Violin Exam Pieces Name ABRSM Grade 4 Selected from the 2016-2019 syllabus Date of exam Contents page List A 1 Anon. The New Round O, arr. Edward Huws Jones 2 2 Antonio Vivaldi Allegro: fifth movement from Sonata in G, RV 25 3° Joseph Haydn Allegretto: second movement from Symphony No. 101 in D, ‘The Clock, 4 Hob. 1/101, arr. Watson Forbes LisTB 1 Charles Dancla Mazurka: No. 11 from Petite école de la mélodie, Op. 123, Book 2 2 Ole Bull Seeterjentens Sondag, art. Johan Svendsen 3 Franz Schubert Entr‘acte No.3: No.5 from Rosamunde, D. 797, arr. David Blackwell 10 ustc 1 Paul Desmond ‘Take Five, arr. Edward Huws Jones 12 2 Kurt Weill and Bertolt Brecht Tango-Ballade: No. 5 from Sieben Stilcke nach der “ Dreigroschenoper, arr Stefan Frenkel 3 Timothy Salter Dayciream 16 Violin consultant: Philippa Bunting Footnotes: Edward Huws Jones (EH), Richard Jones [Rd] and Anthony Burton Other pieces for Grade 4 usta 4 Handel Presto from Sonata for Flute, Op. 1 No.$), Sheila M. Nelson’ Baroque Violinist (Boosey & Hawkes) 5 D.Ortiz Recercada (violin melody). The Early Music Fiddler, art. Huws Jones (Boosey & Hawkes) 6 Purcell Rondeau (from Abdelazer). Superpieces, art. Cohen (Faber) ot The Best of Grade 4 Violin (Faber) usr 4 Gabriel-Marie La Cinquantaine. The Best of Grade 4 Violin (Faber) 5 Fikiichler Allegro moderato: Ist movt from Concertino in D, Op. 12 (Bosworth) 6 Reding Marcia, Op. 44 (Birenreiter) uste 4 Daphne Baker Harlequin (Spartan Press) 5 Scott Skinner MacPhersonis Blade. Alastair Hardie’s Compliments to ‘The King’ (Hardie Press) 6 Ros Stephen Milonga pampeana, No. 11 from Argentinian Tango and Folk Tunes for Violin (Schott) Fist published in 205 by ABRSM (Publishing Lu. Unauthoeteed photocopying is Megat Music origination by Andrew Jones 7 anol owned subsidiary ofABRSM,24Fortand _Alrghts sere. No pat ft publstion Coe by Ee Beno Ros ax Place, Londen WIB ILD, United Kingdom ‘may bereproduced, recorded or tansmited Printed in England by Cllr Ld eto (©2015 by The Asoc Inany form orbyany means witout the Thetford Nota Schools of Muse Por permision ofthe copyright owner5 Orin The New Round O seat Arranged by Edward Huws Jones Anon. Lively Jc mf (last time f DC al Fine John Playford’s The English Dancing Master was frst published in 1651, immediately ater the English Civil War, and continued to be reprinted byhis son Henry and others well into the lath century. But the contents ofthe collection were constantly changing along with musical fashions, and this tune first appeared in 1703, The ‘round o’ inthe title refers to the rondo form, with contrasting episodes (the passages in third position rangement) sandwiched between appearances of the main theme. The piece needs a lively two-In-a-bar feel. EH] by The Associated Board ofthe Royal Schools of Music in this: 201 AB 3782Allegro Fifth movement from Sonata in G, RV 25 Ezited by and continuo Antonio Vivaldi realization by Richard Jones (1678-1741), Allegro [= .96] P f The Sonata in G (RV 25), from which this Allegro is selected, is the 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 isa sonata da camera (chamber sonata) ~its seven movements are all based on dance rhythms and constructed in binary form with repeats. The fifth movement, reproduced here, is written in the style ofa giga that s, an Italian gigue). The tempo and dynamic marks are editorial additions, as isthe continuo realization (the upper stave of the keyboard part) and the sharp to the violin Cin b 11. R} Source: Dresden, Sichsische Landesbibliothek, Mus. 2389-R-10. (©2015 by The Associated Board ofthe Royal Schools of Music AB 3782Oiteon tomake copies of ths copyright Allegretto Second movement from Symphony No. 101 in D, ‘The Clock’, Hob. 1/101 Arranged by Watson Forbes Joseph Haydn (1732-18091 Allegretto + Joseph Haydn wrote the last 12 of his more than 100 symphonies for two highly successful extended visits to London in the 1790s, before he returned to his native Austria fo live in semi-reticement. His Symphony No. 101 was first performed at the Hanover Square Rooms in London {in March 1794. Is second movement was immediately repeated by public demand (concert manners were different in those days). Originally written as an Andante in 2/4 time, it has a principal melody for the frst violins with an accompaniment on bassoons and pizzicato strings that {imitates the ticking of a clock. When the movernent was published in a piano arrangement in Vienna in 1798, the publisher gave it the title of The Clock, and during the 19th century the nickname came to be applied to the whole symphony. The first section of the movernent is adapted here for violin and piano, © Oxford University Press 1962 Reproduced by permission from A Second Book of Classical and Romantic Pieces for Violin. Al rights reserved, All enquires about this piece, apart from those diecly relating to the exams, shouldbe addressed to Oxford University Press, Great Carendon Set, Oxford OX2 6DP AB 3782dim, oO ————— p(ii ‘emake unguthr Mazurka No. 11 from Petite école de la mélodie, Op. 123, Book 2 Edited by Richard Jones Charles Dancla (1817-1907), Moderato [4=.116] 5 2 2 on on 2 ~ f sautillé ng pmolio stace Petite école de la mélodie Little School of Melody Charles Dancla was a French violinist, teacher and composer, who studied at the Paris Conservatoire (1828-40), where he taught the violin from 1855, becoming a professor in 1860. The mavurka, a Polish folk-dance in triple time, spread throughout Europe, becoming very popular as a drawing-room dance in the 1830 ‘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 ofthis second tune returns asa coda in the tonic major, A (bb. 50-8). The optional consecutive down-bows in the last three bars are to be played at the hee! (du talon) and with avery light and wel-lifted bow’ (bien ger et bien enteve).'Sim:; short for simile, in bb. 19 and 52 is aneditorial addition, asi the p in the piano part at b, 33 and Jf In the violin part at b.50.At bb. 17 and 50, sautillé, a form of spiccato bowing, literally means skipped, bu this technique is not expected in the exam and regular staccato is acceptable. RJ Source: Petite éole de la mélodie. 12 petites pidces pour leviolon avec accomp'. de piano, Op. 123 (Paris, 1868), 2° Livre. 15 by The Associated Board ofthe Royal Schools of Music AB 3782f sauté et léger bien léger et bien enlevé 2 man aoeoeaon du talon AB 37828 itis Megat Szeterjentens Sgndag aa Arranged by Johan Svendsen Ole Bull (1810-80), v — ————— Pp Ppp morendo Saterjentens Sondag The Shepherd-git!s Sunday le Bull was one of the most famous violinists of the 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’s compositions contain many melodies borrowed from, or written in imitation of, Norwegian folk music. One invented tune isthe violin melody of Sceterjentens Sondag (The Shepherd-gir's Sunday) ~ alternatively known as Solitude sur la montagne (Solitude on the Mountain) -which was also turned into a well-known song, ‘PA solen jeg ser’ (Tgaze upon the sun). The accompaniment, for string orchestra or piano, was written by a friend of Bull, the Danish composer, violinist and conductor Johan Svendsen. (©2015 by The Associated Hoard ofthe Royal Schools of Music AB 378210 CU iteya Entr’acte No. 3 No. 5 from Rosamunde, D. 797 Arranged by David Blackwell Franz Schubert (1797-1828) Andanti 16 20 —— oresc f= pp — ~ — Franz Schubert struggled hard during his short lifetime to establish himself in the musical life ofhis native Vienna, and especially in its theatres, His last attempt was in 1623, with his incidental music for a pastoral play called Rosamunde, Furstin von Zypern (Rosamunde, Princess of Cyprus) by Helmina von Chézy. This well-known Ent acte served as a prelude to the final act of the play, set in an idyllic valley where the heroine Rosamunde is tending a flock of sheep. In the original version, the main section, in which the fist violins take the melodic lead, alternates with two episodes in which the melody is entrusted to woodwind instruments; this arrangement includes the firs ofthese episodes. ‘Schubert must have been fond of the gentle main tune since he used it twice more, ina string quartet and a piano imprompts. (©2015 by The Associated Board of the Royal Schools of Music AB 3782u Minore —— ores nf z dim. 3 7 3p AB 378212 Take Five oes Arranged by Edward Huws Jones Paul Desmond (1924-77 The Dave Brubeck Quartet was one of the most popular modem jazz groups of the 1950s and 60s, in its native USA and internationally. It specialized in pieces waitten in unusual metres for jazz, such as 7/4 and 11/4. Most ofthese were composed by the groups classically trained pianist and leader, Dave Brubeck, but the best known was written by the quartet’ alto saxophonist Paul Desmond. This was "Take Five first Teleased on the album Time Out in 1959 and later issued asa single, becoming the first jazz instrumental recording to sella milion copies. The title, a familiar instruction to take a five-minute break from work, is used in reference to the 5/4 metre ofthe piece. The piano maintains an ‘ostinato pattern while the saxophone, or in this version the violin, plays the tune, © 1960 Derry Music USA Ailrights forthe wordexcluding USA, Canada and Japan controlled by Valentine Music Ld, All enuities about his piece apart rom those dirty relating tothe Grams should be addressed toValentine Musi Ltd, 25 itchfet Stet, London WC2H STZ. info@valentinemusic co.uk AB 3782AB 378214 Unauthorized Tango-Ballade Seas ceraht No. 5 from Sieben Stiicke nach Der Dreigroschenoper Arranged by Stefan Frenkel Kurt Weill (1900-50) and Bertolt Brecht (1878-1956) ‘Tango-tempo is. 20 & ‘Sieben Sticke nach Der Dreigroschenoper Seven Pieces after The Threepenny Opera Kurt Weill was one ofthe leading composers in the field of musical theatre in the frst half ofthe 20th century: ist in his native Germany, where he produced variety of innovative works: later In the USA, where he brought fresh ideas to the Broadway musical. His biggest success inthe first phase of his career was with Die Dreigroschenoper (‘The Threepenny Opera’), an early product of his partnership with the radical poet and playwright Bertolt Brecht, which was premiered in Berlin in 1928. The show is a free adaptation of John Gay's 1728 ballad opera The Beggar's (Opera, which had been a hit in 18th-century London; itis set inthe Soho district of London, amidst thieves and other low-life characters. Just 2s Gay had drawn on familiar ballads and folk dances for much of his score, so Weill wrote songs in the popular dance rhythms of the time, Jncluding this ballade in tango rhythm. The version here is from a suite of arrangements of pieces from Die Dreigroschenoper made by Stefan Frenkel, aPolish-born violinist who was a friend of Weill and a trusted interpreter of his music, and who also emigrated to the USA. Although the arranger’ metronome mark is 4=85, a more relaxed tempo of 2= 76 would be acceptable in the exam, © Copyright 1930 by Universal Edition AG. Wien/UE 969, Reproduced by permission. Al rights reserved AB 378215, ae poco a poco dim. AB 378216 te Pinca Unauthorized Daydream ae copyright Timothy Salter born 1942 Musing; gentle = «82 4 mp = otf poco marcato ritard. a tempo v un z — [ = aif singing 16 an a » arco ‘Timothy Salter isa composer, pianist and conductor, based in London, where for many years he taught composition and performance studies atthe Royal College of Music. He wrote Daydream in june 2007 for Spectrum for Violin, ABRSMsalbum of 16 newly commissioned violin pieces. Inhhis own note on it, he says: "The direction “musing” gives the character of this piece, although a more openly lyrical few bars emerge in the ‘middle. The pizzicati and staccato phrases afford a contrast with the smooth flow of the opening scalic idea.” © 2009 by The Associated Hoard of the Royal Schools of Musi Reproduce rom Spectrum for Violin (ABRSM) AB 3782Violin Exam Pieces ABRSM Grade 4 Selected from the 2016-2019 syllabus Piano accompaniment Contents page LSTA 1 Anon. The New Round 0, arr. Edward Huws Jones 2 Antonio Vivaldi Allegro: fifth movement from Sonata in G, RV 25 3 Joseph Haydn Allegretto: second movement from Symphony No. 101 in D, ‘The Clock, Hob. 1/101, arr. Watson Forbes usTe 1 Charles Danela Mazurka: No. 11 from Petite école de la mélodie, Op. 123, Book 2 9 2 Ole Bull Seterjentens Sondag, art. Johan Svendsen 12 3 Franz Schubert Entr'acte No.3: No.5 from Rosamunde, D. 797, art. David Blackwell “4 ustc 1 Paul Desmond Take Five, arr. Edward Huws Jones 7 2 Kurt Weill and Bertolt Brecht ‘Tango-Ballade: No. 5 from Sieben Sticke nach der 22 Dreigroschenoper, art. Stefan Frenkel 3 Timothy Salter Daydream 20 ‘The order of pieces has been changed in the score to facilitate page tims. Violin consultant: Philippe Bunting Footnotes: Edward Huws Jones HJ), Richard Jones [RJ] and Anthony Burton ‘The pieces in this album have been taken from a variety of different sources. Where appropriate, they have been checked with original source material and edited to help the player when preparing for performance. The fingering and bowing hhave been amended where necessary to ensure a consistent approach within the album. Ornament realizations have been added, as have metronome marks shown within square brackets. Details of other editorial amendments or suggestions are given in the footnotes. Fingering, bowing and all editorial additions are for guidance only; they are not comprehensive or obligatory: ABRSM Violin Exams: requirements Pieces Inthe exam, candidates must play three pieces, one chosen from each of the three syllabus lists (A, Band C). Candidates ae ree o choose from the pieces printed in thisalbum and/or from the other pieces set for the grade: full list given in ‘he violin part with this score aswell asin the 2016-2019 Bowed Strings syllabus Scales and arpeggios Sight-reading } Full details are avallable online at ww. abrsm orgiviolind Aural tests Fst publshed in 2015 by ABRSM (Puishing Ltd, Unauborized photocopying legal riinaton by Anew Jones 4 holy owned subsidiary ofABRSM.21Totlnd Allright sere. No part of this plication ate Denjamin Andy Pots Place, London Wi LLU, United Kingdom ‘maybe reproduced recorded ortnsmtted” Printed Lnglnd by aligaving Lid (©2015 by The Asocated Board he Royal Inanyform ar byany mean thowt the Thetfo. Notle Schools af Mike ior permision othe cop nes,Oita lomake’ The New Round O cage Arranged by Edward Huws Jones ‘Anon. Lively J= anf (last sine) mf (last time f ) John Playford's The English Dancing Master was first published in 1651, immediately aftr the English Civil War, and continued to be reprinted byhis son Henry and others well nto the 18¢h century. But the contents ofthe collection were constantly changing along with musical fashions, and this tune frst appeared in 1703. The ‘round o' in the title refers tothe rondo form, with contrasting episodes (the passages in third position inthis arrangement) sandwiched between appearances of the main theme. The piece needs a ively wo-in-a-bar feel. EH) (©2015 by The Associated Board of the Royal Schools of Music AB 3782F DC. al Fine AB 3782legal tomake unauthorized Allegro Fifth movement from Sonata in G, RV 25 Edited by and continuo Antonio Vivaldi realization by Richard Jones (1678-1741) Allegro [+= 96] The Sonata in G (RV 25), from which this Allegro i selected, i the 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 fiend and pupil of the composer. The G major Sonata isa sonata da camera (chamber sonata) ~ its seven movements are all based on dance chythms and constructed in binary form with repeats. The fifth movement, reproduced here, is writen in the style of agiga (thats, an Italian gigue).The tempo and dynamic marks ‘are editorial additions, ass the continuo realization (the upper stave ofthe keyboard part) and the sharp tothe violin Cin. 11. R) Source: Dresden, Sichsische Landesbibliothek, Mus. 2389-R-10. (© 2015 by The Associated Board ofthe Royal Schools of Musie AB 3782AB 37826 ie legal Allegretto eas Second movement from Symphony No. 101 in D, ‘The Clock’, Hob. 1/101 a Arranged by Watson Forbes Joseph Haydn (1732-1809), Allegretto += 96 i Joseph Haydn wrote the last 12 of his more than 100 symphonies for two highly successful extended visits to London in the 1790s, before he to is native Austra to live in semi-retirement. His Symphony No. 101 was first performed at the Hanover Square Rooms in London. in March 1794. ks second movement was immediately repeated by public demand (concert manners were different in those days). Originally ‘written asan Andante in 2/4 time, thas principal melody for the frst violins with an accompaniment on bassoons and pizzicato strings that imitates the ticking ofa clock. When the movement was published in a piano arrangement in Vienna in 1798, the publisher gave it the ttle of “The Clock, and during the 19th century the nickname came tobe applied tothe whole symphony. The fist section of the movement is adapted here for violin and piano. © Oxford University Press 1962 Reproduced by permission fom A Second Book of lasical and Romantic Pieces or Violin. Al rights reserved, All enquiries about this plce, apart from those irectly relating to the exams shouldbe address to Oxford University Press, Great Clarendon Strect, Oxford OX2 GDP. AB 3782AB 3782AB 3782Mazurka No. 11 from Petite école de la mélodie, Op. 123, Book 2 Edited by Richard Jones Charles Dancla [1817-19071 Moderato [+ =c.116] a ee 4 sans Petite école dela mélodie Little School of Melody Charles Dancla was a French violinist, teacher and composer, who studied at the Patis Conservatoire (1828-40), where he taught the violin from 1855, becoming.a professor in 1860. The mazurka, a Polish folk-dance in triple time, spread throughout Europe, becoming very popular as @ drawing-room dance in the 1830s, and 1840s Danclas 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 consecutive down-baws inthe last three bars are 10 be played atthe heel’ (di talon) and with a'very light and wel-lited bow’ (bien léger er bien enlevé).Sim., short for simile, in bb. 19 and 52s an editorial addition, ass the p in the piano part at b.33 and J in the violin part at b. 50. Atbb. 17 and 50, sautillé, a form of spiceato bowing, literally means ‘skipped’ but this technique is not expected in the exam and regular staccato is acceptable. RJ Source: Petite éole de la mélodie 12 petites pidces pour le violon avec accomp!. de plano, Op. 123 (Paris, 1868), 2° Livre, © 2015 by The Associated Board of the Royal Schools of Musi AB 3782pmolte sac AB 3782AB 3782Seeterjentens Sondag Sees copyright Arranged by Johan Svendsen Ole Bull (1810-80) Adagio [4=0.3) y — ‘Seeterjentens Sondag_ The Shepherd-irls Sunday ‘Ole Bull was one ofthe most famous violinists of the 19th century, and also a composer ancl conductor; his concert tours played a major role in ‘making the music of his native Norway known throughout the world. Bulls compositions contain many melodies borrowed from, or written in imitation of, Norwegian folk music. One invented tune is the violin melody of Seterjentens Sandag (The Shepherd-gir!s Sunday) ~ alternatively known as Solitude sur la montagne (Solitude on the Mountain) - which was also turned into a well-known song, ‘Pa soten jeg ser (I gaze upon the sun). The accompaniment, for string orchestra or piano, was written by a friend of Bull, the Danish composer, violinist and conductor Johan Svendsen. © 2015 by The Associated Board of the Royal Schools of Musle AB 3782ppsempre AB 37823) Entr’acte No. 3 meat No. 5 from Rosamunde, D. 797 = rranged by David Blackwell Franz Schubert (1797-1828) Andantino « =<.76 —— Sean eee eee con Ped. i nnn -ranz Schubert struggled hard during his short lifetime to establish himself in the musical life of his native Vienna, and especially in its theatres. is last attempt was in 1823, with his incidental music for a pastoral play called Rosamnunde, Firtin von Zypern (Rosamunde, Princess of -yprus) by Helmina von Chézy. This well-known Entracte served as a prelude to the final act ofthe play set in an idyllic valley where the peroine Rosamunde is tending a flock of sheep. In the original version, the main section, in which the first violins take the melodic lead, sternates with two episodes in which the melody is entrusted to woodwind instruments; this arrangement includes the first ofthese episodes. Schubert must have been fond of the gentle main tune since he used it twice more, in a string quartet and a piano impromptu. p 2015 by The Associated Board ofthe Royal Schools of Music AB 378215 Minore 3 3 AB 3782DC al Fine AB 3782Take Five Arranged by Edward Huws Jones Paul Desmond (1924-77) Quite fast [+= c.144] 2 Na ss ‘The Dave Brubeck Quartet was one of the most popular modern jazz groups of the 1950s and 60s, in its native USA and internationally. It 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 trained. pianist and leader, Dave Brubeck, but the best known was written by the quartet’ alto saxophonist Paul Desmond. This was “Take Five, first released on the album Time Our in 1959 and later issued as a single, becoming the first jazz instrumental recording to sell a million copies. The 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 an ‘ostinato pattern while the saxophone, or inthis version the violin, plays the tune, © 1960 Dery Music USA Alright forthe word excluding USA, Canada and japan controlled by Valentine Music Lx, All enquities about this piece, apart from those directly relating to the ‘exams, should be addressed 1 Valentine Music Lt, 26 Litchleld Street, London WC2H TZ. inflodvalentinemusieco.uk AB 3782SS AB 3782e itis Daydream ates copyright Timothy Salter born 1942 Musing; gentle «= e82 4 lee aaa ~ eee) Cape, $$ af prco marcato ——— fining pe nf. Ped. “Timothy Salteris a compose, pianist and conductor, based in London, where for many yearshe taught composition and performance studies atthe Royal Collegeof Music. He wrote Dayrear in june 2007 for Spectrum for Violin, ABRSM Ss album of 16newiy commissioned violin pieces. Inhis own note on it, he says: "The direction “musing” gives the character ofthis pece, although a more openly lyrical few bars emerge in the ‘middle. The pizicatl and staccato phrases afford a contrast with the smooth flow ofthe opening scalic kea. In the piano part, pedalling is at the performers diseretion except where specified. {© 2008 by The Associated Hoard ofthe Royal Schools of Music eprouced fom Spectrum or Vil (ABRSM) AB 378221 AB 3782(@,ris | egal tomake Tango-Ballade | seas No. 5 from Sieben Stucke nach Der Dreigroschenoper (mate ranged by Stefan Frenkel Kurt Weill (1900-501 and Bertolt Brecht (1898-1956) ‘Tango-tempo - = 85 Jpen Stiicke nach Der Dreigroschenoper Seven Pieces after The Threepenny Opera 11 Weill was one ofthe leading composers in the field of musical theatre inthe first hal ofthe 20th century: first in his native Germany, where produced a variety of innovative works; later in the USA, where he brouight fresh ideas to the Broadway musical. His biggest success in the st phase of his career was with Die Dreigroschenoper (‘The Threepenny Opera’), an early product of his partnership with the radical poet and sywright Bertolt Brecht, which was premiered in Berlin in 1928, The show Isa free adaptation of John Gay's 1728 ballad opera The Beggars sera, which had been a hit in 18th-century London; itis set in the Soho district of London, amidst thieves and other low-life characters, Just Gay had drawn on familiar ballads and folk dances for much of his score, so Weill wrote songs in the popular dance thythims of the time, siding this ballade in tango rhythm, The version here is from a suite of arrangements of pieces from Die Dreigroschenoper made by Stefan enkel a Polish-born violinist who was a friend of Weill and a trusted interpreter of his music, and who also emigrated to the USA. Although » arranger’s metronome mark is 4=85, a more relaxed tempo of 4= .76 would be acceptable in the exam. Copyright 1990 by Universal Edition AG, Wien/UE 9969 produced by permission. Alright reserved. AB 378223 : mf dim. AB 378224 as poco rit, 4 a tempo | = ‘poco a poco dim. poco a poco dim. ee it. poco rit, a tempo ize 48. 7 Se BE AB 3782