7 /ABRSM Violin exams This album is valid for exams from 1 January 2016 to 31 December 2019. Advance notice of any planned changes to the Violin requirements from 2020 (including syllabus overlap information) will be available online at www.abrsm.org/violin’ from January 2019. Pieces This album contains nine pieces from ABRSM's 2016-2019 Grade 7 Violin syllabus. In the exam, candidates must play three pieces, one chosen from each of the three syllabus lists (A, Band C). Candidates are free to choose from the pieces printed in this album and/or from the other pieces set for the grade: a full list is given on the opposite page. The pieces in this album have been taken from a variety of different sources. Where appropriate, they have been checked with original source material and edited to help the player when preparing for performance. Any editorial additions are given in small print; within square brackets; or, in the case of slurs and ties, in the form “>. The fingering and, bowing have been amended where necessary to ensure a consistent approach within the album, Details of other editorial amendments or suggestions are given in the footnotes. Fingering, bowing and all editorial additions are for guidance only; they are not comprehensive or obligatory. Other requirements see syisbus for fll detais Scales and arpeggios from memory vine repuneneis tn pater Scales FFE majors & mi owt (minors hemmonicor melodie asditatal ly the exer) Arpesgios FH major oct, separate bows and chrred 1 notes toa bow) A.B D majors & Boat, bees and srr ts toa bow) Dominant seventh (rilving on ton) sepiats bow ond haved (Hotes toa bow) oct separate nd sare Startingon D and F oct separate bows and shared even ngon Aand B Soc. (nates toa bow) 5 Double-stop scales (in bralen es) Br alors Voc, see sllabus for details Sight-reading Aural tests: (Total available: Taking the exam Exam regulations and full sylabus details including scale speeds and descriptions of sight-reading and aural tests ~ are available online at www.abrsm.org/violin?. (90 marks) (21 marks) (21 marks) (18 marks) 150 marks)Violin Exam Pieces Mane ABRSM Grade 7 Selected from the 2016-2019 syllabus Date of exam Contents page ust a 1 George Frideric Handel Larghetto and Allegro: first and second movements from 2 Sonata in A, HWV 361 Wolfgang Amadeus Mozart Rondo: third movement from Concerto in D, K. 211 6 Johann Sebastian Bach Allegro: second movement from Sonata in E, BWV 1016 10 ust 8 1 Carl Bohm Introduction and Polon No. 12 from Arabesken 13. 2° HarryT. Burleigh Allegro: No.4 from Southland Sketches 16 3 FrantiSekDrdla Souvenir 18 ustc 1 Malcolm Arnold Prelucie and Waltz: No. 1 and No.3 from Five Pieces, Op. 84 20 2 Ramiro Gallo Rojo y negro 2 3° Igor Stravinsky Gavotte with Two Variations: No. 4 from Suite italienne 26 Violin consultants Philp Bunting Foatnates: Richard Jones (8), David Blackwell (OB), Terence Charlton (TC) and Anthory Burton Other pieces for Grade 7 usta 4 Montanari Adagio and Allegro: 1st and 2nd moxts from Sonata No.2 in D minor. Montana, The Three ‘Dresden Sonatas (Edition HH) 5 Rode Air vatié (omitting var 2). Sheila M, Nelson's Classical Violinist (Boosey & Hawkes) 6 Vivaldi Proludio and Corrente: Ist and 2nd movts from Sonata in E minor, F. XIII No. 57, RV 17a (Ricordi) use 4 Elgar Mazurka. Elgar, Ten Pieces for Violin, Vol. (Thames) 5 Lisat Romance oublige, S.1321er (PWM or Hardie Press) 6 — Mosakowske Allegro brioso: No. 1 from Spanische Tanze, Op. 12, a Scharwenka (Peters) ustc 4. Bloch Processional: No.2 from Suite hébraique G. Schirmer) 5. Kezesimir Dgbski Cantabile (observing quasi cadenza) (PWM) 6 Gershwin, rans. Helfewz No.2 from Preludes (upper line only in ociave passages) (Alfred) Fst publsed in 201 by ABR Publis Muse origination by Andrew Tones ‘tehaliycnme stsiay of ABESM, 2 Por publican Cover by Kate Benin & And Pts Mace, Londen iS IL, Ute Kingdom storied rnd in England by Calg Lid. Thetford, (© 20159 The Asie Boar Rval he —_‘Norill, on mineral omusttnable sarees. a ae ps eaters ho Seascapes eeeeval tomake eis ofthis copyraht Larghetto and Allegro First and second movements from Sonata in A, HWV 361 Edited by and continuo George Frideric Handel realization by Richard Jones. (1685-1759) Handel’ Sonata in A, HWY 361, is one of three sonatas for violin and continuo that he wrote in 1724-6, while he was music master to the two princesses Anne and Caroline, daughters ofthe Future King of England, George I Itis written inthe four-movernent (slow-fast-slow-fast) form ‘of the Italian sonata da chesa (church sonata). In eomposing sonatas ofthis ype, Handel was clearly indebted to the tradition established by Corel, the most celebrated instrumental composer ofthe age. Whereas the Larghetta i Irica, the Allegra is fugue-like: from b. a3 the violin hhas to create the impression of two contrapuntal parts by means of double-stopping. In the Larghetto, Handel’ stroke above the E inb. 14 4th crotchet) might be best treated as an accent. Asi In the next bar (rotchet A) and in the Allegro, bb. 23 (31d erotchet) and 24 (Ist erotchet).R] Source: autograph manuscript, Cambridge, Fitzwilliam Museum, MU MS261 ilar approach might be adopted ‘© 2015 by The Associated Hoar ofthe Royal Schools of Musle AB 3785Larghetto [2 = 84] © 2015 by The Associated Hoard of the Royal Schools of Musi AB3785,Allegro [+= 96] 3 — AB 3785(LIL CEES re ABS785agat tomate Rondo Third movement from Concerto in D, K. 211 Edited by and piano W. A. Mozart reduction by David Blackwell 1756-911 Allegro [4 =«:120] sain Solo ones 2 2 > — [mp] 2 das Binens.. 2 mf] fi dim} ‘Candidates may play all, none or some of the tutti sections. The editorial embellishments in bb. 39,89 and 141 are optional for the exam. Mozart five concertos for violin and orchestra, as well as several single movements for the same combination, were all written in 1773 and ‘when the composer served as leader ofthe court musicians in Salzburg. As a competent violinst. Mozart i likely to have performed the ‘concertos himself, but he also had ¢ number of outstanding players available, such as the court's soloist Antonio Brunetti, Mozart’ starting: point for his violin concertos was the three-movement form popularized by Vivaldi, including the alternation of tutti and solo sections, but he expanded this considerably in the five works, developing form, technique and content with increasing sophistication and maturity. The fermatas in bb.39, 89 and 141 signal tothe performer that an Eingang, or ‘ead i, may be played before the return of the rondo theme. {inb. 30, the third left-hand note is writen A in the source; this appears to be wrong and has been replaced by a writen F2, In. 140 the violin notes in the source are slurred in pairs. DB Source: autograph score, Biblioteka Jagielloiska, Kraksw {©2015 by The Associated Board ofthe Royal Schools of Musie AB 3785,“a 0. UGS eone.. . aT, imp] Tati To _ (hee 48 tf inf] [orese.] [aim] — mp ae: . SS ns AB 3785,ferese.] if) ee Aeteteteteteteteier [dim] al AB3785Solo 5 a fl jerese.] ‘AB378510 — Chica Allegro Second movement from Sonata in E, BWV 1016 Ezited by Terence Chariston J.S. Bach (1685-1750) [Allegro 2 = «.96] 8 fl Bachis early biographer, Forkel, suggests that his set of six sonatas for violin and obbligato harpsichord were written in C8then (1717-23). However, they were revised into their present orm during his tenure as eantor an musie ditector at St Thomas, Leipzig, from 1723 onwards. This edition is made ftom the eatliest surviving manuscript of the final version of the set. The sonatas are not ‘duo! sonatas inthe Classical sense, but are rather Baroque trio sonatas with the right hand of he keyboard functioning asa‘second violin’ an! the left hand taking the basso continuo line All three parts are equally important. ‘While the dynamics in Bach’ muse are generally left to the player’ discretion, the piano in the violin part in b. 79 is original, and all other dynamics are editorial, Such courtesy" dynamics are indicative of the relative importance of musical ideas ('=solo, p= accompaniment) and should be adjusted in performance (e.g. ab. 63) to achieve an appropriate balance. Surs that are ambiguously drawn in the source have been unified in parallel passages in this edition. Two pitch errors have been corrected: b 23, violin, note 4 is given as e"; and b, 122, right hand of Keyboard, note is given as dt The ornaments in the keyboard part in bb, 23 and 79 are suggestions from a later manuscript by Bach second ssursiving son, Carl Philip Emanuel Bach, tn the sourceatb. 34 the dotted eroichet isgiven asacrotchet tied toa quaver; thishasbeen adjusted by analogy with b. 33.TC Source: Manuscript in the hand of Bach's pupil, Johann Christoph Altnickol, Berlin, Staatsbibliothek zu Berlin ~ Preussischer Kulturbesitz, Musikabreiung, Mus.ms.Bach P 229 {© 2015 by The Associated Board ofthe Royal Schools of Music AB 3785,u 80) 2 AB 3785AB 3785,13. Introduction and Polonaise No. 12 from Arabesken Edited by Richard Jones Cart Bohm: (1844-1920) Introduction Molto moderato ed espressivo [+ =<72] v2 nf <<< — 1 ess ee fF areit|b0d > 9 it iit mosso ams, 4 a PB & ee ee “~ a dim —_—-=_—_ were Pp ‘The German composer and pianist Carl Bolim specialized in music written in a lighter vein. His many chamber works, piano pieces and songs proved so popular that his publisher Simrock reportedly claimed that the profits on the sale of his music financed the publication of the works of Brahms. Bohm’ Arabesken consists of 12 pieces for violin and piano. published in two instalments in 1894 and 1895, Arabesques —omaments often found in Arabic art and architecture (and elsewhere) ~ were frequently imitated in decorative musical compositions ofthe 19th century, notably those of Schumann, ‘The polonaise was originally a festive couple dance of Polish origin, in a moderate tempo. By the 18th century it had become a stylized instrumental dance, and during the 19th century it spread throughout Europe and was cultivated, above all, by Chopin. It is characterized by the absence of upbeats and by certain repeated rhythmic figures (see, for example, the piano part in bb, 35-6). In b. 68, the violin is marked ‘resin the source: this appears to be wrong and the crese. is given in this edition in b. 69. RJ ‘Source: Arabesken. 12 Vorspielstteke fur ioline mit Beglttung ees Planoforte Vo. 2 (Beatin: Simrock, 1895) (©2015 by The Associated! Board of the Royal Schoolsof Music AB S785“ rit, ” 31 * n pesanie nonin Polonaise e108] - Fencrgico Sp tle poco rit. ‘a tempo an ai IS 8 Vente & a = af =) erese AB 378515 F —=f mar rit, a tempo 2) —_ breit, pesante 4 poco pitt mosso x ae16 Bin Allegro No. 4 from Southland Sketches sprig H.T, Burleigh (1366-1929), Allegro |. 6.100] v 1 v v pizz, Meno mosso 4g Ta 4 a VS inf] rit atempo Henry (Harry) Burleigh occupies an honoured place in musical history as the African American student atthe National Conservatory of Music fm New York who sang spiriuals o the Conservatory’s ditector Antontn Dvorak. providing the inspiration for some of the themes of Dvork’s “New World’ Symphony. Burleigh went on to enjoy a long and successful career asa solo singer in St George's Episcopal Church, New York, and fe concerts. He also made many arrangements of spirituals, and composed numerous songs and a handful of instrumental pieces. The four ‘Southland Sketches, inspired by the Aftican American music ofthe southern United States, were published in New York in 1916, ‘Source: Southland Sketches (New York: G. Ricordi & Co. 1918) (© 2015 by The Associated Hoard ofthe Reyal Schools of Muse AB37857 . it. rit. v Presto : 4 é pizz. AB S78518 Souvenir copes copyriht Frantisek Ordla (1869-1944) Quietly, not too quick —ritard. a tempo [-=e88] ne con sord. 3 ——_ + n ft wap aes 5 ritard. atempo Vs : 7 p—p nf —— f Livelier oy FN a —— — —— {Use of the mute is optional inthe exam, ‘The violinist and composer Frantisek, or Franz, Drdla was born in Moravia, now part of the Czech Republic. After studying in Prague and ‘Vienna. he became the leader ofthe orchestra ofthe historie Theater an der Wien in Vienna, He later made concert tours of Europe and the USA {2:8 soloist. His compositions include two eperettas and a violin concerto; but he is best remembered for his shorter salon pieces for violin, ‘which often feature portamento slides between notes, as here. Souvenir was published in 1904 and was recorded by several celebrated violinists (of the early 20th century; including Fritz Kreisle, Jan Kubelik and Maud Powell. ‘One Wieberger Limited “This econ reprinted by permission of the copyright owner. Allenquiries about this plecs, apart from those directly relating to the exams, shouldbe adresse to Josef Weinberger Limited, 12-14 Morimer Steet, London WIT 31} AB 3785,19 ritard. a tempo 3 1 P ritard. canst z fez 93 i a ~ 3 2 nf ——— f —_—_ — ) ritard. atempo ——ritard. poco ritard. 9 ye > bas f P= f= f— p> ——— AB 3785,Prelude and Waltz copyright No. 1 and No. 3 from Five Pieces, Op. 84 sa Malcolm Arnatd (1921-2006) 1 Prelude Con energico += 100 sempre non staccato e nolto rubato 2 8 ies = = 2 Z = === f fs pespressivo ‘Sir Maleoim Arnold was one of the most successful and prolific British composers ofhis time, responsible for over 100 film scores and numerous ‘concert works. He wrote the Five Pieces forthe celebrated violinist Yehudi Menuhin to play as encores on a tour of America in 1964. The first fsa Prelude with lean contrapuntal textures reminiscent of the music of Paul Hindemith; the third isa delicate Waltz, fll of tarns of harmony ‘and melody characteristic of the composer. Although the original metronome mark forthe Prelude is = 100, a slightly slower tempo of 2=¢92 ‘would be acceptable in the exam, ‘©Copyright 1864 Novello 8 Company Limted iading as Patersoris Publications Angas reserved. Intemational copyright secured, Used by permission. All enquires about this piece, apart from those creetly relating to the exams hold be ‘sddrened fo Music Sales Lt, 14-15 Berers Steet London WIT 3L] AB378521 ff —- > — f 1 Waltz Grazioso - = 100 => te f#te ie Gist E> ek AoE et P corit, a tempo — ois Fe y a ee ea », —$—<=_. sj P ie ce os ritard. _ a AB 37852 Wegat Rojo y negro epyright Ramiro Gallo born 1986 [Milonga rapida - Veo < os eisics te et. tf t 3 P f knigo — 2 130 12233 42 Rojo ymegro Red and Black Ramiro Gallo isan Argentine violinist who leadsor plays in several tango groups, and a composer who has written extensively for those groups. He is also the author ofa tutor called £1 violin en el ango (‘The Violin in Tango), from which tis piece is selected. The red and black ofthe title refer to a combination of colours traditionally associated with the tango, and also with the composer’ favourite football team Club Atti Colin de Santa Fe. The piece is inthe genre ofthe milongg ciuladana (city milonga): the milonga wasa forerunner of the tango, but this variety emerged in the 1930s and has held a place in the repertoite.The larigo ( whip’) effect in bar 7 isa familiar feature of tango violin ple 2 fast glissando to an extreme high note (©2010 by EFSA Publishing SA. Huenos Ares, Argentina International copyright secured. All enguiries about thi plece, apart from those di infotepsapublishing.com. ly oloting tothe exams, should be addressed to EPSA Publishing SA at AB 3785,23 ABS785frasear (freely 20 a al,ABa7as vosCicoa Gavotte with Two Variations No. 4 from Suite italienne Arranged by Igor Stravinsky gor Stravinsky and Samuel Dushkin (182-1971 [= <09] aif (p 2nd time) 8 20 2 As, 2 = r Sem? ‘Wing . Variation 1 Allegretto [+= 92) 33 a inf ip 2d time) <3 gor Stravinsky's talian Suite is an arrangement, made in 1932 in collaboration with the Russian American violinist Samuel! Dushkin, of ‘movements from Stravinsky’s 1920 balet score Pulcinella. At the suggestion of Sergey Diaghiley, the impresario of the Ballets Russes company, the ballet was based on musie by, or attributed to, heshort-lived 18th-cencury lallan composer Giovanni Battista Pergoles. Infact the‘Gavoute with Two Variations’ is now known tobe a reworking ofa piece for harpsichord by the Milan composer Carlo Ignazio Monza (4. 1739). Stravinsky treated the piece very freely in what was to become known es his ‘neoclassical’ manner, adding new harmonies and countermelodies which suggest a kind of creative collaboration across the centuries. ‘© Coppright 1824 by Hawkes Som (London) Ltd ‘Resent erson: © Copyright 1819 by Hawkes & Son (Loncon) Ld. U.S. Copyright renewed. Reproduced by permission of Boosey & Hawkes Music Publishers Li A coguties about this psce, apart from those dircly relating to the exams. should be addresced to Hocsey & Hawes Musie Publishers Ld, Aldwych House. 71-31 Aldwych, London WC2B 4HN, BamVariation 2 Allegretto piti tosto moderato [+ ~..80] v n 3 mf(p2ndiimey AB 3785,Violin Exam Pieces ABRSM Grade 7 Selected from the 2016-2019 syllabus Piano accompaniment Contents page USTA 1 George Frideric Handel Larghetto and Allegro: first and second movements from Sonatain A, 2 HWV361 2 Wolfgang Amadeus Mozart Rondo: third movement from Concerto in D, K.211 8 3 Johann Sebastian Bach Allegro: second movement from Sonata in E, BWV 1016 18 usT 8 1 Carl Bohm Introduction and Polonaise: No. 12 from Arabesken 26 2 Harry. Burleigh Allegro: No.4 ftom Southland Sketches 32 3. Frantiéek Drdla Souvenir 38 usTC 1 Malcolm Arnold Prelude and Waltz: No. 1 and No. 3 from Five Pieces, Op. 84 “ 2 Ramiro Gallo Rojo y negro 50 3. Igor Stravinsky Gavotte with Two Variations: No.4 from Suite italienne 60 ‘Yoln consultant Philippa Bunting Footnotes: Richard Jones (Ri), Davi Bsckwel (08), Terence Chaiston (TC) anc Anthony Burton the pieces in this album have been taken from a variety of different sources. Where appropriate, they have been checked ‘with original source material and edited to help the player when preparing for performance. Any editorial additions are given in small print; within square brackets; or, in the case of slurs and ties, in the form —. The fingering and bowing, have been amended where necessary to ensue a consistent approach within the album. Details of other editorial amendments or suggestions are given in the footnotes. Fingering, bowing and alle ‘only; they are not comprehensive or obligatory. rial additions are for guidance ABRSM Violin Exams: requirements Pieces Inthe exam, candidates must play three places, ane chosen from each of the three syllabus list (A,B and C). Candidates are fie ta choose from the pieces printed in this album and/or from the other pieces set forthe grade: full ists given in the violin part wsith this score as well as in the 2016-2019 Bowed Strings syllabus. ‘Scales and arpeggios Sight-reading Full details are available online at www.abysm.org/violin7 Aural tests Frstpublched in 2015by HRSA (ablshing Lud, Unauthoreed photocopying igs Maric origination ty Andrew fones ‘tly onmedsubsidery of ABRSM,26hund—Allsighte record Nopartelthispebcation Cover by Kate Berm trey Pts Pace LondooWIB ILU, Usted Kg mney be mproduced weordd ovtansmiied| Pinte a England by Caliaing Ld. Teo 2015 by Te Asocatd Board of heya inanylormerbyany menae wane he NevleRvon mater aunalable ous Schoals of Manic [Dor permis athe copyright ne Reprinted in 2018.Oise Larghetto and Allegro First and second movements from Sonata in A, HWV 361 Edited by and continuo G.F. Handel realization by Richard Jones (1685-17891, Larghetto [-)~ 084] —" my Handel’ Sonata in A, HWV 361, is one of three sonatas for viokin and continuo that he wrote in 1724-6, while he was music master to the two princesses Anne an Caroline, daughters ofthe future King of England, George I. Itis writen Inthe four-movernent (slow-fast-slow-fast) form, of the Italian sonata da chieva (church sonata). In composing sonatas of this type, Handel was clearly indebted to the tradition established by Corelli, he most celebrated instrumental composer of the age. Whereas the Larghetto is lytical, the Allegro is Fugue-like: from b. 33 the violin thas to create the impression of two contrapuntal parts by means of double-stopping, In the Larghetto, Handel stroke above the E in. 14 (4th erotchet) might be best treated 2s an accent. A similar approach might be adopted {nthe next bar (crotchet A) and in the Allegro, bb. 23 (3rd crotchet) and 24 (ist erotchet). RI Source: autograph manuscript, Cambridge, Fitzwilliam Museum, MU MS 261 (© 2015 by The Associated Boar ofthe Royel Schools of Music AB 3785adagio AB3785Allegro [+96] AB3785(eee (eee etree (i (BBB ere ere (ee ee fe fo fo fo oe rp rp re re re re AB 3785fe fe re rere rer AB 3785Rondo spas Third movement from Concerto in D, K. 211 Edited by and piano W.A. Mozart (1756-911, reduction by David Blackwell m 7 reo MOT eG rial embellishments in bb-38,89 and 141 are optional for the exam. Candidates may play al none or some of the tutt sections. The edi Mozar’ ive concertos for violin and orchestra, as well as several single movements for the same combination, were all written in 1773 and 1775, when the composer served as leader ofthe court musicians in Salzburg. As a competent violinist, Mozart is likely to have performed the concertos himself, but he also had 2 number of outstanding players available, such as the courts soloist Antonio Brunet. Mozar’s starting- point for his violin concertos was the three-movement form popularized by Vivaldi, including the alternation of uti and solo sections, but hhe expanded this considerably in the five works, developing form, technique and content with increasing sophistication and maturity. The ‘fermatas in bb. 39, 89 and 141 signal othe performer that an Eingang, or lead in, may be played before the return ofthe rondo theme. Jn b 30, the third left-hand note fs written A in the source: thisappears to be wrongaand has been replaced bya written Fn b. 140 the violin ‘notes in the source are slurred in paits. DB Source: autograph score, Biblioteka Jagiellofska, Krakéw €©2015 by The Associated Board ofthe Royal Schools of Muse AB 3785[orese.] (am) AB3705,AB 3785[orese] AB 3785(dim AB 3785AB 3785AB 3785[dim AB 378516 AB 3785,18 ozo Allegro sede Second movement from Sonata in E, BWV 1016 J.S. Bach i1¢85-1750), Ezited by Terence Chariston 96] [Allegro u iE: Bach's early biographer, Fork, suggests that his set of six sonatas for violin and obligato harpsichord were written in Cothen (1717-23). However they were revised into their present form during his tenure as cantor and music director at St Thomas, Leipzig from 1723 onwards. This edition is mede from the easliest surviving manuscript of the final version of the set. The sonatas are not ‘duo’ sonatas in the Classical sense, but are rather Baroque trio sonsitas with the right hand of the Keyboard functioningaasa second violin’ and thelleft hand taking the basso continuo line. Al three parts are equally important While the dynamics in Bach's music are generally left to the player’ discretion, the piano in the violin part in b.79is original, and all other dynamics re editorial. Such courtesy’ dynamics are indicative of the relative importance of musical ideas (J'= solo, p= accompaniment) and should be adjusted in performance (eg. at b. 63) to achieve an appropriate balance. Sus that are ambiguously drawn in the source have been unified in parallel passages in this edition, Two pitch errors have been corrected: b. 23, violin, note 4 is given ase and b, 122, right hand of keyboard, note Bis given as d"z. The omaments in the keyboard part in bb, 23 and 79 are suggestions from a later manuscript by Bachs second, surviving son, Car Philipp Emanuel Bach. In the source atb. $4 the dotted crotehet s given as. crotchet tied toa quaver; this has been adjusted by analogy with b. 33, TC ‘Source: Manuscript in che hand of Bach pupil, Johann Christoph Altickol, Berlin, Staatsbibliothek zu Berlin ~ Preussischer Kulturbesitz, ‘Musikabteilung, Musms.Bach P229 (© 2015 by The Asociated Board ofthe Royal Schools of Muste AB 3785AB378521 A | | “. fl AB 3785AB 3785ABS78524 116 AB S785,25 133 5 u 141 y AB 378526 Introduction and Polonaise ott No. 12 from Arabesken Etited by Richard Jones Carl Bohm (1866-1920) Introduction Molto moderato ed espressivo [+ ~«72] i af a. =F incitirvad) The German composer and pianist Carl Bohm specialized in musie written in a lighter vein. His many chamber works, piano pieces and songs proved so popular that his publisher Simrock reportedly claimed that the profits on the sale of his music financed the publication of the works of Brahms, Bohs Arabesken consists of 12 pieces for violin and piano, published in two instalments in 1694 and 1885. Arabesques ~ omaments often found in Arabic art and architecture (and elsewhere) ~ were frequently imitated in decorative musical compositions of the 19th century, notably those of Schumann, The palonaise was originally 2 festive couple dance of Polish origin, in a moderate tempo. By the 18th century it had become a stylized instrumental dance, and during the 19th century it spread throughout Europe and was cultivated, above all, by Chopin. Itis characterized by the absence of upbeats and by certain repeated rhythmic figures (see, for example, the piano part in bb. 35-6). In b, 68, the violin is marked cree. in the source; this appears to be wrongand the cresc. s given in this edition in b. 69, RI Source: Anabesken. 12 Vorspielsticke fr Violine mit Begleitung des Pianoforte Vo. © 2015 by The Associated Board ofthe Royal Schools of Music AB 3785pesante AB 378528 Polonaise [-=c.104] AB 378529 P eres i 3 a. Kae | BD =e 6 AB3785breit, pesante AB 37852 3 8 3 2 i ffrensre aes Sf pesame AB 378532 ue ogat ‘omoke Allegro cata apyriht No. 4 from Southland Sketches = H.T. Burleigh (866-1949) 100) Henry (Harry) Burleigh occupies an honoured place in musical history as the African American student at the National Conservatory of Music in New York who sang spirituals to the Conservatory’ director Antonin Dvofak, providing the inspiration for some of the themes of DvoFdk’s ‘New World’ Symphony: Burleigh went on to enjoy a long and successful career as asolo singer in St George's Episcopal Church, New York, and imconcens. He also mace many arrangements of spirituals, and composed numerous songs and a handful of instrumental pieces. The four ‘Southland Skeiches inspired by the African American music of the southern United States, were published in New Yorkin 1916. Source: Southland Sketches (New York: G. Ricordi & Co. 1918) (© 2015 by The Associated Board of the Royal Schools of Muse AB3T78533 AB 3785,a4 33 Meno mosso =, AB 3785AB 378537 5 m Presto pier AB 3785itepa copies ‘cpyrett Souvenir Frantisek Drdla (1869-1944) ritard. a tempo Quietly, not too quick [+ =8] on sod Use of the mute is optional in the exam. The violinist and composer Frantitek, or Franz, Drdla was born in Moravia, now part of the Czech Republic. After studying in Prague and Vienna, he became theleader ofthe orchesira ofthe historic Theater an der Wien in Vienna. He later made concert toursof Europe and the USA sa soloist. His compositions include two operettas end a violin concerto: but he is best remembered for his shorter salon pieces for violin, ‘which often feature portamento slides between notes, as here. Soutenirwas published in 1904 and was recorded by several celebrated violinists of the early 20th century, including Fritz Krosler, Jan Kubelfcand Maud Powell © Josef Weinberger Limited Thisection reprintety permission ofthe copyright owner All enquites about this pee. apr fam those diel ela wo teexams, should be sdressed Jose Weinberger Limited, 2-14 Mortimer Street, London WIT 3 AB378539 ritard. atempo AB 3785Livelier 9 ee OS a7 ; ritard.eal animato poco -| a ~ | crexe 7 7 Pad Ped. —— ss ritard. a tempo AB 3785Ny r ritard, a tempo work Je a 4oi Prelude and Waltz No. 1 and No. 3 from Five Pieces, Op. 84 Malcolm Arnold (1921-2008) 1 Prelude Con energico «= 100 sempre non staccato e molto rubato 2 f iar Sir Malcolm Amold was one of the most successful and prolific British composers ofhistime, responsible for over 100 film scoresand numerous concert works, He wrote the Five Pieces forthe celebrated violinist Yehudi Menuhin to play as encores on e tour of America in 1964. The frst isa Prelude with lean contrapuntal textures reminiscent of the music of Paul Hindemith; the third isa delicate Waltz ull of turns of harmony ‘and melody characteristic of the composer. Althouugh the original metronome matk for the Prelude is4= 100, slightly slower tempo of. ‘would be acceptable in the exam. “opyright 1968 Novell & Company Limited trading asPatersors Publications Alright feserved.Internarional copyright seeured Use by permission. ll engul swddressed to Mase Sas Lid, 14-15 Berers Street, London WIT 3 apart from those tet relating the exams, should be Am37a5AB 3785AB3785,47 11 Waltz Grazioso « = 100 AB 3785AB 3785,49 poco rit, Ped. ABS785CO hucea Rojo y negro Ramiro Gallo born 1968 [Milonga rapida - = 96) rH — y et z i hip) & oo Rojo y negeo Red and Black Ramiro Gallo is an Argentine violinist who leads or plays in several tango groups, and a composer who has written extensively for those groups: He isalso the author of atutor calle! vflin en el zango ("The Violin in Tango’), from whieh this piece is selected. The red and black ofthe tithe refer t a combination of colours traditionally associated with the tango, and also with the composer favourite football eam Club Alétics Coldin de Santa Fe, The piece isin the genre ofthe rulanga ciudadana (city milongg: the milongawasa forerunner of the tango, bu this fssee variety emerged in the 1830s and has held a place in the repertoire. The datigo (whip) effect in bar7 isa familiar feature of tango violin playing fast glissando to an extreme high note. 2010 by EPSA Publishing SA. Buenos Aires, Argentina Internationa copyright secured All enguiies abou this plee, apart from those duet wating to the exams, shouldbe addressed to EPS Publlshing S& ae info€epsapublishing.com. AB378551 AB 378552 ABS78S53 AB 3785,AB 3785Irasear roo] ~ AB 3785AB 3785AB3785AparasGavotte with Two Variations sett No. 4 from Suite italienne = ‘Arranged by |gor Stravinsky Igor Stravinsky and Samuel Dushkin (1882-1971) - nf ip 2advine, Igor Stravinsky’ ‘Malian Suites an arrangement, made in 1932 in collaboration with the Russtan American violinist Samuel Dushikin, of _movements from Stravinsky's 1920 ballet score Pulcinelda. At the suggestion of Sergey Diaghilev, he impresario of the Ballets Russes company, the ballet was based on musicby, or attributed to, the short-lived 18th-century Kalian composer Giovanni Battista Pergolesi. In fact the‘Gavotte ‘with Two Variations’ is now known to bea reworking ofa piece for harpsichord by the Milan composer Carlo Ignazio Monza (d. 1739). Stravinsky treated the piece very frely in what was to become known as his neoclassical’ manner, adding new harmonies and countermelodies which suggest a kind of creative collaboration across the centuries. ‘© Copyright 1924 by Havekes Son (London) Lid Revised version; © Copyright 1949 by Hawkes &Son (London) Ld, U.S. Copyright renewed. All enguities about ths plece, apart from those drei relating to the exams sh be a 71-81 Alksyeh, London NC2B AHN, eproduced by permisshon of Boosey & Hawkes Music Publishers Li reset Boosey fe Hawkes Muse Publishers Lt, Aldwych House,61 poco seep 3 Variation 1 Allegretto [.. 33 nf p2rdtine) AB 3785AB 378563 poco Variation 2 atiacea subito 55 Allegretto pitt tosto moderato [+= c0] y ie Sa 4 A 4 AB 3785,dolce, non legato AB 378