(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Twenty-four caprices (studies) for the violin in the 24 major and minor scales"

O) 



:CO 






SCHIRAER:S 

LIBRARY 



Vol. 231 

RODE 

TWENTY-FOUR 
CAPRICES 

FOR 

VIOLIN 

(DAVID) 
PR. SOc 




~~ f 



. '' Vr ' ;:: - 

Schirmer's Library of Musical 

f. "^ r ' r '"'"'^ r 

Classics 

- ** r r 

9 ^X ^<{-'- 

v , 

Vol. 231 



PIERRE RODE 

TWENTY-FOUR 
CAPRICES 

(STUDIES) 

FOR THE 

VIOLIN 

IN THE 
14 MAJOR AND MINOR SCALES 

* 

EDITED AND FINGERED 
BY 

FERDINAND DAVID 



WITH A BIOGRAPHICAL SKBTCH op THE COMPOSER BY 

THEO BAKER 



NEW YORK: G. SCHIRMER 

COPYRIOHT, 1895, BY G. SCHIRMER 



UNIVERSITY OF TORONTO 



EDWARD JOHNSON 
MUSIC LIBRARY 



v v, 



.. ^>- v 

.^ 



*. v ; 



t 



MT 




58C408 



PIERRE RODE, (whose baptismal 
names in full were Jacques Pierre Jo- 
seph,) shared with Baillot the honor 
of being the most distinguished among 
the violinists trained by Viotti. He 
was born at Bordeaux on Feb. 26, 
1774, and under his first violin-master, 
Andre Joseph Fauvel, made such rapid 
progress between the ages of 8 and 14, 
that at 12 he astonished both amateurs 
and artists by his performance of con- 
certos in public. 

In 1778, Fauvel was so deeply im- 
pressed by his pupil's development 
that he decided to exhibit his talent in 
the national arena, and accordingly repaired with him 
to Paris. Here young Rode appeared at a Concert Spiri- 
tuel, and his playing attracted general attention and ap- 
probation; one (to Fauvel) unforeseen consequence of 
which was his desertion of his old teacher in order to 
profit by the instruction of Viotti, then at the zenith of 
his fame as a violin-player. Though doubtless intensely 
chagrined by this occurrence, Fauvel concluded to stay in 
Paris, and met with no inconsiderable professional suc- 
cess, despite his mishap at the beginning. 

Rode, after two years' study with his new master, re- 
appeared (1790) in public, playing Viotti's i^th violin- 
concerto at the ThMtre de Monsieur, as an entr'acte to an 
Italian opera. This led to his engagement, in the same 
year, as leader of the second violins in the orchestra 
attached to the Theatre Feydeau a responsible posi- 
tion for a lad of sixteen. Here, too, at the concerts given 
during Holy Week, Rode performed various other con- 
certos by his illustrious teacher and patron, and re- 
ceived his full share of the applause showered on both 
composer and interpreter; the i8th concerto (in E-minor) 
was a special favorite, and was repeated by request at 3 
concerts. 

His career as a traveling virtuoso began in 1794, when 
he left the Theatre Feydeau for a brilliant tournee through 
Holland and to Hamburg; he also visited Berlin, and 
played before King Frederick William II. Returning 'to 
Hamburg, he embarked on a vessel bound for Bordeaux; 
but by stress of weather they were forced to seek shelter 
in an English port, and Rode seized this favorable oppor- 
tunity to pay his respects to Viotti (then acting as thea- 
tre-manager and concert-giver in London). Probably a 
hope of repeating his Continental triumphs likewise in- 
fluenced him to take this step, which, however, proved 
anything but fortunate, as he was able to appear only 
once, at a charitable concert, and before a comparatively 
small and unenthusiastic audience. This misadventure 
disgusted him with England, and he soon returned to 
Hamburg, passing thence to France through Holland and 
Belgium, and giving, on the way, a succession of con- 
certs which added new lustre to his already great pres- 
tige. 

On arriving in Paris, he was made (1796) professor of 
violin in the newly established Conservatory. Yet in a 




short time the faste acquired for a rov- 
ing life impelled him to seek new lau- 
rels in fresh fields; he undertook a 
second concert-tout, through Spain, 
and at Madrid made the acquaintance 
of Boccherini, who provided the in- 
strumentation for several of his con- 
certos; for Rode, like many other 
French virtuosi of the period, possessed 
but a fragmentary knowledge of the 
art of composition. In 1800 we find 
him once more in Paris, installed as solo 
violinist to the First Consul. In 1803, 
acceding to a flattering offer from the 
Imperial Court, he journeyed to St. 
Petersburg, where he was attached to the Czar's private 
orchestra in the capacity of first violin. His debut in that 
city was the first of a series of indescribable triumphs, in- 
creasing in magnitude throughout his sojourn of 5 years 
in the Russian capital. 

This was the culminating point of his artistic fortunes. 
On his return to Paris (1818) the great audience assembled 
at the Odeon, prepared to give their former idol an over- 
whelming ovation, left the hall disappointed; for, although 
the same surety and finish of technique, the same breadth 
and purity of tone, were still his, the style lacked his old- 
time fervency and potency of expression. This was Rode's 
last public appearance in Paris for many years ; the cool- 
ness of his reception cut him to the quick, and, though 
often giving private recitals, he now persistently avoided 
the concert-stage in Paris. In 1811, weary of such un- 
wonted inactivity, he recommenced his travels in central 
Europe. At Vienna he met Beethoven, who wrote for 
him the great violin-sonata in G, Op. 96. Spohr, hearing 
Rode play while in Vienna, noted with wonderment the 
decay of his style a style with which, 10 years before, 
he (Spohr) had been so enchanted as to deem it worthy of 
his peculiar study and zealous emulation. In 1814 he 
married, at Berlin, where he remained for a time; he then 
settled in Bordeaux, and lived there for the remainder of 
his days, with the exception of an ill-starred attempt, in 
1828, to regain the affections of his earlier Parisian admirers. 
The acute disappointment consequent on this final repulse 
hastened his death, which occurred Nov. 25, 1830, at Bor- 
deaux. 

As a player, Rode was one of the leading spirits of the 
Franco-Italian school founded by Viotti, and one of the 
foremost artists who have ever lived. As a composer, 
these traits are brought into full prominence; some few of 
his works the Variations in G and E, and the 7th Con- 
certo in A-minor are classics, to which must be added 
his " 24 Caprices, " still a standard instruction-book, rank- 
ing in difficulty just above the celebrated "42 Eludes" 
by Kreutzer, and of equally great pedagogical value; al- 
though Rode, on account of his unsettled life, took but 
few pupils in a regular course of training. His published 
works embrace, besides these renowned Caprices, 10 
violin -concertos, 3 books of duos, 5 sets of quartets, and 
7 of variations- THEO. BAKER. 



Caprices 



Down - bow PI . 

Up -bow V. 

Positions I, II, HI, IV, V, VI, VII. 



Cantabile.(J>=84) 



E means "on the E string." 
A - A " 

D - >- " D - 

G - " * G " 

PIERRE RODE. 



strongly mark the staccato notes. 




1187* 





11878 



Allegretto. (J. = 





H872 




fP 



fP 



jtlhold the 3*d finger down. 




11872 



This study should be played in the second position. 
Commodo.(J=i-4o) 




hold down 2nd fi n2 - e r. 




11874 




hold down 1 d finger 




11872 



8 



Siciliano. (= io) 




Allegro. (J=i38) T T - y 



T T 




9 




tf* P 



hold down 4tl> finger. 



cresc 



4 




hold down 4*J finger. 





11878 



UNIVERSITY OF TOROI\ 

to, 



Moderate. (J= 



5rato.(J=ioa) / Ci\ 

i.iimtr&C&tlV 




H87 



sempre rnarcafo. 



A A ' A 




1187* 



Moderatos, <, ' 




11874 



4 




G D - 




- G . 




con forza. 



a * 



,n n 



1187* 



+ f 

-f -f f f J 



14 



Moderate. ( J = 104) 




1187* 



.. 6 . . ff. . 




H872 



16 



Moderaio assai.(J =100) 






fcfc 



T T 



1 1 













11872 



17 








n-u en _ do a I P 



11878 



poco a poco cresc 
z 



\ moderato. ^ / 







This study is to be played in the fourth position. 
Allegretto (JUiof 




11872 





118758 



dimin, p 



20 



This study is to be played in the third position. 
Allegretto. ()-.<> 









1187* 



21 







s 







552 Allegro brillante. (J = 1*0) 




11872 




1187'Z 



or esc. 



f 



Commodo. (U ss) 





-H 


1* 


t 






J 










4 







4 












J 








1 


r^ 
















* 


P 5 " 




4 




=1 


i * 




IJ 


Xfl 


J 


g 


4 


J 

-i- 




xm 



"^ 





I 





- 


L-iT. 


J 







* 

^ 





nN 


& 

















^ 


P ^5 1 


s* 

1 t 


2-^ 


2 


















^^ 

0- 


* 


^f 


1 


~X?i 



~4 





1 









^ 












































ere - 



seen 



do 




1187* 



do not take too long bows. 





dolce 










11872 



Grazioso.(J 
A 



un poco piu mosso. 




11874 



cresc. _ 



ten pocoptu mosso 




1187* 



allargando. 



28 



14 



Adagio con espressione. (J = 




ten. 



J z f* fo sostennto e ere 



seen do 

sostenuto. 



Appassionato.(J . - ee) 




1187* 




pooo rttard. 



a tempo. 





11872 



f 



30 



Vivace assai. (J-ee) 



15 






p poco a poco 




P f 





ere 



seen 



H878 



dim. . 



31 




p cresc. 




m 



I 




ipt 





11878 



Andante. (*) = ios) 




33 





11872 



34 





-h * 1 . a 

-r n lr ffr 



'> r ^' 

i j~ / 



dolce. 




11878 




11872 



36 



Vivacissimo. (J = 








sempre 








'ih* L.p i r=i= 









cresc. 




f segue. 




ere 



seen 



11872 



37 





P 



Jss sempre staccato- 








11878 



38 



Presto. (J.= 104) 







fp fp fp fp 




11872 



ft 

Arioso, (j) =96) 




attacca subifoi 



11878 



40 



Allegretto.(J- = 



do not take too longbows 



down the third finger. 




p 



1187* 



41 




H87S 



Grave e sostenuto. (J^= 



n rr stentando 



i sosten. e f; segue sopra una corda 




'ue sul G 



iS * v ^ i. 

calando p 




1187* 



,/V sosten. 




1187* 



44 



Tempo giusto.(6)-=*4) 




4 1 6- 



rTl s^ fl aE . f 

rn i =i==^-?-+t=i:=^ 



^^ 



* 



* 



^ 












poco of esc. 



G ~ 



4t^N * 







"^"^x :> " 

I k. , L k , I 



i 






r v% 



-4 4-, 





f 



Jri 



i 



tftL 



RE 



11872 




cresc. 



/ 




* * 



1 '- ? '- i F . A 




1187* 



46 



Presto. (J-=io4) 




r h\ fr 






fee 





ft^' ,rrr,rEggf 





*y 



1187Z 



i 



47 




. ^ _ . 8, 




i 






11878 





11872 




H87* 



50 



Introduzione. ( J)= 104) 

n n n 



o ) 



Agitato con fuoco.(J = las) , 




(187* 




p 




f p 



11872 



UNIVERSITY OF TORONTO 



88SS U.BAIJY. 












8 



^ 
0& 
t& 

Oft 



fa 



fa 
fa 



354. 
J66. 
.5. 

235. 

419. 
*511. 

521. 

420. 

418. 

514. 
628. 
224. 



VIOLIN MUSIC 



SELECTED FROM 



Schirmer's Library of Musical Classics. 

The numbers marked (*) contain a portrait and biographical sketch of the composer. 

(A descriptive-catalogue, giving list of contents of each volume, is to be had on application.) 



234. 

215. 
216. 

408. 
409. 
410. 

217. 
*525. 

236. 
*237. 

411. 
407. 

22s! 
524. 
416. 

512. 
629. 
220. 



FOR PIANO AND VIOLIN. PRICK 

BEETHOVEN, L. van, Sonatas (Ad. Brodsky) $200 

The same, bound in cloth 4 00 

Sonata, in A. Op. 47 (dedicated to R. Kreutzer). (Brodsky- 

Vogrich) 75 

Concerto, in D. Op. 61. With Cidenees by H. Schradieck. 50 

2 Romances: Op. 40, in G. Op. 50, in F (Schradieck) 50 

BERIOT, Ch. de, Op. 70. Concerto No. 6, in A (Schradieck) 75 
Op. 76. Concerto No. 7, in G (Schradieck) 75 



Airs varies (Schradieck) : 

Air varie No. 5, in E. Op. 7 50 

" 6, in A. Op. IS 50 

" 7, in E. Op. 15 50 

BRUCH, M., Op. 26. Concerto, in Gminor 100 

N 



CORELLI, A., La Folia. Variations (Lichtenberg). Piano 
Ace. and Cadenza by H. Leonard ..... . .................. 



DAVID, F., Op. 6. Introd. and Variations on the Russian 

Air: "The red Sara/an'" (Schradieck) ................... 75 

- Op. 16. Andante and Scherzo capriccioso (Schrudieck) ..... 75 



ERNST, H. W., Op. 11. Fantaisie brill, on the March and 

Romance from Rossini's " Otello" (Schradieck) 50 

Op. 22. Hungarian Airs with Variations (Schradieck) 50 

GADE, N. W., Op. 6. Sonata, in A major (Lichtenberg).. . 1 00 

- Op. 21. Sonata, in Dminor (Lichtenberg) 100 

GRIEG, E., Op. 13. Sonata No. 2, in Gmajor (Lichtenberg). . . 1 00 

HANDEL, G. F., Sonata, in A, for Violin with Figured Bass, 

arr. by F, David 50 

HAUPTMANN, M., Op. 10. 3 Sonatinas (E. Herrmann) 50 

LEONARD, H., Op. 2. Souvenir de Haydn. Fantasy on the 

Austrian National Hymn (Lichtenberg) 100 

Op. 15. Gr. Military Fantasy (Schradieck) 75 

MASTER-PIECES for the Violin with Ace. of Piano (Schra- 
dieck): 

Vol. I. Ernst, H. W. Elegie, Op. W.-Raff,J. Cavatina.- 

Vteuxlemfs, H. Reverie, Op. 22 No. 3. 50 

Vol. II. U'ieniamski, H. 2 Mazurkas, Op. 12 (Sielanka la 

ynampetre et Chanson polonaise), and Legende, Op. 17 50 

Vol. III. Sfiolir, L. 8 Slow Movements from Concertos Nos 

6, 9 and 11 50 

MENDELSSOHN, F., Op. 64. Concerto, in Eminor (Schra- 

<*"=<*) 50 

MOLIQUE, B., Op. 21. 5th Concerto, in Aminor (Schradieck). 75 

NARDINI, P., Sonata, in D (David-Schradieck) 50 

PAGANINI, N., Op. 11. Moto perpetuo (Lichtenberg) 75 

RAFF, J., Op. 85. 6 Pieces. (Marcia. Pastorale. Cavatina. 
Scherzino. Canzone. Tarantella) (Schradieck) 



412. 

414. 
477. 
415. 



389. 
800. 

522. 



RIES FRANZ, dp. 34. Suite No. 3, in G. (Moderato. 

Bourree. Adagio. Gondoliera. Perpetuum mobile)..., 1 

RODE, P., Op. 9. Violin-Concerto No. 7, in Aminor (David- 

Schradieck) 

Op. 10. Air varie (Andante con V..r.), in G (Lichtenb'ergj! ! ! 

SAINT-SAENS, C., Op. 28. Introd. and Rondo capriccioso 

(Schradieck) \ 75 

SCHUMANN, ROB., Compositions (Schradieck) : 
Op. 73. 8 Fantasiestucke 

Op. 94. 3 Romances 

Op. 102. 5 Stuckc im Volkston. 



BO 
BO 
BO 
BO 
H 



JB 

75 
78 

75 



443. 
444. 



Op. 102. The same for Piano and 'Cello'. . '. 

Op. 113. Marchenbilder. 4 Pieces !!!!!!!!!! 

SPOHR, L., Concertos (H. Schradieck): 

No. 2. in Dminor. Op. 2 (F. David) 

" 7, in Eminor. Op 38 

" 8, in A (Vocal ScenaX Op. 47 ... 

' 9, in Dminor. Op. 55 

TARTINI, G., Le Trille du Diable (Lichtenberg). Piano Ace 
by Rob. Volkmann 

VIEUXTEMPS, H. Op. 11. Fantaisie-Caprice (Schradieck). 100 

~ Jvo t - oncerto No - 5- in Aminor (Schradieck) 75 

~rf~An g. o de n Polonaise de Concert (Schradieck).... 75 

-Op. 40. No. 3. Bohemienne (Schradieck) 75 

VI T dTe I c'k)'' B '" Conce " No ' ^ in A ""inor (David-Schra- 
Concerto No.' 23, 'in G major' (bavi'd-'Schradieck) !!!!!!.!!!!!.' 75 



VOL. 

417. 



606. 



607. 
608. 



610. 
6n - 



612. 
618. 
646. 



221. 

603/4. 



602. 
626. 
219. 



FOR PIANO AND VIOLIN. ] 

VITALI, T., Ciaccona, for Violin with figured Bass, arr. by 
F.David .............................................. * < 

WIENIAWSKI, H., Op. 3. Souvenir de Posen. Ire Mazurka 
(Lichtenberg) ....................... 

- Op. 4. Polonaise brill., iu U (Lichtenberg). !..'.'!!! !'."""! 

- Op. 5. Adagio elegiaque (Lichtenberg) ................... 

- Op. 6. Airs russes. 2 Uomances de Warlamoff, variees 

(Lichtenberg) ......................... 

- Op. 7. Capriccio-Valse, in E (Lichtenberg) ....... .. ..!!;. 

- Op. 9. Romance sans paroles, and Rondo elegant (Lichlen- 

berg) .................................. 

- Op. 12. Sielanka and Chanson polonaise (2 Mazurka's')' aiid 

Op. 17. Legende (Schradieck) 



50 
DO 

75 

n 



. . 

- Op. 15. Theme original varie (Lichtenberg). 

- Op. 16. Scherzo-Tarentelle (Lichtenberg) 



-Op. 20. Fantaisie brill, sur "Fatal." de Gounod (I.ichten- 
berg) 

FOR VIOLIN SOLO. 

BACH, J. S., Six Sonatas (Ed. Herrmann) 

BLUMENSTENGEL, A., Scale- and Arpeggio-Studies. 2 

Books, each 

L In the first Position. 
II. In the first three Positions. 

DANCLA, CH., Op. 68. 15 Studies (with a 2d Violin) 

Op. 73. 20 Brilliant and characteristic F.tudes 

Op. 74. School of Mechanis 

Lehmann) 



50 Daily iLxercises (p. 



429. 
*228. 

500. 

561/5. 

306/8. 



513. 
*230. 

487. 
488. 
489. 

449. 
231. 

108. 



515. 
516. 
517. 

896/7. 



331/2. 



DONT, J., Op. 37. 24 Exercises. (Preparatory to the Studies 

o/K. Kreutzer and P. Kade) 

Op. 88. 20 Progressive Exercises, with Ace. ol aXM Violin!! 

FIORILLO, F., 86 Studies or Caprices (Schradieck) 

HOHMANN, C. H., Practical Violin-Method. Complete.. 
1 he same in 5 books, each 

KAYSER, H. E., Op. 20. 86 Elementary and Procressive 
Studies. (Introductory to the Studies /iy A'. Kreulzer ) 3 

Books, each 

Op. 44. 50 Short Exercises ..........'.'.'.'.'.'.'.'.'!.'.'.'.','." 

KUEUTZER, R., 42 Studies or Caprices (E. Singer) 

MAZAS, F., Op. 36. 75 Melodious and Progressive Studies : 

Book 1. Special Studies 

u 2. Brilliant Studies 

'' 3. Artist's Studies 



RIES, HUBERT, Op. 28. 30 Elementary Studies 

RODE, P., 24 Caprices (Studies) in the 24 Major and Minor 
Keys (F. David) 

SCHOEM, M., Op. S2. The A-B-C of Violin-playing 

SCHRADIECK, H., Scale Studies. New Edition revised and 

augmented by the Author 

School of Violin-Technics. Neia enlarged Edition: 

I. Promoting Dexterity 

II. Double-stops 

HI. Modes of Bowing 

SCHUBERT, L., Op. 50. Violin-Method, in Accordance with 
Modern Principles. 2Vols., each 

FOR TWO VIOLINS. 



75 

1 00 



i on 

50 



60 

50 



so 

U5 
50 

1 50 
50 



50 
50 

50 



CO 
60 

CO 

60 



50 

50 



1 00 
75 
75 



MAZAS, F., Op. 38. 12 Little Duets (Schradieck). 2 1: 

each CQ 

%% PT^P- 39 - 6 Duets (Schradieck)! '^Books'/each'.'.'.'. 
446/7. Op. 70. 12 Little Duets (Schradieck). 2 Books, each !!. 60 

9& n LI L YE h - Q , N rV P" 8 ' 6 Little Duets 50 

298. Op. 48. C Little Duels 

448. ^Op.59. 6 Little Duets ...'.'..'.'..'.'.'".'.'.'.'.'.'.'.'.'.'.'.'.",' 50 

VIOTTI, J. B., Duets concerl ants (Lichtenbi-ri;): 
520. Op. 9. Three Duels fin Bt, Gm., E). 60 

Op. 20. Six Duets (in Bh, d, G, D, Am., Dm.)!!!! 
518. Op.29. Three Duets (in D, A, Cm.)...! |;o 

FOR STRING QUARTET. 

263/4. STRING QUA RTET-ALBUM. Celebrated Pieces, arranged 
for 2 Violins, Viola and 'Cello by EuRen Gruenberg. 2 
Vols., each * j QQ 



MT Rode, Pierre 
265 Caprices, 



FACULTY OF 
MUSIC LIBRARY 

DATE DUE 



JUL (U 



MAY 3 - SEPT.9 



22.