Liebestriiume means
The Liebestriiume are nocturnes.
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The Polish pianist Paderewski (1860-1941) was often mobbed by audiences during his concerts. In 1919, he became the president of Poland.
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This song is from an opera called Rigoletto. It was first performed in
This opera is about a court jester. The picture shows costume designs for the first production.
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Duke. She refuses to let her brother kill him, but they must kill someone to give Rigoletto a body and claim the fee. To save the Duke's life, Gilda allows herself to be killed, and her body is placed in a sack. When Rigoletto opens it, he finds the body of his daughter. 55
Ride of the Valkyries
This is from the opera The Valkyrie. It is the second of four that make up the opera cycle called The Ring
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The tune below is from the third movement. In the symphony (first heard in 1883) it is played by the cellos.
Brahms was an excellent pianist. On the left is a picture of him playing.
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The piece was first performed in Boston, Massachusets, on October 25, 1875. This is part of the first movement.
On the left is the booklet handed to the audience at the first performance.
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Solveig's song is from a play called Peer Gynt, by the Norwegian writer Henrik Ibsen.
The tune is based on a Norwegian song. Grieg was very fond of folk music.
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Playing the pieces in this section On these two pages you will find some hints on how to play the pieces in this book. When you are learning a piece, it is usually better to practise each hand separately at first. When you can play each hand comfortably, try to play them at the correct speed, and then try playing both hands together. There are suggestions for fingerings in the music, but you can try to work out your own fingerings if these do not feel comfortable. If you want to start with the simplest pieces in the book, look at Minuet in G on page 20, and the Pastoral Symphony on page 34.
Brandenburg concerto no.3 Take care with the fourth line, as there are some big leaps in the right hand.
Air on the G string Keep the left hand very steady throughout the piece. There are lots of large leaps, so you will need to practise this on its own before adding the right hand.
Minuet in G Take care not to rush - play at a relaxed tempo.
Trumpet tune
Rule, Britannia
Try to keep an even, march-like rhythm.
Make sure you are confident of the fingering in the right hand before trying both hands together.
When I am laid in earth There are lots of accidentals in this piece, especially in the third line. Practise each hand on its own at first, until you are confident of the notes.
Adagio
Bourree Play this very smoothly.
Che faro Keep the left hand part flowing evenly.
This piece is slow, so make sure the triplets are even. Take care in the first and second time bars - you might want to practise these separately at first.
When both hands are playing the same rhythm, make sure you keep them absolutely together.
Spring
String quartet in D op.76, no.5
The right hand plays thirds almost all the way through this piece. Practise until you can play them accurately.
When the left hand is playing crotchet chords in the last two lines, make them softer than the right hand to allow the tune to come through.
AlIa Danza (from Water Music)
Clarinet concerto
The opening chords in the right hand are difficult. Practise these until you are confident of the fingering.
In the last three lines of the piece, make sure
you play the thirds in the left hand very smoothly.
Arrival of the Queen of Sheba
Romance (from Eine kleine Nachtmusik)
This is very fast, so practise the right hand part until you can play it at the correct speed before adding the left hand part.
Take care with the semiquaver passages in the third and fourth lines. The fingering is sometimes a little tricky here.
Thine be the glory
Symphony no.40
You may find it easier to practise this in sections. There are six sections in the piece, each four bars long.
Canon in D
Play the left hand part a little softer than the right hand, so that you can hear the tune clearly. Keep a steady pace in the left hand, especially in the first two lines of the first page and the first three lines of the second page.
Familiarize yourself with the fingering in the left hand before trying both parts together.
Duet from The Magic Flute
Viola concerto in G major The first two bars on the last line are a bit tricky, so they may need a little extra work. 62
Emperor's hymn
From the second bar of the second line to the first bar of the third line, the left hand has the tune. Play the right hand part a little softer in these bars.
Ode to Joy
Prelude op.28, no.7
Play this very steadily, evenly and confidently.
The right hand part is fairly difficult, so practise it very slowly at first.
Pastoral Symphony Play the chords in the left hand very softly. Make sure you hold each one for its full length.
Minuet in G Take care with the passages in thirds in the right hand. Practise these on their own until you can play them without any mistakes before adding the left hand part.
Nocturne op.9, no.2 Practise the second line on the second page on its own before trying the whole piece. Some of the notes will need careful practice.
Violin concerto in E minor
Moonlight Sonata
This piece is fairly difficult, so you should practise both parts until there are no mistakes, before trying them together. The last three lines may need a little extra work.
Play this very quietly and smoothly. Make sure you keep the triplets even throughout.
Liebestraume
Impromptu op.142, no.3
The quavers in the right hand should be a little softer than the dotted minims, as these are really part of the accompaniment.
Practise the rhythm in the left hand before trying both hands together. This rhythm gives the piece its character, so try to play it as smoothly as possible.
Unfinished Symphony The tune is in the left hand part, so play this a little stronger than the right hand. Be careful not to make the chords in the right hand sound too heavy.
Serenade Make sure you don't rush the triplet here. Try to play it exactly in time.
Caprice no.24 This is fairly fast, so practise the right hand part until you can play it fluently before playing both parts together.
William Tell overture Keep the chords in the left hand fairly short, making sure you leave a full crotchet rest between each one.
Harold in Italy
La donna
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The staccato chords in the left hand should be played very lightly.
Ride of the Valkyries Pay particular attention to the accents in this piece, and emphasize the dotted quavers.
Bridal chorus Try not to rush this. You should keep a fairly moderate pace throughout.
Symphony no.3 Practise the right hand part of the first and second time bars on its own, until you are confident of the rhythm. The number "5" over the notes means that you play five semiquavers in the time of four. Try to play them as evenly as possible.
SwanLake Take care with the fingering in lines two and three.
Play this very smoothly.
Piano concerto no. 1
The Jolly Peasant
The fourth line is fairly difficult, so you should practise this on its own before playing the whole piece.
You may find the first two bars on line two a little difficult at first. Play them a few times until you get used to the rhythm.
The Wild Horseman Pay particular attention to the staccatos and slurs in this piece.
Solveig's song There are a lot of accidentals in the fourth and fifth lines. Play both parts until you are confident of the notes in these two lines, before putting both parts together.
63
Glossary This list explains the Italian musical terms used in this book, as well as some other words that may be unfamiliar. Accidental A sharp, flat or natural sign in the music that does not appear in the key signature. An accidental applies to other notes of the same pitch which follow in the same bar. Adagio Slowly. The word is also used to describe a piece or movement at this tempo. Allegretto A little slower than Allegro. Allegro Fast, lively. Andante Fairly slow, at a walking pace. Andantino Slightly faster than Andante. Arrangement An adaptation of a piece of music. An arrangement can be a simpler version of the original piece, or a new version of it for different instruments. A tempo Return to the original speed. Cadenza A section for a soloist near the end of a concerto movement. The accompaniment stops, and the soloist plays virtuoso passages based on themes from the piece. Chamber music Music for small groups of players, each playing a separate line of music. Coda The end part of a piece of music (the word means "tail" in Italian).
Dolce
Sweetly, gently.
Duet, duo A piece for two performers, either with or without accompaniment. Dynamic, dynamics The indications in a piece of music of how loud or soft to play. Fine The end. The word is often placed above the last bar of a piece, particularly one that contains a lot of repeats. Form The structure of a piece, or the way in which it is organized. Improvisation Making up a piece of music while it is being played. When improvising, the performer composes the piece as he or she goes along. Some improvisations are based on well-known tunes. Largo
Very slowly.
Legato Connected smoothly, with no break between the notes. Libretto The words of an opera or other large sung piece. Lied (plural lieder} A German song-style. In the 19th century, many German and Austrian composers wrote lieder. Maestoso
Marcia March. Tempo di marcia means "in the time of a march", and alla marcia means "in the style of a march". Moderato
Concerto A piece written for an orchestra and at least one soloist. Conductor A person who directs musicians during rehearsal and performance. Crescendo (cresc.) Gradually getting louder. Da capo (D.C.) Repeat from the beginning. Da capo al fine means repeat from the beginning, ending at the word fine. Diminuendo (dim.) Gradually getting softer.
64
Majestically.
Molto slow.
At a moderate speed.
Much, very. Adagio molto is very
Moto Movement, motion. Andante con moto means "with more motion than Andante". Movement An individual section of a larger piece, such as a symphony or sonata. Pedal, ped. When you see this written under a note, you should press down the sustaining pedal (on the right). Hold the pedal down for the length of the note, and release it when you play the next one.
Piano quintet Music for the piano and four other instruments, usually a string quartet.
viola and one cello, or a piece of chamber music for that combination of instruments.
Poco A little. Poco raIl. means "a little slower" and poco a poco means "little by Iittle", or "gradually".
String quintet A group of five string instruments (a string quartet with an extra viola or cello, or a double bass), or a piece of music for that combination of instruments.
Presto Fast; faster than allegro. Rallentando; Ritardando getting slower.
Gradually
Sempre Always. Sempre legato means ''play smoothly throughout the piece".
Suite A set of pieces, often dances, grouped together to be played in order. Symphony A piece for orchestra usually consisting of three or four movements. Tempo
Serenade A piece of music often performed in the evening at dinners or parties. Serenades were played by small groups of musicians, and had up to ten movements. Soloist The performer in a concerto who plays the main part. Sonata A piece with more than one movement, usually for one or two instruments.
The speed of a piece of music.
Tempo di valse At the speed of a waltz. Theme A tune or melody. In a symphony or a sonata, there are usually many different themes grouped into movements. Trio A group of three musicians playing together, or a piece of music written for three instruments in any combination. Virtuoso
A very skilled performer.
Sostenuto Sustained, held for a long time. Vivace Staccato Detached. Staccato is usually shown by a dot above or below a note. Staccato notes should be short and spiky. String quartet A group of two violins, one
Lively.
Waltz A type of dance popular in the 19th century, especially in Vienna. Waltzes have three beats to the bar, but are usually faster than a minuet.
Symbols used in this book Below you will find the meanings of the musical symbols used in this book that might be unfamiliar.
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Trill Alternate quickly between the written note and one above it. First- and second-time bars Play the bar marked "1." first, then repeat the section and play the bar marked "2." Pause Hold the note for slightly longer than normal. Coda An extra section at the end of a piece.
Forzando
With force.
Tenuto Make sure you hold on to the note for the full value. Pedal Press the pedal on the right and hold it down for the full length of the note. Arpeggio Play each note in the chord very quickly, from the lowest note upward.
65
Composer chart Below is a chart which shows you the life spans of the composers in this book. 11650
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1840-1893
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About this section of the book The tunes in this section of the book are all taken from famous pieces of classical music. Some of the pieces were originally written for the piano, but others were written for an orchestra, or a group of instruments or singers. They have been specially arranged and simplified to make them easy to play. The pieces are grouped in four sections Theatre music, Music for dancing, Religious music, and Descriptive music. At the beginning of each one there is an introduction to the pieces that follow. On pages 126-127, you will find some hints about how to play each piece.
Naming and numbering pieces of music Most pieces of music have a number, called an opus number. (Opus is the Latin word for "work"). In this book, opus numbers have been used when the composer wrote more than one piece with the same title. Where a piece has a well-known title, no opus number has been given. . Sometimes a single opus number was given to a group of pieces that were published together. In this case each piece was given a second number, for example, op.35, no.5. The opus number will help you if you want to buy a recording of a particular piece, or a copy of the original music for it.
Theatre music Insid e an op era house
Sin ce th e earliest times , music has been a very impor tant part of t h eat r ical p erfor mances. Music is often add ed to plays to make them more inter esting. Sometimes musicians accompany singing a nd dancing on stage , but music can a lso b e used to empha size the mood of the play, rather like film or televis ion m usic. Acting, sin ging a nd dancing h a ve a lways b een closely linked. In a n cient Greek and Roman times , some actor s used t o mime th e story (act without speak ing) while m u sic was played . La t er, composers began to w r ite music to go with plays and religious stories . Gradua lly, two special kind s of theatre music developed . One, op era, is ba sed on s ing ing. The other, b a llet , is bas ed on d ancing.
Opera Opera tells a story through songs. The music is played by an orchestra, while the actors sing on stage. The first opera was performed in the early 17th century.
The performers were often much more famous than the composers. People would go to an opera to hear singers they liked. I
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There are lots of different types of opera. The styles have changed gradually over the years. In Handel's operas, all the words are sung, and the stories are serious. They are often based on history or mythology. Several of Mozart's operas, including The Marriage of Figaro and Gosi fan tutte, are based on comical stories and contain spoken parts. In the 19th century, composers like Verdi and Puccini wrote operas with sad, romantic stories. These are often about the lives of ordinary people, not historical or legendary ones.
The story used in an opera is called the libretto. This is t he Italian word for 'little book' . When opera first began, t he people in the audience had this in front of them so that they could read the words while the opera was being performed. Later, the audience sat in the dark, a nd only the stage was lit. This made it too dark to read, but it was easier to see what was happening on the stage.
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Ballet Ballet tells a story using music and dance. There are no spoken words, so the music is very d escrip tive a nd the d a ncers use their movements to tell t he story. The first ballets Modern were perfor med in ballet privat e . Wealthy d an cers noblemen arran g ed evenings of enter tainment in their homes, in which performers s a n g, danced and recited poetry.
Later, composers such as Lully began to write music specially for the ballet. Someone else worked out the dance steps. The person who arranges the dances is called the choreographer. Ballet stories are very imaginative. Some are based on fairy tales, like the ballets of Delibes and Tchaikovsky. Two of the most popular ballets in this sty le are Tchaikovsky's Th e Nutcracker a nd The Sleeping Beauty. Other ballets are based on plays or books, and can be sad or romantic.
Costumes and scenery Opera and ballet often use spectacular costumes and scenery. Sometimes parts of the scenery have to move during the performance.
Overtures
Performers at a private h ouse
The dances gradually became t he most important part, and t he perfor mers started to mime t he a ct ions instead of singing or recit ing words. The first b a llet to be shown in a public theatre was staged in 1581 in F rance. At fir st, dancer s chose any music to perform to. It was not necessarily dance music.
An overture is a piece of music that is played before an opera or ballet begins. It is the first music that the audience hears, so it is often lively and exciting to attract people's attention. Overtures are also played at the beginning of orchestral concerts. The overture to Rossini's opera The Barber of Seville is often used this way. When this idea first became popular, many composers, such as Mendelssohn, began writing overtures specially for concerts. A s cen e in Th e Nutcr ack er
17th century op er a scen er y
Often complex machinery is needed to do this. This can make ballets and operas very expensive to stage.
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Terzettino Terzettino means "a little trio". It is a song for three people. On the left is a page of music from the opera in Mozart's handwriting.
This tune is from a lighthearted opera called Cosi fan tutte by Wolfgang Amadeus Mozart (1756-1791). It was written in 1790.
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The words of the opera (the libretto) were written by Lorenzo da Ponte. He also wrote the words for two of Mozart's other operas.
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Fidelio At first, audiences disliked the opera. Beethoven rewrote it several times before it was a success. On the left you can see a scene from the opera.
Ludwig van Beethoven (17701827) wrote many kinds of music. But although he was interested in theatre music, Fidelio was his only opera.
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It was performed less than a month after he started to write it. Many people think it is one of the best comic operas ever written.
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Drinking song But the first performance in 1853 was not a success. This is partly because it used modern costumes like the one on the left.
This tune is from an opera by Giuseppe Verdi (1813-1901) called La traviata. It is now one of the most popular operas ever written.
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This made the sad story too realistic. At the time, people thought that operas should be like fantasies, and not like real life.
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This song is from another opera by Verdi called 11 trovatore which means "The troubadour". A troubadour was a medieval poet.
time as La traviata (see page 74). Verdi finished the two operas within six weeks of each other.
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The An vii chorus is sung by people beating metal on an anvil. The bass line of the music imitates the crash of the hammer.
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Soldiers' chorus In the story, Faust sells his soul to the Devil. Several other composers, including Mendelssohn and Berlioz, also wrote music based on it.
This tune is from an opera called Faust by Charles Gounod (1818-1893). It is based on a story by the German writer Goethe.
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The tune itself is a very old folk song. It comes from Provence, the area in the south of France where Daudet lived.
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Duunddu Strauss wrote 16 other operettas. On the left you can see a picture from the title page of Die Fledermaus showing Strauss as a bat.
This tune is by Johann Strauss IT (1825-1899). It is from an operetta (short, light-hearted opera) called Die Fledermaus ("The bat").
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The music was written to go with Ibsen's play Peer Gynt. This part Peer Gynt waking up and seeing the sun rising in the desert.
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Flower duet At this time oriental fashions were very popular. They influenced music, painting, poetry and even the style of dress some people wore.
This tune is from an opera called Lakme by Leo Delibes (1836-1891). It was successful immediately because of its oriental style.
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Delibes was very interested in theatre music. He was chorus master at the Opera in Paris. On the right you can see the singer Lily Pons as Lakme.
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Pizzicati The title means "plucked". In this piece the string players have to pluck their instruments, not bow them. This makes a special sound.
This tune is from a ballet called Sylvia. It is one of Delibes' most famous pieces, along with another of his ballets, Coppelia.
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The picture shows the prince discovering Sleeping Beauty. He kisses her and wakes her up, breaking the spell of the wicked witch.
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Music for dancin Dancing has always been a popular entertainment. At first , most people danced privately in their homes, or at feasts and parties. But, in the 18th and 19th centuries, as more people wanted to dance, large public halls called ballrooms were opened. An orchestra or small band played the music. There were many types of dance . Each one changed little by little over many years , but some of them are still danced today. Music for dancing is different from music for ballet (see page 69). Ballet music was written for professional dancers and theatrical performances, bu t most of the music in this section of the book was written for ordinary people to dance to.
Early dances
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In ancient times, dances were used as a way of praying. People danced and sang to ask their gods to make crops grow. But this died out in most parts of I , Europe when Christianity f became the , ,, most common religion. i We know I from books and pictures that Medieva l da n cers dancing was still popular, but very little dance music from before about 1350 has been found. This is probably because the only music written down in this period was church music (see page 100). But gradually people began to write folk and dance music down too.
There was no limit to the number of dances, but normally there were four or five. The most popular dances were the allemande, the courante, the sarabande and the gigue. Any extra ones were inserted between the sarabande and the gigue. In the allemande the dancers linked arms. It was a good dance to begin with because it was not too fast. The courante used quick running steps. Sometimes it was hard for the dancers to keep up with the music.
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During the 15th and 16th centuries, the basse danse was very popular. This was in fact a series of dances in several different styles. However the music was never very fast because the clothes people wore were so bulky that they were not able to move quickly.
The suite By the Baroque period (about 1600 to 1750) the basse danse had developed into a musical form called the suite. This is a set of dances played one after the other.
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After this, the slow, gentle sarabande gave the dancers a rest. The suite usually ended with a fast , lively gigue.
One of the most famous composers of waltzes was Johann Strauss II, the son of another composer called Johann Strauss.
The minuet
The minuet was another dance which was often included in the suite. Minuets are slow and graceful, in three-four or three-eight time. The dancing couples bow to each other and point their toes as they dance. I In the 18th century, the minuet was one of the most popular dances. Even when it was no longer fashionable in ballrooms, composers continued to write minuets to include in their operas, ballets and symphonies.
The gavotte and musette The gavotte became popular around the end of the Baroque period. It was often included in suites. Another dance, called the musette, developed from the gavotte. It is similar in style, but the bass line contains a repeated note known as a drone. This sometimes makes the music sound a bit like a bagpipe. At around this time in France, a small bagpipe called a musette was very popular.
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Another very popular dance in the 19th century was the polonaise. This originally came from Poland in the 16th century. The polonaise was slow and dignified, and was often danced at weddings and other special occasions. In the 19th century, many composers began to feel very proud of the customs and traditions of their countries. They began writing music that was based on folk tunes and dances. This is known as Nationalism. Famous nationalist pieces are Grieg's Norwegian dances and Dvorak's Slavonic dances.
Mozart wrote lots of minuets. Some were for dancing, but others were part of larger pieces of music like operas and ballets.
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The Uindler involved hopping and stamping. The waltz was more elegant. Haydn, Beethoven and Schubert also wrote German dances.
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Minuet in A Music for small groups of instruments is often called chamber music. It became very popular around this time.
Luigi Boccherini (1743-1805) wrote this minuet as one movement of a string quintet (a piece of music for five stringed instruments).
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The Blue Danube waltz no. 1 The poem included the words "Vienna, be glad, Oho, why, why?" Many Viennese people felt insulted by this.
Johann Strauss composed this waltz in 1867. He was asked to write some music to accompany a poem about the Austrian capital city, Vienna.
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Later, when the words had been removed, the tune became extrememly popular. It was almost like an unofficial national anthem.
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Hungarian dance no.5 There were many Hungarian people living in Hamburg at this time. Brahms heard a great deal of Hungarian folk music as a child.
Johannes Brahms {18331897} was born in Hamburg in Germany. He wrote 21 Hungarian dances for piano between 1868 and 1880.
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Amilcare Ponchielli (18341886) taught at the music school in Milan in Italy. One of his pupils was Puccini, another famous composer.
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Slavonic dance op.46, no.S On the left is the title on the cover of his Slavonic dances. It was one of the first pieces he was commissioned to write, and was very popular.
Antonin Dvorak (1841-1904) was born in Bohemia, now called the Czech Republic. Many of his pieces were based on Czech folk tunes.
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Eugene One gin waltz Tchaikovsky wrote this piece in 1879. It was performed in Moscow the same year. It is based on a story by Pushkin, a Russian poet.
On the left is a picture of Tchaikovsky's country house. It was half-way between Moscow and St. Petersburg.
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Norwegian dance op.35, no.2 The school was founded by another composer called Mendelssohn (see page 114) in 1843, the year in which Grieg was born.
Grieg went to a special music school (shown on the right) called the Leipzig Conservatoire, in Germany.
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This dance is from an opera called Prince Igor. Alexander Borodin (1833-1887) worked on this opera for 18 years but died before it was finished.
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Religious music
St. Mark's Cathedral, Venice
People have always used music for prayers to their gods and goddesses, in different religions all over the world. The earliest surviving written music was composed for use in churches. The pieces in this section of the book were written for worship in different types of Christian churches.
Early church music The first type of church music is known as plainsong or plainchant. It was first written down in the 6th century AD, but may have been used for many years before that. Each prayer had its own chant, and there were different chants for various times of the year. The tunes were very slow and only used a few notes.
they mixed chants with folk tunes. Gradually church music became more varied. Early folk musIcIans •
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The A mass is a type of religious service (set of prayers) held in many Christian churches. Masses have special words, usually in Latin, that are spoken by the priest. In the 7th century, composers began to set the words of the mass to music. At first the tunes were chants. Later they became more complicated, and parts for instruments were added.
Church composers •
Until the 17th century, most composers were paid by , I 'churches to write music. In I many large churches, the composers had to write new • music for every week. This was performed in church by professional musicians, at first an organist and a choir, • later an orchestra too. 16th century Later composers did not music (right) .. - have to depend on churches Beside plainsong, the only for their money. But some other popular music was folk still worked for churches, music. Folk songs were lively and others wrote church and tuneful, and so were music for special occasions. enjoyable to sing. In the 10th In the 19th century, some century, some composers composers wrote religious began to think that they music that they intended to could make their church be played in concert halls, music more interesting if rather than in church. 100
Medieval monks singing mass
For hundreds of years, the mass was the most popular form of church music.
There are masses for many different occasions. As well as ordinary ones for each day of the year, there are masses for special events like coronations, weddings and funerals. A funeral mass is called a requiem ("re-kwiem"). It gets its name from the Latin words "Requiem in pace" which means "May they rest in peace".
The chorale
An 18th centur y performance of an oratorio
Soon this type of church singing became popular all over northern Europe and later in America. Today, tunes in this style are often called hymns. Some are based on earlier chorales, but there are marty recent ones too.
Sometimes they added hymns and chorales. But oratorios were not intended to be performed on stage, and the singers do not wear costumes or act out the parts. The main parts are sung by soloists and the rest by the choir.
In Germany in the 16th century, some church leaders believed that people should take part in prayers, not just listen to the choir or orchestra. One The oratorio Spirituals of these, Martin An oratorio is a piece of . Spirituals are religious songs Luther, began music that tells a story that developed in America writing tunes for based on scenes from during the 18th and 19th everybody to sing. They had the Bible. It is sung by a centuries. They are sung in choir and is usually churches in the same way as words that were accompanied by a small hymns, but the style of written in group of instruments or music is often different everyday from hymns. languages, not by an orchestra. Martin Lut h er Oratorios were Latin. These P eople tunes are called chorales, and developed by a group of sIngIng they were usually church leaders who were spiritua ls accompanied by an organ. trying to encourage more Some chorale tunes are people to go to church. They based on plainchant melodies, believed that people would others on folk songs. The find stories from the Bible , I ', melodies were simpler than much more interesting if most masses of the time. This they were presented in this made them easier to sing and way. Opera was very popular meant that everyone could at around this time, so many join in. J. S. Bach was one of composers started to develop the most important a musical style similar to composers of chorales. opera for writing oratorios. •
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This is because they are more closely related to folk songs. By the end of the 19th century, spiritual songs had become very popular as concert pieces. Because of this, spirituals used in church services began to change, and a new form of religious music developed. This new style became known as gospel music. 101
Wachet auf! Bach wrote Wachet aufin 1731. This tune from it is a chorale (see p.101). It is called "Zion hears!"
Wachet auf! is a cantata (a piece for choir or solo singers with an orchestra). It is usually known in English as "Sleepers wake".
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Bach was the director of St. Thomas' Church in Leipzig from 1723 until he died. On the left you can see him directing his church choir.
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Jesu, joy of man's desiring On the left you can see the town of Leipzig where Bach lived and worked for most of his life.
This piece is also from a cantata. It is a very popular tune and many people have tried to write music that sounds similar to it.
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This song is from an oratorio (see page 101) called The Creation by Joseph Haydn (1732-1809). It is about the creation of the world.
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The Lord's my shepherd The music is played on an organ, and the congregation (the people in the church) sing the words.
The tune of this hymn was written in the middle of the 19th century by Jessie Seymour Irvine (1836-1887).
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Charles Parry (1848-1918) was a great admirer of J. S. Bach. He studied and wrote about Bach's music and about the history of musical style.
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This is a type of song known as a spiritual (see page 101). Spirituals were first sung by slaves in America in the 18th and 19th centuries. Andante I
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Swing low, sweet chariot It is hard to know when it was composed, as people learned spirituals by heart and passed them on, instead of writing them down.
This is another spiritual that was first sung by slaves. Sometimes they sang songs like this while they worked.
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This type of music often uses special themes (melodies) for the main characters in the story. This helps listeners to recognize the people in the story when their themes are played. Sometimes it is also possible to tell the mood of the character. For example, if the theme is played very loudly, with drums in the background, it could mean that the character is angry. Another Russian composer, Tchaikovsky, wrote a piece about the war between Russia and France in 1812. He used parts of the Russian national anthem to describe the triumphant feeling of the Russians as they finally beat the French. The music even includes cannons to create the sounds and atmosphere of a war. The piece is called the 1812 Overture. Russian soldiers fighting the French in 1812
Seasonal music Sometimes music is written to describe different times of the day or year. Vivaldi wrote a set of pieces called The Four Seasons. It describes the way the seasons change throughout the year.
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He wrote lots of comments above the music to say what was happening, such as "the dog barks" and "shivering with cold". Haydn also gave descriptive titles to a lot of his music. He wrote three pieces to describe different parts of the day. These are called Ie matin ("Morning"), Ie midi ("Noon") and Ie soir ("Evening"). There are no words written above the music, but you can hear the mood change in each piece. Le matin has a slow introduction, as if the sun is rising. Then the music livens up as the day begins.
Music bout feelings Many composers have written music that describes their feelings and emotions. The French composer Berlioz fell in love with the actress Harriet Smithson after seeing her in a play. He was unable to arrange to meet her, so to attract her attention he wrote the Symphonie fantastique ("Fantastic symphony") about his feelings for her.
The story behind the piece is a mixture of facts, emotions, dreams and nightmares. At the first performance, the audience was given a printed copy of the story to read. The • mUSIC expresses his feelings and is often very dramatic. Though Harriet Smithson was not at the concert, she and Berlioz later met, and were Harriet eventually Smithson married. Chopin composed many pieces called Nocturnes. They were written specially to create a mood or atmosphere, rather than to describe a specific place or event. Chopin used to play them for his friends in the evenings as a form of relaxation.
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Autumn His father was a violinist in the orchestra at St. Mark's Cathedral in Venice. Sometimes Vivaldi played there instead of his father.
This tune by Antonio Vivaldi (1678-1741) is from The Four Seasons, a set of four violin concertos. Vivaldi learned the violin as a child.
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Carnivals and festivals were very common in Venice at this time. They were held in the city for almost six months of each year.
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Nocturne This piece was inspired by William Shakespeare's play (see below). Later he used the same tunes to write a longer piece to go with the play.
Felix Mendelssohn (18091847) first wrote this Nocturne as part of a descriptive overture called A Midsummer Night's Dream.
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He was so excited about the music that he wrote to his sister, Fanny to tell her about it. Fanny (shown left) was also a talented composer.
When Mendelssohn first came across Shakespeare's play, he immediately decided to write a piece of music about it.
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Hebrides overture (Fingal's cave) Mendelssohn loved the excitement of London. He spent much time going to concerts, operas and balls, and walking in Hyde Park.
Mendelssohn was very popular in Britain, and he visited England ten times. You can find out more about this piece on page 110.
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In fact, he did not give many public performances. But he often played for small groups of friends and admirers, even as a young boy.
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Romeo and Juliet This piece was written in 1869. It is called a fantasy overture because the audience has to imagine the story as they hear the music.
Each theme (or tune) represents a particular character from the story. This helps the listeners to know what is happening.
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Promenade It is from a piece called Pictures at an Exhibition.
This tune by Modest Musorgsky (1839-1881) represents the composer walking though an art gallery looking at paintings.
The pictures he is looking at were painted by a close friend of his, Victor Hartmann.
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Bedrich Smetana (1824-1884) was born in Bohemia (now the Czech Republic). He was very fond of his country and often wrote music about it.
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Nikolay Rimsky-Korsakov (1844-1908) wrote a lot of music based on fairy tales. This piece is based on a story called The Arabian Nights.
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After one thousand and one nights he decides she should be allowed to live. This tune is thought to represent a princess in one of the stories. 4
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The girl with the flaxen hair He studied the piano at the Paris Conservatoire (a special school for music). But soon he became much more interested in composing.
Claude Debussy (1862-1918) was a French composer. On the right you can see the town where he was born, called St. Germain-en-Laye.
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His first job was as a resident musician to a millionaire music-lover at her home, the Chateau de Chenonceaux (shown on the left).
While he was a student, his teacher found him summer jobs working as a musician for wealthy patrons.
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125
Playing the pieces in this section of the book On these pages you will find some hints on playing the pieces in this book. When you are learning a piece, it is often better to practise each hand separately, slowly at first, until you can play them both comfortably. Then try them at the correct speed, and lastly try playing with both hands together. There are suggestions for fingerings in the music, but if these do not feel comfortable you could try to work out your own. If you want to begin with the simplest pieces in the book, try the Sleeping Beauty waltz on page 21 and the Eugene Onegin waltz on page 33.
Terzettino Take care in bars 9, 22 and 28 with the semiquaver passages in thirds. Practise these bars on their own first. You may find bar 13 a little difficult. Try each hand separately until you are confident about the fingering, then play both hands together. In bars 26 and 27, play the left hand part very quietly so that you can still hear the chord above.
Fidelio
are slurred and the second has a dot over it, the second note should be very short.
Du und du Keep the left hand very even and make sure the three-note chords are not too heavy.
Morning Play this very smoothly and gently. There are lots of accidentals in the middle section of the piece (bars 8 to 16). Practise this section on its own first to make sure you are confident of the notes.
Flower duet When both hands play quavers together, make sure the notes are even. Take care not to speed up during the longer quaver passages (such as bars 5 to 7). Practise bars 26 to 30 on their own until you can play them smoothly.
Pizzicati This piece should be played very lightly, with each note as short as possible. Try it slowly at first and then speed it up.
Sleeping Beauty waltz
From the second beat in bar 5 to the first in bar 9, you need to play the left hand a little louder than the right.
Emphasize the first beat of each bar in the left hand, but keep it smooth.
The Barber of Seville overture
Musette
Play this piece lightly. The left-hand chords should be quieter than the right-hand notes.
Practise the right hand part of bars 13 to 18 on its own at first. Once you are familiar with the accidentals and the rhythm, then add the left hand. Try to make a difference between the slurred and the staccato notes.
Drinking song You might want to practise the first few bars several times before trying the whole piece, to get the rhythm right. Make sure the left hand is very even and don't play the second and third beats louder than the first.
Anvil chorus Make sure your hands keep absolutely together where they are playing the same rhythm (from bar 11 to 15).
Soldiers' chorus Take care with the coda in bars 18 and 19. Make sure you play the thirds in the right hand at the correct speed.
March of the kings The notes must be kept as short as possible especially in the left hand. Where two notes 126
German dance Make sure you count carefully when both hands are resting, and keep the tempo even.
Minuet in A Practise both hands separately until there are no mistakes. Then put the parts together very slowly and gradually speed up. You do not need to play too quickly, but you must keep a steady pace, especially the left hand.
The Blue Danube waltz no.1 From bar 26 to the end, in the left hand, try to make the second and third beats of the bar slightly quieter than the first.
Hungarian dance no.5
Swing low, sweet chariot
Practise the right hand of bars 13 to 15 on its own. When you can play it at the correct speed, add the left hand.
The rhythm in the right hand is fairly difficult. Make sure you can play it confidently before you add the left hand.
Dance of the hours
Autumn
The second note in each pair of quavers should be as short as possible. Practise the rhythm in the first two bars, as this appears throughout the piece.
The right hand has thirds almost all the way through the piece. You need to practise these until you can play them evenly. The left hand has the same rhythm, so make sure you play the two parts absolutely together.
Eugene Onegin waltz
Nocturne
Make sure you hold the dotted minim right to the end of each bar.
This should be very gentle. Make sure the accompaniment is always very soft to allow the tune to come through.
Slavonic dance
Norwegian dance Play this piece very lightly. Practise it slowly until you can play all the notes accurately.
Polovtsian dance The rhythm is fairly difficult so try playing it very slowly at first. The left hand helps to keep the rhythm, so add this as soon as you can.
Wachet auf! You may need to play this slowly until you get used to the fingering.
Jesu, joy of man's desiring It is easier to count this as three beats in a bar. Keep a steady pace without playing it too slowly, to make it flow.
The Heavens are telling the glory of God
Hebrides overture (Fingal's cave) From bar 9 to the end the left hand part is fairly difficult. Learn the left hand on its own before putting the two parts together.
Nocturne op.15, no.2 Bar 7 has a very tricky rhythm in the right hand. You need to practise this bar slowly and accurately before playing the whole piece.
Romeo and Juliet Make sure you keep the left hand very even. Play the left hand a little quieter than the right hand to stop it from sounding too heavy.
Promenade The time signature changes every bar. Try to keep a steady crotchet beat, placing a little more emphasis on the first beat of each bar.
The left hand is fairly tricky, especially in bars 6 to 8. Practise these bars until you can play them without any mistakes before you put the two parts together.
Vltava
The Lord's my shepherd
Try to play this very smoothly, without leaving any gaps between the notes.
Take care not to rush this piece. Play it fairly slowly, keeping the notes even.
Scheherazade
Jerusalem
Hold the chords in the left hand for the full length of the notes. Keep the right hand flowing smoothly.
Maestoso means "majestically". Play it very boldly and at a steady pace.
Go down Moses Practise the rhythm in bar 3, it appears several times in the piece. Bars 12 and 13 may need some extra practice.
The girl with the flaxen hair Take care with the rhythm in bars 14 to 15 and 33 to 34. The fingering is fairly hard, so you will need to practise it until it feels comfortable. 127
Index Albinoni, Tomaso, 5 allemande, 86 America, 119 Arne, Thomas, 5 Bach, Johann Sebastian, 5, 19,87,88,101,102-103 bagpipe, 87 ballet, 68, 69, 86, 87 ballrooms, 86 Baroque period, 4, 5, 86, 87 basse danse, 86 baton, 38 Beethoven, Ludwig van, 3, 23,33,37,72,89. Berlioz, Hector, 39, 78, 111 Bizet, Georges, 79 Blake, William, 107 Boccherini, Luigi, 90-91 Bohemia, 96,121 Borodin, Alexander, 99 Brahms, Johannes, 39,94 Brandenburg concertos, 17 cadenza, 22 Camerata, 4 cantata, 4, 102-103, 104 caprice, 44 chamber music, 23, 90 choir, 33 Chopin, Fryderyk, 39, 51, 111,117 chorale, 101, 102 choreographer, 69 church music, 66, 100-101 Classical period, 22, 23 concerto, 4, 22 concerto grosso, 4 conductor, 38 courante,86 Cristofori, Bartolomeo, 4 dance, 4, 35, 69, 86-87 da Ponte, Lorenzo, 71 Debussy, Claude, 124-125 Delibes,Leo, 69,82, 84 Dvorak, Antonin, 87, 96 Esterhazy, Paul Anton and Nicholas, 23, 105 Field, John, 50 folk music, 86, 87, 94, 98, 100, 101 Franco of Cologne, 11
128
gavotte, 87 German dance, 89 Giazotto, Remo, 8 gigue,86 Glazunov, Alexander, 99 Gluck, Christoph Willibald, 23, 25 Goethe, Johann Wolfgang von, 52, 78 gospel music, 101 Gounod, Charles, 78 Grieg, Edvard, 39, 81, 87,98 Guido of Arezzo, 10 Hamburg, 94 Handel, George Frideric, 5,12,68 Haydn, Franz Joseph, 23,26,89,105,111 hymn, 101, 106, 107 Ibsen, Henrik, 61, 81 impromptu, 40 improvising, 117 Irvine, Jessie Seymour, 106 Jennens, Charles, 13 Judas Maccabaeus, 14 landler,89 Leipzig, 98, 103, 104 libretto, 13, 68, 71 Lieder, 38, 42 Liszt, Franz, 39, 54 London, 116, 117 Lully, Jean-Baptiste, 69 Luther, Martin, 101 masque, 21 mass, 100-101, 103 melody, 111 Mendelssohn, Felix, 39, 52,53,69,78,98,110, 114-116 Milan, 95 mime, 68, 69 minuet, 4, 35, 87, 90-91 Moldau (river), 110, 121 monks, 100 Monteverdi, Claudio, 4 Moscow, 97 movements, 22 Mozart, Leopold, 24 Mozart, Wolfgang Amadeus, 23, 31, 68, 70-71,87
musette, 87, 88 Musorgsky, Modest, 120 Nationalism, 87, 110 neumes,.10 nicknames, 3 Nocturne, 111 nocturne, 50, 54 Norwegian dances (Grieg), 87, 98 opera, 4,68,69,87, 101 Opera (Paris), 83 opus numbers, 3, 67 oratorio, 4, 101, 103, 105
orchestra, 4, 22, 38, 101, 102 Orfeo ed Euridice, 23 organ, 101, 106 overture, 45, 69 Pachelbel, Johann, 15 Paderewski, Ignacy, 54 Paganini, Nicolo, 39, 44, 46,54 Paris, 83 Conservatoire, 124 Parry, Charles, 107 piano, 22,31, 38, 117 piano quintet, 35 pitch,10 pizzicato, 84 plainsong, plainchant, 100, 101 polonaise, 87 Ponchielli, Amilcare, 95 Pons, Lily, 83 Prague, 110, 121 Pres, Josquindes, 11 Puccini, Giacomo, 39, 68,95 Purcell, Henry, 5 Pushkin, Alexander, 97 Rellstab, Heinrich, 36 Rimsky-Korsakov, Nikolay, 99, 110, 122123 Romantic period, 38, 39 Rome, 73 Rossini, Gioachino, 39, 69,73 St. Germain-en-Laye, 124 St. Petersburg, 85, 97
Saint-Saens, Camille, 39 Salzburg, 24, 71 sarabande, 86 La Scala, Milan (opera house), 68 scenery, 69, 77 Schubert, Franz, 38, 39, 89 Schubertiads,43 Schumann, Robert, 39, 48 serenade, 29 Shakespeare, William, 114-115 singers, 68 slaves, 108-109 Slavonic dances (Dvorak), 87, 96 Smetana, Bedfich, 110, 121 sonatas, 22 spiritual, 101, 108-109 staff, 10 Strauss, Johann, 80, 87, 92-93 Strauss, Johann (father), 87 string quartet, 27, 91 string quintet, 90-91 suite, 4, 14, 86-87 symphony, 22, 87 Tchaikovsky, Piotr Il'yich, 39,69,85 Telemann, Georg Philipp, 16 terzettino, 70 theatre, 68 titles of music, 3 troubadour, 76 Venice, 113 St. Mark's Cathedral, 112 Verdi, Giuseppe, 39, 68, 74-77 Vienna, 92 St. Stephen's Cathedral, 15,23 Vivaldi, Antonio, 5, 111, 112-113 Wagner, Richard, 39, 57 waltz,87,89,92 WaShington, D.C., Capitol, 119
