ABRSM Violin exams This album is valid for exams from 1 January 2016 to 31 December 2019, Advance notice of any planned changes to the Violin requirements from 2020 (including syllabus overlap information) will be available online at www.abrsm.org/violin7 from January 2019, Pieces This album contains nine pieces from ABRSM's 2016-2019 Grade 7 Violin syllabus. In the exam, candidates must play three pieces, one chosen from each of the three syllabus lists (A, Band C). Candidates are free to choose from the pieces printed in this album and/or from the other pieces set for the grade: a full list is given on the opposite page. 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. Any editorial additions are given in small print; within square brackets; or, in the case of slurs and ties, in the form —~. The fingering and. bowing have been amended where necessary to ensure a consistent approach within the album. 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. Other requirements see ilabus fr full details Scales and arpeggios from memory range basing quirements thm ptr Scales a FF majors & 2oet even notes orlong tonic A.B, Damajrs & minors Soc. at candidate’s choice (minors harmonicor meld, snc by the examiner) Arpeggios FFE majors & oct. separate bows andslurred even notes (Grnotes toa bow) Soct. separate bows and slurred Dominant seventh (resting on tn) Inthe heys of Gand D> oct, separae bows enfshurred Inthe key of D and E Sct. (notes 10a bow) Diminished sevenths Starting on Dand F oct te bows andslurred even notes Starting on A and B Soc (notes toa bow) (Chromatic sales Sarting on D and F Doct separate bows andslurred even notes non A and B Sect (12 notes toa bow) Doublestop scales (in broten vps) In sixth, i Gand Bo majors oct, sce syllabus for details Tn octaves, in D major 1c. Sight-reading Aural tests: (Total available: Taking the exam Exam regulations and full syllabus details — including scale speeds and descriptions of sight-reading and aural tests —are available online at www.abrsm.orgy/violin7. (90 marks) (21 marks) (21 marks) (18 marks) 150 marks)Violin Exam Pieces Nene ABRSM Grade 7 Selected from the 2016-2019 syllabus Date of exam Contents page USTA 1 George Frideric Handel Larghetto and Allegro: first and second movements from 2 Sonata in A, HWV 361 2 Wolfgang Amadeus Mozart Rondo: third movement from Concerto in D, K. 211 6 3 Johann Sebastian Bach Allegro: second movement from Sonata in E, BWV 1016 10 usTB 1 Carl Bohm Introduction and Polonaise: No. 12 from Arabesken 13 2° HarryT. Burleigh Allegro: No. 4 from Southland Sketches 16 3 Franti§ek Drdla Souvenir 18 usc 1 Malcolm Arnold Prelude and Waltz: No. 1 and No.3 from Five Pieces, Op. 84 20 2 Ramiro Gallo Rojo y negro 22 3 Igor Stravinsky Gavotte with Two Variations: No. 4 from Suite italienne 26 Violin consultant: Philippa Bunting Footnotes: Richard Jones (Ri). David Blackwell (08), Terence Charston (TC) and Anthony Burton Other pieces for Grade 7 ust A 4 Montanari Adagio and Allegro: Ist and 2nd movts from Sonata No.2 in D minor. Montan: Sonatas (Edition HH) 5 Rode Air varié (omitting var 2). Sheila M. Nelson’ Classical Violinist (Boosey & Hawkes) 6 Vivaldi Preludio and Corrente: Ist and 2nd movts from Sonata in E minor, F. XIII No. 57, RV 17a (Ricordi) usta 4 Elgar Mazurka. Elgar, Ten Pieces for Violin, Vol. (Thames) 5 Liset Romance oubliée, S.132ter (PWM or Hardie Press) 6 Moszkowski Allegro brioso: No.1 from Spanische Tanze, Op. 12, art. Scharwenka (Peters) ustc 4 Bloch Processional: No.2 from Suite hebraique (G. Schirmer) 5 Kezesimir Debski Cantabile (observing quasi cadenza) (PWM) 6 Gershwin, trans. Helfetz No.2 from Preludes (upper line only in octave passages) (Alfred) nt published 2015 by ABRSM (Push ‘Unauthorized photocopying egal us orgination by Andrew ines ‘ly onned subsidy of ABRSM. 24 Por [Alrighsreserves. No partafthis pubeason Cover by ate Bean & Andy Pos Pace London WI 1LU, United Kingom imaybe reproduced ecordetoransmited Prada England Cairn id Thetford ‘©2013 Tae Associated Hoard of the Ral {nanyformor Or any means wthoutihe ‘Nar on materials om susatable sources. fae fons remo spree jam Sot2 ts legat tomake unauthorized copies ofthis Copyright Larghetto and Allegro First and second movements from Sonata in A, HWV 361 Ezited by and continuo George Frideric Handel realization by Richard Jones (1985-1759) Handel’ Sonata in A, HWV 361, is one of three sonatas for violin and continuo that he wrote in 1724-6, while he was music master to the two princesses Anne and Caroline, daughters of the future King of England, George IL Itis written in the four-movement (slow-fast-slow-fast) form of the Italian sonata da chiesa (church sonata). In composing sonatas ofthis type, Handel was clearly indebted to the tradition established by Corelli, the most celebrated instrumental composer ofthe age. Whereas the Larghetto is lyrica, the Allegro is fugue-like: from b. 38 the violin has to create the impression of two contrapuntal parts by means of double-stopping, In the Larghetto, Handel stroke above the E in. 14 (ath crotchet) might be best treated as an accent. A similar approach might be adopted. in the next bar (crotchet A) and in the Allegro, bb.23 Grd erotchet) and 24 (Ist crotchet). RI Source: autograph manuscript, Cambridge, Fitzwilliam Museum, MU MS 261 (© 2015 by The Associated Board ofthe Royal School of Music AB3785Larghetto [2 « c84] (© 2015by The Associated Board ofthe Royal Schools of Music AB3785Allegro [+ =£96] 7 3 — (fee (EEE GBB (BBB (2 (2 (ele (e(2(e/t AB 3785AB 3785| O iuegat tomake 6 (@e.) inautherzed Rondo |:cuitenns opyright Third movement from Concerto in D, K. 211 (amie) Edited by and piano W.A. Mozart reduction by David Blackwell (1756-91) Allegro [+ = 120] Solo ous... 2 a 2 2D (mp| [dim] Candidates may play all, none or some of the tutti sections. The editorial embellishments in bb. 39,89 and 141 are optional forthe exam, Mozart's five concertos for violin and orchestra, as well as several single movements for the same combination, were all written in 1773 and when the composer served as leader of the court musicians in Salzburg. As a competent violinist, Mozart is likely to have performed the concertos himself, but he also had a number of outstanding players available, such as the courts soloist Antonio Brunetti, Mozart's starting point for his violin concertos was the three-movement form popularized by Vivaldi, including the alternation of tutti and solo sections, but he expanded this considerably in the five works, developing form, technique and content with increasing sophistication and maturity. The {fermatas in bb. 39, 89 and 141 signal to the performer that an Fingang, or lead in’, may be played before the return of the rondo theme. In. 30, the third left-hand note is written A inthe source; this appears to be wrong and has been replaced by a writen F. In b. 140 the violin ‘notes inthe source are slurred in pairs. DB. Source: autograph score, BibliotekaJagielloriska, Krakéw (©2015 by The Associated Board of the Royal Schools of Musie AB 37850 | UT eee. 3 (mp| Tui Ts ee - 48. [eresc.] (mf) [dim 90 AB3785AB 3785,AB 378510 Allegro rene copyright Second movement from Sonata in E, BWV 1016 Edited by Terence Charlston J.S. Bach (1685-1750) [Allegro - = 96] Bachis early biographer, Forkel, suggests that his set of six sonatas for violin and obbligato harpsichord were written in Cdthen (1717-23), However, they were revised into thelr present form during his tenure as cantor and music director at St Thomas, Leipzig, from 1723 onwards. ‘This edition is made from the earliest surviving manuscript of the final version of the set. The sonatas are not ‘duo’ sonatas in the Classical sense, but are rather Baroque trio sonatas with the right hand of the keyboard functioning asa'second violin’ and the left and taking the basso continuo line. All three parts are equally important ‘While the dynamics in Bachs musie are generally left to the players discretion, the piano in the violin part in b. 79 is original, and all other ‘dynamics are editorial. Such ‘courtesy’ dynamics are indicative of the relative importance of musical ideas ( f= solo, p= accompaniment) and, should be adjusted in performance (eg. at . 63) to achieve an appropriate balance, Slurs that are ambiguously drawn in the source have been ‘unified in parallel passages in this edition. Two pitch errors have been corrected: b, 23, violin, note 4 is given as e"; and b. 122, right hand of Keyboard, note 8 is given as d’t The ornaments in the keyboard part in bb. 23 and 79 are suggestions from a later manuscript by Bach’s second ‘surviving son, Carl Philipp Emanuel Bach. In the source tb, 34 the dotted crotchet is given asa crotchet tied to a quaver; this has been adjusted Dy analogy with b.33.1C ‘Source: Manuscript in the hand of Bachis pupil, Johann Christoph Altnickol, Berlin, Staatsbibliothek zu Berlin ~ Preussischer Kulturbesitz, ‘Musikabteilung, Mus.ms.Bach P 229 {© 2015 by The Associated Roar ofthe Royal Schools of Music AB 3785ao if) AB 3785AB3785— 13, Ozma Introduction and Polonaise No. 12 from Arabesken Edited by Richard Jones Carl Bohm (1844-19201 Introduction Molto moderato ed espressivo | dim. ——————— “The German composer and pianist Carl Bohm specialized in music written in a lighter vein. His many chamber works, piano pieces and songs proved so popular that his publisher Simrock reportedly claimed that the profits on the sale of his music financed the publication of the works of Brahms. Bohm’s Arabesken consists of 12 pieces for violin and piano, published in two instalments in 1894 and 1895, Arabesques ~ ornaments often found in Arabic art and architecture (and elsewhere) - were frequently imitated in decorative musical compositions of the 1th century, notably those of Schumann, “The polonaise was originally a festive couple dance of Polish origin, in a moderate tempo. By the 18th century it had become a stylized instrumental dance, and during the 19th century it spread throughout Europe and was cultivated, above all, by Chopin. It is characterized by the absence of upbeats and by certain repeated rhythmic figures (see, for example, the piano part in bb. 35-6). In b. 68, the violin is marked cres. in the soutce; this appears to be wrong and the cresc. is given in this edition in b. 69. RI Source: Arabesken. 12 Vorspelsticke fir Violine mit Begleirung des Pianoforte, Vo. 2 (Berlin: Simrock, 1895) by The Associated Board ofthe Royal Schools of Music AB 378514 rit, pesante nonin 31 > a Polonaise [-=c.10a] wo al Om Fenersico ————_ p dolee —— corese —— poco rit. atempo nf -——=) eresc AB 3785,15 f —?F = rit, a tempo eI —$_—Fr breit, pesante a rit. atempo a ° 79 alee poco pitt mosso > 87, es ffsempre Sfpesance ff16 os Qlica Allegro serie right No. 4 from Southland Sketches eee H.T. Burleigh ine66-1949) 100] pizz. Meno mosso 4 a 4 Ww (mf) rit a tempo ‘Henry (Harry) Burleigh occupies an honoured place in musical history as the African American student at the National Conservatory of Music fn New York who sang spirituals to the Conservatory’ director Antonin Dvorak, providing the inspiration for some of the themes of Dvorak’s “New World’ Symphony. Burleigh went on to enjoy a long and successful career asa solo singer in St George's Episcopal Church, New York, and fn concerts. He also made many arrangements of spirituals, and composed numerous songs and a handful of instrumental pieces. The four ‘Southland Skerches, inspired by the African American music ofthe southern United States, were published in New York in 1916, Source: Southland Sketches (New York: G. Ricordi & Co., 1916) ‘© 2015 by The Associated Board ofthe Royal Schools of Music AB 37857 AB 3785,18 ie itagat Souvenir Frantisek Drdla (1869-1944) Quietly, not too quick —ritard. a tempo [= c.88] con sord. 3 ‘Use ofthe mute is optional in the exam. ‘The violinist and composer Frantisek, or Franz, Drdla was born in Moravia, now part of the Czech Republic. After studying in Prague and ‘Vienna. he became the leader ofthe orchestra ofthe historic Theater an der Wien in Vienna. He later made concert tours of Europe and the USA ‘858 soloist. His compositions include two operettas and a violin concerto; but he is best remembered for his shorter salon pieces for violin, ‘hich often feature portamento slides between notes, as here. Souvenir was published in 1904 and was recorded by several celebrated violinists of the early 20th century, including Fritz Kreisler, Jan Kubelik and Maud Powell. (© Josef Weinberger Limited This edition reprinted by permission of the copyright ener, All enquiries about this plece. apart from those directly relating to the exams shouldbe addressed 10 Jonef wesnberger Limited. 12-14 Mortimer Steet, London WIT 31 ABS78519 ritard. —_atempo SS _ mene crese We, AB 378520 Prelude and Waltz No. 1 and No. 3 from Five Pieces, Op. 84 Malcolm Arnold (1921-2006) 1 Prelude Con energico += 100 sempre non staccato ¢ molto rubato 2 ° Ss i= soning tei 5 Fiz Fe oa — + pespressivo ‘Sir Malcolm Amold was one of the most successful and prolific British composers of his time, responsible for over 100film scores and numerous concert works. He wrote the Five Pieces forthe celebrated violinist Yehudi Menuhin to play as encores on a tour of America in 1964. The first {sa Prelude with lean contrapuntal textures reminiscent of the music of Paul Hindemith; the third isa delicate Waltz, full of turns of harmony and melody characteristic of the composer. Athough the original metronome mark for the Prelude is= 100, a slightly slower tempo of 4= ¢92 ‘would be acceptable in the exam, ‘© Copyright 1964 Novello & Company Limited trading as Paterson's Publications Alright reserved. International copyright secured. Used by permission. Allenguiies about ths piece, apart from those diet elas othe exams, should be ‘dressed to Music Sales Lid 14-19 Berners Steet, Landon WIT SL}. AB 378521 IM Waltz a aie tee ie y 1D “3 pe poco rit. —atempo ree > (he ——=. ,—— Fie en ritard. a abet AB3785Rojo y negro ae Ramiro Gallo born 1966 [Milonga répida « Vie< > > f Ietigo — [whip] Rojo ymegro Red and Black Ramiro Gallo is an Argentine violinist who leads or plays in several tango groups, and a composer who has written extensively for those groups. He is also the author ofa tutor called EI violin en el tango ("The Violin in Tango’, from which this piece is selected, The red and black ofthe title refer to a combination of colours traditionally associated with the tango, and also with the composers favourite football team Club Atlético Colén de Santa Fe. The piece in the genre of the milonga ciudadana (ity milonge’): the milonga was a forerunner of the tango, but this faster variety emerged in the 1930s and has held a place in the repertoire. The ldrigo whip’) effect in bar 7 isa familiar feature of tango violin playing 1 fast glissando to an extreme high note, {©2010 by EPSA Publishing SA. Buenos Ares, Argentina International copyright secured. All enguiries about this piece, apart from those dtecly relating to the exams, should be addressed to EPSA Publishing SA at infoeepsapublishing com AB 3785AB 3785,frasear [freely] cee goer 120 AB 3785AB 3785egal ‘make copies of this copyright Gavotte with Two Variations No. 4 from Suite italienne Arranged by Igor Stravinsky Igor Stravinsky and Samuel Dushkin (1882-1971) 69] if (p 2nd time) 3 Ss Variation 1 Allegretto [ 2 92] 33 if (p 2nd time) a fan arrangement, made in 1932 in collaboration with the Russian American violinist Samuel Dushkin, of pany, Igor Stravinsky's ‘Italian Suite movements from Stravinsky's 1920 ballet score Pulcinella. At the suggestion of Sergey Diaghilev, the impresario of the Ballets Russes co the ballet was based on music by, or attributed to, the short-lived 18th-century Halian composer Giovanni Battista Pergolesi Infact, the Gavotte ‘with Two Variations’ js now known to be reworking of apiece for harpsichord by the Milan composer Carlo Ignazio Monza (1739). Stravinsky treated the piece very frely in what was to become known as his ‘neoclassical’ manner, adding new harmonies and countermelodies which suggest a kind of creative collaboration across the centuries. {© Copyright 1824 by Hawkes &Son (London) Lid [owed version: © Copyright 1849 by Hawkes &'Son (London) Lid. U.S. Copyright renewed. Reproduced by permission of Boosey & Hawkes Music Publishers Lid Abenguities about this pece. apart from those diectly relating tothe exams, should be addressed to Boosey & Hawhes Music Publishers Lid, Aldwych House, Aldwych, London WC2B SHN AB 3785poco rit. 60 ~ PP Variation 2 Allegretto piit tosto moderato [+ = 80] v mf(p2ndtime) > AB3785Violin Exam Pieces ABRSM Grade 7 Selected from the 2016-2019 syllabus Piano accompaniment Contents page LSTA 1 George Frideric Handel Larghetto and Allegro: first and second movements from Sonata inA, 2 HWV361 Wolfgang Amadeus Mozart Rondo: third movement from Concerto in D, K. 211 8 Johann Sebastian Bach Allegro: second movement from Sonata in E, BWV 1016 18 LsTB 1 Carl Bohm Introduction and Polonaise: No. 12 from Arabesken 26 2 HarryT. Burleigh Allegro: No.4 from Southland Sketches 32 3 Frantiek Drdla Souvenir 38 ust 1 Malcolm Arnold Prelude and Waltz: No. 1 and No.3 from Five Pieces, Op. 84 2 Ramiro Gallo Rojo y negro 3 Igor Stravinsky Gavotte with Two Variations: No. 4 from Suite italienne eee Violin consultant Philippa Bunting Footnotes: Richard Jones (PU), David Blackwell (D8), Terence Charlston (TC) 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. Any editorial additions are given in small print within square brackets: o, in the case of slurs and ties, in the form —~. The fingering and bowing hhave been amended where necessary to ensure a consistent approach within the album. 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, ca lidates must play three pieces, one chosen from each of the three syllabus lists (A, B and C). Candidates are free to choose from the pieces printed inthis album and/or from the other pieces set forthe grade: ful lists given in the violin part with this score as well as in the 2016-2019 Bowed Strings syllabus. Scales and arpeggios Sight-reading Full details are available online at wwwabrsm.org/violin7 ‘Aural tests Fis published in 2015 ABKSM Publishing Ld, Unauthorized photocopying egal Music origination by Andre foes hallowed subsidy ofABRSM,24Portand Allright served No par ofthis pubcation Cover by Kate Benjamin & Andy Pts Pace London WB 1LU, United Kingdom tay be reproduce, ecorde or transmaided Printed in Ean by Calving id Thetford (©2015 The Asoclated Board ofthe Royal Inanyformorbyany meansvithoutthe Novi on materials rom ssaiable sources Schools of Msi ‘itor permission of the copyright ower Repled in 20162 fey Oiicsa Larghetto and Allegro pena First and second movements from Sonata in A, HWV 361 = Edited by and continuo G. F. Handel Larghetto [+ Handel's Sonata in A, HWV 361, is one of three sonatas for violin and continuo that he wrote in 1724-6, while he was music master to the two princesses Anne and Caroline, daughters ofthe future King of England, George I. Iti written in the four-movement (slow-fast-slow-fast) form ‘of the Italian sonata da chiesa (church sonata). In composing sonatas of this type, Handel was clearly indebted to the tradition established by ‘Corelli, the most celebrated instrumental composer of the age. Whereas the Larghetto is lyrical, the Allegro Is fuguelke: from b.38 the violin hhas to create the impression of two contrapuntal parts by means of double-stopping. In the Larghetto, Handel’ stroke above the E in. 14 (4th erotchet) might be best treated as an accent. A similar approach might be adopted in the next bar (crotchet A) and inthe Allegro, bb. 23 (3rd crotchet) and 24 (Ist erotchet). RI Source: autograph manuscript, Cambridge, Fitzwilliam Museum, MU MS 261 {©2015 by The Associated Board ofthe Royal Schools of Music AB 3785,adagio AB3785Alllegro [+ = 96] gg a v AB 3785,Qee Aree 27 (BURIE(E Cee ee (eee er AB 3785,AB 3785AB 37858 rT OV inca Rondo saan Third movement from Concerto in D, K. 211 music cate a pane ee Allegro [4 =c.120] ee ee (mp) = Tei —— Candidates may play all, none or some of the tutti seetions. The editorial embellishments in bb. 39,89 and 141 are optional for the exam, Mozart’ five concertos for violin and orchestra, as well as several single movements for the same combination, were all writen in 1773 and 175, when the composer served as leader ofthe court musicians in Salzburg. As a competent violinist, Mozart is likely to have performed the concertos himself, bt he also had a number of outstanding players available, such as the court's soloist Antonio Brunett. Mozart’ starting- point for his violin concertos was the three-movement form popularized by Vivaldi, including the alternation of tuti and solo sections, but he expanded this considerably in the five works, developing form, technique and content with increasing sophistication and maturity. The fermatas in bb. 39, 89 and 141 signal to the performer that an Eingang, or'lead in, may be played before the return of the rondo theme, Inb. 30, the third left-hand note is written A in the source; this appears to be wrong and has been replaced by a written F8 In. 140 the violin, notes in the source are slurred in pairs. DB Source: autograph score, Biblioteka Jagellofska, Krak6w by The Asociated Board of the Royal Schools of Music AB 3785,[erese] dim) Ree [dim] — AB3785,AB 3785(erese.] AB 3785,[am 2 [dim] AB3785Po MF eee ere = AB3785AB3785,[dim [dim] AB3785AB 378518 Allegro Second movement from Sonata in E, BWV 1016 Edited by Terence Charlston J.S. Bach (1685-1750), 96] [Allegro Bach’s early biographer, Forkel, suggests that his set of six sonatas for violin and obbligato harpsichord were written in Cothen (1717-23). However, they were revised into their present form during his tenure as cantor and music director at St Thomas, Leipzig, trom 1723 onwards. This edition is made from the earliest surviving manuscript of the final version of the set. The sonatas are not ‘duo sonatas in the Classical sense, but are rather Baroque tro sonatas with the right hand ofthe keyboard functioning asa'second violin’ and the left hand taking the basso continuo line. All three parts are equally important. While the dynamics in Bach’s music are generally left to the player’ discretion, the piano in the violin part in b.79 is original, and all other ‘dynamics are editorial. Such ‘courtesy’ dynamics are indicative ofthe relative importance of musical ideas (J°= solo, p= accompaniment) and should be adjusted in performance (eg. at b. 63) to achieve an appropriate balance. Slurs that are ambiguously drawn in the source have been ‘unified in parallel passages in this edition, Two pitch ertors have been corrected: b, 23, violin, note is given as”; and b. 122, right hand of keyboard, note 8 is given as ds. The ornaments in the keyboard part in bb. 23 and 79 are suggestions from a later manuscript by Bachis second surviving son, Car Philipp Emanuel Bach. Inthe source atb. 34 the dotted crotchet is given asa crotchet tied toa quaver; this has been adjusted by analogy with b.33.1C Source: Manuscript in the hand of Bachs pupil, Johann Christoph Altnickol, Berl ‘Musikabreilung, Mus.ms.Bach P 229 {©2015 by The Associated Board of the Royal Schools of Music Staatsbi thek 7u Berlin ~ Preussischer Kulturbesitz AB 3785,21 AB 3785,22 AB37A5AB 3785,AB 378526 egal make copyright Introduction and Polonaise No. 12 from Arabesken Edited by Richard Jones Carl Bohm {844-1920} Introduction Molto moderato ed espressivo [+ = 72] eo oa SS bonny rir The German composer and pianist Carl Bolim specialized in music written in a lighter vein. His many chamber works, piano pieces and songs proved so popular that his publisher Simrock reportedly claimed that the profits on the sale of his music financed the publication of the works of Brahms. Bohmis Arabesken consists of 12 pieces for violin and piano, published in two instalments in 1894 and 1895. Arabesques. — ornaments often found in Arabie art and architecture (and elsewhere) - were frequently imitated in decorative musical compositions of the 19th century, notably those of Schumann. The polonaise was originally a festive couple dance of Polish origin, in a moderate tempo. By the 18th century it had become a stylized instrumental dance, and during the 19th century it spread throughout Europe and was cultivated, above all, by Chopin. It is characterized by the absence of upbeats and by certain repeated rhythmic figures (see, for example, the piano part in bb. 35-6). In b. 68, the violin is marked ‘resin the source; this appears to be wrong and the cresc. i given in ths edition in b. 69. RJ Source: Arabesken. 12Vorspielsticke fir Violine mit Begleitung des Pianoforte Vol. 2 (Berlin: (©2015 by The Associated Hoard ofthe Royal Schools of Music imrock, 1895) AB3785SL | bret rit, pesante pila AB3785,Polonaise =c.104] Serersico AB 378529 poco rit. tempo aa ah lanl AB 3785,09 rit, ret, psa a tempo Veo AB 3785,31 a tempo rit. poco piit mosso | ee ee 4 AB378532 his Megat ‘omake Allegro eas copyright No. 4 from Southland Sketches — H.T. Burleigh in866-19491 6.100] Henry (Harry) Burleigh occupies an honoured place in musical history asthe African American student at the National Conservatory of Music {in New York who sang spiritual to the Conservatory’s director Antonin DvoFdk, providing the inspiration for some of the themes of DvoFakS “New World’ Symphony. Burleigh went on to enjoy along and successful career as a solo singer in St George's Episcopal Church, New York, and in concerts, He also made many arrangements of spiituals, and composed numerous songs and a handful of instrumental pieces. The four Southland Sketches, inspired by the African American music of the southern United States, were published in New Yorkin 1916. Source: Southland Sketches (New York: G. Ricordi & Co, 1916) {©2015 by The Asociaed Board ofthe Royal Schools of Music AB 3785,33 AB 378534 Meno mosso = Someee aaa AB 3785,AB 3785AB3785,a Presto iz. AB3785Wegat Souvenir Frantigek Drdla (1869-1944) Quietly, not too quick ‘on Use of the mutes optional in the exam. The violinist and composer Frantisek, or Franz, Drdla was born in Moravia, now part of the Czech Republic. After studying in Prague and Vienna, he became the leader ofthe orchestra ofthe historic Theater an der Wien in Vienna. He later made concert tours of Europe and the USA as a soloist, His compositions include two operettas and a violin concerto; but he is best remembered for his shorter salon pieces for violin, \which often feature portamento slides between notes, as here. Souvenir was published in 1904 and was recorded by several celebrated violinists of the early 20th century, including Fritz Kreislr, Jan Kubelik and Maud Powell © Josef Weinberger Limited This edition reprinted by permission of the copyright owner. Allenquiles about this pece, apart fom thse dretlyelating to th exams, should be addressed to Josef Weinberger Limited, 12-14 Mortimer Steet, London WIT 3. AB 3785,39 AB 3785,Livelier ee ee tempo 53 eer ee a AB 378541 animato poco -| a ~ 4 AB3785ritard. meno 3 poco ritard. 2) a AB3785,44 Oiega Prelude and Waltz No. 1 and No. 3 from Five Pieces, Op. 84 Malcolm Arnold (1921-2008) 1Prelude Con energico «= 100 sempre nom staccato € mato rubato 2 = eee reer eee ee Sir Malcolm Arnold was one of the most successful and prolific British composers of his time, responsible fr over 100 film scores and numerous concert works. He wrote the Five Pieces forthe celebrated violinist Yehudi Menuhin to play as encores on a tour of America in 1964. The frst {s a Prelude with lean contrapuntal textures reminiscent of the music of Paul Hindemith; the third is delicate Waltz, full of turns of harmony and melody characteristic of the composer. Although the original metronome matk for the Prelude is J= 100, a slightly slower tempo of 4= ¢92 ‘would be acceptable in the exam, {© Copyright 1964 Novello & Company Limited trading as Paterson's Publications Aiights reserved, International copyright secured, Used by permission ll enquiries about this pce, apart from those directly relating to the exams, shouldbe addressed to Musi Sles La, 14-15 Berner ret, London WIT 3. AB 3785,45 AB 378547 1 Waltz Grazioso « ~ 100 AB 3785@ AB 3785,49 a poco rit, oe Ped. AB 378550 Rojo y negro soa Ramiro Gallo born 1966 [Milonga rpida « = 096] ‘itgo wh Rojo y negro Red and Black Ramiro Gallo is an Argentine violinist who leads or playsin several tango groups, and a composer who has written extensively for those groups He is also the author ofa tutor called £1 violin en el tango (‘The Violin in Tango’, from which this piece is selected. The red and black ofthe tie refer to a combination of colours traditionally associated with the tango, and also with the composer's favourite football team Club Atlétice CCol6n de Santa Fe. The pleceis in the genre ofthe milonga ciudadana (ity milonga): the milonga was a forerunner ofthe tango, but this fas variety emerged in the 1980sand has held a place inthe repertoire. The ldtigo (whip) effect in bar isa familiar fe fast glissando to.an extreme high note. 2010 by EPSA Publishing SA, Buenos Aires, Argentina International copyright secured, All enquires about this piece, apart from those directly relating to the exams, should be addressed to EPSA Publis Infozepsapublishingcom, tuce of tango violin playing, AB 3785AB 3785AB 378553 AB 3785,AB 378555 fraser peony us v= . py AB 3785AB3785AB 3785,AB 3785itis egal tomake Unauthorized copies of his -opyright Gavotte with Two Variations No. 4 from Suite italienne ‘Arranged by Igor Stravinsky Igor Stravinsky and Samuel Dushkin (1882-1971) 6.69] nf p2ndsine) Igor Stravinsky's ‘Halian Suite’ is an arrangement, made in 1932 in collaboration with the Russian American violinist Samuel Dushkin, of ‘movements from Stravinsky's 1920 ballet score Pulcinella. At the suggestion of Sergey Diaghilev, the impresario of the Ballets Russes company, the ballet was based on musicby, orattributed to, the short-lived 18th-century Italian composer Giovanni Battista Pergolesi In fact, the‘Gavotte with Two Variations'is now known to bea reworking ofa piece for harpsichord by the Milan composer Carlo Ignazio Monza (d. 1738) Stravinsky treated the piece very freely in what was to become known as his ‘neoclassical’ manner, adding new harmonies and countermelodies which suggest a kind of creative collaboration across the centuries. © Copyright 1924 by Hawkes & Son (London) Led Revised version: © Copyright 1949 by Hawkes & Son (London) Ltd U.S. Copyright renewed, Reproduced by permission of Boosey Hawkes Music Publishers Ld All enquiries about this piece. apart from those directly relating tothe exams, should be addressed to Baosey & Hawkes Music Publishers Lid, Aldwych House, 71-81 Aldwych, London WC20 4HN, AB 3785,61 an 3 Variation 1 smfip2ndtime) AB 3785,AB 3785,65 stace 63 poco rit. Variation 2 attacea subito Allegretto pitt tosto moderato [+ =-80] y mfp 2nd time) AB 3785,os SS oe > tega10 dolce, non legato poco rit. AB 3785