Violin Exam Pieces Name ABRSM Grade 6 Selected from the 2016-2019 syllabus Date of exam Geos) z Contents page & usta [1] 1 Arcangelo Corelli Preludio: frst movement from Sonata in A, Op.5 No.9 3 2)(2] 2 Ludwig van Beethoven Scherzo and ‘io: third movement from Sonata in C minor, Op.30No.2 6 (3)[3] 3 Pietro Antonio Locatelli Allegro: second movement from Sonata in D minor, Op. 6 No. 12 8 ust B 8|[8) 1 PietroMascagni Intermezzo: from Cavalleria rusticana u [2)[9] 2 Nicol Paganini Rondeau: third movement from Sonata Concertata, arr. Edward Huws Jones 12 10|[i0) 3 Edward Elgar Idylle, Op.4 No.1 14 ustc 4] 1 BélaBarték Este a székelyeknél, arr. Tibor Fillep 16 2 Nigel Hess Theme from Ladies in Lavender 18 3 Trad, Russian Black Eyes, arr. Poily Waterfield 20 Violin consultant: Phiippa Bunting Footnotes: chard Jones (RJ), Edwara Huws Jones [EHJ] and Anthony Burton Other pieces for Grade 6 usta ©] [Z]_ 4 J.8.Bach Allegro: 4th movt from Sonata in B minor, BWV 1014, Bach, Six Sonatas for Violin, Vol. | (Bitenreiter or ‘Wiener Urtexo) 5] [5] 5 Mozart aitegro: 2nd movt from Sonata in G, K. 301, No, | from Mozart, Sonatas for Piano and Violin, Vol. | (Henle) weiter) or Mozat, Complete Works for Piano and Violin, Vol. 1 (8 6 Telemann Adagio and Allegto assal: 1st and 2nd movts from Sonatina in A, TWV 41:A2, No.4 from Telemann, Ste Sonatinas for Violin (Amadeus) 7 Adagio fe Allegro asa uste 4 Danela 5th Air varié on a Theme by Welg), Op. 89 No.5. Solos for Young Violinists, Vol. 3 (Alfred-S 5 Mazas Studyin C, Op.36 No.7 (accompanied). Selected Studies 3, art. Dezaire and Van Rompaey (De Haske) 6 Schubert Allegro molto: Ist movt from Sonatina in D, Op. 137 No.1, D.384. Schubert, Sonatinas for Piano and Violin (Henle) or Schubert, Sonatas for Piano and Violin (Wiener Urtext) ust 7 4 Richard Lane Elegy (Editions BIM) 18 5) 5—Martind No.1 from Five Madrigal Stanzas, H.297 (AMP) 1H 1) 6 Nazareth Apanhel-te, cavaquinho (violin melod). The Latin-American Fidler, art. Huws Jones (Boosey & Hawkes) GD1140333B 38888 228693564 ow Fist pubishedn 205 ABRSMublshing Ld, Unauthorized photocopying eg oi rg by il noes {atoh ounce saben of BRSAL 24 Ponland—Allsighte enero No partis plication Coes by Kate Renji & Andy Pots Primed in Engand by Caligaving iPreludio First movement from Sonata in A, Op. 5No. 9 Edited by and continuo Arcangelo Coretli realization by Richard Jones 11653-1793} with embellishments by Francesco Geminiani 1087-"742h [Play on repeat] {2015 by The Associated Board ofthe Royal Schools of Music ABSBLIn the exam, the repeats should be observed, cach half being played first in its plain form and then in Its decorated form. Corelli 12 Sonatas for violin and continuo, Op. 5, show both the violin and the player’ skill in handling it to great advantage, Sonatas Nos. 7-12 belong to the sonata da camera (chamber sonata) type, in which a preludio introduces a sequence of dance movements. The opening, ‘movement from Sonata No. 9 in is given here in two versions: Corll’ original ower violin stave) and a decorated version by his pupil Francesco Gemintani (upper violin stave). Alu from appoggiaturas are editorial additions. the fermata in the last bar; exam candidates should ignore this fermata. Only the short reprise at b. 20 has a dynamic mark in te original edition; elsewhere dynamics are left to the player's discretion. The original key signature has two sharps only. RI Source: Sonatea violina violone o cimbalo, Op. 5 (Rome, 1700) Geminiani version: John Havskins, A General History ofthe Science and Practice of Music (London, 1776), Vol.3. pp. 391-3. AB3784 eminiani would have improvised a cadenza atScherzo and Trio Third movement fram Sonata in C minor, Op. 30 No. 2 Esited by Richard Jones Ludwig van Beethoven (1770-1827 Scherzo Allegro [4. = ¢.54] 7 sf sf decresc. By 180} Beethaven had come to realize that he was incurably deaf. The personal crisis that followed is clear from the Heillgenstadt Testament, a document full of despair at his afliction, written in anrunss 1802. At this time, however, his music entered a new creative phase, known as his, ‘middie period, which is characterized by a heroic fone and an immense expansion of structure “The three velin sonatas, Op. 30, of 1802 look backwards to the Viennese Classical style and also forwards to Beethoven's great innovations of later years. The Sonata Op. 30 No. 2, lke the Pathetique Sonata (OP. 18) far plano, and many later works, uses the key of C minor to evoke a powerful sense of pathos. The movement selected here, however, isin the tonic major, C, which, alongside the fast, one-in-a-bar tempo and the ‘many off-beat sjorzanel, creates a playful, lighthearted contrast fo the other movements. All sus from appoggiaturas are editorial additions. R) Source: Tris Sonates pour le planoforte avec Vaccompagnement &'wn violon, Op, 30 (Vienna: Bureau darts et dindustrie: London: chez Dale, 1805) = 2m1Sty The associated Hoard ofthe Roya Schools of Musle AB 3784sf sf orese. epmeeen ts sf sf af sf Scherzo D.C, AB 3784Allegro sas Second movement from Sonata in D minor, Op. 6 No. 12 Edited by and continuo P.A. Locatelli realization by Richard Jones (1695-1766) Allegro [4 = ¢.108] ‘ : : i The Italian violinist and composer Pietro Antonio Locatelli studied the violin in Rome, In 1725 he was appolnted virtuoso da camera (chamber virtuoso) atthe court of Mantua, but he continued to give many concerts elsewhere in Europe, establishing formidable reputation. From 1729 ‘he was active mainly as a teacher and ensemble director in Amsterdam. In his compositions chiefly sanatas and concertos ~ he wrote both in ‘the Roman style of Corelli and in the Venetian style of Vival, later achieving @ fusion between the two styles. This Allegro is selected from the last of Locatelli 12 Sonate da camera, Op. 6. The sonata consists of four movements, alternating between slow and fast, followed by a Capriccio in the tonic major ~ a brilliant showpiece of the kind that subsequently eared its composer the title ‘the Paganini ofthe 18th century’ The original Key signature in Sonata No. 12 has no flat, and trill take the form z. Continuo figures have been adjusted to account for the change of key signature, All dynamics shown here are editorial suggestions (except in bb. 19 and 22 .as are al slurs from appoggiavuras. Source: XI Sonate. violino solo ® basso da camera, Op. 6 ‘Amsterdam: Author. 2015 by Tne Associated Board ofthe Roya] Schoo's of Ms AB3785enididie ==Intermezzo (6:1) from Cavalleria rusticana Andante sostenato J = 54 wb ERD DEO PP 4 so Eee, _ Th y 30 zee fet 2ee 2 #5. Ee ~¢VY 2 = pB PED re gfb 2 Y s =—— = = con forza ED So iE E foe —— P dim. e ral. sempre PP Ppp Cavalleria rusticana Rustic Chivalry ‘The Italian opera composer Pietro Mascagni is best known for his Cavalleria rusticana, which won a publisher's competition for a new one- act opera in 1890, and was successfully staged that year in Rome. Its now usually presented in a double bill with Ruggero Leoncavallos i832 ‘Pagliacci, another one-act opera in the verismo, or ‘realist’ style. Mascagni’s operas a story of love, jealousy and revenge, set in 2 vllage in Sicily ‘on Easter morning, The well-known Intermezzo provides a moment of reflective lyricism before the tragic climax. The main melody’ from b. 20 is played in the opera by the strings in octaves, accompanied by harp and offstage organ (representing the organ of the village church : the frst violins have the marking sentio, or heartfelt. (© 1089, 1973 renewed) Casa Musicale Sonzogn di Piero Osta aly Allrights administered by Ascherberg Heprcod & Crew Ld, London W8 SDA. Reproduced by permission of Faber Music Lid and Alles! Musi. ll ighs reserved {Al enquires about this plece, apart kom those crcdy celating to the exams, shouldbe adeessed to Faber Musle Lid Bloomsbury House, +2-7-reat Russel Sweet, London WC1B3DA, AB 378412 ls Megat tomake Unauthorized Rondeau a" Third movement from Sonata Concertata Arranged by Edward Huws Jones Nicolo Paganini (1782-1840) Allegretto con brio. Scherzando «. = ¢.92 This rondeau forms the third movement of Paganini’s Sonata Concertata for guitar and violin, Paganin's autograph manusctipt lists the instruments in that order, implying that the guitar is at least as important as the violin.) The guitar part is transcribed here for piano, and to preserve its transparent sonority much ofthe guitar writing has been transposed up an octave. . Paganini composed the piece when he was in his late teens of early 20s, and it shows none of the extravagant virtuosity for which he later became famous. Instead there isa deigh« in passing the musical material to and fro between the two players. EH} 2. The Associated Boar ofthe Royal Schoo's of Music Bares13 : 7 a a Cie hep NSO pS f— sf f= poco rit. tempo a ~ P DS. al Fine AB3TL14 : itegat make Idylle oe Edward Elgar (1857-19341 Allegretto [4 Ee atempo f = = as ‘Sir Edward Elgar earned a living atthe start of his musical career as a violinist and violin teacher, and many of his youthful compositions were salon pieces or teaching pieces for his own instrument, His first published piece was this'esquisse facile or easy sketch, with the title Une idyll, ‘meaning an ‘idl ‘romance’ He wrote tin 1884 during a summer holiday which he spent touring Scotland. On a boat on Loch Etive, he met a gitlhe referred to in his diary only as'P.E’; he later arranged further meetings with herin Invemess and Edinburgh, where they sald goodbye. The piece was published in 1885 with a dedication toE-E, Invemess: Revisions were made, by Elgar and others, prior to the piece’ re-publication in 1910 (eg, violin bb. 54-7; piano bb. 14 and 46-5), and itis the later version that is published here. Source: Idyle (London: Ashdown, 1910) Copsright 1920 Chester Music Limited trading as Bdwin Ashdown fr Spain and Mexico A npn resercd. International copright secured. Used by permission All enquires about this piece. apart rom those diets relating tothe exam should be addressed 19 Music Sales Lid. 14-15 Berers Sueel. Landon WIT SL AB 3°8415 =— crese. —Ifl o rit. a tempo : rit. atemy rit. oe aaa AB378& issn Este a székelyekneél No. § from 10 kénnyéi zongoradarab Arranged ty Te Fule Béla Barték i: iz 11881-1925) Lento, rubato « ar mf espressivo mf Vivo, non rubato. 3 of pscherzando : Se. ot - — 2 pi = a > senza dim. Este a székelyeknél An Evening in the Village; Kinny zongoradarab Easy Piano Pieces ‘The Hungarian composer Béla Bart6k was an enthusiastic collector of the traditional music of his native Hungary, and in particular the musie ‘of he sauth-eastern region of Transylvania (now part of Romania). This is reflected in ‘An Evening in the Village; written in 1908 as one of a set of 20 Easy Pieces for piano, and orchestrated i 1931 a the fist of a sulte of Hungarian Sketches, Bartok sald it was an original composition, with thesnes of his own ‘inthe style of the Hungarian—Transylvaniant folk tunes. He described the fst theme as an Imitation of a vocal melody in‘ pparlando rubato thythi (in free time, as if speaking), and the dance-like second theme as ‘more or lass an imitation of a Peasant phaying the ‘lute. This arrangements by the Hungarian-bomn violinist and teacher Tibor Fllep (1823-2011) © Copsrigh 1957 by Edtio Musica Budapest Reproduced by permission. All enquires about this piece, apart from those directly relaing co the exams, should be addressed o Editio Musica Budapest, H-1132 odapest Victor uga, (1-15, Hungary.W7 ‘Vivo, non rubato pine see 30 AB3vB418 Theme from Ladies in Lavender Nigel Hess (born 19531 Slowly but with movement J = 80 sempre legato 2 ~~ oe. mp (cantabile molto) poco rit. atempo Nigel Hess is a British composer who specializes in writing music for films, television and the theatre, He wrote the score forthe 2004 feature film Ladies in Lavender, set in Cornwall in the 1930s. Two sisters (played by Judi Dench and Maggie Smith) discover a young Polish violinist shipwrecked on the beach below their house and nurse him back to health; his presence disrupts the peace of their lives and their village. The score, including this main theme, features a solo violin ~a part played on the soundtrack by Joshua Bell Published by Bucks Music Group Limited on behalf of Myra Music Limited ‘Use! by permission. allright reserved. ll enquires avout this piece, apart from thse relating directly tothe exams, should be addressed to Bucks Music Group Lig, Onward House. 11 Uxbridge Steet. London WB TQ. AB. 84poco rit. meno mosso eT a ee ral I aS poco rit. a tempo G 3 oH et meno mosso LSSArranged by Polly Waterfield ad lib, Slow, rubato [J = c.104] (IV sempre) 1 cespress. ig Waltz tempo [towards d. = c.64) = aa io ote “ * 4 pao eer dim. + w*higher ad Ub. Ochi chyornye Is a well-known Russian song describing the fascination of the beloved’ ‘Black Eyes' or ‘Dark Eyes. It first became popular internationally through a 1927 recording by the famous Russian bass Fyodor Chaliapin, and was taken up by many classical, jazz and popular artists. It is usually assumed to be a folk song, but it does not have traditional origins. The words were writen by the Ukrainian poet Yevhen Hrebinka, and published ina Russian magazine in 1843. The melody is that of a waltz called Hommage-Valse by the composer Florian Herm: ‘The two were first combined as a song in an arrangement by Sergey Gerdel published in 1884. This song was republished later in the 19th century ina series called Favourite Songs of Moscow Gypsies, reflecting the popularity it had acquired with the city’s gypsy performers. Because ofthis, it became identified as a gypsy song. It was included in the anthology Gypsy Jazz~a collection for which the editors, Polly Waterfield and Timothy Kraemer, recommend a flamboyant, heart-on_sleeve sty of playing £1909 by Faber Music Ld. London WCLB 3DA Reproduced trom Grpsy Jax ~ Intermediate Level by permission ofthe publishers llrightsreserved. All enquires about this piece. apart from those drectis relating the exams. should be addressed to Faber Msc Lt, Bloomsbury House, 4-77 Great Ruscell Steet. London WC1B 304 AB3784= > = = dim. os Waltz tempo [J. = c.64] faster (J. = «.72] 2 fe * AB 3784