®) Piano only \ 8 Bee Fir pablsied in 2015 by ABRSM Publishing Lid, Unauthorted photocopytng egal Mac oigination be Andre ones Extals ownedouinidnnroSABRSM.94Portard Alrightsrmered Nopartof hs pubision Ceverby Kate eran & Ads Pass Violin Exa ABRSM Grade 4 Selected from the 201¢ kam Contents page UST A 1 Anon. The New Round 0, arr. Edward Huws Jones 2 Antonio Vivaldi Allegro: fifth movement from Sonata in G, RV25 i 8 Joseph Haydn Allegretto: second movement from Symphony No. 101 in D, “The Clock, Hob. 1/101, arr. Watson Forbes 5 ust B 1 Charles Danela Mazurka: No, 11 from Petite: le de ta mélodie, Op. 123, nook 2 Ole Bull Seeterjentens Sondag, art. Johan Svendsen ! 3° Franz Schubert Entr‘acte No.3: No, 5 from Rosamunde, D. 797, art. David Blackwell 10 usTC 1 Paul Desmond Take Five, arr. Edward Huws Jones 12 2 KurtWelll and Bertolt Brecht Tango-Ballade: No. 5 from Sieben Sticke nach der 4 Dreigroschenoper, art. Stefan Frenkel 3. Timothy Salter Daydream 16 Viatin consultant: Philippa Bunting Footnotes: Edward Hus Jones [EH], Richard Jones [RJ] and Anthony Burton Other pieces for Grade 4 usta 4 Handel Presto {from Sonata for Flute, Op. 1 No.§). Sheila M, Nelson's Baroque Violinist (Boosey & Hawkes) 3 D.Ortiz Recercada (violin melody). The Early Music Fiddler, art. Huws Jones (Boosey & Hawkes) 6 Purcell Rondeau (from Abdelazen). Superpieces arr. Cohen (Faber) or The Best of Grade 4 Violin (Faber) uste 4 Gabriel Marie La Cinquantaine, The Best of Grade 4 Violin (Paber) 5 F.Kilchler Allegio moderato: Ist mov from Concertino in D, Op. 12 (Bosworth) 6 Rieding Marcia, Op. 44 (Birenteiter) ust 4) Daphne Baker Harlequin (Spartan Press) 5 Scott Skinner MacPherson's Blade. Alastair Hardie’ Compliments to ‘The King’ (Hardie Press) 6 RosStephen Milonga pampeana, No.1] from Argentinian Tango ad Folk Tunes for Violin (Schot®) 3.8888 228698316 rmprodused recactedestacemited PrintedThe New Round O Arranged by Edward Huws Jones, Anor Lively 2.84 mf (last time f ) D.C. al Fine John Playford!s The English Dancing Master was first published in 1651, immediately after the English Civil War, and continued to be reprint. byhisson Henry and others well into the 18th century- But the contents ofthe collection were constantly changing along with musical fashior and this tune first appeared in 1703, The ‘round o' inthe ttle refers to the rondo form, with contrasting episodes (the passages in third posit in this arrangement) sandwiched between appearances ofthe main theme. The piece needs a lively two-in-a-bar feel, EH} (© 2015 by Th Associated Board ofthe Royal Schools of Music AB 3782i Megat femake copies of ths Copyright| Allegro (2) Fifth movement from Sonata in G, RV 25 Edited by and continuo Antonio Vivaldi realization by Richard Jones (1678-1741) Allegro [4.0.96] gegteete f P f The Sonata in G (RV 25), from which this Allegro is selected, isthe third of four sonatas that Vivaldi composed in 1716-17 for Johann Georg Pisendel, a young German virtuoso who lived in Venice around that time and became a friend and pupil ofthe composer. ‘The G major Sonata sa sonara da camera (chamber sonata) ~ its seven movements are al based on dance rhythms and constructed in binary form with repeats. The fifth movement, reproduced here, is written in the style ofagiga (that is, an Kalan gigue). The empo and dynamic marks are editorial additions, ass the continuo realization (the upper stave ofthe keyboard part) and the sharp (othe violin C inb. 12. RI Source: Dresden, Sachsische Landesbibliothek, Mus. 2389-R-10, £ 2015 by The Assoviaed Board ofthe Royal Schoals of Music 4B 3782Allegretto Second movement from Symphony No. 101 in D, ‘The Clock’, Hob. 1/101 Arranged by Watson Forbes Joseph Haydr (1732-1809 7S oo ~ Joseph Haydn wrote the last 12 of his more than 100 symphonies for two highly successful extended visits to London in the 1790s, before h returned to his native Austria to live in sema-retirement. His Symphony No. 101 was ftst performed at the Hanover Square Rooms in Londot in March 1794. Its second movement was immediately repeated by public demand (concert manners were different in those days}. Original tsritten a8 an Andante in 2/4 time, it has a principal melody for te first violins with an accompaniment on bassoons and pizzicato strings tha {imitates the ticking of a clock. When the movement was published in a piano arrangement in Vienna in 1798, the publisher gave it the tte o “The Clock, and during the 19th century the nickname came to be applied to twe whole symphony. The first section of the movement s adapte here for violin and piano, £ Oxford Unversity Press 1962 Reproduced by permission from A Sacond Book of Classical and Romantic Pices fo Violin. All rights reserved. Ni-encuiies about this piece, apart from thos lrecty relating tothe exams, shouldbe addressed t Oxford University Press, Great Clarendon Steet, Oxford OX2 6DP. AB 3782AB 3782Mazurka No, 11 from Petite école de la mélodie, Op. 123, Book 2 Charles Dancla (1817-1907), sautillé ny 3 17 pmolto stacc. Petite école dela mélodie Little School of Melody Charles Dancla was Prench violinist, 1855, becoming a professor in 1860, ‘The mazurka, a Polish folk-dance in triple time, spread throughout Europe, becoming very popular as a drawing-room dance in the 1830s and 1840s. Dancla’s A minor mazurka melody alternates with a contrasting dance tune in the submediant, F major (bb. 17-32). An abridged ‘variant of this second tune returns as a coda in the tonic major, A (bb 50-8). The optional wonsecutive down: bows in the last three bars are 10 be played ‘at the hee!’ (du talon) and with a very light and well-ifted bow” (bien légeret bien enlevé).’Sim.; short for simile, in bb. 19 and 52 is an editorial addition, ass the p in the piano part at b, 48 and Jf in the violin part at b. 50, Atbb. 17 and'S0, sauillé, a form of spiccato bowing, literally means skipped, but this technique isnot expected in the exam and regular staccato is acceptable. R) sacher and composer, who studied at the Paris Conservatoire (1828-40), where h aught the violin from Source: Petite école de la mélodie. 12 petites pigces pour le violon avec acvomp'. de piano, Op. 123 (Paris, 1868), 2° Livre (© 2015 by The Associated Bond ofthe Royal Schools of Music AB 3782Ff soutillé et leger bien léger et bien enlevé AoA aoaaen = we du talon AB 3782Seeterjentens Sgndag ‘Arranged by Johan Svendsen Ole Bull {180-80} Adagio [= 63] 3 ane —— ppsempre SaterjentensSondag The Shepherd-gitl’s Sunday ‘Ofe Bull was one ofthe most famous violinists ofthe 19th century, and also a composer and conductor: his concert tours played a major role in making the music of his native Norway known throughout the world, Bull’ compositions contain many melodies borrowed from, or written in Imitation of, Norwegian folk music. One invented tune isthe violin melody of Seeterjentens Sondag (The Shepherd girls Sunday) - alternatively known as Solitude sur la montagne (Solituds-an the Mountain) -which was also turned into a well-known song, ‘PA solen jeg ser (gaze upon the sun). The accompaniment, for string orchestra or piano, was written by a friend of Bull, the Danish composer, violinist and conductor Jot (© 2015 by The Associated Board ofthe Royal Schools of Music AB 378210 Entr’acte No. 3 No. 5 from Rosamunde, D. 797 Arranged by David Blackwell Franz Schub (797-18 Andantino 4= 2.76 aa — cresc — PP Fir —— = fp ‘Franz Schubert struggled hard during his shor lifetime co establish himself in the musical life of his native Vienna, and especially in its theat His last attempt was in 1623, with his incidental musie for a pastoral play called Rosamunde, Furstin von Zypern (Rosamunte, Princes Cyprus) by Helmina von Chézy. This well-known Entracte served as a prelude to the final act of the play, set in an idyllic valley where heroine Rosamunde is tending a flock of sheep. In the original version, the main section, ia which the first violins take the melodic | alternates with two episodes in which the melody is entrusted to Woodwind instruments: this arrangement includes the fist of these episo Schubert must have been fond of the gentle ma n tune since he used it wice more, ina string quartet and a plano impromptu (© 2015 by The Associated Board of the Royal Schools of Mosc AB 3782Minore eat _— vam 33 D.C. al Fine ABST8212 Take Five Arranged by Edward Huws Jones Paut Desmon [926-7 Quite fast (J-c1s4) Jd 3 ‘The Dave Brubeck Quartet was one of the most popular modem jazz groups of the 1950s and 60s, in its native USA and internationally specialized in pieces written in unusual metres for jazz, such as 7/4 and 11/4, Most of these were composed by the group’ classically trane planist and leader, Dave Brubeck, but the best known was written by the quartet’ alto saxophonist Paul Desmond. This was “Take Five, fi released on the album Time Out in 1959 and later issued as a single, becoming the frst azz instrumental recording to sella million copies, T title, a familiar instruction to take a five-minute break from work, is used in reference to the 5/4 metre of the piece. The piano maintains & ‘ostinato pattern while the saxophone, or inthis version the violin, plays the tune. (© 1960 Derry Music USA Allright fo the world excluding USA, Canada and Japan contoled by Valentine Music Ld, Al enquires about this pecs spar from those directly relating tot ‘exams, should be addressed Valentine Music Lid, 26 Litchfield Steet, London WO2H ST, infosvalentinembsicco.Uk AB 3782AR ATR?ws Tango-Ballade No. 5 from Sieben Stiicke nach Der Dreigroschenoper Arranged by Stefan Frenkel urt Weill (1900-50) and Bertolt Brecht 1898-1956) ‘Tango-tempo ae fain Sieben Sticke nach Der Drelgroschenoper Seven Pieces after The Threepenny Opera Kurt Weill was one of the leadingcomposers in the field of musical theatre in the frst half of the 20th century: frst in his native Germany, where the produced a variety of innovative works; ater in the USA, where he brought fresh ideas to the Broadway musical, His biggest success in the first phase of his career was with Die Dreigraschenoper ("Tae Tereepenny Opera’), an early product of his partnership with the radical poet and play eright Bertolt Brecht, which was premiered in Berlin in 1928. The shane is a free adaptation of John Gay’s 1728 ballad opera The Beggar’ (Opera. which had been « hit in 18th-century London; itis set in the Soho district of Londor. amidst thieves and other low-_ife characters Just as Gey had drawn on familiar ballads and folk dances for much of his score, so Weill wrote songs in the popular dance rhythms ofthe time, incising this ballade in tango rhythm. The version here is from a sulte of arrangements of pleces from Die Dreigroschenaper mace by Stefan Frenkel 2 Pollsh-bor violinist who was a friend of Weill and a trusted interpreter of his music, and who also emigrated to the USA. Ahough the arrangers metronome markis += 85, a more relaxed tempo of 4= 76 would be acceptable in the exain. © Comme: Repose >: Univeral Edition AG. Wien UE 9969 mission All rghts reserved. AB 378215 ano poco rit. 4 Vie atempo 37, 2 SS poco a poco dim. a poco rit. atempo pizz. —— ABST?16 he ilegat tomate Unauthorised opies of tis copyeigrt Daydream Timothy Salter born 1942 Musing; gentle J = 2 ~ 4 nf poco marcato ritard. a tempo v 1 a mf singing Timothy Salteris a composer, pianist and conductor, based in London, where for many years he taught composition and performance studies atthe Roval College of Muse. He wrote Daydream in June 2007 for Spectrum for Violin, ABRSM'salbum of 1Gnewly commissioned violin pieces. Inhis own note on ithe says: The direction “missing” gives the character of this piece, although a more openly Iyrical few bars emerge inthe ‘middle. The puzicati and staccato phrases afford a contrast with the smooth flow ofthe opening scalic idea’ © 200 THe Associated Hoard af the Rosa Schools of Musée . Reprocucee Som Sonim ar slit ABRSM AB 3782