Moderato

1
5

13

14

lJ!{lJA.SS - l4.A.l\rr

z u bot

C ONCB 1\'f
".1\

otJ)I1't.

3 2

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.

Naming

of

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

In the Baroque period, a type

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.

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

Early
plano

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.

The orchestra

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

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

When I am laid in earth

This tune is from

the opera Dido and
Aeneas. It is based
on The Aeneid, a
story by the Roman
poet Virgil.
1"1

~dagio

r,
'v"V

, ..
Ii

1-0

Purcell
1
L

-'

P ----

,~.

o
r:

0
fJU

is sung before she

dies.

r.
.......

--

3~

--'

--'

.,~

til..

'-

fl

\I

_.

II

I"""

r_ v

J~

II

I
II
1-0

",II

..

'

II

\I

1-0

"

1
3

2
4

fJ

fI

\I

I{

1-0

II

_. - -

r_ v

I"""

'-."

<

"".
f

oj~l
II

otr -'
otr-

1-0

:lfio

I'"

1
3

"

.,.,..~

-'
3

~r
L">.

I'"
/

1/

-- -~

""""'-

:--

t"

..oIIIL

pp

..,

otr .....,

II.

mf

J/IIL.

1/

/j
:::::::::.

..l't

1'[J'-

mf

.21

I"""

ppl

II.

1
2
5

pp

5
2

-'

I""

-'

"

[~I

-'

:lIi..

-'

otr-'
otr

.-l

-'
....... ~

f~r
.-J
...,

'-.'l

'"':

~
/'

-'

.,~

II

r_ v

Ioo1Il1ii.

otr r,.,
otrl-"

I""

h.

fI

I{

--

f/-

.~.

---

,.,
------------ I'"

l.-

--....

\.

....I

I"""

r------[

1
5

fI

I.

----

1-

I-"

--' " .

LLL

I"""

mp

f/h.

_.

.0

j "".

I ----...
1-0

~v~

:I:

1
3

I{

(9-

1
__'
ii

1001-

"-

r.

h.

Jt is also called
Didos La.ment and

1
J/L

,u
1'1

.....,

r-

..oIIIL

5
1

--

r----,2

31

--'

~
~

rit,

---

J/L

1':\

.
1':\

I.-.

Adagio

When Albinoni died,

he left a lot of music
unfinished. In 1945,
an Italian named
Giazotto listed all of
Albinoni's music.

Giazotto thought this

piece was so
beautiful that he
completed it.

Albinonil Giazotto

Adagio
Ii

1'.

..

""

..

lJ .J
U

./

I"""

":t::

-'

'"

II

~~

.:lIi.'

-'

'rJ
U

r.

-"v

":t::

y---

2
4

-'

I"""

_.

~--------------------------

, -.J
,

---

~:

Q.

3
5

fl

------

:lIi.'

I"""

r.

,~

I-

r-

mf

r-:~:

~:

..
2

fl

..

I~

,...

r-

""

1'.

'-

I"""

U'

2 _____

--

I"""

I-.J

..

1"-

I"""

fl

IJ

\I

....

..

1'_"

. 'rJ

oJ

.----

-h~l

H
-

11 ,...
r-

------ .
,...

r-

I..;
I
8

-'

.."

of'!'.....1
of'!'-

r-

.,..

12

1~1

,... .
r11
4

of'!'",
of'!'-

12.,...

r-

I"""

~-

--.
I

1"-

---

'-'I

I '",.

----- -

-0.

I{

:lIi.'

-'

r:.

I"""

of'!'.....1
of'!'-

-'

1.1+\ t \oH'J IS.

I"""

""
Q.
U

-;---;..

Spring

This is one of four

violin concertos
The Four Seasons.
Each is based
on a poem.

On the left you

can see how the
poem for Spring

Vivaldi

fl,l.l.

~ I~
~lL

~.-li'

--- -Ii'

---

Allegro
1

r.
::I:
1.
"::I:

--'0.

f
r.
"::I:
r.
"::I:

--

-....

J/IL

-~.

....

-- - -- - -

--

,...

r-

,...

r-

....

- - - - ---

r-

--""'=

.-I

..

5
3

5
3

5
3

f
3

5
3

5
3

5
3

5
3

4
2

4
2

Alia Danza (from Water Music)

This tune is from

the second movement
of the Water Music suite
in D. It was written
for George I of
England in 1717.

This music was

composed for a
royal river outing
on the Thames.

Handel
Allegro moderato
2

"
r_"
eJ

,..

I'Jc

,'J'FW

fl

\I

I{

r_
,"'I

J.J

"".

-'

r-

,.j

1I"""

5
4
2

- - - - -

5.
I'"""

["

r'

- -

5.
I'"""

I'"""

5.
I'"""

;-........

I r,,
, .J"

".

..

r-

~-

r-

,.,

t-

5.
I'"""

- -

5.
I'"""

5.
I"""

,..

I"""

I'"""

,..

I'"""

I'"""

tt'm

L:l

[,-,

.JIL

il~l

r-

-.
"

I.J

-'

'-~

fr

,..

r------------- . ------------- ------ .

/4

r-

I'"""

'",

(7

---~r-

small marks, called

I These
neumes, over them.
showed roughly
I

how high or low the

l:~es_~ere_~t~e~l~~~~~ __ -----~~-- ___ _

10

r-

.. .. ..
ill

,..

mf

..- ..--

i, During the middle ages,

\ the words of a song had

..:.

I'"""

,....

..:..

5.
I"""

! Writing music down

5.

I"""

r-

..:.

..:..

I'"""

;.

12

~J

"".

--

\I

r-

-'

fl

;.

- .. .. .. .. - - - - -.. - -

..:..

5.
I'"""

..

;.

,..
-

r1

5.
I'"""

5
3

- - -

-j,J

""

5.
I'"""

c:.A

-'

, "'0

-,..

,.,

c:.A

4
2

~/

Guido of Arezzo, an
Italian monk who died in
1050, perfected the staff,
which showed the exact
pitch of notes. The
example on the right is
from the 13th century.

Handel also wrote some

music for a fireworks
display given by George
II in 1749, to celebrate
peace after the war of
Austrian Succession.
,...

Ii

r_

...

I'"

- ..

..

.. ..

r-

J/L

......

.. -,

5
3

..:..

.IaI

:11..
,

At the first
performance in
London, the wooden
frame built to support
the fireworks
caught fire.

.oIIL

.oIIL

2iI

"':'

"':'

'":"

-=

.oIIL
-'IiL

.oIIL

J/L

.,~

'":"

.. .. .. ..
3

fl

;,

2
~

If

r_
,"'

1 ..

..

"'~.
,
f

....

~
----S-

,..

II

r_,"'

~~

..

r-

-"'-

- -

r,

"
.;

".,

-'.j

,..

r-

_ll

':J

I ""

I4

;,

;,

;.

J/L

J/L

f'

r-

If

'-Y

f'

-- I

il~1

;.

;.I

Many people contributed

to the development of
music notation. In the
13th century Franco of
Cologne first used
different symbols to show
notes of different lengths.

iT

'.L

--

L:L

21

.,

lot->

'.j

fr~
',L.

_IlL

..:..

..:..

~--'=
~

.L!:::J..

JL

--'""

....I

I""

I""

I,-,

;.I.

...;..
~

,.,

.,

,.,

"".

_IlL --'""

r-

.
.

I'"

.. ..
- --

...;..

...;..

I""

1\

4~

5
3

"'~.
'

;,

.,

\I
If

;,

....

14

.. ..
..:..

.:..

- -

I'"

I'"

'.L

...0..

~
L:L

r-

~
~.

On the left is a piece of

music by the French
composer Josquin des Pres
(1440-1521). It was
written near the end of the
15th century.

11

Arrival of the Queen of Sheba

This tune is from

the oratorio
Solomon, based
on a story in the
Old Testament of
the Bible.

1749, and first

heard at Covent
Garden, London.

Handel

Allegro

h.j.f-

"JL -I'r '"

1\
":::I:

r_

'"

,~

'"

,
)'.J

...I

,.r-

r_

_
r-

.....

-'

.-I

"':"

r-

oM'

1\

r-

'I

..
4

r-

I"'"

.....

-'

,~

-'

r-

....I

.-I

I r_

.....

r-

,.

r-

JL

-,.

r...

.....

,.r-

,.r-

.-I

r-

.-I

,."

,.,..

r-

....

r-

r-

_
r-

r-

,.r-

-.r-

r-

-~

r-

....

r-

r-

-- -

_
_ rr-

..

.... ..... ....

--

.-I

,.,..

--

r-

..

r-

.....- -

....

.-I

11

1\

-".
oM'

,.r-

oM'

'-

I"'"

r-

r-

,.,

r-

".J

r-

.....

...I

- ,.

r-

........ .--

r-

..

r-

I"'"

:.;

I"'"

- .-.- .3)~

- -

r-

- -

r-

r-

r-

r-

,
.-I

r-

I"'"

-".
-I'r

fl.j.f-

12

r-

fl.j.f-

"~

r-

r-

-".
-I'r

r-

r-

,~

_
r-

.....

r-

oM'

W-I'r
1\

r-

....

., .....

fl.j.f-

--

- - - -- - - - r-

r-

':a:

.-I

-'

I"'"

-11' "l-

W-I'r

r-

fl.j.f-

--

":::I:

........ r.
~.

It was written in

....

,.,..

.1"""

,.,..

Handel's best
known religious
oratorio is probably
Messiah, written in
1742. It is about the
life of Christ.

f1~

o!"!"

"

\:

-'

o!"!"

f1~

o!"!"

~
I~

"

,~

-'

o!"!"

On the left you can

see a page from the
original music. The
words, or libretto,
were written by a
man called Jennens.

--- --- - - -

- - - --

-- - -- -

I"""

I"""

I"""

I"""

I"""

I""

- --

,...

,...

.....
-

-......

.....

,...

.....

,...

-.....
1

.....
-,)-.#-

-#

.....

......

I"""

"J.

- - - --

--

..... .....

.....

.....

r-

r-

-- - -- - - - -- -- - - - - - - -- - - -- - ,.,

.....

I"""

I"""

-:-

lI!

.....

f1~

lIo!"!"
~

I"""

I"""

..

r-

r-

r-

'-'1.---rr
o!"!"

-'

r..

r..

f1~

....I

lIo!"!"

I"""

I"""

,~

o!"!"

-'

lIo!"!"

r_

-2

I"""

I"""

I"""

,.o+f

o!"!"

-'

.....

.-I

I"""

I"""

r-

- - - --

I"""

-......

r..

-~

,, - - f1~

- - -- --

I""

r..

r-

I"""

.......

r-

..-..

-- -- --

....I

I""

I"""

~.

I""

.....

",...
13

Thine be the glory

This piece was
originally from
Handel's oratorio
called Judas
Afaccabaeus.Itis
now better known
as a hymn tune.

"

....

I r""

,~

Maestoso

-.

'S.

7-

...

r:.I

v '"

mfj

J .,.

v... ,

The picture shows

some of Handel's
pupils in England
- the Prince of
Wales and his
sisters. Handel

r-

-'

'-""

r-

'S.

r-

--<I'!

,....""

I_V

f,

"':""

--

'V

I
,

r, "

)'.J

J.

"

'S.

r-

n
v

...
v

"".
t -' ...v

-- - ...... J. _ j) J
- -...

11

-I

I'""

1L

r-

...01

...01

,.j

r:.I

r-

-...

......
X

"-"

-e-

r-

I'""

IJ

.....,;.

r-

-r

I'"'

--- - J- J-

r-

I'""

-..../

-- - -...

-... ---

I'"'

"Ir-

.....-II

-~
I'"'

.-I

'S.

"Ir-

"
'"

3
5

d ;-

1ooI~

- -.......,_i00i_.

"Ir-

r:.I

I'""

1ooI~

5
1

os;
I'""

I'""

I'""

- -

I'""

/"'"'

r-

14

I'""

.-I

2o~

3
I

~~IL

r-

r-

J -J -J
-

I'""

-J
IJ

..

os;
I'""

I'""

1
2

r-

I'""

1
3

--

I'""

-...
-_.-1.--

I'"'

.-I

--

X
"-"

I'""

I'""
IJ

J J J J

...,.

I'""

-...

'I

J.

-e-

,....""

~.?

5
3

J 1 1 J

fI

...

...

I -.r
)

......

_llJ J
-.. -

....

I'""

3
5

I'""

.---

-- - ......'~

r-

r:.I

r-

... _

r:.I

J~~

---...-

-JJ
- -- .-III

-...

.
IJ

-e-

..

....

"-"

Pachelbel was born

The picture shows

St. Stephen's
Cathedral in
Vienna, where
Pachelbel was an
organist for five
years.

in Germany in

1653. He was a
successful
composer and
organist.

Andantino

Pachelbel

3 ~""-3

~-""-3

mp

5
5

f'I

01\"

I{

r_

@.J

'.0l0i'01\"
f

I~

- -'

-'

\.

-'

J~

Jr-'

I~-

-'

r:..I

- ---~
cresco
-I
------ J
I
"5
1. -.lffi
~
~

J:IiL
J""":

r:..I

r:..I

- - - "2
.-

-'

--

~I

-'

til

-'

'5
~

...:

r-

- l-

I""":

mf

15

Viola concerto in G

Telemann (16811767) was born in

Hamburg, Germany.
This theme is from
the first movement
of the concerto.

Telemann and his

friends used to meet
in coffee houses to
play music and
socialize.

Telemann

Largo
2

..,.
I r_ "u
1 "~

CJ

oI'!'

_.

fl ,j,j.

.~

I'..

Go

I'"'

"

I"

101"

1"7

1"7

'"

,r-

f\

t~

oI'!'

)~

I), "',.
/.

21

f,

~.

/'-.

--17

..

101"

101"

,j,j.
oI'!'

,.

,..

r-

CJ

-'

oI'!'

-'

..,.

.~

r_

-d

I'"'

.. - -.
~

!9"';;I

---

CJ

101"

".,;

I'""

,.,
.f':J

f"'"

f':J

----......

_.-

.......

I'"'

r-

7'
l'

,.,

If"'"

I"'\'

I-

~1'

P-

!9-

'"

101"

)~

Q.

1'"'1

""'oI'!'
oI'!'
f

f"'"

-'

,.,.. "'"

I
5
2

oI'!'

)'.J
)

I -.
,

16

:'It.. "'"
oI'!'
f

fl ,j,j.

..,.
r_

I'""

i-

fl,j,j.

1
~

~
101"

f"'"

-.

)~

.. 4

"

oI'!'

101"

~
IIIIT
I'""

,.

-'

"';;I

.~

".,;

(2.

I'"'

,.,

"'-..../

I"'\'

r I

fl,j,j.

--------

I'"'"

f':J

...I

f""

..---..

-'

".,;

... "'" '"

...I

"

.,. . _. -

I'"'"

...

CJ

.~

1"7

I'"'

-'

,..,.."", 0
-.'oI'!' u
f

~_CJ

,.,

r:.

'""

...-I

~. _~
.

I'"'"

1'""
,.

t:

...-I'
J

---:./

...I.

-----"

_.~
.
.

I'""

7"I.

"-'

U
/:'\

....,.
~

/:'\

IIIIT

it..

tr

-d

'-"

~
101"

This theme is from

the first movement
of the concerto.
Bach wrote six
Brandenburg
concertos.

It is not known

exactly when they

were written, but
they were completed
by March, 1721.

Bach

Allegro
5

I\,j.j.
of'!'
~

..-I

r_
\.:

~
.-".. ~
of'!'
./

"

r_
\.:

.
2

...J

..-I

--

..-I

...J

~
...J

- ...J

...J

...-

..-I

.~,--,-'

:4j
I

- --- ...-

,.

..-I

til

..

J-

""""....

j"'"

...J

J-

J-

r-

..-I

-<

til

....

...J

...J

......,

"--'"

.J':

.J -.
2

"'.of'!'
' of'!'
/

...J

...J

1\.I0I0

-- ...,
- -

J-

~
5

17

Air on a G string

This tune is from

Suite no.3 in D.
Suites are groups
of pieces, usually
dance tunes.

The bass part,

with its regular,
stepwise pattern
of notes, is typical
of Baroque music.

Bach

"'.J.l.
lJ

,t

<

'fr

M 0 der~t/

,.

':I:

.. ,

""I:

'

I , ..... ,. mp-f'-1'....
-

..

--'

-'

--#-

-'

~
~

f1.j.l....-

r_

- _T
-'

)~

I ~.~

_~

r'-

~
f1.j.l.
\I ....
If

-'

,~

-# T

, "",.011'
011'
-'

- I"""

fI

.j.l.

r_

,-

-- -

-e-

....

-'

-#

-f'-r----f'- 1'-.

_
I"""

-""IlL

I""" _ _
O~.~3

--

I"""

=....J

I"""

.- -- 2~

1"""- _

,-,

-'

--12

--

I""" _

,-

mf
,

'- -

,-

Co

--

- -

-""IlL

"--'"

I"""

p-

_1"""

-"'IlL JIlL

1~

-"'Ill

/'

LL
dt

....

-#

- -3 ___

_"i"T"1""

s~

--'-JllL~

1'-

I""

-======

18

-f'-

Is

ClI> .....
~

JIlL

'-.....

\1011'

,~

r'-

2~

-(:f-'

'fr-

. -

I2

,~

'J'

.,-,,-,

I""

-,I' ~.

'fr-'

-----

-#T

T-#-~

dim.

'"

-e-

1'1"-

....

r_

-#

01'1"

-'"

~
~

\I 'fr/
If

_I

--'

':I:

.,

""I:

s~

11

--'L,

-'

-I

Bach was a very fine

organist and wrote a lot
of organ and church
music. After his death,
his music went out of
fashion for about 80
years.

On the left is a picture of

the organ he used at the
New Church at Arnstadt
in Germany.

-- -

~J:j._

_ n

1'T'

"

r_
\:

t.

l"""

l"""

=
-

..........
~

r-

--------- ....,.

~~

r-

--'""

oIf_

./J.,,\_

1'T't:Ii.
l"""

.- -

il

\"I'l"""

l"""

13

r-

--'""

.l:

1.-::::-

2
~

11"-

~---------------------~

nvp
5

flolf

1'T'

--

4
3

'-'

'"

...

- .n-

rc
JIlL 1'T'_
1'T'1""

--..

t.J

..........

r-

1...~
_~

I""

....

11'

---- ----

4-1

flolf

oi1'

I r~

"

\.' \J

t.J

-.........
~

-'

fl
r

) 't.)J"

) "', ....
. oi1'

-'

I..J/IL

- -

---

l"""

--.J

- .... - I

2_

~_L

r-

- -

I
..-I
~

..-I

---

l"""

11

--

~
5

~-"'- ~

I""
Oil

~2
_l'"'" _ _ _

...

........

l"""

..-I

JIlL L
I'"':
1

- --....

t:\

___ L~

rit.

.-I

I"""

\"1' l"""

dim.
I

.-I

~~~~ :
~~-"'-~
rL"i-"r-

l"""

-#

r,.,

_2

.-I

i,

l"""

J/IL

l"""

oIf~

oi1'

"

.-I

J/IL

1'T'1""

oi1' ....

5~5

4
3

_1'T'l"""

l"""

\. \J

- In

cresco poco a poco

p
'-

u
19

MinuetinG

The picture shows the

cover of a book of
.......~usic which Bach
'aedicated to her.

Bach wrote this tune

for his second wife, / /
Anna Magdalena.
She was a
professional singer>A-~_
They were married ~=-_~"
in 1721.
.... ,

<

Bach

Moderato

------

~.j.j.

I{

r"..

oIf 0
U
I-

~J

I
I

I"'

&.of-

p
,. ..... n
- T

..,.j

n.-----

- -

r-

..,.j

-3______

SSSI

-I---- 0

-n'.

..,.j

..,.j

r-

I""

fT

.~.

...--~

I":to

"

4
fI~

I r,'-=v"
t-

oIf

..,.j

'''.0l0i'

,...---

--

,...

l'

-.

- -- -

,...

..,.j

_.

I-----o

-p

- 0l0i'

"

,,

fI.j.j.

r
'\:.

.-

jL

;.

-r
-::::::::::

"
~~

..,.j

---------

,...

...I
..-

/~

1"-

'''.0l0i'

,...

..;r

...I

rIo

- 0l0i'
./

4
2

oIf

I"'"

OS]

I"'"

4
3______

f1~
oIf

,~'"
'''.0l0i'

I"'"

I"'

fr"

- 0l0i'

,...

..,.j

..,.j

- 1-0.

-'

fI.I+

lIo1f

I r, '"
~

'\:

1-->

<

~.

''''.0l0i'
oIf

f "
20

t-"

- - -

I""

,....

,....

-------

:.;.

..-

- - .. - - I

..,.j

..,.j

11-

jL

.-

,...
2

.....

,-J

---

-I"'"

....

"':'"

/'

Rule, Britannia

This is a song
from a masque
called Alfred,
written in 1740.
A masque is a
sort of play with
music, singing
and dancing.
Moderato
fI.!l":::I::

#.

r_

I.
":I:

l~

Arne
3

To

II -1'1'

.!l'" 10 otT

'"

...

":I:

"""~'"
J '" ".-1'1'
otT

- -

I"'"

~I

~
",,,.-1'1'

otT

-'

.-

r-

",~""

, '".
".-1'1'
otT
-'

tt~

rrI"'

.-'

11-1'1'
I{

r_

"~

J '"~..
-'

.. .

,...-

,...

-~- - - -'"
-'

I"'

-'

- --'

...-'

.-.

'Sf

fl#-

.-'

5
11

- ...

.-'

IIIIT.

...

----

.-'

,...

2lo.

.-

I
4
2
1

...-.

3
-'

""---

-:;;:

"!II

""

.-

.,.j

r.._
"1 I"!

.-

.-'

'Sf

.- .-

... ...-' ...

"!II

--J

'-"

--

......:

...-'

1
2

:.;;r

........:::I

1
5

17

I"'

:.A

"

.,.j

'JI

I""

I""

--...
-'
...

>

.-'

I""

..,

1-

- -

.-'

.-'

ti*

- -.
-'

5
1

I "r

.,.j

1
I"'

."---"

..r

,...

I"'

:..
~
,..
- -

I""

.------ -- .--

- -

.-

.,.j

-'

.-'

111

--. - . - u
I

lo.

mp

IS.

11
3

I"'

I S.
I""

.,.j.

I.

.,.j

0;;:

4 4
fI.!l-

12
4

5
1

,...

-:;;:

.-

13

5
11

f'I.!l-

..

- - -- - -

-'

,..

..,

.,.j
.--.-

I"'"

I.....

2
1

.,.j

.-

- .-

.-

I"'"

-'

r_

"""'-J

'U

JL11'

.-.

-----------.-

r:

1\

,...-

--.

......:

,..

...

0.-----

,..
....-'_-'.,..-'--'-'"

3
fI .!l-_1

- --'

fl-ll-

otT

...-'

...-'

.-'

..

I.
I -' ....-To

Masques were
popular at the
houses of wealthy
noblemen.

r-

- -..-. ~

...

-'

fl#-

o
r:

21

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

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 symphony

The concerto

The sonata

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.

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).

I1. Fast. Usually

1. Fairly fast

and lively.
2. Slow
3. A minuet
and trio
(dance tunes).

4. Fast and
cheerful.

the orchestra
begins and then
the soloist joins in.

1.

Fast

2. Slow.

j;.

2. Slow.
3. Fast.

4. Fast

~-.-~~~-.-

In the first and last

movements, the soloist
sometimes had a part to play
alone, called a cadenza.

3 Minuet \
a~d trio. 'i,

and liVe]

Y.

~":')'

Orchestras
23 violins
7 violas

A square piano

A grand piano

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
~

-:?,k"~- -~--

---

--~-

-~

---

---~-~----------

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)

U)0"_'~1fI

---./

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.

Leopold Mozart
Moderato

.~

- 4

- -

-....

I
Li

-=
3 '''---------'
1\

,j.j.

IJ

o!'!'

I~

l~

o!'!'
no

./

-....
....
~

1\

~~

}~

J "".
~

o!'!'
o!'!'
./

1\

,~

,j.j.
o!'!'

}~

r;;.

1\

,j.j.

- -

o!'!'

1/

r~

l~

J "".

o!'!'
o!'!'

~
U

,.,

.-

,.,

r-

o!'!'~

-- ---

- --

J'""

-----t---

,.,

---------

r-

LL

~.

-- - - - -4

{'7

I"'

--~

_o!'!'_

---:::--.

r-

fIlL

"'Ir-

-#

o!'!'_
o!'!'r-

.. -

,.,

....

....

....J

/
1

24

- -

".

~
,1II.'o!'!'
o!'!'
./

,r.

-"
---'

'---

-....

o!'!'~

o!'!'"

r-

-- -

o!'!'

,.,

c,;

-#

,j.j.

.. -

-.......

- -

---

-~
"l'l"r-

J'"'

,r.

r-

....

- -

I""

....

1+-

Li

.....L

-#

Che faro

Gluck was a German

composer. He
studied in Prague
and he also lived in
Vienna and Milan.

This song is from

an opera called
Orfeo ed Euridice.
The picture shows
a scene from the
opera.

Gluck

mp

2~

"
,
~

"

.""'"

--,.

- -

.-I

.-I

@.J'-...-/

.-I

'J

- -- --

~
~

--.I"'"

....1'0.

......

---

J

L

"

.......

-.:-::

JIlL

JIlL

.......

-=

..
...
- - ..
"
- ...
#J
.- - - - - -- - -.. - -- - - - ---..
-- --- - -- - ----......-
..
I
- - - ------ -- -- -- ..

.10-'

.-I

.-I

.-I

n"

.-I

---j

r--..

2~

.-I

"--

-=::

~
JIlL

.........

.-I

.-I

-..../

~~

~~

--.r

....-~

r--..

~
JIlL

I(

:10-'

.-I

@.J

.-I

.-I

-'

-=::

.-I

~-

r_

-=

.-I

'.:

......J

......J

II

.-I

"3

"
@.J

......

....--

.-I

j"'"

JIlL
\

....--

-.:-::

""-..--

III!.

...",

JIlL

JIlL

'--"'"

~---.I"'"

=.

....--

-.:-::

......

'-7-~

1 JIlL1

4'
I

JIlL

':JI.

25

Emperor's hymn

This and the next tune

are from a set of six
string quartets, op.76.
This is the third, called

It was originally the

Austrian national
anthem, and is now the
anthem of West Germany.

The Emperor.
flag

,..

Moderato
1

r.
I(

J...

":I:

tJ

<

I
I'-

....

~.

'---

.....

......

'----

.JL

-~

..

J...

-"'-

La

.-.

J...

r_ v
'-.."

tJ,,---

) ..,..
I
f

.....

.. b.

\I

p-

,.,.J.

)J

.....

b.

)~

..

r-

'" ll

4
11

1"-

..

.-

......I

\I
J...

J~

26

d zm.

~.

JIlL.

J...

"

... .....

-P-

(2

1"1"
!.I'

I'""

......

- ......

JIlL.

JIlL.

:.L

I
.JL

-#

5 ~----::-5---~

~r----,
.....

------

.....

Co

.
.

5
..IlL.

p-

~
I'"

1
3

f...

4
2

....-

-=......
-

JIlL.

.J'"':

4
1

-#

,..
)

JIlL.

-.

-"'-

.J'"':

--'--

.JL

-~

-.!.

3
1

W--

La

....
-

cresco

mp

IlL

..
- -..

p-

r_v

.-/

J...

,..
1\

..
2

tJ'-........

"

'-..'1I

) ",.,..

J...

.J::

......

r_ v

------

1'1.

,..
I(

.. ..I

\I
I(

.-.

-"'-

r-

3
5

,..

3
1

.....

)J

I ,.,... r. ,.,.J.
I ....r.
f

Haydn

I'""

.....

r
0

..- r -.. -..

4

..r--i

r-

4
1

:l-

--

.....

..
.. ..

-.

......
- ~

tIL

:.L

L:l

.JZ:>.
~

String quartet in D

A string quartet is
music played by a
cello, a viola and
two violins. This
tune is the fifth in
the set.

r, ,""v

..,

II

}~,...

./

-#

'1\.'-l.!""

..,

./

~,--

---

------

~
..,

""'-

.......

....... .

........

....

------

I~I
.......

I"'

-::r
-----II'

~.

5 ___

....

p~

5--

'-"

..;J'

.......

I"'

I "'

,...

:-10..

--..

------

-.

Haydn
4

---........
.

..:..

11
~

5 ___

Cello

Largo

II

The op.76 string

quartets were
written in 1797.

op.76, no.5

,...

""

I2

--

-'

I""

/
_.

r-

J ~J

'

,r,

..

......-----~

~I

,...

,""v

17

'

-- .

,...

I.JI

!'So
I""

...

---. -- - . -

..

.. .. ..

h
II

....

.....

....

"".
'

.....

..;J

.. ..
5 2

~--

..

--,.:

-- .

I'!I::
I"'

--.
!'So
I""

-- .

-
-

II'
I.JI

-&
I"'

--..

I'!I::

/':\

,...

.:..

,..

!'So

;.

'--

..:..

!'So
I"'

-- . --..

fl
I

--.
....

!'So
I""

.-

'7

1
./

....I

,.~

fl

-~

.....-.

.....

,.

..

4 ...----_-~

---........

I"'

..:..

,..

!'So
I""

.
.

.
Q.

27

Clarinet concerto

Mozart loved the

sound of the clarinet.
He wrote this
concerto for his
friend Anton Stadler,
a famous clarinettist.

A clarinet in
Mozart's time.

Mozart

Andante

I'l
\I

._

..I

1-

,.v

.J

~ ,'"
\.'1)'

,-.'

II

\0

.'

-"
.

"'w-

) .J

...
~,

2
4

.,

y---

...,

..I

,
,

1'"i '

.'

.jo!'

"

I"'"

-L.L '

,
,

,
,

~~

I""'"

i.J

--------

..

I"'"

I"'"

-'

'

cresco

nJ

--;

a,

~
'-

011' t:ri.

3
5

.'

1"":l '

I"'[

I"""

-t

..

~r-l

~
_

~,

I"

..

3
5

.,..----.:;,

- .I"'

~
I"""

-'

2
4

28

".I'

~/-

-'

I"'"

d~J

-'

II

.'

I"'

~
~

I
--"-"
I --'

-'

".I

I'l

1 "~

1
3

'"

"'w-

<' --,,-~,

1.1

p~:

.'

I'l

I"""

"-'""

11

1~

~
.;..

r I!"!"\

This tune is from

the second, slow,
movement.

I"'"

I"'"

I"'"

-----

-'

I'"

dim.

I"'"

I"'

3
5

fL

t-----

rJ'

,
,

$:
,

The title of this music

is German. It means
"a little night music".
It was completed in

Romance
(from Eine Kleine Nachtmusik)

1787.

fl-llII "rf

,.

1'-

- - -

T.
":I:

)~

..,.....

./

_.

fl-ll-

If

1'-

'-"

4V
.,.

--:-

....

r- _

I2i.

r-

....

fl-ll-

1I"rf

1'-

1~

j ~.---rr..

fl-ll-

1\

1'-

I~

I
I

--

.....

I'"\"

~.

.~

_.

'-'

-......

2
... ..1_-t1'-

::::::=:=-

,..

,...
~

. ..1

... . . 1 .

..

==--

'-

1\

1'.

,"'.011"

"rf

./

I'"'

. r-

r-

---..--

---1~1

-.

.....

I'"\"

011"~.

011"-

""

_.

1-'

r-

I"'" . _

'-'

I"'"

--

_5

r-r-

-..::::l

- -

r-

r-

r.

I
I.

r-

,..

--

r-

I'"'

--1 3 1

r-

I"'"

---

_
r-

! ......

..,

.,- -

=====--

-.

r- r-

1i ....

..

3
_.
b

I"'"

--

r.

.J"

.J

I~

.r-

I-

-.r-

I'"'

_ r-.
r-

\.;

-- ....

.....

"rf-

2 3

....
JIlL

,..

....

-"

I[

fl-ll-

-- -

~
2
2 3

'-

.J

I'-

1I"rf

r-

.--------.:..2
I'"'

I2i.

I"'"

_..

,..

....

- --

,..

------

fl.jl.

""

55

I 2
r - . _ "r- .....

11011"
~

r-r-

--

""

t:Iio
I""f

I 4

J,.ooI"""

I2i.

'J.

..i'f.
./

1I"rf

Mozart

,.,

.... - ....
- ..
-

'-iiiiiI

""

./

1\

r-

.L.---rr..

t:Iio

....

_.

'-'

T.

,.

:I:

1I"rf

""

- -t1' '

I'"\"

~.

'2iI

.,

- .-_.

.....

....

....
'2iI

:I:

1\

3,,.......,.

This form of music is

called a serenade. It
would often be played
after a dinner.

----
r-

_011"
1 _
4 _
5
. _ I'"' "rfl"'"

....

- -

'2iI

,-

,..

.... -....
-

I~

L1

I.....
'2iI

......
-

---

- - ~

-....

:-lo/'

,.."
~

/'

...

...,..
29

Symphony no.40

This symphony is one

of Mozart's last. Parts
of it are very sad and
moving.

This is the first

tune, or theme, in
the symphony.

Mozart

. _v
fa

\I
If

I
IJ

,.. "''" .
~

IJ

.,.,
To

..

IJ

...

..001

~-

r- -:-....

.... ....

"

- - -...

3
~

-
~

..001

-'

-:-~

- ... --- ---- - .- - =- - -- - - .I~I

4+r--"I

..001

...... ....-

-# -#

~.
,

..001

...

I -'

To

T.
'I-

)~
I

_.

Allegro

.,.,

~-------I

c_

....
...:::

...

..001

.......

..-.

~J

..~

"

4 _____

f}

t .. ""V
~

..001

I@J

,...

..001

IJ

,...

..001

.. ~
~

......

.fi

~.fi

J"~

'I~J

il

-'>c

r-

....

=::::::::::,

"-

...

:..t

r-

"
5
I

.. "V
~

'V

IJ

...

...

"

..
h

,..,
r-'

-...

:.A
,..j
~

---

~~

"" .
30

r-

...r

fa
)

,-

I ,.
I

2~

,..--

r-

r-

:.A
,.j
~

-.....

,...

,..,

r-

..-

'--r-

..-

-....

.-or

-....

-=

-- - - - ~

......

.Co

-I
~

-~

......

--

,.,

r"

r"

k
1

Mozart's last three

symphonies,
numbers 39,40
and 41, were
written in six
weeks during

On the left
is a picture
of Mozart
conducting
an
orchestra.

1788.

II
If

rJ

~v

"'..

-'

-~

I'"'

-~

~
r-

rJ

..

......

-~

-#-#

- - - - - -
- -

..
. .

II

r_v
~

..

"'
-'

rJ
hi

11

\I

.hI

r_ v

)~
~.
~.

-'

II
hi

-...

t..

J"""

J"""

I'"'

"""""
.....L

--I

r-

.
- - - - ..- - - - - - -- - ~

-... ...........

.L

... -...

"":"

-#

1
3

II

t..

r-

...

- ..

.. - ..

I'"

":"

... -...

'JL
I l .hI

t..

...- ..."""""-...
'"':'"

--I

...........

(T

~-

r-

r-

lr,

r-

Amazing pianos
Ever since the piano
was invented,
there have been
many weird and
wonderful ones
made. You can see
some on the right.

-...

r-

! Ii.
J"""

!Ii.
J"""

!Ii.

'--

I"'"

r-

r-

r-

lr,

.U
1

(5

r"
r-

r-

~
t..

r-

..

"

..

-~." ~

A piano that
could also be
used as a
table, made
about 1850.

r-

u
tL

rr..
~

A "twin semi -cottage"

piano (made about
1850) had two
keyboards for
two players.
A "harp piano"
made in 1857.

31

Duet from The Magic Flute

The Magic Flute is

one of the last pieces

Mozart wrote. This
duet is sung by the
characters Papageno
and Pamina.

'L

Papageno rescues
Pamina from the
evil Monostatos.
?

Papagenois
the royal
birdcatcher.

Moderat 0

1l

ill
U

r",.. v

lIlT

C)

,~

P
L'

hi

\..

~v

--------,...-

-~

..;

) ~.

-~.

."

hi

I r"""
~v

..;

I~
~

I""

r-

I"'

-..-/

..,

"'

fl
7f

I""

3~_

-'

:;,;;r.

Mozart

---

..,

I""

fl

II
If

- - ---- ,
--

- . -

~.

It is sung just as

..

I"'

1'-

,.
-

i_

I""

~.
i_

I""

hi

l""

--....

. -

- -

:J mf

e:

f/I-.

I--

-'

lIlT

..,

4
2
L':'

~r-

,...-

"
I

..

.-

,-...

i_

r
l"'"

. --- -"
--,...
-

,-...

t.I'

..

_.

..:.

IS.

.:..

,...

--

__
~
-7IIIT.

,...

r-

mf

:S :S :S

fl

"

..

~lL

."

r""" v

..;

I ""

..,

..I

5 3

fl
II

~lL

32

.........:I

.J.L!'IIL

~.

-t-

.... . :10..
/"

5~

....l

---.-/

."

... ,..

:;;;r
....l
~

r-

'('

I S.

r-

eA

Ode to Joy

This tune comes from

Beethoven's ninth
symphony. It is called
the Choral Symphony
because it was the first
one to include a choir.

1l~
~
~

Beethoven's
birthplace in
Bonn, Germany.

Beethoven

Allegro

- -

r.

'IT'

'-

"

.~.

'J

-:::::::::

@..l

~ 11

':I:

.Lo'lT'

,r,.

r.

.L

3
.0

'..I

.-/

'--.

---. -- ----

--.

-'

-'

F'

i"""

Toot'!'

~oot'!'

-::::

.-I

I'-

..I-

~
------...

.-I

(./

-' 0

ot'!'

~.:.;J

"':I:

flJ,Jr
r1f'

.-I

P
~o"'"

By the time it was

performed Beethoven
was too deaf to hear
the music or the
applause.

.-I

.-I

-'-

-~

I'"

I""

tJ.J,Jr
-'l
r~'"

'IT'

,v
~

~oot'!'

"0'"
/

-'0

(./

------

_/

i"""

!.

r-'

i"""

I"'"

------

I"'"

I.J'

flJ,Jr
~

.L '1'\
~ 11
~

~o.joj'
o

.-I

-"---~

.-I

c~

~"
ot'!'

.L 0!1'

'---

.-I

'--

p
I

IL

------

..rl

.....

'J

1\.J.l.
IJ"'"

If

,/lilt.

.-I

;:~

.-I

-----

'"

,," I7IIIT

.-I

.-I

---

-'

rit.

~
I"'"

...

-' 0

,.

t:\

(./

t:\
i"""

33

Pastoral Symphony

This symphony was

Beethoven's sixth. It is
based on the theme of
the countryside.

The tune is from the

first movement.

Beethoven
All egr~,';9-tt

It
\I

.1\
"v
w_
v ...

,~

,~.

1'\

-#

_.

~---------------~

~ ~------------~

-....

C,

_.

'

.~~

(T.

I ./. "v

-------

3~

" 5

9-.

~.

./

.1\

..,.

-~

I ~~

,~

I '110.

~.

-....

,.,

I
h
V

f~:~----------~

/'

.....

./

----,..._.

~
\I
.1\

I w_
,~

'" .
./

34

"v

(T.
...,

-...

--

..

'-

.~.

_./

\
.1\

5"

-,....I

---...

,....I

-::
3

--"

1'\

1'\

,....I

-#

---.
..,

..

The picture shows

a piano quintet
(a piano playing
with a string
quartet).

A minuet is a
dance tune in
three-four time.

Beethoven

Moderato

2~3 4

~.j.I.

r,

-I.

.~

r.

""

,1/

":I:

\I ..,. 01

I'!Iii.
I""

nvp

'" , ..,. 01
I":I:

~.I.\o

.-----

"

..,. u

-'

..

...,.
..,.

1\
r,
,V

/'-

'"

~
0

- - -

...

~
,..,

..,.

I r,
,"

-'

I""

~.I.\o

I r,
,

1\

'"v
~

1-

2iI

..,.
011"
-I

-:-

-.

-.
- -

I"'"

I"'"

...-

-----

"""'"'"

"-

I
\

r-

,.,j

./

""--. ..,. .....

"- ..,.-

'lIiI.

.....

r-

'--

I"'"

l.I"'"

.J

. 4
-

-----

..- -

;.

-- - -I.

"' ....
-'

3
2

~
5

I""

"

I""

I""

.....
-----

..,.

1/

-------

"

.....

1/

.....,.

'-'

11

'"
~

1-

;o!:l

2;:,..-;.

..,.r-

-.-

-I

-J

..,.
..,.

~.I.\o

~.

cresco

.....

-I

2iI

.. ...., .....-.
......

----2iI

7
~

3
2

-I

-----

""1'!Iii.
""1"'"

"

I
4
1-

"

-I

... --

p~

.-----

---

-'

1/

I"'"

3~

- --

.....

r-

l1li4

--

-I.

~.I.\o

""

..

.. r-

::.;;r

--;::::::::::

-'

""

~.

IS..

,.,j

'"
~~

"

5
3
.--

I r,
,"

""

.... -..
.

::.;;r

_..

""""'""--;:

::.;;r.

.-/'

1.0_
"'II"'"

--

.----~

./

-I

13

14

11

35

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.

Beethoven
Adagio sostenuto
fI.t.l-

3
....I-

-.;-- -.;--

-.;--

If

-.;--

-'

-.;--

.~

-'

....I

-.;-- -,;-- -,;--

...

....I

pp
I

.~

=--

' . ' -If

36

-.

#-

On the right is
the last page of
the original
manuscript for
the Moonlight
Sonata.

Beethoven played the

piano at the first
performances of much
of his piano music. On
the left is a picture of
his grand piano.

-======= ~
====-

-=======
~
~

_________~4______
~

I-

t
j

~U~U~U~U
.

. of'!'

...........

l~

~,...,.

.J

~#-#-

I.

I.
101"""

~~

...........

fl.I.J.

1";";' I.

fl.I.J.

cresco

'IT

I ~.

- --

.
s---

-.........-

~,...,.~~

. of'!'
I

- -

________ I

j-------

~101""

r-

.........

-------

......1.....1

J.l.

dim.

"'- "

pp

37

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 pl~ 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<O"'"'.

example, that of
Tchaikovsky.

expressed a mood
(Chopin's Nocturnes).

Opera - with exotic

settings and romantic
or adventurous plots.

Romantic composers
Franz g"'UULUII:,&-

Nicolo Pag-anini

Gioachino~"~~t"AJw..

(1797-1828)

(1782-1840)

(1792-1868)

Austrian

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

Felix
Mendelssohn

French

(1810-1856)

(1809-1847)

German

German

w"",... .,~vl

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.

Fryderyk
Chopin

Franz Liszt

Giuseppe-Verdi

(1811-1886)

( 1813-1901)

(1810-1849)

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.

Mendelssohn was a pianist

and conductor as well as a
composer. He played and
conducted his music all
over Europe.

(1813-1883)

Johannes
Brahms

CaDdllEi ..
Saint-Saens

German

(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.

Schubert
Andante
3,...--

fl.!+

1I"f'rr.

~
~

":I:

r,
'LI

r-

I.
":I:

,~

I .,.0

- - .....
....... -

I"""

-il --

/-

I':)

If

~
~

-J

=====-

- --

If

I~
~

I'""

r-

I000o..I

"",0.j1'

I'""

--

"" , 0
.0

j,

"f'r
"f'r

_-J

"

-J

_0

_/

j,i J

1I"f'r

r. ~

3~

- -r-

I"""

.....

-J _

-J

- - - -.....

I'""

I'""

""

15
2

1/
-J

-J

.V

~f

":"

~ia ~
-

i -J

.....

-----. $

j,

j, i J

i J
o0

-.....

I'""

I000o..I

J'J

-.

.....

_- _

.....

r-

I"""

4 1

-- =---..... _

1~

.....,

-J

r::::::>-

hb-B-

i~J
a

'0

-I

3~

il ~Zb) ~

I"""

.U

fl.lt

40

..-l

'-0

51

.,

5~

- -

___

I .,

I'""

UI

~ ihJ

fl.lt
.j1'

~il ~

-.

.....~

-.

-J

.U

If

"f'r

I ,

-i l --

-J

t:

=mf

i1

I
.0

1 ~~ J = i~
- -

r-

2~

r_

-J

i 1 ~Zl

"f'r

I"""

(J

-=::::::::::=:

I"""

..........

~-

"-

I"""

.c:

fl.!+

-.....

r-

- - -- -

.....

'--

'i"'ooo.

3....--

-J _

.,

1......1

t:

I .,

I.
":I:

"f'r

0
.0 "f'r

r-

"f'r ":I:

fl.!+

I"""

~il ~ i

~il

- --

~I

...--- -

.....

I"""

i1

""'0"f'r r.

--

'1

-,...

r-

.))(b) 0
' " ,..
"-

'1

3~~

--~

'- 0

~
!,-,

r-

-J

..-l

0
0

1J

0
0

The Unfinished
Symphony

This symphony,
Schubert's eighth, only
has two movements.
It is thought he
didn't finish it because
he got tired of it.

It wasn't

performed until
37 years after
Schubert's death.

A statue of Schubert
in Vienna, Austria.

Schubert

,J,

Allegro moderato
~

.# "'" 0

r,

I::II:

'"
,'.J
,

--"-110.. "'" . J

"'" u

-"

I":I:

-.p---- -. -. ., .,_. ., ., ., .,
_-----. .
_. .

---------------- -.
- --------

11.\41\

r_

"'"

-.

"..>

..

-"

"'"

~
~

"'"

_.

f"'"

r-

r
1

r-

r-

II

I '" ,.
I -"

r-

- -

r-

r-

r,

.-

"
I..>

.. ..

j '" ,.
I

-"

o!'\"

"'"

--

.-

I.-

l.-

J.l.~-.
r~

I.-

-' -'

----

r-

3
2

--.

.-

l.-

r-

dim.

.:-

3
1

r-:
I

rit.

------- -

--;-;--.....

J.I"

., ., .,

"""-

--

Il~_

....

--------

r-

r-

_. _.

. -. ._. -.
r-

....

.,

14

f"'"

r-

-"l

2
1

r-

3
1

~.\4-

1.1

-------

,.,

r-

I.-

r-

14

., ., ., -. -.
_.--------- -

"
I..;

-"!

.-

l.-

ll.~

'""

. ._. .

r-

.\4-

I r1\_

r-

.-

..

Ll.~_

., ., .,

....

....

.. ---
"'"

I.-

2
1

j ""."",

I.-

l.-

..

.-

.- .-

.-

~~

dim.

-"

-. .. -.

,..,

....

"..;

r-

r-

3
1

~.\4-

r,

3
2

..

,...

r-

14

'" , . o!'\"

--

,...

r-

r-

2
1

1'\.\4-

r-

~:

-........

r-

14

41

Serenade

This piece is the

music to a song.
Schubert wrote over
600 songs, called
Lieder.

I{

r.

I'_V

1~
'

..

":I:

pp
n

:10..
/

,.,

d
h

r-

I-

v~

.-.

_.

l"'

.. -

I{
h
I'_V

'-'

1 .J

..

1
-'

,.,

1',

"-

"V

U'

- -.-

.J

...

~
h

:J.

1\

42

....I

I"':

1 ~2

:J

.-#f

---

-'
"-.

...,

....I

1,., . 1
~

r-

.-.
I

2i

,.,

_.

21.

r-

t'"

--'

-'

,.,

r-

I"':

t.'

J/L

I
~.

.
- 3

/"

,.

-f"-

fro

j "".
I

-'

/'

....I

3_ 3

"
- -

....I

A
U

-'

1">

"':'"

I
r-

~
h
V

ft~

41

.- J""

.J

"'~.
'
/

10..

....I

"':'"

.
r-

1'-.

-'

,.J
.....

,.,

\I

-'

"':'

1\

.rJ

"'~.
f

~.

....I

II

I
I .

The Trout.

Schubert

..

'fI

Schubert's
song
manuscripts.

Andante

1\

On the left is the front

page of a song which
Schubert wrote, called

+- One of

!.

""""-

I
J

eJ

".,.

J-

Schubert used to
have gatherings in
his house for which
he would play
music and songs.

These became
known as
Schubertiads.

There is a picture
of one on the left.

1 ~
I(

.,

p
1oolLO

;,.., 0

/0 h

r-

"JO
"JO

mf

J-

ao

r:.

0
0
0

fl

--- 3

~1

3_

h
,""v

" t

r-;-

(20

"JO

'1'1' CF'>

fl

I
I

",

,""v

1"1

'-,..,

0/

r-

r-

oIf~
0

'1'1'

31
0

"JO

,... 0

r-

"JO

2
_0

,..,

T-.I

t.

-J

!
L'l 0

.0

J~J

"0

1~J

,""v

" -"
.

hda

.""-L O

"

J
0

'1'1'

v
1

fl

5
3

I
h

,""v

--0
0

'0
.0

-'

"JO

r-

",
~

"JO

oIf-

,... 0

fl

-'

j
oIf~

",

dim.

.""0
0

.,

"0

,.., 0

-'

."oIf~
II

1-1' ,..,
h

oIf _

r-

Uo

r-

h
v

-....

.--

oIf

~o

-'

...... -

.IL 1110......

.".0

_0

,,

LJ

--

~~~
-j =

-"

....I

.Qo

.Qo

.Qo

.00

.0

.0

rit.

t
,..,0

T-

-J

t
,.., 0

r-

'J'
-

r.\
,..,0

,.., 0

43

Caprice no.24

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.

Paganini
Allegro

/--

1\
j

AI

1\

I"'

1'''''..
l~Almp

fI

","~'"

I " ....
I -'

--

"J.

...
I -'

-t

-~

~
I"'

,..

11,..

J~

,[12-

~I!"\

,..

"-

.-I

II
I{

,.

.......

,.

/'

,tiL
,.

>
u

.-I

r-

AI

--"

Iofot'.-I
.-I ofot'-

_
.-I

~_

_-

h.
_

--~

"....

-t

..
- - - ..

h.

r-

'L

,..

"

,.,.iL

.1+'.....1
ofot'-

.....I
..

.....I

--

.-I
-

,..

>-------.

- ,."

........

,..

......

I""

~
-.:;

'-fL-

17

.-I

ml-O.,~

'L~

,..
~

,..
1
4

II

I'

, ..
1

..;..

"

I""

r-

..,..

;"

II

I ""

--

l'

- -- ..

I""

,..

-,

.fi.
T

fl

'

-'

,_
I 'v

I"'

" ....

-'

II
1\

44

I""

--

II

r-

--

I""

I""

I""

,.

..

I ""

jt

"

6/lT1O~

__ ofot'l""

-- -

I""

r;o<,

.I"'-

-- - h

I.f

"

----=====--

'--'

I
"1.

,..

~:

,..

An overture is the
instrumental music
which introduces an
opera or oratorio.
Rossini wrote the
opera William Tell
in 1829.

William Tell overture

The picture shows

characters from an
1844 production at
London's Covent
Garden.

Rossini

Allegro
3

to Coda Ee

11.

12.

D.C.alEe

CODA

>

>

>

45

Harold in Italy
This piece has a solo
viola part that Berlioz
wrote for Paganini.
In fact, Paganini
never played the
piece.

Pilgrimage.

Berlioz was also a

famous conductor.

Ad agIO

5-~~

J
)

"".ot1'
ot1'
/

:I

I"

P
I

,.

":I:

~.

ot1'

--.T.

.~.ot1'

Berlioz

u
r.

":I:

'J.ot1'
L

"" ...,.

It is based on a poem
by the poet Byron
called Childe Harolds

!-

....,
I'"'"

.
~

I'"'"

,.

..,.

""

ot1'

,.,..
,.....
~

..

....
,

" ' , . ot1'

ot1'
/

I
,

1~

-'

""

J'J'

, . ot1'
ot1'
/

,;..

iT

....
'J

1~

'"

,r ""v

""

~
.

. -r

..;;,.
--.T

I"

-..

....,
,.,..

I'"'"

....

r..,l.l.

- ..

....

....

I'

4,-----....

~I

I""

-.:;;;

..

1 ...-----

~
.:;;;:

--,.

".j

mf

.
.

-..,.

,..j

,.

1':\

-nt.

~.

..........

1':\
""'o!'!'
'IT
./

46

,
....
~

.
.

.
,
~

I'"'"

'"'-I.

---

)I

fl-lt

-,

I'"

I"""

" ..,.. ot1'

ot1'
/

'IT

7T

I'""

.
.

.
....- .

.
....-.

-.

~
~

The Jolly Peasant

This tune is from a

set of piano music
called Album for the
Young. It was
written in 1848.

This is the town

of Leipzig, where
Schumann
studied.

Schumann
Moderato

fl

\I
~

1.1

..

e.- "

e.-

vhFiJ
'-

"l-

14V

"',.
I -' v
h

.L
fW
'":I:

_.

fl

I r,

.1\ .h..
1'\."

.M

'-=

4V
~

"',.
v
-'

tIL

'i

I""'

If

..

::::-.....

--

I""'

e-t.

-'

"-

_.

--4...

..

-=

r-

I 12 .

.." ..
- =--==--==-

~
, '\J

=====- ---~

a tempo

.1"""

...

I""'

1_

..- -..

......

rall

_.

.JL

r-

-- -

r-

r-

r-

r-

_.

_.

J1J
- -

~.

-'

'"'

, 11 .

'" ,.

~
IJI"

It..

f~

.-

'"'
5

"

~'

./' ~~ ~~ ~.

~.

e.-

IJI"

.,.".
tIL

IJI"

--.. -....
~
"'-

.." ..

e.-

-t
r-

_v
fl

\I

I,-.)
~

,
I

..... ----

",

--"

e.-

...,

--....
.:----....- -

.......

"
r-

.......

...,

, ...,

..,
"

...

_.

"

r-----

r-

47

The Wild Horseman

This tune is also

from Schumann's
Album for the

Robert and Clara

Schumann at the

Young. He wrote
many pieces with
descriptive titles.

Schumann

- - - - -,

Allegro

n
r_ c.

"

.,

...J

mf

./. ' U
r;:

-- --

I"):

---

"':'

--r-

WI"

WI"

1
2

1\

I{

r_

,~

"

e-/

,.,

...

-...

...J

"':'

""'-

".' ,
-

---

e-/

e-/

WI"

- - -- .......

...

r_

'-

..

...,

!-'\

WI"

1.J
<

..-

.. ....

!-'

1\
I{

)~

I r_

I -.'"
\

48

... ...

! -'"

...;..
~

... ...

'1""

..:..

!-'"

.;..

!-'

, ...

...

...,

...,

...,

....

----

- -~

e-/

! -'"

..:..

'1""

-r-

! -'"

-- - - --- - .. - -

"!Ii

J ~"
I /'

..

...

""'-

...J

""!'"

e-/

~ I:
r
'"

-=

...

Fine

...J

"':'

3
5

I{

...J

r-

...

e-/

'"

...J

--

"':'

!-'

e-/

....

L1.

e-/

.....,

- - - - - - - - - ---

Ll.'

--

e-/

...J

....
....

------....

J-'

r-

WI"

2
4

I r'-" '"
.J

fl

e-/

WI"

WI"

e-/

e-/

...J

e-/

jlrl:

--

--

.;..

"':'

<

)~

U'

I{

- - - -- --

1\

Schumann's wife,
Clara, was a concert
pianist and music
journalist.

'S

'S

..:..

J-'

..-..- ..-..- ...

~~
~ -i-1""

.;..
~

e-/

, , ...

- -s- s

D.C. al Fine
e-/

. -e-/

-- --- - -~

...

.;..

Prelude
op.28, no.7

For a while, Chopin

lived in Paris (shown
on the right).

Although he was a
very talented pianist,
he gave very few
public performances.

Chopin
Andantino
" '"
.j.j.

It- ...,.

"

":II::

,;

f':)

'"

,.,

".J

..

,..*

" ,..'"
./

,..

fI .j.j.

1\

r_

'"

".J

f""

~-=

t:
t:

2pi'

--

-i

....

..
-.

i-,

I .I'"'"

fI~

I'""

..

.....

I-

I'

I'""

--

...I

It)'tJ

I'"'"

i~

..
-

.-

, . of!'
of!'

..

til

"'_.
"'til

- -

-..

1
-

fill:"

,;
3
1

2
1

-i

.-

-tS

1\

- -.

"-

I'""

fI.j.j.

I'.

-41

,..*

r_

....

= -.

I'""

P dolce

./

_.

o0

)~
J .

-I-

-I-

i~
c;;;:

fII-

fII-

I'"'"

I'"'"

,...

I'K

-tS

<

I1, ",..
.. '" ,.,
of!'

./

-..

,..*

r""

----------------------

=
'" ... "'-

fI .j.j.

1\

r_
~

.J

of!' 'SI

JL

1.0 1-

"1'""

.
- ~

. , . of!'
of!'
./

I'""

..

-41

.-. .. .-

l.-

,..

n
i-~

"ill

~
7

-i

I.-

--

""
""

49

Nocturne op.9, no.2

A nocturne is a piano
piece which is quiet
and thoughtful. The
name is from the word
nocturnal, meaning
"of the night".

)
<

;..

':It

..

J ""_"'-"'""

Chopin

Anda~~

fl~
II"'"

legato

u
r.

":I:

-..

,.,-

r-

r-

-J

,'--

,.'"

.- "'"

h,d

~
ru-

,...

7'

~
r,.,
r-

I"

I""

"-

./oI'-J
./01' ....

....
....

./01' -J
-~

:;;::

-(.T-

fL

....

.-I

,.,-p
I

I""

-J

':.I

fl~

-.

"'"

,.,.~

fl~~

,...

-.
r-

1\

Chopin was inspired

by John Field, an
Irish composer who
wrote nocturnes in
the early 19th
century.

...;;;..
.,...

,.,

n-

-p

,.'"
~J

1-.)

J ""_"'""'"

.-

,.,

J ~

u -

:J-

'"

..

""-"'"
-"'"

t-

1-

,,

J
I

...I

....
-6

:-:--:.

--

I""

..-

50

_ '7-,-

~.

---.
,.

-.

"',.,-

,J -

~-------------

-.)

~t_

--

fl ~-- ,.,-

t- J J

J
t

,.,I

.-I

,.,-

.-I

On the left is a
picture of Chopin at
the age of 19,
playing for Prince
Radziwill in Berlin.

Chopin was a
brilliant pianist. He
often composed music
by improvising
at the piano.

fI~

0!1'

II'

"

1""'o!1'

-'"

0!1'

,...

,.,'

oIof'_

0!1'

11

11._

"

II

C resc.

""'0!1'

-'"

0!1'

r-

"

I'"'

,...

1-

~----------------------

~~
,...

oIof'_
3 -----------

,..

-j

.;r-

....

-'

,"
~

lI'

".,..+1'
, . +I'
-'

0!1'

,"

I'

"1'

----- .

-------

"

\.

JI

'"\,

--.:

ofT'

II
1'_

.,.

~""'----:

..

./

.~

""

r.K

'-----------------~

./

I'"

fl~

I.i 0!1'
11
1'_

~---4-----------------------------~
61

,I"

f:-

'J.

-'

,..

u~

".,..+1'
. , . +I'

r-

,...

I'"'

~t,
+1'1-'

"
I'""

t,

.J

III!!
.110.1'

1',

~-3
tr~
,...
"1'

------------

0!1'

0!1'

fr'

,...

.;rl'""

~~

,...

oIof',.,I

'

--J

.- -

--...

~-

.-I

fI~~

,r,

r;..."
r-

,...

'I'"'

~du

rr-

-~

--.

,....

,"'

~-

/-6

./

. r-,., .
r-

"

""

-I

.-I

I'

.;...,
I-.

r-

51

Violin concerto in E minor

Mendelssohn wrote
this concerto for his
friend Ferdinand
David, a violinist.
This tune is from the
second movement.

-.

Andante
II

\I

~
~

_10

J~

I"""

...

fl

\I

I{

~_IO

,"" a
~

-.

--- -.

/~I
.-I

"3

r_
~v

..

Mendelssohn
~.

.
r r

-----....

I"""

_IlL

...IlL

_.j

-j
I"""

3~
.-I

-I"""

I"""

I"""

~.

- -- -----J
_.
J
-n
--------

-'

r-

-'

_.

I"'

ClIo

3~

---

.J'"'"

1 .

.,.

./

---

...IlL

4
L

eA

~~
.,.
".,
1

r-

) "',.

- -

I"""

-'

fl~
\I
I(

..

1'-.

The picture shows

Mendelssohn, aged
11, playing for the
writer, Goethe.

-- - - -. =
=
_.
J
..
-.

II~
\I

,,,..
I(

'v

1~
<

..

",.
-'

IlL

----

I"'

~.

11
r,

'"

J~
I

..-

--

rit.

fl

r_
I{

'"'v
~

=
eA

.n

..

-..

...
-;

J
~.

--- ..
-----r ~

",.

I"

.-1/

J""

..IL

_.

---

. l"""

-..

.12iI
.1"""

--

....
JIlL.

"-

---

.J::

~ LL

-.

.J::

-.

.J::

.-I

r-

a tempo

~ ~

-.

.l"""

~
~~-----------------------~

eA

.. ----

---

-'

r-

3/
...IlL

tbl.
,"

ClIo

--

I"""

II

~
I
I-

Mendelssohn wrote

His music was very

popular with the
English aristocracy,
and he was invited
to many social
gatherings.

many kinds of

music, including
concertos, sonatas,
piano works and
dramatic music.

f'l~~
I

" '"

..

",."..

I ..,

.., .

.....
_.

..,

1*-,

r,

fI

r_

I ""

..,

If

r_

,~

..,

:J:

.,,-

----------"-

~~

1~

....

I.

- --

..- ~

5'"

I--

r----.

"

I"'

- ,.,.

I,;'

-4

."........

3
1

!-:"

~-

I.

_. -...J

...

I ""

-. - . - . - - - . ~~:-~L-

I""

-#-:

-...

-.....,

-----------

-(l-r-----(I-

'. - - . L,,_

5 '-....

---"

I""

h.".......~

2
~-.
oft'~

- -:J
- - 1____

I""

,~

4
2

~!Ii.

I ""

h. r---- ~ . ...J

h. r----.

I--

..
3

~~

..

-(l-r-----(I-

~:
,lI>.

- -

~-.

~-

f'l

.....
.
.

1
5

!Ii.

~
."..

h. r----.

..
-~l
3

\I
If

_.
~

---------

;oj

".,,-

)~

j ",-."..
..,

"

f'l

_.

r:::

!-:"

,."..

\I

--

J.~J

..

-.

r_

1'-

dim.
"-

2~
"

f'l

\I
If

r,

tJ

.~:
"

"-

2-3

1':\

tr~

,.,
to'

-#:

IP!

...

...,

...

t:

,...

:J

...,

"J.
"J.

53

Liebestraume

Liebestriiume means

The Liebestriiume
are nocturnes.

"dreams of love". Liszt

gave the title to the
piano arrangements
of three of his songs.

Liszt as
an old man,
in his study.

Liszt

Allegretto
1

~.

I~l

41

_v
fI

----

1"'-

\I

) ~J'
k

t.

'" .,..

-'

..-I

7.

-"

-.

.U

';:::::

-. . /
bI<-
f-",

---

1'--"
bI<-
'f-"

..

hoe
':./.

..-I

-:;;

r2.

~b-.

~.

r.-..

\.

I 12 .

'J.

fI

\I

hoe

_v

-..

.~

j ,.,..
J.
-'

--.

"J

..-I

'7

"-

rit.

r.-..

t::I;
('-'

'"'

Famous musicians
During the 18th century,
audiences often ate, drank and
talked during concerts. In the
Romantic period, audiences
listened more carefully. Some
soloists had many fans, a bit like
modern pop stars.

54

Paderewski played in
London in 1892.

The Polish pianist

Paderewski (1860-1941)
was often mobbed by
audiences during his
concerts. In 1919, he
became the president of
Poland.

La donna e mobile

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.

1851.

Verdi

Allegretto
u

~
r~

1'J''I"

fl

\I
I{

r_

:t-

I""

...

I{

r_

3..--.

.. -;,-..

_.

I""

.I"""

'-'l

..
fl

;.

(9-.

--"'"

~.

;.

fr

>

".L

....

JIL

1"""

r:::

--

--'"'"

.J

f
;,..

\I
I{

The story of Rigoletto

There is gossip that
Rigoletto (the Duke of
Mantua's jester) has a lover
hidden away. In fact he is
keeping Gilda, his daughter,
hidden from the world, only
allowing her out on Sundays,

I"""

i=
"

'-'I.

fl

,..j

liP-

-'I

<

$:

---

J/IIL

-=

; ;

--:::I

2__

I'"'

-;,-

-;,-

---

::---.,u

I"""

>
,.,

~ I,.,
~f-"

r_

;.

1.L

cresco

I{

r_
'-'I

--

--'"'"

;.

.....

r-

; ;

I""

;.

>

--

J""'"

1---

\I

I"""

I"""

I .-,..
I

- .. ..

r-

-;,-

.::::I

,.,

I':

fI

-..........

I"""

I...

-;,-

tJ

\I

.. -;,-..

0
J
./
l'I-

,-v

l-

j ~-,..
I

fI

~
Clio
I"""

2
;L.
1

IIiL
Ii
~

,/

,.j

.-.

to go to church. She is in love

with a stranger she has seen
there (the Duke).
Some of the Duke's men kidnap
Gilda, to prove that Rigoletto
has a secret lover. In a rage,
Rigoletto pays an assassin to
kill the Duke, but the assassin's
sister falls in love with the

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

The picture shows

the Valkyries. They
were the daughters
of Wotan, the chief of
the Gods.

of the Nibelung.

Wagner

Allegro
II
\I

0
_0

'v~

tJ

....

"" u
-'

%
2

..-"

-.

..

..

r-'

../!-

"-

>

----I~
---/1"'"

.,,
~~---

~:~-.-:

"':'

>

>

.
~.

~:

J.-.

.~

3
1

\I

~ "...

'v

,
1

tJ

--"e'"

.. ....

~.

'1f'-

-..

-g-:-----....,

II
I ...

.~

---------t-

~.

>

' - "

_.

I"'

../('"

,...~.

1f'-.

'1f'-

,.

I:

~:

~:

1:-

>-.

!-

..,

./

.. =:

.
I"'"

.:..(~~.
!-

-.
..

l(iIf-

.- 1

>

D%

ii-.~1f'-.

. .....

al~~CODA

-.
>

.j\.

--.

*. ~~

t-g-: ------------.-:

r.\

,,

56

> ..

-'

fI

>

> ...

>

If

II

...,. ,..j .....

...,.~.

'--

"

-----

Wagner wrote the

libretto for the
opera, as well as the
music. He finished it
in 1850.

This popular wedding

march is from the
opera Lohengrin. It is
played when
Lohengrin, Knight of
the Grail, marries
Elsa.

Wagner

Moderato

fI
I{

r_
,"'lI

.....

mp

I ,.. :J
/

-.....

-=
I"

..,

e,(

.....

...

,.,

e,(

:A

-:

:J

$=

r--

e,(

1
3

.. ..-----

...

2_

'1
~

r.

"

.....

l.-

.....

I ,,,. :J----::J:

~.

"

r.

.....

J'J'
I "'~. :J

-.....

-=
I"

.- ..

,...

-........

e,(

'-'

1':

eo

'!=:::!

fI

-,.,

-.....

:J

I-

..,

e,(
e,(

.....

..

,.,
JI

~
e,(

'1

I ,r. "v
~

I
I

:J:-::J:

"'~.
/

.....

l.-
~

:;0

1"-

..

......
=
-&I"'

_.
/"

i'=

..
"-

--

"~

$=

57

Symphony no.3

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.

Brahms
Poco allegretto

...

.,.

- -'

p~

.,.~

-'

'1

r.

"V
LI

"~

I "".

I -' '"

...

------

r-

~
t-

r-

r.

... -- ...

"

,~

....t

"-

I '" ,.
I

;o<J

v
1

fI-----

"V
LI

r.

"
,~

)
I

....t

r_ n
v

,~

t
58

-'

~-e

.,.~- .,

;;

n
v

,...

....t

-'

....t

--------

3
~

-'

------

-fL

"'lr-

)1 .
1'\

---- =
-

....t

...

) )2.

~,

~~

fI

l.._

v-

II
1\

~J

....t

'"

ft

5[

t-

.,
-'

---- ...

.. ..

~ft~
....t

"

/'

....t

---

"V

'..L

.u

'1

-'

"

..

- .-

....J
~

-~

=
o

-fL

.....

....t

.,

~-#

..'--.

ft#-~

r-

------

., .,

t-

....t

..

,..,
~

t[

.---/

..

..

It

SwanLake

Swan Lake is a
ballet, written in
1877. The swans in
the story turn into
beautiful maidens.

This tune is
for the first
appearance of
the swans.

Tchaikovsky
Mode~
~

r.

r "

r.
":I:

.J
-'

@=

p~

".J

":I:

I'"'"

I'"'"

f-"

'

~ -f"-

. -.
,....

..

r.

",I

11

1'J'

,....

I'"'"

;------

I'"'"

4~
-('-.

I'"'"

I'"'"

r-;"

.~

1/

~.

/3

11
~

":I:

2~
~.

::I:

\I

2 ___

II

-~-

'-"

-'

======-

.fi

J~

L:

"

-f"-.

II
\I

I~

~
1/

/"

,.

I
-'

Il.

I')
~

01'1'

- '"

I'"'"

1~

2~

-i--

I'"'"

.fi

=
0

,.,

IU

r-

" .......

.""'

I'"'"

1/

/I

I'"'"

I"'"

_.

~1
.1
-"'-

2
~
r-

'-J

1
3

4
2~

II

-f
\I

I ,r,
1~
~

j
I

-,..

-'

I'"'"

I'"'"

~
~

..

"

"

~t:\

21.

JIL

JIlL

JIL

rit.

JIlL
JIlL

-~

t:\

59

Piano concerto no. 1

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.

Tchaikovsky

Moderato

-.......

I"

_0

------r-

,.

"...I

r-

f}

r,

,'.J'"

,""'0
.0

-'

--

....

t:

,..

j
~
~

I r,, '"v
, .J
~

,""'0
.0

-'

- --

r-

r-

>

r-

..

.0

-.

,..

,..
0

,r, '"

r-

1.1

, .J
,

""'0
.0

-'

t
-.0

lL

_0

r-

..

11
r",

r-

I
60

,""'0
.0

-'

11

r-

r-

....--

;, 0

t:

.....-.

r-

5
------ I

011'_

.0
...,.j

::

q~

..

,.

_0

...............
~

(10.'_

0I1'r-

11

I"':

".

- -

~:
"j/o

0I1'r-

-=~-=

112 0

.0

- -

.... .... 0

~
~

.... ....

~ ~o

0
0

$:
."
."

,..

r-

r-

011' t-

l"" r-

-- ,...- -
3

- -

,~

,..

1\

------

,.

=
J

r-

,.

t:

.....--.

r-

1'-

1.1

-#

.----.:;.

""""""""

"...I

~.

1.1

~
.0

>

r-

3 -?

-....

r-

"../0

>

- ------...

,..

"../0

f}

-....

1.1

~
_0
r-

0
0

Solveig's song

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.

Grieg
Andan~te~~____~--~--------___
1~

,..
I(

I r_

'-"

tJ

\I

---

..

(T'
,

- -

of1'.
of1'-

,..

~ cresc'J

~:

vr-

'-

r_

--J

..
I

.'

" 11>'
f

tJ

......,

,..

of1'.
of1'-

...,.j

-------cresco

:11>,

...,.j

tJ

I~

,.. ..I
,i

=--""" -

d-

dim'

J..L

of1'_
of1'l"'"

,,-

'''''..I

1"1/-

-"'!"

..--..

of1'_
of1'l"""

.J"'"

h~

''''-

_ _ 1"I/rI"""
r-

"J'

..LL'

1
2

5
11

"

...,.j

'I

J
,..,

nt.

~~
r-

a tempe
i.J.

r-

2
4

h
'

..

,
,

2
4
..1

- I-.

'

=====--

"

-"IIIL

21..

=
~ ~ ~-'~
~

e.

-~-J~
I'~,

11

1
3

2
4

,. .

5
4
2~r---"I

..........

.-;

J'

11

1
-.
r-

1~ -===== k
,.

I(

LA

I(

~,

r_

I"'"

~z

.~.

f'-

I""

--

,..

" 11>',

r-

P""

tJ

./

-"IIIL

\I

--.

"-..--/

3 ~

..I'

4
-"'-

r-

r-

t ===-J

" 11>''

>-

.'

'.
nt.

....01

VJ"":
~-'

-.I"'l.

~
~

I
"J'

r.\

~~
.L

~:

I3

61

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

e mobile

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.

>

Accent Play accented notes with

more force.
Go back to this sign.

fr
I.

2.

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

1700

Pachelbel
1653-1706

Purcell

1659-1695

1750

Vivaldi

1678-1741

I
I
I

1810-1856

1681-1767

Verdi

I
1

I
I

1732-1809

Boccherini

I
I

Mozart
1756-1791

Borodin
1833-1887

Ponchielli
1834-1886

Delibes

1836-1891

1836-1887

Irvine
Bizet

1838-1875

1770-1827

Brahms
1833-1897

Beethoven

1825-1899

1743-1805

Strauss

I
I

Haydn

Smetana
1824-1884

L. Mozart 1719-1787

1818-1893

. Gluck

Gounod

I
1714-1787

1813-1901

I
I

1710-1778

Wagner

Arne

1862-1918

1813-1883

Bach
Handel

Debussy

Liszt

1685-1750

1685-1759

L 1900 J

1811-1886

Telemann

Schumann

I
I

1671-1751

1850

Albinoni

1 1800

J
J
J
I

J
I

I I Musorgsky I
Jl Tchaikovsky J
1839-1881

Paganini
1782-1840

1840-1893

Rossini

l
I Schubert II
Berlioz
I

1792-1868

Dvofak

1797-1828

1841-1904

1803-1869

1809-1847

Grieg 1843-1907

lMendelssohn

1Rimsky-Korsakov 1844- 1908 1

I 1810-1849
Chopin
I
1

Parry 1848-1918

1950

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.

C(J$\ fan
l Ulle

. .. . . ...
~"

. .. .

..

- , ~ ... .. ""' .."' .... f'o. ... - .

-:-:-.'

' J

'"

W;. lbtfJcc ..

Cit

....
.
.
.
.
......
.
..
.
.
.
-.
-. . .._..... .....-'
Wl t~ 4 .. tlt

.~. . . til

11'... \ .....

- ',

....

. . - .... .. ~ . y, ("

I (' .. .. ~ ,.... ..... ....... ..

. . . - -..:-=":;.::
-.
" -:. - -

.- ..

__..... .-.__ -- ..."

..

--

Tit le p age of an op era by Mozart

La Scala op era h ouse in Milan

Opera soon became very

popular in Europe, and many
opera houses (special
theatres for opera) were built.

..--

P R O~OG 0
,~

-- ' '' _....

~-

t
{

..

...

n.

..

-.

. ..

....:.....

' ._ ,

..

~_

.. ..

..

Opening of Ort eo, an early op era

68

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.

. VE R D I

O peR A C.O MrUTA

",

C"'-TO
ot

'f.! "-"I'OR.t"e

Title p age of Verdi's La traviata

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.

t - -:

,
,

,
,
,

,
,

,
,

,,
,
,

,,.

,,
,

,I

,,

,,,
,

,, I,
,,

,
,

,,

,,

,,,
,,

. . . , - ...,
,

,
,
,

Ma chinery to move the scen er y

shown ab ove

:;UIiE

69

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.

Mozart
Moderato
fI ....

..-

lJ.

-"1
rll'\.

)~

Ii

r-i

r;
I""

--~

f'-

I
-

-,-. +I"

-~

3
1

1'1 ....
) ~J

.,. 'i'!'

2
1

'--

-,;

---I""

__JIlL
I

I~~

II ....

3
11

OJ +I"

.,

23 2

---

12

~R

OJ .'i'!'

:..

-.

---1---

~-~

--

3
1

-~

'--

--

- 1""
I""

...

Fi~
-

--... --'-=4
~

~
-

--

---

,....

--

---

--

5
4
3
3
2
_______..1

)~

I""

r--1
...I

fI ....

'----

c::::::oo

)~

I~~

-""

-J

+I"

i~

:l""
l-

3
1

...

"-

.--..

.~

I""

2.

3
1

2
...I

+I"

..

..

~~

--

--

~----=

15
fI ....

,
~

~~

-7

r:

-,

- ...

F=i I-

I
~

c::::::::;;;o

'i

..

-I

70

_.--

n~
--

~
4= .......
f-----.:.

On the right is a scene from a

performance of Cosi fan tutte.
It took place in 1969 at a
festival in Salzburg, the city
where Mozart was born.

18
1\ ..

~i

OJ 'i1'

@)

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.

"-

""

~-

-L

0"

---

22

1\ ..

@.

-j---

-""

---

- -

i
-

...
.

_h

" ""-"-?;T"

cr-- "

V
26
II ..

5
3

3
1

----

-""

1\ ..

I
@.

33
II ..

.~

,...

29

.~

---

0......1

....
.....

IJ

"""

I
-.

..
.J

-.-/

~-

11.. +I'

....t
.~'!'T"

----

@.

.:::IiI ....

i""""'-,

3
1

r-

~~

"

@.

~-

r-

""""

"

;
-Ft

----/"

".

._---

-""

71

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.

Beethoven
Andante

fI

P
I

--.

fI

0......1

) tJ

3
2
l~

I'.

........

<

~
1

l,....o0oi

1~

,j

r""'-oi

I
I

10

-. --. -,-

----

'"
)~

C#I

)
\

4
2

3
1

fI

-9

I
\

I
I

13

I
)~
)
I

I?
2

72

.~

fI

f'-

'"

L
2

--

The Barber of Seville overture

Gioachino Rossini (17921868) was a very famous and
successful composer. He
wrote The Barber of Seville in
1816 for a theatre in Rome.

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.

Rossini
Allegro vivace

5
1\

JJ,

~~~

~ ~

;. ;. ;.

;.

f-_

.;.;'~

@)

1\

JJ,

~l

13

I\JJ,

~~

jLjL

;.
I

jLjLjL

jLjLjL ~f-

@)

~~

~~~

~~.

~f-~

@.!

17
1\

JJ,

~ ~~.

~.

..

:-'\

;.

;.

;.

.;.

@)

;.

---'

;.

"--

;.

---'

;.

"--

;.

>

>

>

73

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.

Verdi
fI

Allegrett0

3~

I
OIl

1 @J

PI'
_._ ..
~

'r

--

_.

--

7
1\

r~

@)

3.---

---"11-

"1

"1""

lIlT"

-ll1""

3______

12

lIlT"

fI

/-::.

1""

--

@)

...

.....

18
fI

I~

----

;.;r

...I

3 ____

"1""

::;;r-

---

.-----

2
~

@)

,..

_.-

I'

.....

~
3

24
fI

~~

>~

t t

74

.....

.....

------

.J

::;;1

l....

t
l-

::J----

In some later performances,

the singers had 17th-century
costumes like the one shown
here. This helped the opera
become much more popular.

This made the sad story too

realistic. At the time, people
thought that operas should
be like fantasies, and not like
real life.

30
fI

3~

r~

I"":

1/

,...

,...

,.

1::10

1::10

c--

.......-F-

L
36

..I

~~

..I

..I

i-r-

..I

~-S--

_JlL_~_

~-

_~

______ L __ "~ ___

:\

fI

-----

@.

~ I~

- ~t --

rit.

- -

T:-~t-

~~

-I j,LL t -~tt1-S--~
___
__

J/lL~

-~

~-

-~

--------~-

a tempo

- -

3__________

41
fI

I
-~~~

~-

.. I-----

r-fL

--~

--F- ---

----fL--

- --

--

46
fI

3/, _

)~~.~~~~~~Eg~~~
~

,)

52
'I

3_____.

--

-----

------- -F

-- ----

/'
~

k_

---F-- --I

--

1::10_.1::10.

I
~

~F-

~~~

-F

,;-

--~

75

Anvil chorus
It was written at the same

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.

Verdi
Allegro
fI~

IJ

-rr

1@.J

)
I

2
~

..

,~.oI\'

1 @.J

- -----

fI .t+

,)

-~

,...

....

_.

._-

I
~.oI\'

--'1'"'"

..

_.

... -

~-.

fI

IJ

..

--------

.j.j.

-rr

,...

-.-

>

>

>

>

>

-.
I

The story of 11 trovatore

>

--.....I

>

>

>

2
4

The Count di Luna and the troubadour Manrico are

brothers, but they do not know this. The Count believes his
brother was killed by a woman called Azucena, but in fact
she has brought up Manrico as her own child. The Count
sentences Azucena to death for murdering his brother.
When Manrico tries to save her, the Count imprisons him.
The two men are in love with the same woman, Leonore,
though she loves Manrico. To save him, she agrees to
marry the count. But at the last minute she poisons
herself, and Manrico is killed. Only then does the Count
discover that Manrico was his brother.
76

-,

--G--.j.j.

lIT

"Il'"":

r-;

@.J

--

+f-~

_.

--

.~~

-------.:

p
.. ~.~

v-4

------ ----

Manrico serenades Leonore with

love songs

On the left is some scenery

used in a performance of the
opera. The troubadour comes
to this castle to sing to
Leonore, the woman he loves.

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.

12

15

~ ,j.I.

1\

@)

--~--.

...... +.

-.-.

...

~.-.

l~~~?~~~~~~~~~'~~~~;;~~--~~~~~. E~~~'.~~~~~~'~~~~~~-]------

I -.:
)

- - - - _ # - - - - - - - 4 f - - - - - - - ' - - - - _ # - - - - - .-.... _",L-. __ _

@)

) .,. . .,.
_.
~

---4F- -..

-+

,.,

_._. -

.-

1-- ..
I

-~
-~. ..

Manrico and the Count fight a

duel over Leonore

-.-t-

--

l _

10.

y.

_"L -

--. .

II ,j.I.
-~-1l'~@)

-----~-,J_-

21

( r-'I'L;

- -~

-~.

-,.,.-

-+

.-.

Leonore and Manrico are happy

until the Count arrests Manrico

f-.-

j .

_.

_-

----,

..

Leonore begs the Count to spare

Manrico's life

77

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.

Gounod
Allegro (alla marcia)
II

)~

'7

I"'"

",

f
~

"

- --

.0;

.. L-4
3

+=r ...

.,[

. t-

5
fl

,~

..

~.

--i

~.

'

..

.~.

.L

."f .

'.0:[

-Itl"'"

0-1

..

1""

...I

.,'

"

9
II

-.~-

II

I""

-' ---...-

3
1

.-.~
__-~-4-~~.~--~~

. ...-..
I"'"

.-f.

,.,
I-..

78

Coda

'.~

-.;

i,

,L.

II

.. . ~.

18

-.;
.. ,.

D.C. al Coda

---...

.=y=

-.;

14

~."fj... ,

--_._-

-~.-F-.

,..1'-.,

..":

"

",

'0;
.

",

.-.J--l-...

...j

..

--

.-L.

,.,

March of the kings

This piece is by Georges
Bizet (1838-1875), shown
on the right. It was written
for L'ArIesienne, a play by
the French writer Daudet.

The tune itself is a very old

folk song. It comes from
Provence, the area in the
south of France where
Daudet lived.

Tempo di Marcia
II

2,...-.

- ---

,...-.

....

@)

I
-'

J/L'

-L
...

~~~.

;.

~-

-L'

.1

7
fI

1
2

,.

I"

,.

I
\

10
~

..-..

,.

-----

-----

I"

-...-/

--'"""

..IlL

@)

...-...

-- - --

@)

12

I
h

.,. ;.

;.

--'"""

J/L

2
fI

I"

C'.

4
I

..

L -. .~

Bizet

cresco

"
13
II

~l

@)

)
I

..-...

..-..

-------

2
2

r--.

;.

fl- .,. ;.

..tJ'

-....-'".

-:432

79

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").

Strauss
Tempo di Valse
ot1'

I) ~

,. -

fI J,j.

I""

r.

>

l.
I

IlIf

4
flJ,j.

>

.........

}~

"!f'

- -- -

I
I

.........

8
fI

J,j.

J,j.

---

fI

n!f'

11

I.........J

...

...

~.

>

. I

...
!'-

!:#

+1-.

...

---

14
fI

J,j.

I
1~
J
I

.1>..

-It.

4J:

I
2

80

J:

J:

J:

:J

#t

;.

Morning
This tune is by Edvard Grieg
(1843-1907). It is part of
some music he was asked to
write by Henrik Ibsen, a
Norwegian author.

The music was written to go

with Ibsen's play Peer Gynt.
This part describe~ Peer Gynt
waking up and seeing the
sun rising in the desert.

Grieg
Moderato

. .2

..

I
1:10.

( / :---*S 1

:::;I-

3
5

mf

10
II ""

r& . '-1+--

~
-~.~:.i

~-

-----

..-+

.,;;;--

""--

""~.

.-=+~"-f

..

~.

r-

-~

~-I

"'--

14

""

f+

---

----

.,.

""

"to

------====--

18

" ""
Irw- ......
ojf'

I .J

~.

@)

J.J.
I

-~

~-

-+

----------

:;;t~

,..

-_. --

~;

--------

81

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.

Delibes
Andante
II ...

lL_o!1'

-'"-

I
@)

flip

A A

A A

I
~

--

--~

~.

-------

A A

I
~

-..

--"

~.

II ...

--

~~

.~

--

lIlT

--.-/

lIlT

.-I

'-- 3

~o

- -

9
~

II ...

F1

rI

~o

I
@.

------

~~

-.

-------

l'"

--

18

r:'

~o

--.-/

--.-/

--.-

1,....000'

FJ .r:J---

r'

--.-/

l'"

1,....000'

- - - - -

1"""--'1

82

--

~.

14
II ...

A A

1"'"""""1

--

----

~.
I

~
-

~o

~.

------

The sign ~. under a note

tells you to press the pedal on
the right, and to hold it down
for the full length of the note.

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.

22
1I,jof

,.-

'--'

@.

-----

o......J

--...

o......J

;:::,

r~.

,"'"
I

@.

fr

...

~
3

I':)

.1*-

r~.

I',

1*-

fr'

.~

-...

27

II ,I.j.

-.
--....

r:

"

o......J

-....

?
I

---

32

l..-J 4

1I,I.j.

_LLf'tt..

@.

-----

-----

37

.......

1"""""1

II ,I.j.

1"""""1

1ilf'tt..

@.!

A r1
[.
42
1I,jof

@.J

~1*-

r .

A A

----

.~

r.

-- -

'-

.....-

- -

AA

~.

~.

~.
~

:;;:r.

--

83

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.

Delibes
II

Allegretto

~J'I"IL

)~
J

mp

,.

-1'"

..

t-

I""

flI

II

.... fl-

'"'
-*!-"':"

-~

r'

..;.

II

\--

"':"

rit.

-*!-

a tempo

---

-.-

....

fl-

11

II

..;.

I""

--r:;-

~-

---.-

---.-

.....

14

II
r~

"':'"

fl-

I""

....

.ft.

fl-

@.J

I
84

r-

..

Sleeping Beauty waltz

This tune is from a ballet by
Pyotr Il'yich Tchaikovsky
(1840-1893), based on a fairy
tale. It was written in 1890 in
St. Petersburg.

The picture shows the prince

discovering Sleeping Beauty.
He kisses her and wakes her
up, breaking the spell of the
wicked witch.

Tchaikovsky
Allegro moderato
1\

IIII'
}

~.

"-

1\

1 @.l

------------

--"lJ""':

r'

...I

_.

r'

I
1-

..-

--

d-

.-

.-

..

..

.....

..

--

~--.

7
1\

,.,"

--

l,lJ

_.

I.-

...I

~r

..

1 @.l
L.... .

:--::-.

.-

1_

I
_.

I
-----

_.-

r"

--

J
(

......L

11
I

---.

1\

-_.._-

. .-

--

-------,"

..

......
.....

~r

}
1.

._...._--

....1

......I
.....

-1

. r

--:
._-

r"

~
..tc.

-1

--:

J ...

I
.-~

85

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.
An 18th cen tu ry ba llroom

Early dances
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
Europe
when
I,
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.
,

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.

Early folk music

86

16th cen t u ry da n cers

i
\

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.

18t h cen t ury d a n cers

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.

Da n cing a
minuet

One of the most famous

musettes was written by
Johann Sebastian Bach, in
his Notebook for Anna

Title p age of The Blue D anube

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.

The 19th century

A musette

The most popular dance in

the 19th century was the
waltz. It is in three-four time,
and is quite fast. Some people
believed the waltz was
unhealthy because the
dancing couples
whirled around the
room so quickly.
1 9th

century
d an cers
wa ltzing

Magdalena Bach.

I
// t

. 1/ f

Musette
This piece is from a book of
music he wrote for his wife,
Anna Magdalena. The picture
shows him accompanying his
family singing and playing.

J.S. Bach (1685-1750) came

from a very musical family.
His father was a musician
and three of his sons became
famous composers.

J. S. Bach

Moderato
fl

)~

fl

I"'"

mp

111

111

~
.

---

-.

l=
~. .

=.~.

111

II!

-~

---:..7

111

111

111

111

;;';;. .

~.

..... ....I

II!

-+
II!

..

'"

2 ~.

~.

-_._".

_.+_ .

... L

-~-

..:..

17

L..-

L..-

..fI!-.

L..-

I
~

-*!

II!

- ....

......,
-

...
2

"""'f

~- ..

~.

I"'

"!-5

......,

-iJr-

_.

1~

88

~.-

4 __________

II~

}--

--

--

-+

j---

~.

0!1'

..

II!

Fine

_._;J-..

j
(

~.

111

-f:-

~.

-"T=-=t
'---

_.

DC at Fine

..

German dance
The German dance had three
beats to the bar and people
danced it in pairs. The two
main kinds were the Uindler
and the waltz.

The Uindler involved hopping

and stamping. The waltz was
more elegant. Haydn,
Beethoven and Schubert also
wrote German dances.

Mozart
Allegro

-~

....

II

...

....t

- ..

.... ....

..

':I:
I

, -

1
3

2
4

Fine

1 @J

j
(

--

11
~

...

) @J

J
I
I

15
II
IJ

--

....

..

..

~
1_

'F-

) @J

t-'

~.

I /.

0
- .

_.

~.

20
II

If

~. I

....

....

Deal Fine

...

,-I

t?
..

89

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).

Boccherini

Moderato

,
)

-~.~~

" -If
~ .rJ:

_.

mp
-~

~.,L.

~.

12

fl ~

l
..

@.

fl ~

_.-

H--

tr

-- ~~ -

~--

1-.-

+---

--F+

...

-~---+

f9

I"'"

.j

..-

_.

... =f-t-

v.-#--_
I

~"

f'-"

II!.

HII!'-

Jr -.
tr

~"

~,

......

- -

-~

~
.... -+:=--

.~

.- +-

---

~~
r

90

-~

_ 1"- . . __
11'\-

t.J

-fj-

II!.

_- r------

16

II!.

~---

~.~~

-y-

.L

..

fl ~ l: _..--_

~"

~.

@.

2
...

.-

-..

:
I

@)

I"'"

fl ~

I"'"

@)

f9

fIl-

~~

~~

..-

Boccherini wrote over 120

string quintets and about 90
string quartets (for four
stringed instruments). He
was also a talented cellist.

Like many other composers

at this time, he usually wrote
a minuet as the third
movement of his string
quartets and quintets.

19
fI

,Iof

-~.~-fL

@.J

"-

--~~

"-

II

,Iof

,""
"
@.

"-

II

,Iof

~.

,,""
"

,.

fir

fI-

tt-

--

1I,1of+~

f9

.-;-~

"-

,Iof

0.......=

.-

33

-~.~-fL

~#-fL

29

)~

.
jf),..

~.

---

@.!

26

~
J":":

"*

f9

a tempo

22

- rit.

r-i.l. ir

I
.~

@.

tL.

-fL

"-

_.

rit.

"-

- -

....
1

"-

91

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.

Strauss
Tempo di Valse
II

)~

~.

'::I:

6
II

.. ..

...

.,
...

,r::

---

@.

l-

.,

n .

I
11
II

-I-

.,

.,

.,

C;.

...

...
@.

-----

n.

---

16
I

...

@.

I
I

II

-I-

.,

-I-

@.

92

-(2-'

21

mp
-(2-'

f
-(2-'

-(2-'

fL

Strauss' original copy of the

opening is shown here. The
full title is An der schonen
blauen Donau ("By the
beautiful blue Danube").

Later, when the words had

been removed, the tune
became extrememly popular.
It was almost like an
unofficial national anthem.

-~---~--.

---~

31

f2-

Aid!

\~

- -

~-

---F

..

. .

f9-.

~~:

.,. 0!1"

"-I

fI

.j.jo

--1

- -

.j,j.

- -

~.

~.-~

_-_.

-I

,L

.-

~-

-:;J-

~. .

..

36

--

..

..

--F

--

+-

f
I

, . 0!1"

+.

. .

_....J . .

-~

~~

41

----H-

-- --

- -+

_._- ...

-&---#-.
-~-

.--~

r-

rI

If

.J

.j,j.

-I

",.

fro

----

11.

--

-----

._---

..

.L

~.--

... ...

P
~

~
.-

46
II

, . 0!1"

I
2

1
2

1
3

r-

r-._.~

-"

93

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.

Brahms
Allegro
II ~

)~

J
I

Illp

,"),. +I'

T..
I

4
II

@..

'---

r'

,.

II~

,.

-(2-.

-~

@..

..

11
II

~.

@.

I
I

14
II

1~
j

....

"-----

----

r'

c;

l/

,.

I
I

94

- -

..

Dance of the hours

Dance of the hours is from an
opera called La gioconda
("The joyful girl") written in
1876. It is Ponchielli's most
famous opera.

Amilcare Ponchielli (18341886) taught at the music

school in Milan in Italy. One
of his pupils was Puccini,
another famous composer.

Ponchielli
Allegretto
fI

}~

"::I:

-!--

- -----"

....

,---

-----.---~-

-.......!

jL

-~

- -------

_r-

"::I:

,1

,..

,
)

t-

--t---+- -+

j--

;.
..,.~

;.

1......----.

------r- -

_. -

I""

-~-

----

.---,

.. "----

J
---~-

-c-

a tempo

;.

/
I

II

lL

@)

0.......1

10

I!~:-- -

,4---

lr:

------

....

j!jL

j!

,~

....

l~--

j
--

....

--

------

~~

f--r=

- --

---r"--

~.

'----

jL

~-~-

13

~~

---./

'---

rit.

jL

-}--

'-'

'-----

*J

;.

----;.--I

- -

1""--'1

-~-

1+~

- --+t-----.:7
-+-

-r

If~

jL

@)

J
(

@)

7 ,..

--F -

l-~-:

'-----

----"

IIlp

II--+--r-!-

-t---~-

i.,....,j

'-"

'r:

,........,
J'-----

- J.--I

- ---f-=

- 1----;;.1"':'"

"':'"

95

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.

Dvorak
Allegro

...J;-

---==::t-==q_
~ - --~f=~~. ---..

--

----=--

---

- - - - - _..

---

1
3

10

15

20

,G.

I':)

~.

bl':)

rr-t,
.

-j

96

1
3

..-

.J

.~

f'-

~n.

11':

1
j

i .

. I

------;-

-"-

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.

Tchaikovsky
Moderato
fI,j,j.

-.~

---

pJ.

j
I

,.

J.

#.

J
I"'"

_I-

I"'"

4
'" ,j,j.
0!1'

-J.

_._.-

,. 0!1'

J"'"

11M-

1~
J

.-

i...----oI

-+

-/-

J.

...M_

_'._~

--

I"'"

to-

~
4

10
fI,j,j.

--

1~

J
(

,. 0!1'

J.,

1"'"

#.

J.

13
'" ,j,j.

, r--'
)

-r-

l~~'~~~~'~~~~~~~-~~~~~
t

97

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.

Grieg

-.

Allegretto
II

....I

-~

If

II!!,

J~_.

.-

.-

til

4
II

-.

-.

..

I~

)~

l~.jf

IL. .jf

-....I

....I

....I

til

""ill

.-

7
II

l~

I C&-

)~

'

I""

--

--

-....I

-rr

""ill

""ill

--

--

Grieg was very influenced by Norwegian folk music. A lot

of his pieces, including this dance, are written in a
traditional Norwegian style. Some of his pieces were based
on folk stories, or were written to describe the Norwegian
landscape. He also wrote many songs using poems by
Norwegian writers. Many of these were first performed by
his wife, Nina Hagerup, a famous singer. In 1867 Grieg
founded the Norwegian Academy of Music, so that other
Norwegian composers could learn to write music in a
traditional style.

98

=t=-=:

....

1""

--

,~.jf

h-L

----

-~-f------

-rr

til

----=
-----=

---

)--

I!'-

Norwegian folk dancers

----

Polovtsian dance no. I

The opera was completed by
two other composers,
Rimsky-Korsakov and
Glazunov. Like Borodin, both
of them were Russian.

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.

Borodin
Moderato
/

fI .I.f

)~

-H-'::I::

j~

Ir:oM"

~.

'::I::

--

~
~.

'" .I.f

+-

~..,

I{

..

_L

===--

..

..

-_.

'" .I.f
-~~'I!

--_.

..

--

....I

@)

- .....
..

(~~~:~-~~~~~~~

-.-

==--

-~

:;,;:-

.+

V
3 2

,. oM"
-+- . t

-~

1 @)

3 2

'-'

.....

..

_._-

3
~

--.

-.,.

....-

. --

('

I[

10
fI .I.f

I
)

Ll

@)

j~.

I ;P'f!

_.r-

~.

13

.L

-4"

..

o.......J

.~~_~

~~

=---

..

2
4

'" 3

1
2

,...

3
5

99

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

13th century
music (left)

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.

Hymn sing ing

in the 19th
cen t ury

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".

J. S. Bach
Moderato
fI

~v

)~

...

Illp

-i

---

n
L

@.

3
1

4
1

...

--

---

I'?

.rI

6
fI
I{

I
h

@)

j
I

---

I'?

5
._.-

..-

.rI

t':

_b.

~-

-6

7:

"I

fI

"7

4
I

9
fI

I "

,.0;;

5
I

h
~

@)

..

..
I

---

._-

-I
.--

11.

11
fI

@)

102

I1

~5

r
1

Bach wrote over 200 church

cantatas. This one is number
140. He also wrote a lot of
other church music, such as
oratorios and masses.

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.

3
II

13
I

fI

1u

..L

u-

u-

...

...L

1">.

-e-

( L:"

J::L
I

1
3

5
I

16
fI

1u

..I

r r

I
~.

-~

18

'"

) u

~j

...

...

-,J

r.;

.g.

l.~

~.

---

(")

2
4

20

fI

1~

'-'

'"

\:

-,J

...

<

fJ

5
1

..IlL

-,J

C.

'I

-.J

II

22

~J

tr """'" .... ,

~~I

"
(
3

,.

r
1

~~

#.

r'
I

1
3

103

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.

J. S. Bach

--

Moderato
II

oil-

)~

3
~

IIIr

~1

2_

..

-~

,.

1,....1..-1

W-J

---

._.

\.
j
I

:....--

....--

---

....--

16
I

1'1 ..

}~
J

1..-01--'

- 2

,.

,.
u...J

~2

t:'I

t:'I

,.

104

c;

--..J

,..

-.-

--.-

1,....1..-1 -.......J

12

~-

1'1 oil-

~2

iii

1'1 oil-

....I

legato

,.j.

-I

,-

J
I
1'1

,-

The Heavens are telling the glory of God

The picture shows the palace
of Esterhaza in Hungary.
This is where Haydn worked
for the princes Paul Anton
and Nicholas Esterhazy.

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.

Haydn
Allegro
II

~If

I{

-.

I"'

"!l
I

-,.L-

~.

+. .

-.

4
II

.....-'!

~.

I~-

)~

.....

-.J

II

)I~f~

)
(

...J

.. ..

10

,+.

.....-'!

I
~

f'-

......,

-- -

13
II
I

..,..

--+

I......J

....

105

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).

J. S. Irvine
Moderato

..

1\

...,

..

--.

'---

/lip

---

--.

6
fl

.-

I ...,

<
I

~.
~

LA

---

...

.01

"-~

24
I

---

.U!'L"

...,

I
~

106

---

--

I
I

"-

--.

I-

--.

I':)

1\

) ..., "

-'11

1'0

fl

18
I

I
~

12

...,

Jerusalem
This music was written to
go with a poem called
Jerusalem, by the English
poet William Blake (shown
right).

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.

Parry

Maestoso
II

...

.j.I.

*..

@.

1I!f'

*U'""'P

~.

~r:J

.J

J-

..

"-

-..

..

-,J.

-,J

"""-

@)

-L

2
.j.I.

....

."..

.-l

2 4
~

II

l:"""l

II

.j.I.

r"'-"I

I ,,,..
)

@)

5
1

.'

r S

"""-

--aIL

LJ

13
I

I~

to..

1\.j.I.
11.

} @)

~r

@.

4
2

.j.I.

~~

2
4

4
2
...

1.00-0-"

.".. ."..

t::

~.~

.'

I......J

17
1\

IL

2
4

1
3

.. ...

r:,.I'

107

Go down Moses
Many spirituals are based
on stories from the bible.
This one is about slaves in
Ancient Egypt, who were
led by a man called Moses.

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

---

--

mp

.-,..

--1--

-~

5
1\

I~

-.-----

)~

.-

~.

)~.l-

-- -

---

'7

. --

- -- ..IlL

-- -

~----

-.J

7;;.

,.

+-

5
2

11
- 1\

5
1

J~

t-

I
I

~
_#llL_

r---,

---

_T _ _

----

-=t=

-------

-~

+-

H-

14
1\
~

--

----

mp

----

108

-----

.-

---

----.

---~

'7

~.

-7.-

-._----

----

-t-

- -

- I

-~
- --

---

'"

-~

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.

Adagio

" ""

IfW)

':I:

..rl

'1P

@J

)
I

-k:-

.~.

l
2

II ""
-T-'fL

.~.

.:1- :;.1-

.,.

. f.-

---

I""

.....
-T-'1"
-

+- -

r' -

..

II!!,
.--

-r
I

..

~.

_.. I.......J

.+

---#

--'"

'L'

--'1-1"'"

.--

---

7;;.

j+

J"""

...

---#

.'t-

..-...2
-

'---

'i

II!!,

1\

-.-

---

_....

-:lIlT

+
.,

(/'

O~

77---

4
l'I

-~

fff

,..

To Coda-$-

@J

--

"---

5
2

'-W .r
10

.1"\

-h' ...

.~

-.--

.,

~-

.-

l'

.-

._-

._- ....

_.

..-..

II ""

)~I

~.

. I

_~_'rL

J~.,. <If

~'J9-

4
,

'---

~?
:l$ f9

':I:

.,.

+-

...I

-...... -#-

+-

_.-

t.

D.C. al Coda -$- Coda

~

.,.

il )

"-I

r -r r

#-

-~.

'--'

r~it.
I

-e--

,..

--

#'-

OT

109

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.

.-

....

,.

..

--

,
=.' --_._--

A scene from The Four Seasons

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.

Chopin playing Nocturnes

111

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.

Vivaldi
4
2

Allegro

4
/

fI

I~

1~

::IiI

...I

::IiI

4
2

--

-3
I

2
1
~"~~-

----

fI

~ ~ ~

o......J

:J

1*-

.1*-

13
fI

"'"--

@)

112

I,,,..000oI

- -

~~~.~~~.

fI

3
1

I
10

o.......J
2
1

--

)
I
7

:.;;;r

"

. . . .
-

:;.:

:;.:

--,..
o......J

o......J

Vivaldi was born in Venice

and lived there for most of
his life. On the right you can
see a picture of Venice during
a carnival.

Carnivals and festivals were

very common in Venice at
this time. They were held in
the city for almost six
months of each year.

3
1

113

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.

Mendelssohn
Andante

fI

@)

--

r1

- -

1\

I
@.

----

fI

.-

bj

-e-

_.

..

~J.

---

--_.-

..

.-

--

-i

r- .

9.J"""

12

....

,--

-...

.J"""

F r r--=
~

.--

--

The story of A Midsummer Night's Dream

In Athens, Theseus is about to be married. Four lovers are
in a wood nearby: Hermia and Lysander (who are in love),
Demetrius (who loves Hermia) and Helena (who loves
Demetrius). There are also six craftsmen rehearsing a play.
Oberon, a fairy king, uses a magic love potion on his
queen, Titania, and on Demetrius (to make him love
Helena). In the confusion that follows, Titania falls in love
with one of the craftsmen, who has been given a donkey's
head by one of the fairies. The play ends with a triple
wedding, the craftsmen's play and a fairy dance.
114

E-J--

1
4

..

=-==-- '"

~j

-~

t ~

!..-

f92
4

@.

2~

----

14

--

2
4

1
4

..

--

~J.,

-.

----

.J

.,

I
fI

........

...-----

Oberon and his magical

servant, Puck

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.

18

1\

1!-:
c~

1
2

22
fI

11

1
2

rit'r-;

1!-:
f-*);-- r-

~I

0........=

@)

-----

@)

1
3

26

fI

...----

@)
t:\

a tempo

-"

i-n

r-F--- "

~J.

1!-

""--

"-

f
--

'-------

30
~

-----f'--

l'"

J
I

Puck casts a spell on Bottom,

giving him a donkey's head

j " " ~j

1
4

A scene from the craftsmen's

play

The triple wedding scene at the

end of the play
115

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.

Mendelssohn
Andante

iloilo

I~

t-c

}~

mp

I
~.ot1'

...

t-""

~~--

3
fut
ot1'

:J

)~

------

,,---.

~fr

~~9-

-:I

n----

-----

--

-'

-.}

..

0;

_.-

~.--

..

-. -

,)

6
1\

oIlo

-"""

---

)~

t-""'

-~

~-

-~~-

I
'fe().

J ~J

-----.

+--

I
2
4

--

~-

#~

--

F
I

oIlo

-----

J
(

"

/'

'J~

J hJ

--:::::p:::=
--

1 ltJ

1
:;::::

nJ.

)
~-

f-

12
II

I
)~
}
I

oIlo

3
5

2
4
~

5
-

-~~-

--

nJ. -

~--

-) 1
:;::::

116

Nocturne op.15, no.2

Fryderyk Chopin (18101849) was a Polish composer.
He was also a brilliant pianist
and teacher, and was famous
for his delicate playing.

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.

Chopin
Andante

I -. :
)

'::I::

-~---~-

legato

--

1I,I.j.

---"------ ,.

-.J

,.

otr

8~

.. ..

~~~

_.-

..

+LooI
.".

r-

-------

-~

tr

"iiiI

..

--.-- -

2
5

---

..

- -

----

I
J

I
-

---t

"-------- -

12~
fl oI.j.~.

..

..

,.

..-

---

oI.j.

-t-~

- -

-.J

--

------.

- - +--

,.

@)

fl

-+
,.
I

4~
~

@)

~-

--

!----+

----~-+

1.

"_ .. -

-~

-j"':

I':)

---

1
4

---"

--~

The piano shown on the right was given to Chopin during a

visit to London in 1848. Unlike most other composers,
Chopin did not write music for many different instruments.
Almost everything he wrote was for the piano. The only
music that he wrote for orchestra was to accompany large
piano works. He composed a lot of his music while he was
playing (called improvising), then wrote it down later.

117

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.

Andante con moto

Tchaikovsky

1n

II .olo

fro

..

. . . . . - . . . . ..~

2.____

)~
~

r-

r-

~--

...

f\ .olo

_.,2

-.

...

-.

--r-

- --

----

I
~

,.-

l'

tJ

.olo_

I
I

7
'1

,jf

---

@)

)~.~

'1'1'

--.

10

------:-

f\ .olo ,-,

IL _oH'_

.L.~

-I

Jl.

.---

------r

,.
1

118

"I

r-

----

--.

)~

r
.~

13
IiJtt

--------

Tchaikovsky went to America

in 1891. He found the people
very friendly, and felt he was
welcome there.

16
II

,j!,.

I"

He was particularly
impressed with the Capitol
building, which he visited in
Washington, D.C.

.~

:;,I'

)~

cresco

,j

1"'"
I

19
II

,j!,.

LJ.l

)~

~1'"

1'"

f'-

cresco

,j

f'-

f'-

f'-

f'-

I
5

22

II

-(2-'

~.

,j!,.

7-(2-

f'-

?""-""'1'"

)~

,j

ff

,. -!'r

25

II

2
,j!,.

~l

,.,----

I
)

@J

281I,j!,.

~_

I
@J

rit.
~

,j!,.

1"'"

--

--

mp
~

119

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.

Musorgsky
Moderato
fI

3
'"

1~

fl
IU

i-

~~

-f

-(f

...

I!:

.J

~--l

<

~~"

-':I::

,)

fI

-,J

~~

=(i=

~.

:;j:

if~~

"::I::

~-

--

--,

fI

--""""'I

}
I
\

-'

"'~

10
fI

rJl

)~

I
120

,.

'I

'T
~

3
I

--,;

~1

,.

...I

[ZF

rJl
--

rr r rr

ru

--

~--

t7!

r'~---it=
- -- .[2=

fr r

------:-~

~-

II!:

=&

-4-

tr

I!:

rJ

fl

1
I

1
I

--.
+

rit.
I

,.

--

I~

-5

r':\

rr':\

Vltava
This piece is from a larger
work called Ma Vlast ("My
Country"). Vltava is about the
river Moldau which flows
through Prague.

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.

Smetana
Andante

floI1

I .~.
)~-

i"

<

II!!,

-f'-

legato

~"

.u.

-~

..

~"

-f'-"
...

I
'-----.

-~

~"
..-

e--.

...I

..

~.

fI .>I-

-f'-"

-f'-

...----f".

~"

- ----

~
..,-

.. L

I(

...

- -

"

-~

..

@..

r"

5
2

)~

......

I .

!"

r~--~f~"~~~. . .~.~~f~~~~~r~v~~~-~~-~
10
fl .>I-

-f'-

I~...

~"

~"

-f'-"

-f'-"

---".

1 @)

-f'...

I
I

13

fI.>I-

r "

4
~"

~
..

..--...

.1""

r'"

roo:

---,
.-

~.
I

I
...I

2
5

p""

= . -t

...

r r

....

121

Scheherazade
In the story, an evil sultan
vows to marry and kill a
different woman each day.
Scheherazade saves herself
by telling him stories.

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.

-------

Andante
II

I~

.j.j.

":I::

)~

Rimsky-Korsakov

2
I..

------

--

Illp
t':).

2
"

.j.j.

1~

-----

~t':).

r-

t':).

"

J.

~:

<

J
(

n.

t':).

?T.

3
5

8
"

.j.j.

.-I

,...

@)

~J.

~J.

n. ;::.

(
I

12

II

I~

1~

-:0

.-I

'--/

-----f

.j.j.

-------

-.

~.

t':). ; : :

~.

~
~

I
I

16
II

.j.j.

I
1~

-~

<

,J

r
I

~.

rJ

-.

f ---I

122

----

--

Each night, Scheherazade

ends her story on a note of
suspense. The sultan wants
to know what happens next,
so he cannot kill her.

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

20
1'1

1 @)

~i

-------

--

r-

r-

I
I

---

----

24
2

~ ~

I
@

...I

l~

r-

*r-

------

~r

28

4
1

II ~

3
1

}~

II

32

r-

}@J

I ,

:::::::::::0

--

-,J

-,J

.. r:

r-

'f-

r- ----r~-

~-

36
II

:::::::--,

I -

I
~

1
4

-.

?;-

t:'I

:10. . . . . . .,.I

----

---123

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.

Debussy
Andante

fI,j,j.

I
1~

......

<

......

sempre legato

5
I

1~

l"..o.0oi

.----------

""

V
fI,j,j.

.--

..

.~

.--

'"

--

..

...1--

t~

. .-

l:'

f.,.L

9
1\

,j,j.

II!

9--....

)
(,"lo.: oIf kL.

~~

"

Iii

,j,j.

:j.J~J

-.

r"'"

n~.

f'

J.

n.

-.

)~

.~

....-

:;I

3
1

.. -

......

12

r-

)~

----

..J,.. .

.fL ~.

.....

~.

15
1\

'-'

I "

~ ~ .fL~n

.fL ~.

I
t~.

-t

..

--

.-~:

124

........ .

...IJ.

,j,j.

...

'-/

-...

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.

19

22

--.-

fI ,j,j.'-'

)-~

'-'

..,-

'-'

.-.JI

)
I

.....

_--1*

-#
l,,,..o000O

.....

....

--

.~--

r.

""'"'"'
I

1
3

----- -

34

_._-

-.J .

~.

--

-r---

--~-

-.J

~.

-.~.

-.J

--t

:f

--

- - -

- .

..--.

; c;.

-.J

..--.

fI,j,j.

.-'!'!!!!l

t -

::I~'I! ~..

-i::1i>~-~-

J~

1\ ,j,j.

)~

)~

-f'-

---+-

If-&-

.-

,....

30

I"
) ~-

I\,j,j.

'?

~-

25

2
--

---~

o
--~

~
~~:

~:

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.

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

It is easier to count this as three beats in a

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.

bar. Keep a steady pace without playing it

too slowly, to make it flow.

Promenade

Jesu, joy of man's desiring

The Heavens are telling the glory of God

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