eae cca) Flute Solo by So eee eee GalaxyMusicPreface George Rochberg, one of the unique American musical minds of the last century, composed in an astonishing diversity of voices. Alvvays personal, his compositional style was at first firmly rooted in the atonal and serial movements and eventually shifted towards neo-Baroque and highly Romantic. This move towards tonality ‘was precipitated by the death of his teenaged son in 1964. As a result of this tragedy, Rochberg experienced a personal and artistic crisis that caused a complete reevaluation of his music, eventually culminating in his 1971 String Quartet No 3. This landmark composition, along with his Concord quartets nos, 4-6, featured 1 dominant use of tonality with clear influences from Beethoven, Mahler and Pachelbel. These four quartets were written for the Concord String Quartet, in which my father, Andrew Jennings, was the second violinist. This music was the soundtrack of my childhood, and I absorbed Rochberg’s distinctive vocabulary during my own masical development. Thave explored Rochberg’s original lute works in two volumes of recorded music ‘on Naxos Records, but his Caprice Variations have long been a subject of fascination for me. This publication is my transcription of the original 1970 collection for solo violin, Entirely based on the theme of Niccold Paganini’ 24% Caprice, these ‘masterful pieces demonstrate the stylistic compositional variety for which Mr. Rochberg was known. I believe that they perfectly embody one of Rochberg’s ‘most basic philosophies: “All human gestures are available to all human beings at any time.” We hear clear homages to Bach, Haydn, Beethoven, Schubert, Brahms, Bartok, and Schoenberg. Flutists have a long tradition of borrowing from the violin repertoire; in a similar vein to this project, the 24 Caprices by Paganini have been transcribed by countless flutsts from John Wammer to Claire Chase. ‘Wee dive into this repertoire to play great works with virtuosic flair, to learn new techniques and stretch our own capacity and most of alto have fan! ‘My transcription includes 20 of the original 51 eaprices. I chose to include those best suited to the flute while representing the enormous stylistic ra Rochberg's entire set. My goal in the transcriptions was to use the flute to its fallest capacity, challenging the player with dynamic, technical and stylistic extremes: the range of these variations goes from a BI to an E4 and from pppp to ff Lhave made minimal breathing and metronome suggestions, adding these only when they seemed most important. In George Rochberg’ Afterword to the Performer, he permits omitting some of the repeats and variations to suit the length and artistic discretion of the performer. However, he advocates for balance in preserving “the stylistic spread which is a fundamental premise of this work.” eof George Rochberg http://www.naxos.com/person/George_Rochberg/19923.htm Christina Jennings http://www.christinajennings.com Please visit the Naxos Musie Library to listen to Christina Jennings perform the Caprice Variations. htep:/www.naxosmusiclibrary.com Artwork by: Risford Jennings Cover design: Kristen SchadeNotes on Each Caprice (Original numbers and metronome making are included in parentheses.) 1. Allegro energico (#1 = 88-92) and 2. Presto (#2 4 = 120-126) ‘The opening movements closely follow the original violin version and serve as an overture, introducing themes of articulation end rhythmic intensity. The Presto has a distinctly Mablerian sound, 3. Presto (#7 J.= ca. 84) ‘As the markings say, here the influence isthe Scherzo from Beethoven's Harp Quartet, Op. 74. Beethoven always poses challenges and this litle eaprice is no different. For the E4 in bar 37 find tis fingering most useful: Left 1, 2, 3/ Right 2 and 2~ trill key 4. Languido (#8 J.= 46) The use ofthinds in tis Schubert Waltz (Op. 9, No, 22) seems crucially important tothe theme; lckily the range and dynamics offer an excellent multiphonic! While the fingering i solid, be sure to correct forthe intonation each time it appears in the higher octave. 5. Vivace (#10. = ca. 68) and 6, Andante con moto (#12 )= 63) These two caprices quote from Brahms’s Paganini Variations and presenta dialogue in the form of varying intervals, 1. Alla guitarra (#14 J= 72-80) Follow the markings in the first two bars exactly and be sure to apply them where the composer has marked come sopra. Although I have marked in the major stopping points, breathing choices are somewhat limited. Try to take smaller breaths ‘between the eighth notes in beat three rather then interrupting the ‘connection in the first best: 8. Allegro fantastico (#18 J = 132-144) Here we find a complete breakin texture with a quote from Rochberg’s String Quartet No. 2. The banshee cry can be imitated using a glissando fingering on Gz3 and slowly sliding the first trill key to end on A4. The “jet whistle” is produced by fingering low C and blowing a sharp staccato burst of air withthe lip plate completely covered. For the “air only” passages here and in the final Fanzasy, I suggest forming a “shh” syllable in your embouchure. The Gt whistle tones can be rather elusive, but once played, ae stable and penetrating. 9. Quasi Cadenza (#20) ‘This caprice transcription strays farther from the original with a reshaping of many flourishes that creates virtuosic statements, Bring a Romantic sensibility to this cadenza and freedom to the long lines, 10. Allegro con brio (#21 d= ca. 132) ‘This is a delightful parody on the last movement of Beethoven's ‘Symphony No. 7! For the explosive harmonics, work to shape the degree of harmonic split so that you produce your most dramatic ‘moments in the final bars of the piece. The “tongue pizzicato” is executed with a pop of the tongue that is much stronger then any pitch from the fundamental note. 11. Andante graziso e ranqullo (#23 4 = e. $8) ‘This beau ove song is transcribed almost dentally from the original 12. Allegretto (#24 J = 76-80) ‘This miniature variation cleverly references the Paganini and Brahms violin concertos. Here pizzicato easily translates to percussive key clicks and is capped-off with a quiet whistle tone. 13. Scherzo (#25 J.= 92) ‘The original Rochberg materials appear here featuring strong hemiola rhythms. 14, Aria (#27 J = 42-44) ‘na stunning homage to the Baroque era, this caprice is reminiscent of @J.S. Bach Partita, Play around with note lengths ‘and dynamic variations in the repeated sections 15, Molto adagio (#31 J = ca. 40) As in many of the atonal caprices, it is crucial to accentuate the extreme dynamics and gestures at play in this restless variation. 16, Allegro assai; burlesco (#132 4a. 66) Work to bring a bawdiness to this burlesque, especially inthe cespressivo moments at the end of every other bar. Do not treat the sf moments lightly! Pay close attention to the markings in the first two bars and work to maintain that “template” throughout the variation. 17. Barcarolle (#37 4.= ca. 66) ‘The rocking nature of water music is at the heart ofthis variation Work to keep the dynamics at despite the challenges ofthe register. 18, Andantino (#43 2 = ca. 84) White this is another Baroque variation, the music is derived from “the ethos of Haydn.” (George Rochbera) 19. Presto (#45 J= ca. 76) This caprice offers a strong reference tothe Finale of Bartok’s String Quariet No, 5. Experiment with an accelerando into the final bars ofthe piece. 20. Famtasy (#50) ‘We close the variations with the atonal Rochberg and a eaprice that includes gestures from his flute and piano work Berween Two Worlds. Experiment with vibvato speeds in the passages matked “haunting.” 21. Quasi presto; robusto (#51) Paganini’s theme (24 Caprice, Book 2) appears here to conclude the work. Be sure to include the theme in any compilation of the caprices that you might choose to perform, Acknowledgments Special thanks tothe following people for helping in their own \ways with this project: Mathieu D’Ordine, Carolyn Keyes, ‘Andrew Jennings, Leone Buyse and to the University of Colorado Boulder for special funding —Christina Jennings December, 2013Catalog No. 1.3371 Caprice Variations Freely Transcribed for Flute Solo George Rochberg ‘Christina Jennings, a. 1 Allegro enerieo 166-80 © Copyright 1973 by Galaxy Music Corporation, Ine. Arrangement: © Copyright 2014 by Galaxy Music Corporation, Ine., a division of ECS Publishing. www.ecspublishing.com All rights reserved.2 Presto 4=60-70 Dp) > S (2nd time it senearitPresto J.=84 2 3 After Beethoven 0p.74 Scherzo S, veagieranente fe = f= =f pow a aS BeLanguido 4, =80-96 after Schubert Waltz 0p.9, No.2,Vivace = 69-81 5 werbrdns Op. 35, Bk. I, No. 3 mp TS — =Andante con moto) =63 =P a an 6 mae pie é (P mecltoespr._— o 77 Alla guiturra;slegreti con motto rubato Jen ot — SSpushing forward to ba 34> Jet whistle Alegre fantarso 8 Ia =f

Aipbe > SS eres. ed accel eat t fe o Pee P he * oe a L i repeat as many times a posible tempo primo “e > ee £ ° a eye ee 2 o% = ml aaa arene a tf Pp dolce man Rae] PPPAllegro con brio ¢ after Beethoven ‘Symphony No.7, Finale Tongue = molto pesante explosive harmonic11 4 :ndante grazioso e tranquillo =e58key clicks & percussive air 12 Allegretto J=76 nf dole myn Ot Piao te pp Pps 2+, = nee ao a Pp P PPScherzo 13° Jlto-9214 aria Jas cantando ip dolee,con graziadicisine = |Fe — pp —_ — be ‘pulsating breath accents; "ead rig 15 nelto adagio Un poco piu mosso (4 Bp < Le ™ pindoleiss. (quasi echo) eepeeeg ee veins2 = egatissinoedolcss. 17 Barearotte J.=66-80 4 cee ee1g Andantino poco no troppo “Fata , rend iat Salt. Ao19 Presto J=16-8420. Fantasy £ = of scorrevoe flesting Leb oh Se Se ms SF posse noloeces molto rubato a P we ——— — Teenie we ”~—SOSCi‘(a PRP24 4 SS = cir only flowing ————_ Beep repeat, dim to inaudtbitity a cas" artacca subito Paganini’ theme Quasi presto; robusto 21 ee E = S (ndtime:p)‘The few pieces that George Rochberg wrote for flute are as bold and individualistic as anything in his oeuyre. His ability to compose in an astonishing variety of voices Pesce ests aeirorrn Reo en) rire Cacao one tee Tne mot ene CTO homages to composers from Bach to Barték, An acknowledged Rochberg expert, Christina Jennings’ transcriptions challenge the player with dynamic, technical and stylistic extremes. CHRISTINA JENNINGS Christina Jennings is praised for virtuoso technique, rich tone, and command of a wide range of literature featuring works from Bach to Zwilich, The Houston Press declared: “Jennings has got what it takes: a distinctive voice, charisma, and a pyrotechnic style that works magic on the eats” Ms. Jennings enjoys a musical career made up of diverse performing and recording, collaborations with living composers, and work guiding young musicians. In great demand as a teacher, Ms. Jennings is Associate Professor of Flute at the University of Colorado Boulder. She received her Bachelor and Master’ degrees at The Juilliard School Rareenee or eamrnstaoy ISE FOR THE JENNINGS TRANSCRIPTION “It is to her credit both that the Caprice Variations sounds as if it was written for th and that her formidable technique is up to its prodigious technical demands.” Allan Pulker, The WholeNote, June 2015 he has created a virtuoso showpiece that uses a whole spectrum of flute techniques. It should really form part of the standard flute recital repertoire.” David Denton, David’ Review Corner, May 2015 re) aS] (nl 100313013371 8