The Usborne Book Of Piano Classics

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Philip Hawthorn and Caroline Phipps

• USIC

Edited by Jenny Tyler and Helen Davies

Series

editor:

Anthony Marks

Designed by Kim Blundell and Lindy Dark

Cover design by Russell Punter

Illu

ted by Joseph McEwan,

Guy Smith and Peter Dennis

Cover illustration by Ross Watton

ts by Daniel Scott and Caroline Phipps

Music

engravings

by Poco Ltd

and

Michael Durnin

Contents

Section 1 Baroque music 4

Classical music 22

Romantic music 38

Playing the pieces in section 1 62

Glossary 64

Composer chart 66

Section 2 Theatre music 68

Music for dancing 86

Religious music

100

Descriptive music

110

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Pieces in this book

Trumpet tune (Purcell), 6

When I am laid in earth (Purcell), 7
Adagio (AlbinonilGiazotto), 8

Spring (Vivaldi), 9
AlIa Danza (Handel), 10
Arrival of the Queen of Sheba

(Handel), 12

Thine be the Glory (Handel), 14
Canon in D (Pachelbel), 15

Viola concerto in G (Telemann), 16
Brandenburg concerto no.3 (Bach), 17
Air on the G string (Bach), 18

Minuet in G (Bach), 20
Rule, Britannia (Arne), 21

Bourree (Leopold Mozart), 24
Che faro (Gluck), 25

Emperor's hymn (Haydn), 26
String quartet in D (Haydn), 27
Clarinet concerto (Mozart), 28
Romance (Mozart), 29

Symphony no.40 (Mozart), 30

Duet from The Magic Flute (Mozart)., 32
Ode to Joy (Beethoven), 33

Pastoral Symphony (Beethoven), 34
Minuet in G (Beethoven), 35

Moonlight Sonata (Beethoven), 36
Impromptu (Schubert), 40

The Unfinished Symphony (Schubert), 41
Serenade (Schubert), 42

Caprice no.24 (Paganini), 44
William Tell overture (Rossini), 45
Harold in Italy (Berlioz), 46

The Jolly Peasant (Schumann), 47
The Wild Horseman (Schumann), 48
Prelude op.28, no.7 (Chopin), 49
Nocturne op.9, no.2 (Chopin), 50

Violin concerto in E minor

(Mendelssohn),52
Liebestraume (Liszt), 54
La donna

e

mobile (Verdi), 55
Ride of the Valkyries (Wagner), 56
Bridal chorus (Wagner), 57

Symphony no.3 (Brahms), 58
Swan Lake (Tchaikovsky), 59

Piano concerto no.l (Tchaikovsky), 60
Solveig's song (Grieg), 61

Terzettino (Mozart), 70
Fidelio (Beethoven), 72

The Barber of Seville overture
(Rossini), 73

Drinking song (Verdi), 74
Anvil chorus (Verdi), 76
Soldiers' chorus (Gounod), 78
March of the kings (Bizet), 79
Du und du (Strauss), 80
Morning (Grieg), 81
Flower duet (Delibes), 82
Pizzicati (Delibes), 84
Sleeping Beauty waltz

(Tchaikovsky),85
Musette (J. S. Bach), 88
German dance (Mozart), 89
Minuet in A (Boccherini), 90
The Blue Danube waltz nO.l

(Strauss), 92

Hungarian dance no.5 (Brahms), 94
Dance of the hours (Ponchielli), 95
Slavonic dance op.46, no.8 (Dvorak), 96
Eugene One gin waltz (Tchaikovsky), 97
Norwegian dance op.35, no.2

(Grieg),98

Polovtsian dance no.l (Borodin), 99
Wachet auf! (J. S. Bach), 102

Jesu, joy of man's desiring
(J. S. Bach), 104

The Heavens are telling the glory of
God (Haydn), 105

The Lord's my shepherd (J. S.
Irvine), 106

Jerusalem (Parry), 107
Go down Moses, 108

Swing low, sweet chariot, 109
Autumn (Vivaldi), 112

Nocturne (Mendelssohn), 114

Hebrides overture (Mendelssohn), 116
Nocturne op.15, no.2 (Chopin), 117
Romeo and Juliet (Tchaikovsky), 118
Promenade (Musorgsky), 120

Vltava (Smetana), 121

Scheherazade (Rimsky-Korsakov), 122
The girl with the flaxen hair

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i

Introduction

The tunes in this book are taken from popular

pieces of classical music, and have been specially

arranged and simplified to make them easy to

play. Many of them should be familiar, even those

with titles that you may not recognize. The pieces

are grouped in three sections according to the

period in which they were written. At the

beginning of each section there is an introduction

to the music and composers of that period.

Naming

n

p

of

c

Most pieces of music have a number, called an

opus number. (Opus is the Latin word for "work").

In the 17th century, composers began to number

their works as they were published, opus 1 (or

op.l), opus 2 and so on. Often a single opus

number was given to a group of pieces published

together in one book. When several pieces

appeared with the same opus number, each one

was given a second number, for example,

op.l, no.4.

Composers often gave their music titles as well.

For example, Beethoven called his sixth

symphony the Pastoral Symphony. Sometimes

titles were added later by other people.

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The Baroque

period

Baroque is the name given to the

European style of art, architecture and

music from about 1600 to 1750.

Buildings were very ornate, and music

echoed this. Baroque music started in

Italy, and worked its way north to

Germany, France and England. It is

known for its contrasts of speed and

volume.

Many new styles or forms of music

were developed in the Baroque period,

some of these are described here.

On

the

opposite page you can find out about the

Baroque composers whose music

appears in this section.

Oratorios

cantatas

An oratorio is a musical story or drama, usually

on a religious theme. It is performed by a choir

and orchestra without costumes, scenery

or

action. Cantatas are similar to oratorios but

they

are more an act of worship, often

including

popular hymn tunes.

Opera

The concerto grosso

Dance music and suites

An

opera is like a play where

some or all of the words are

sung. The first operas were

staged in private homes in the

1590s by a group of poets and

composers called the Camerata.

The first public opera house (a

special theatre for opera) was

opened in Venice in 1637.

The first piano

Early

• plano

In

the Baroque period, a type

of piece called the concerto

grosso was popuJar. It was

written for a small group of

instruments and a larger

orchestra. The orchestra acted

mainly as an accompaniment,

while the smaller group played

special solo parts.

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Baroque composers began to

use dance music in their

works. An example of this

is

the minuet, a dance which was

very popular at the court of

Louis XIV in France.

A suite is a group of pieces of

music, often including several

different dance styles.

The orchestra

Harpsichord

Example

of

a

baroque

orchestra.

The first piano was made in about 1700 by an

Italian called Cristofori. Pianos didn't really

become popular, though, until later in the 18th

century. Until then, the main keyboard

instruments were the harpsichord, virginal,

spinet and clavichord. Only on the clavichord

were the strings struck, as they are on a piano.

The others had quills to pluck the strings.

An

orchestra is a large group of instruments.

In

the Baroque period, an orchestra had up

to

around 40 players. More than half of the

instruments in an orchestra are strings. There

are also sections of brass, woodwind and

percussion instruments. Baroque orchestras

were directed by the ha.l-psichord player or the

lead violinist.

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Baroque composers

Henry Purcell

(1659-1695)

Purcell was

the

most famous

English Baroque composer.

He had a song published

when he was eight, and at 20

became the organist at

Westminster Abbey

in

London. He wrote over 500

works, including music for

40 plays. He also wrote for

royal occasions such as

coronations, and the funeral

of Queen Mary in 1695.

George Frideric Handel

(1685-1759)

Handel was born in Germany.

His father didn't want him to be

a musician, so as a boy he had

to play in secret. He lived in

Italy for a while, then went to

England and became a British

subject in 1726. He composed

for kings George I and George

II. Handel wrote many kinds of

music, including oratorios,

operas and concertos.

Tomaso Albinoni

(1671-1751)

Albinoni was an Italian

composer. He wrote over 40

cantatas, many concertos

and a lot of other instrumental

music, majnly for strings. He

also wrote over 50 operas. He

lived most of his early life in

Venice, where he opened a

singing school with his wife,

Margherita, in 1709. After her

death, he directed his operas

all

over Europe.

Johann Sebastian Bach

(1685-1750)

Bach was born into a famous

German musical family, and

held important posts as a

musician at the courts of

Weimar and Cathen. He was

an excellent organist, violinist

and harpsichord player. His

music later influenced ma.ny

other composers, including

Mozart, Beethoven and

Mendelssohn.

Antonio Vivaldi

(1678-1741)

Vivaldi was an Italian

composer who also trained to

be a priest. From 1703 he

taught the violin at a girls'

school in Venice. He is best

known for his development of

the concerto, and wrote about

550 of them for various

instruments. Although he

was a famous musician for

much of his life, he died a

poor man.

Thomas

Arne

(1710-1778)

Arne was one of the most

famous English composers of

the late 18th century. He was

noted for writing pleasant

melodies. He wrote over 30

operas, and lots of music and

songs for plays, including

those of Shakespeare. The tune

for which he is best

remembered is now known as

Rule, Britannia.

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When I am laid in earth

This tune is from
the opera Dido and

Aeneas. It is based
on The Aeneid, a
story by the Roman
poet Virgil.

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When Albinoni died,
he left a lot of music
unfinished. In 1945,
an Italian named
Giazotto listed all of
Albinoni's music.

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This is one of four
violin concertos

The Four Seasons.

Each is based
on a poem.

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This tune is from

Alia Danza (from Water Music)

This music was
composed for a
royal river outing
on the Thames.
the second movement

of the Water Music suite 
in D. It was written
for George I of
England in 1717.

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Guido of Arezzo, an
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1050, perfected the staff,
which showed the exact
pitch of notes. The
example on the right is
from the 13th century.

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Handel also wrote some
music for a fireworks
display given by George
II in 1749, to celebrate
peace after the war of
Austrian Succession.

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</div>
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This tune is from
the oratorio

Solomon, based
on a story in the
Old Testament of
the Bible.

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(13)<div class='page_container' data-page=13>

Handel's best
known religious
oratorio is probably

Messiah, written in
1742. It is about the
life of Christ.

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see a page from the
original music. The
words, or libretto,
were written by a
man called Jennens.

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(14)<div class='page_container' data-page=14>

-This piece was
originally from
Handel's oratorio
called Judas
Afaccabaeus.Itis
now better known
as a hymn tune.

Maestoso

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The picture shows
some of Handel's
pupils in England
- the Prince of
Wales and his
sisters.

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(15)<div class='page_container' data-page=15>

Pachelbel was born

in Germany in

1653. He was a
successful
composer and
organist.

Andantino

p

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The picture shows
St. Stephen's
Cathedral in

Vienna, where
Pachelbel was an
organist for five
years.

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</div>
(16)<div class='page_container' data-page=16>

Telemann
(1681-1767) was born in

Hamburg, Germany.
This theme is from
the first movement
of the concerto.

Largo

2
fl ,j,j. 1 3

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friends used to meet

in coffee houses to
play music and
socialize.

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(17)<div class='page_container' data-page=17>

This theme is from
the first movement
of the concerto.
Bach wrote six
Brandenburg
concertos.

Allegro

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It is not known
exactly when they
were written, but
they were completed
by March, 1721.

Bach

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(18)<div class='page_container' data-page=18>

This tune is from
Suite no.3 in D.
Suites are groups
of pieces, usually
dance tunes.

Air on a G string

The bass part,
with its regular,
stepwise pattern
of notes, is typical
of Baroque music.

Bach

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(19)<div class='page_container' data-page=19>

Bach was a very fine
organist and wrote a lot
of organ and church
music. After his death,
his music went out of
fashion for about 80
years.

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the organ he used at the
New Church at Arnstadt
in Germany.

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(20)<div class='page_container' data-page=20>

Bach wrote this tune
for his second wife, / /
Anna Magdalena.

<

She was a

professional singer>A-~_
They were married ~=-_~"

-in 1721. . ... ,

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The picture shows the
cover of a book of
... ~usic which Bach

'aedicated to her.

Bach

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</div>
(21)<div class='page_container' data-page=21>

This is a song
from a masque
called Alfred,

written in 1740.
A masque is a
sort of play with
music, singing
and dancing.

Moderato 3

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Masques were
popular at the

houses of wealthy
noblemen.

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(22)<div class='page_container' data-page=22>

The Classical period

Some people call all serious music

"classical", but the word is mainly

used to describe the music of the

second half of the 18th century.

Classical music reflects the confidence

and prosperity of this period. New

instruments enabled composers to

The symphony

The concerto

develop new sounds, harmonies and

musical forms. Some of these forms are

explained below. At this time, Vienna

was one of the most important musical

cities. Haydn, Mozart and Beethoven,

the three greatest composers of the

age, lived there for much of their lives.

The sonata

A symphony is a piece of
music for an orchestra. In

the Classical period, most
symphonies had four
sections, called movements.
Each one had its own speed
and sty Ie, often in the
pattern shown below.

A concerto is a piece of

music for an orchestra and
a soloist. It developed from
the Baroque form, the
concerto grosso (see page
4). The concerto usually
had three movements, like
those shown below.

Classical sonatas were
written for either a single
keyboard instrument, or
for a keyboard and one
other instrument. They
usually had three or four
movements (see below).

-1. Fairly fast
and lively.
2. Slow

1. Fast. Usually
the orchestra
begins and then
the soloist joins in.

I 1. Fast 2. Slow.

j; ..

3. A minuet

and trio
(dance tunes).

2. Slow.

3. Fast.

~-.-~~~-.-4. Fast and
cheerful.

In the first and last
movements, the soloist
sometimes had a part to play
alone, called a cadenza.

3 Minuet \

a~d trio. 'i,

~":')'

4. Fast

and liVe]

A square piano A grand piano

During the 18th century, the piano
gradually grew in popularity. Unlike the
harpsichord, it could play loudly (forte)
and softly (piano). This meant that a
much wider variety of music could be
played on it.

In the 18th century, Cristofori's
invention was called the "fortepiano".
Later, it became known as the pianoforte,
and eventually it was shortened to just the
piano. Today, the word Fortepiano is used
for an instrument built in the early 18th
century.

Orchestras

23 violins
7 violas

2 trumpets
3 bassoons 2 harpsichords

</div>
(23)<div class='page_container' data-page=23>

Classicalconnposers

~ -:?,k"~- -~-- - - --~- -~ ---

---~-~---r ---~-~---r a n z Joseph Haydn (1732-1809)

\ Haydn was born in Rohrau,

Austria. He trained as a
choirboy, and sang in the
choir of St. Stephen's

Cathedral in Vienna for ten
years. In 1766, he became
music director at the court
of the Esterhazys, a rich
Hungarian family. He
worked for them, on and
off, for most of his life.
Haydn wrote nearly every
form of music, including

Wolfgang Amadeus Mozart (1756-1791)

U)0"_'~1fI

---./

Mozart was an Austrian
composer, and wrote his first
music at the age of five. At
seven he went on a concert tour
of Europe. Above you can see a

poster for a concert he gave in
England.

Mozart wrote his first

symphony at the age of nine.
He lived in Salzburg, Paris
and Munich, but settled in
Vienna in 1781. He often
appeared as the soloist and
conductor for his own music.

Ludwig van Beethoven (1770-1827)

Beethoven was born in Bonn,
Germany, where his father
and grandfather were both
musicians. From 1792, he
lived in Vienna. His early
pieces included the

Moonlight Sonata for piano,
three piano concertos, and
two symphonies.

From about 1802, he was
troubled by gradual and
incurable deafness. But he
continued writing all kinds of
music. Because of pieces like

his third, fifth and sixth

.. u.t, ... , ... "'''', the opera Fidelio

and two more piano concertos,
he became known as the
greatest composer of his day.

By the end of his life he was
almost totally deaf, but this

108 symphonies, many
string quartets, operas and
church music.

His music was popular all
over Europe. He visited
many major European
cities, including London.

In the 1780's he became
very good friends with
Mozart (see below), who
dedicated a set of string
quartets to him.

Mozart wrote a huge amount
of music, including 41

symphonies, 27 piano

concertos, religious music,
chamber music and 19 operas.
Above is a scene from his
opera The Magic Flute.

was when he wrote some of
his greatest music. His last
string quartets contain some
of the most challenging music
ever written. In his ninth
symphony, he used a choir as
well as an orchestra, to

</div>
(24)<div class='page_container' data-page=24>

Leopold was the
father of Wolfgang
Amadeus Mozart. He
was also a musician.

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left shows Salzburg,
the city where

Leopold Mozart lived
and worked.

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(25)<div class='page_container' data-page=25>

Gluck was a German
composer. He

studied in Prague

and he also lived in

Vienna and Milan.

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an opera called
Orfeo ed Euridice.

The picture shows
a scene from the
opera.

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(26)<div class='page_container' data-page=26>

This and the next tune
are from a set of six
string quartets, op.76.
This is the third, called

The Emperor.

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(27)<div class='page_container' data-page=27>

A string quartet is
music played by a
cello, a viola and
two violins. This
tune is the fifth in
the set.

II Largo I

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---The op.76 string
quartets were
written in 1797.

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</div>
(28)<div class='page_container' data-page=28>

Clarinet concerto

Mozart loved the
sound of the clarinet.
He wrote this

concerto for his
friend Anton Stadler,

a famous clarinettist.

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Mozart's time.

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This tune is from
the second, slow,
movement.

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</div>
(29)<div class='page_container' data-page=29>

Romance

The title of this music
is German. It means
"a little night music".

It was completed in

(from Eine Kleine Nachtmusik)

This form of music is called a serenade. It

would often be played

1787.

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after a dinner.

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</div>
(30)<div class='page_container' data-page=30>

This symphony is one
of Mozart's last. Parts
of it are very sad and
moving.

fa I

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This is the first
tune, or theme, in
the symphony.

Mozart

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</div>
(31)<div class='page_container' data-page=31>

Mozart's last three
symphonies,
numbers 39,40
and 41, were
written in six
weeks during

1788.

II I

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Amazing pianos

Ever since the piano
was invented,

there have been
many weird and
wonderful ones
made. You can see
some on the right.

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On the left
is a picture
of Mozart
conducting
an
orchestra.

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-~." •• ~ A "twin semi -cottage"
A piano that

could also be
used as a
table, made
about 1850.

piano (made about
1850) had two
keyboards for
two players.

</div>
(32)<div class='page_container' data-page=32>

The Magic Flute is

Duet from The Magic Flute

one of the last pieces

Mozart wrote. This
duet is sung by the
characters Papageno ?

and Pamina.

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It is sung just as
Papageno rescues
Pamina from the

evil Monostatos.

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</div>
(33)<div class='page_container' data-page=33>

This tune comes from
Beethoven's ninth
symphony. It is called
the Choral Symphony
because it was the first
one to include a choir.

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By the time it was
performed Beethoven
was too deaf to hear
the music or the
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This symphony was

Beethoven's sixth. It is
based on the theme of
the countryside.

Pastoral Symphony

The tune is from the
first movement.

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A minuet is a
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(36)<div class='page_container' data-page=36>

This sonata (op.27, no.2)
was written in 1801. It
was dedicated to a
Countess with whom
Beethoven was in love.

Adagio sostenuto

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It got its name
because a poet called
Rellstab said it
reminded him of
moonlight on a lake.

Beethoven

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</div>
(37)<div class='page_container' data-page=37>

#-On the right is 
the last page of 
the original 
manuscript for 
the Moonlight 
Sonata.

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piano at the first 
performances of much 
of his piano music. On 
the left is a picture of 
his grand piano.

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</div>
(38)<div class='page_container' data-page=38>

The Romantic period

'Romantic' is the word used for a new

style of music that developed in Europe in

the 19th century.

was often inspired by

other arts, especially poetry and

painting. Romantic composers tried to

write music that expressed their feelings

and emotions, and much of their work is

very dramatic and moving.

first Romantic composer; he introduced

Romantic styles and expressions into his

later music. He was followed by Schubert

and then many others. You can find out

about them on the opposite page.

Romantic composers, especially when

they performed as well, were often very

popular and had huge followings. You

can find out more on page 54.

Some people view Beethoven as the

The orchestra

Keys on a clarinet
A harp-the
pedals were
invented in 1810.

Valves on
a trumpet

By about 1830, the orchestra 
looked more or less like it

does today. There could be 
anywhere between 70 and 
100 instruments, depending 
on the type of music. Many 
instruments were improved 
by the invention of valves 
and keys (see above). The 
harp was also included in

orchestras from about 1820. 
As orchestras grew larger, 
it was no longer practical for 
one of the musicians to direct 
the others and play at the 
same time. Since the eary 
19th century, most

orchestras have been directed 
by a separate musician

called a conductor. 
A conductor stands in

front of the orchestra, 
beating time with one hand, 
and telling the orchestra how 
loudly or softly to pl~ with 
the other. The introduction 
of a conductor meant that 
very precise directions could

be given to the orchestra. 
38

As a result, composers began 
to write more complex music 
with greater variation in

dynamics and tempo. The

conductor was able to control 
the speed, volume and mood 
of the music very accurately, 
so composers began to be 
more adventurous in the 
kind of music they wrote for 
the orchestra.

Romantic

music

The Romantic piano

During the Romantic period, 
the piano became the most 
popular instrument. It was 
much more strongly built, so 
its sound was able to fill the 
large concert halls that were 
being built. It was also given 
more keys. In the picture

below you can see an upright 
piano.

These were first produced on 
a large scale in the 1870s and 
were the kind most people 
had in their homes.

Music for ... H<O"'"'.

example, that of 
Tchaikovsky. 
During the

Romantic 
period, many 
different 
types of 
music were 
popular. On 
the right, 
you can read 
about some

of the most 
important 
Romantic 
styles.

expressed a mood

(Chopin's Nocturnes).

</div>
(39)<div class='page_container' data-page=39>

Romantic composers

Franz

g"'UULUII:,&-(1797-1828)

Austrian

Schubert was known mainly
as a writer of songs, but he
also composed beautiful
instrumental music,
such as the Trout Quintet.

Hector

w"", ... .,~vl

(1803-1869)

French

Berlioz was a very
inventive composer. He
was also a very emotional
man, and this is reflected
in much of his music.

Fryderyk

Chopin

(1810-1849)

Polish

Chopin was one of the
greatest composers of piano
music. He influenced many
others, including Liszt,
Tchaikovsky and Grieg.

Richard Wagner

(1813-1883)

German

Much of Wagner's music was
political. He was banished
from Germany for 11 years.
His 4 operas called The Ring

of the Nibelung last 18 hours.

Pyotr Il'yich

Tchaikovsky

(1840-1893)

Russian

Tchaikovsky is famous for
many types of music:

symphonies, concertos, and
ballets such as Swan Lake

and The Nutcracker.

Nicolo Pag-anini

(1782-1840)

Italian

Paganini was not only a
composer, but also a
virtuoso performer. He
played the violin to wildly
enthusiastic audiences.

Robert

Schumann

(1810-1856)

German

A gifted pianist, Schumann
wrote piano and orchestral

music. He composed over
300 songs, many influenced
by his love for his wife, Clara.

Franz Liszt

(1811-1886)

Hungarian

Liszt was a brilliant
concert pianist by the age
of 12. His piano music is
among the most difficult
ever written.

Johannes

Brahms

(1833-1897)

German

Brahms wrote a wide
variety of music, including
four symphonies and
many songs. He was a
close friend of Schumann.

Edvard Grieg

(1843-1907)

Norwegian

Grieg promoted Norwegian
music as a composer, pianist
and conductor. Two famous
works are the Piano

Concerto, and Peer Gynt.

Gioachino~"~~t"AJw..
(1792-1868)

Italian

Coming from a musical
family, Rossini wrote his
first opera at 18. He composed
40 more, including The

Barber of Seville.

Felix

Mendelssohn

(1809-1847)

German

Mendelssohn was a pianist
and conductor as well as a
composer. He played and
conducted his music all
over Europe.

Giuseppe-Verdi

( 1813-1901)

Italian

Almost all Verdi's music is
opera. He wrote and directed
allover Europe. Among his
best known are Afda,

La Traviata and Rigoletto.

CaDdllEi ..

Saint-Saens

(1835-1921)

French

Saint-Saens was a famous

pianist, organist and
composer. He was admired
by Liszt and influenced

many others, including Ravel.

Giacomo Puccini

(1858-1924)

Italian

After seeing Verdi's Afda,
Puccini dedicated himself to
opera. Among his best

known works are La Boheme

</div>
(40)<div class='page_container' data-page=40>

An impromptu is
meant to sound as if it
is being improvised,
that is, made up on
the spot.

Impromptu op.142, no.3

The picture on the
left shows

Schubert's room

with his piano.

Schubert

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(41)<div class='page_container' data-page=41>

This symphony,

Schubert's eighth, only
has two movements.
It is thought he

didn't finish it because
he got tired of it.

,J,

Allegro moderato

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The Unfinished

Symphony

.,

A statue of Schubert
in Vienna, Austria.

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It wasn't

performed until
37 years after
Schubert's death.

Schubert

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(42)<div class='page_container' data-page=42>

This piece is the
music to a song.
Schubert wrote over
600 songs, called
Lieder.

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One of

Schubert's
song

manuscripts.

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On the left is the front
page of a song which
Schubert wrote, called

The Trout.

Schubert

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(43)<div class='page_container' data-page=43>

Schubert used to
have gatherings in
his house for which
he would play
music and songs.

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Schubertiads.

There is a picture
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(44)<div class='page_container' data-page=44>

-A caprice is a
light-hearted piece of
music written to be
played in a carefree
style.

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Caprice

no.24

Paganini wrote this
piece for the violin. He
was a brilliant and
popular violinist.

Paganini

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</div>
(45)<div class='page_container' data-page=45>

An overture is the
instrumental music
which introduces an
opera or oratorio.
Rossini wrote the
opera William Tell

in 1829.

11.

Allegro

William Tell overture

12.

2 3

The picture shows
characters from an
1844 production at
London's Covent
Garden.

Rossini

to Coda

Ee

D.C.alEe CODA

</div>
(46)<div class='page_container' data-page=46>

This piece has a solo
viola part that Berlioz
wrote for Paganini.

In fact, Paganini
never played the
piece.

Ad agIO

5-~~

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/ r.

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Harold in Italy

Berlioz was also a
famous conductor.

It is based on a poem
by the poet Byron
called Childe Harolds 
Pilgrimage.

Berlioz

~

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</div>
(47)<div class='page_container' data-page=47>

This tune is from a
set of piano music
called Album for the

Young. It was
written in 1848.

The Jolly Peasant

This is the town
of Leipzig, where
Schumann
studied.

Moderato

\I

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Schumann

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</div>
(48)<div class='page_container' data-page=48>

This tune is also
from Schumann's

Album for the

Young. He wrote

many pieces with
descriptive titles.

Allegro

1\

n

, I { U'

r _ c.

)

.,

)

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( ./ . ' U r;:

\ U

fl ~

I

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r-WI"

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mf

WI"

-

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,.,

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r- Ll.'

-...

-WI"

"':'

e-/

The Wild Horseman

Robert and Clara
Schumann at the

1 2

-

---

--~

e-/ e-/ e-/

WI"

e-/

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-...J
"':'

!-'

e-/ e-/

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4
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2
4

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r WI" e-/

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r-e-/

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WI"

Fine

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48

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s s

-

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4
r
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Schumann's wife,
Clara, was a concert
pianist and music

journalist.

Schumann

-

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,

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</div>
(49)<div class='page_container' data-page=49>

-For a while, Chopin
lived in Paris (shown
on the right).

Andantino

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J

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Prelude

op.28, no.7

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-.

.

"ill

• I.-,..

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-Although he was a

very talented pianist,
he gave very few
public performances.

Chopin

~

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-I'"'" I'"'"

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</div>
(50)<div class='page_container' data-page=50>

A nocturne is a piano
piece which is quiet
and thoughtful. The
name is from the word
nocturnal, meaning
"of the night".

Nocturne op.9, no.2

fl~ 1 ;..

-Anda~~

II"'" 0

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P

legato

t

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fL

Chopin was inspired
by John Field, an
Irish composer who
wrote nocturnes in
the early 19th
century.

Chopin

7' _

t

I

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,.,-

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1

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-

,.,-

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</div>
(51)<div class='page_container' data-page=51>

Chopin was a

brilliant pianist. He
often composed music
by improvising

at the piano.

fI~

-0!1'

-

,...

- oIof'_

II'

"

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1""'o!1' r- u

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r-I I

On the left is a

picture of Chopin at
the age of 19,

playing for Prince
Radziwill in Berlin.

-

,...

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,...

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tr~ III!!

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r-,"'

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</div>
(52)<div class='page_container' data-page=52>

Mendelssohn wrote
this concerto for his
friend Ferdinand
David, a violinist.
This tune is from the
second movement.

Andante

Y

\I n

-.

~ U

~ _10

J~

p

)

\I n

I { U L

~_IO

,"" a .-I

• "3

fl~

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r _

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r-~~

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II~

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=

Violin concerto in E minor

-

1'-.

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3 /

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~ ...IlL •

IlL

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L

The picture shows
Mendelssohn, aged
11, playing for the
writer, Goethe.

Mendelssohn

-...IlL

---

I"'

r

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ClIo •

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</div>
(53)<div class='page_container' data-page=53>

Mendelssohn wrote

many kinds of
music, including
concertos, sonatas,
piano works and
dramatic music.

f'l~~

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His music was very
popular with the
English aristocracy,
and he was invited
to many social
gatherings.

---_

.

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:J:

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</div>
(54)<div class='page_container' data-page=54>

Liebestriiume means
"dreams of love". Liszt
gave the title to the
piano arrangements
of three of his songs.

Allegretto

1 5

~.

-fI 1

\I

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_v

)

~J' ~

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j

,.,..

hoe

J .

- ' k ' J .

v

Liebestraume

I~l

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r

1"'-

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7 . .U

r

';:::::

o· -. . / 1'--" •

bI<- • bI<- •

f - " , 'f-"

.

fI 1 ~

\I

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_v

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•

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t·

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T

hoe

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-

.

- ' h ':./.

V

.

'"'

Famous musicians

During the 18th century,
audiences often ate, drank and
talked during concerts. In the
Romantic period, audiences
listened more carefully. Some
soloists had many fans, a bit like
modern pop stars.

o·

.

Paderewski played in
London in 1892.

..-I

-Liszt as

The Liebestriiume

are nocturnes.

an old man,
in his study.

Liszt

I

12 .

· ---

r2.

~b-.

·

r.-..

U · '7

"-rit.

•

r.-..

t::I; •

('-'

0

</div>
(55)<div class='page_container' data-page=55>

This song is from

an opera called

Rigoletto. It was
first performed in

1851.

Allegretto
3

•

"

l-

1'J''I-•

• P

j

~-,..

0 I

-;,-

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•

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-,.. ~ (9-. I,., •

I

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f

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t

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r _

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<
fl

t

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I {

r _

'-'I ~

.

~ U·

The story of Rigoletto

There is gossip that
Rigoletto (the Duke of
Mantua's jester) has a lover
hidden away. In fact he is
keeping Gilda, his daughter,
hidden from the world, only
allowing her out on Sundays,

La donna

e

mobile

••

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,.,

-r- I""" J""'"

I... .::::I

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cresco

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fr JIL

....

•

1"""

f

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I· I"""

, /
, . j ã

.Đ-. 2

to go to church. She is in love
with a stranger she has seen
there (the Duke).

J/IIL

r:::

Some of the Duke's men kidnap
Gilda, to prove that Rigoletto
has a secret lover. In a rage,
Rigoletto pays an assassin to
kill the Duke, but the assassin's
sister falls in love with the

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(56)<div class='page_container' data-page=56>

This is from the opera

The Valkyrie. It is the
second of four that
make up the opera
cycle called The Ring

of the Nibelung.

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(57)<div class='page_container' data-page=57>

---This popular wedding
march is from the
opera Lohengrin. It is
played when

Lohengrin, Knight of
the Grail, marries
Elsa.

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music. He finished it
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The tune below is from
the third movement.
In the symphony (first
heard in 1883) it is
played by the cellos.

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Brahms was an
excellent pianist. On
the left is a picture of
him playing.

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(59)<div class='page_container' data-page=59>

Swan Lake is a
ballet, written in

1877. The swans in

the story turn into

beautiful maidens.

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(60)<div class='page_container' data-page=60>

Piano concerto

no.

1

The piece was first
performed in Boston,

Massachusets, on
October 25, 1875.
This is part of the
first movement.

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(61)<div class='page_container' data-page=61>

Solveig's song is
from a play called

Peer Gynt, by the
Norwegian writer
Henrik Ibsen.

Solveig's song

The tune is based on
a Norwegian song.
Grieg was very fond
of folk music.

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</div>
(62)<div class='page_container' data-page=62>

Playing the pieces in this section

On these two pages you will find some hints on
how to play the pieces in this book. When you
are learning a piece, it is usually better to
practise each hand separately at first. When
you can play each hand comfortably, try to play
them at the correct speed, and then try playing
both hands together.

There are suggestions for fingerings in the
music, but you can try to work out your own
fingerings if these do not feel comfortable. If

you want to start with the simplest pieces in the
book, look at Minuet in G on page 20, and the
Pastoral Symphony on page 34.

Trumpet tune

Try to keep an even, march-like rhythm.

When I am laid in earth

There are lots of accidentals in this piece,
especially in the third line. Practise each hand
on its own at first, until you are confident of
the notes.

Adagio

This piece is slow, so make sure the triplets are
even. Take care in the first and second time
bars - you might want to practise these
separately at first.

Spring

The right hand plays thirds almost all the way
through this piece. Practise until you can play
them accurately.

AlIa Danza (from Water Music)

The opening chords in the right hand are
difficult. Practise these until you are confident
of the fingering.

Arrival of the Queen of Sheba

This is very fast, so practise the right hand part
until you can play it at the correct speed before
adding the left hand part.

Thine be the glory

You may find it easier to practise this in
sections. There are six sections in the piece,
each four bars long.

Canon in D

Familiarize yourself with the fingering in the
left hand before trying both parts together.

Viola concerto in G major

The first two bars on the last line are a bit
tricky, so they may need a little extra work.
62

Brandenburg concerto no.3

Take care with the fourth line, as there are some
big leaps in the right hand.

Air on the G string

Keep the left hand very steady throughout the
piece. There are lots of large leaps, so you will

need to practise this on its own before adding
the right hand.

Minuet in G

Take care not to rush - play at a relaxed tempo.

Rule, Britannia

Make sure you are confident of the fingering in
the right hand before trying both hands

together.

Bourree

Play this very smoothly.

Che faro

Keep the left hand part flowing evenly.

Emperor's hymn

When both hands are playing the same rhythm,
make sure you keep them absolutely together.

String quartet in D op.76, no.5

When the left hand is playing crotchet chords in
the last two lines, make them softer than the
right hand to allow the tune to come through.

Clarinet concerto

In the last three lines of the piece, make sure
you play the thirds in the left hand very
smoothly.

Romance (from Eine kleine Nachtmusik)

Take care with the semiquaver passages in the
third and fourth lines. The fingering is

sometimes a little tricky here.

Symphony no.40

Play the left hand part a little softer than the
right hand, so that you can hear the tune
clearly. Keep a steady pace in the left hand,
especially in the first two lines of the first page
and the first three lines of the second page.

Duet from The Magic Flute

</div>
(63)<div class='page_container' data-page=63>

Ode to Joy

Play this very steadily, evenly and confidently.

Pastoral Symphony

Play the chords in the left hand very softly.
Make sure you hold each one for its full length.

Minuet in G

Take care with the passages in thirds in the
right hand. Practise these on their own until
you can play them without any mistakes before
adding the left hand part.

Moonlight Sonata

Play this very quietly and smoothly. Make sure
you keep the triplets even throughout.

Impromptu op.142, no.3

Practise the rhythm in the left hand before
trying both hands together. This rhythm gives
the piece its character, so try to play it as
smoothly as possible.

Unfinished Symphony

The tune is in the left hand part, so play this a
little stronger than the right hand. Be careful
not to make the chords in the right hand sound

too heavy.

Serenade

Make sure you don't rush the triplet here. Try
to play it exactly in time.

Caprice no.24

This is fairly fast, so practise the right hand
part until you can play it fluently before playing
both parts together.

William Tell overture

Keep the chords in the left hand fairly short,
making sure you leave a full crotchet rest
between each one.

Harold in Italy

Play this very smoothly.

The Jolly Peasant

You may find the first two bars on line two a
little difficult at first. Play them a few times
until you get used to the rhythm.

The Wild Horseman

Pay particular attention to the staccatos and
slurs in this piece.

Prelude op.28, no.7

The right hand part is fairly difficult, so
practise it very slowly at first.

Nocturne op.9, no.2

Practise the second line on the second page on
its own before trying the whole piece. Some of
the notes will need careful practice.

Violin concerto in E minor

This piece is fairly difficult, so you should
practise both parts until there are no
mistakes, before trying them together. The
last three lines may need a little extra work.

Liebestraume

The quavers in the right hand should be a
little softer than the dotted minims, as these
are really part of the accompaniment.

La donna

e

mobile

The staccato chords in the left hand should be
played very lightly.

Ride of the Valkyries

Pay particular attention to the accents in this
piece, and emphasize the dotted quavers.

Bridal chorus

Try not to rush this. You should keep a fairly
moderate pace throughout.

Symphony no.3

Practise the right hand part of the first and
second time bars on its own, until you are
confident of the rhythm. The number "5" over
the notes means that you play five

semiquavers in the time of four. Try to play
them as evenly as possible.

SwanLake

Take care with the fingering in lines two and
three.

Piano concerto no. 1

The fourth line is fairly difficult, so you
should practise this on its own before playing
the whole piece.

Solveig's song

There are a lot of accidentals in the fourth and
fifth lines. Play both parts until you are

confident of the notes in these two lines,
before putting both parts together.

</div>
(64)<div class='page_container' data-page=64>

Glossary

This list explains the Italian musical terms
used in this book, as well as some other
words that may be unfamiliar.

Accidental A sharp, flat or natural sign in
the music that does not appear in the key
signature. An accidental applies to other
notes of the same pitch which follow in the
same bar.

Adagio Slowly. The word is also used to
describe a piece or movement at this tempo.
Allegretto A little slower than Allegro.
Allegro Fast, lively.

Andante Fairly slow, at a walking pace.
Andantino Slightly faster than Andante.
Arrangement An adaptation of a piece of
music. An arrangement can be a simpler
version of the original piece, or a new version
of it for different instruments.

A tempo Return to the original speed.
Cadenza A section for a soloist near the end
of a concerto movement. The accompaniment
stops, and the soloist plays virtuoso passages
based on themes from the piece.

Chamber music Music for small groups of
players, each playing a separate line of
music.

Coda The end part of a piece of music (the
word means "tail" in Italian).

Concerto A piece written for an orchestra
and at least one soloist.

Conductor A person who directs musicians
during rehearsal and performance.

Crescendo (cresc.) Gradually getting
louder.

Da capo (D.C.) Repeat from the beginning.

Da capo al fine means repeat from the
beginning, ending at the word fine.
Diminuendo (dim.) Gradually getting
softer.

Dolce Sweetly, gently.

Duet, duo A piece for two performers,
either with or without accompaniment.
Dynamic, dynamics The indications in a
piece of music of how loud or soft to play.
Fine The end. The word is often placed
above the last bar of a piece, particularly one
that contains a lot of repeats.

Form The structure of a piece, or the way
in which it is organized.

Improvisation Making up a piece of music
while it is being played. When improvising,
the performer composes the piece as he or
she goes along. Some improvisations are
based on well-known tunes.

Largo Very slowly.

Legato Connected smoothly, with no break
between the notes.

Libretto The words of an opera or other
large sung piece.

Lied (plural lieder} A German song-style.
In the 19th century, many German and
Austrian composers wrote lieder.

Maestoso Majestically.

Marcia March. Tempo di marcia means "in
the time of a march", and alla marcia means
"in the style of a march".

Moderato At a moderate speed.

Molto Much, very. Adagio molto is very
slow.

Moto Movement, motion. Andante con moto
means "with more motion than Andante".
Movement An individual section of a larger
piece, such as a symphony or sonata.

</div>
(65)<div class='page_container' data-page=65>

Piano quintet Music for the piano and four
other instruments, usually a string quartet.
Poco A little. Poco raIl. means "a little
slower" and poco a poco means "little by

Ii ttle", or "gradually".

Presto Fast; faster than allegro.
Rallentando; Ritardando Gradually
getting slower.

Sempre Always. Sempre legato means ''play
smoothly throughout the piece".

Serenade A piece of music often performed
in the evening at dinners or parties.

Serenades were played by small groups of
musicians, and had up to ten movements.
Soloist The performer in a concerto who
plays the main part.

Sonata A piece with more than one
movement, usually for one or two
instruments.

Sostenuto Sustained, held for a long time.
Staccato Detached. Staccato is usually
shown by a dot above or below a note.
Staccato notes should be short and spiky.
String quartet A group of two violins, one

Symbols used in this book

Below you will find the meanings of the
musical symbols used in this book that

might be unfamiliar.

fr

Trill Alternate quickly between
the written note and one above it.
First- and second-time

bars Play the bar marked "1."
first, then repeat the section and
play the bar marked "2."

Pause Hold the note for slightly
longer than normal.

Coda An extra section at the end
of a piece.

viola and one cello, or a piece of chamber
music for that combination of instruments.
String quintet A group of five string
instruments (a string quartet with an extra
viola or cello, or a double bass), or a piece of
music for that combination of instruments.
Suite A set of pieces, often dances, grouped
together to be played in order.

Symphony A piece for orchestra usually
consisting of three or four movements.
Tempo The speed of a piece of music.
Tempo di valse At the speed of a waltz.
Theme A tune or melody. In a symphony or
a sonata, there are usually many different
themes grouped into movements.

Trio A group of three musicians playing
together, or a piece of music written for
three instruments in any combination.
Virtuoso A very skilled performer.
Vivace Lively.

Waltz A type of dance popular in the 19th
century, especially in Vienna. Waltzes have
three beats to the bar, but are usually faster
than a minuet.

Accent Play accented notes with
more force.

Go back to this sign.
Forzando With force.

Tenuto Make sure you hold on
to the note for the full value.

~.

Pedal Press the pedal on the right and hold it down for the full
length of the note.

</div>
(66)<div class='page_container' data-page=66>

Composer chart

Below is a chart which shows you the life spans of the composers in this book.

11650 1 1 1700 1 1 1750 1 1 1800 1 1 1850

J

L

1900

J

I

1950

I

1653-1706 Pachelbel

I

Schumann 1810-1856

I

1862-1918 Debussy

I

Purcell

I

Liszt

I

1659-1695 1811-1886

I

1671-1751 Albinoni

I

1813-1883 Wagner

I

1678-1741 Vivaldi

I

1813-1901 Verdi

J

I

1681-1767 Telemann

I

1818-1893 Gounod

I

1685-1750 Bach

I

1824-1884 Smetana

I

Handel

I

Strauss

J

1685-1759 1825-1899

I

1710-1778 Arne

I

I

1833-1897 Brahms

J

I

1714-1787 . Gluck

I

1833-1887 Borodin

J

1 L. Mozart 1719-1787 1

I

1834-1886 Ponchielli

I

1732-1809 Haydn

I

l

1836-1891 Delibes

J

I

Boccherini 1743-1805

J

I

Irvine

I

1836-1887

Mozart

1756-1791

l

Bizet

J

1838-1875

I

Beethoven

I

Musorgsky

I

1770-1827 1839-1881

~

Paganini

Jl

Tchaikovsky

J

1782-1840 1840-1893

l

1792-1868 Rossini

J

I

Schubert

II

Dvofak

J

1797-1828 1841-1904

I

1803-1869 Berlioz

I

1 Grieg 1843-1907

I

lMendelssohn

I

1809-1847

1 Rimsky-Korsakov 1844- 19081

I

Chopin

I

1810-1849

</div>
(67)<div class='page_container' data-page=67>

About this section of the book

The tunes in this section of the book are all taken

from famous pieces of classical music. Some of the

pieces were originally written for the piano, but

others were written for an orchestra, or a group of

instruments or singers. They have been specially

arranged and simplified to make them easy to play.

The pieces are grouped in four sections

-Theatre music, Music for dancing, Religious music,

and Descriptive music. At the beginning of each one

there is an introduction to the pieces that follow. On

pages 126-127, you will find some hints about how to

play each piece.

Naming and numbering pieces of music

Most pieces of music have a number, called an opus

number. (Opus is the Latin word for "work"). In this

book, opus numbers have been used when the

composer wrote more than one piece with the same

title. Where a piece has a well-known title, no opus

number has been given. .

Sometimes a single opus number was given to a

group of pieces that were published together. In this

case each piece was given a second number, for

example, op.35, no.5. The opus number will help you

</div>
(68)<div class='page_container' data-page=68>

Theatre music

S

i

n

ce t

h

e ear

li

e

st time

s

,

musi

c

has been a v

er

y

i

mpo

r

tant part of t

h

ea

t

r

i

ca

l p

er

fo

r

man

ce

s.

Musi

c

is often ad

d

e

d to plays to make th

e

m

more inte

r

esting.

Sometimes musi

c

ians

accompany singi

ng

a

nd dancing on stag

e

,

but music can a

lso b

e

us

e

d to

e

mph

a

si

ze

th

e

moo

d

of the

pl

ay

,

ra

ther lik

e

film o

r

televi

s

i

on

m

us

ic

.

A

ct

ing

,

si

n

ging

a

nd dan

c

in

g

h

a

v

e a

lw

ays

b

ee

n clos

e

ly link

e

d. In

a

n

c

i

ent

G

reek an

d

Roman tim

e

s

,

som

e ac

to

r

s us

e

d t

o

mim

e

t

h

e

story

(

act with

o

ut sp

ea

k

ing

)

wh

il

e m

u

sic

was play

e

d

.

L

a

t

er

,

co

mp

o

s

ers began t

o w

r

i

te

musi

c

to

go with plays and relig

i

ou

s

stori

e

s

.

G

radu

a

lly

,

two special kin

d

s of

thea

tre musi

c

d

eve

loped

. O

ne

,

o

p

era

,

i

s

b

a

s

ed on s

in

g

ing.

The other

,

b

a

ll

e

t

,

is

ba

s

ed on d

ancing.

Opera

Opera tells a story through

songs. The music is played by

an orchestra

,

while the actors

sing on stage

.

The first

opera was performed in the

early 17th century

.

L

a

S

cala o

p

era

h

ouse

i

n

M

ila

n

Opera soon became very

popular in Europe

,

and many

opera houses (special

theatres for opera) were built

.

-

,

P

R

O~OG

0 ,

~

..

-

I

--

'''

'

_.

.

..

.

~

-

I

t

{ I , .. ... _ .. _ . ... _ ....:... '._, ..

~

_

_ .. .. . .

n. .• - . •

Op

e

nin

g o

f

O

r

t

eo

,

an

ear

l

y o

p

era

68 The performers were often

much more famous than the

composers. People would go

to an opera to hear singers

they liked.

-I

I

• I

C

(J$

\

f

an

l

U

lle

-•

• ..

...

..

.

..

.

-

,

~

...

. .

""'

..

"'

..

.. f'o.

...

-

.

'

J

-:-:-

.

'

' "

I

W;.

lbtfJcc . .

• Cit

Wl

t

~

4 ..

tlt

.~

. . .

til

11' ... \

...

....

...

..

•

.

...

-

.

-

..

_

.

....

-

',

....

.

-

'

.... . . -... .

~

.

y,

("

I

('

..

~

, ....

...

..

- -..:

-

=":;.::

" -

:.

-

-.

.

_

.

.

..

-

.

"

.

-

.

__

..

-

..

.

--

-

.-

..

--

.

Ti

t

l

e

p

age o

f

an o

p

era by

M

ozart

There are lots of different

types of opera

.

The styles

have changed gradually over

the years. In Handel's operas

,

all the words are sung

,

and

the stories are serious. They

are often based on history or

mythology. Several of

Mozart

'

s operas

,

including

The Marriage

of

Figaro

and

Gosi

fan

tutte

,

are based on

comical stories and contain

spoken parts. In the 19th

century

,

composers like Verdi

and Puccini wrote operas

with sad

,

romantic stories.

These are often about the

lives of ordinary people

,

not

historical or legendary ones.

Ins

i

d

e

an

o

p

era

house

The story used in an ope

ra i

s

called the libretto. This is

t

he

Italian word for

'

little book

'

.

When opera first began

,

t

he

people in the audience had

this in front of them so that

they could read the words

while the opera was being

performed. Later

,

the

audience sat in the dark

,

a

nd

only the stage was lit

.

T

hi

s

made it too dark to read

,

bu

t

it was easier to see what was

happening on the stage

.

VE

R

D

I

-O

peR

A

C.O

M

rUTA

"

,

C"'-T

O

ot

'f.!

"-"

¢I'O

R. t"

e

</div>
(69)<div class='page_container' data-page=69>

Balle

t

Ballet

tells a

story

using

music an

d dance

.

There

are no

s

poke

n words

,

so

the music

is

v

e

ry

d

es

cri

p

ti

ve

a

nd the

d

a

nce

rs

use their

movements to tell

t

he stor

y.

The

fir

st ballets

were per

f

o

r

med

in

priva

t

e

.

We

althy

noblemen

arra

n

g

e

d

M

o

d

e

rn

b

a

ll

et

d

a

n

ce

rs

evenings o

f

ente

r

ta

i

nment in

thei

r

homes

,

in

which

performers s

a

n

g,

danced and

recited poe

try.

Performers at a private

h

o

us

e

The dances

gr

adually became

t

he mos

t

important part

,

and

t

he pe

rf

o

r

me

rs

started to

mime

t

he

a

c

t

ions instead of

singin

g

or reci

t

ing words

.

The first b

a

lle

t

to be shown in

a

publi

c

the

at

re was staged in

1581

i

n F

ra

nce

.

At fi

r

st

,

dance

r

s chose any

music to perform to

.

It was

not necessarily dance music.

Later

,

composers

such as Lully began

to write music

specially for the

ballet

.

Someone else

worked out the

dance steps. The

person who arranges

the dances is called the

choreographer.

Ballet stories are very

imaginative

.

Some are

based on fairy tales

,

like the

ballets of Delibes and

Tchaikovsky

.

Two of the most

popular ballet

s

in this st

y

le

are Tchaikovsk

y'

s

Th

e

Nutcracker

a

nd

The Sleepin

g

Beauty

.

Other ballets are

based on plays or books

,

and

can be sad or romantic

.

Overtures

An overture is a piece of

music that is played before an

opera or ballet begins. It is

the first music that the

audience hears

,

so it is often

lively and exciting to attract

people

'

s attention.

Overtures are also played

at the beginning of orchestral

concerts. The overture to

Rossini

'

s opera

The Barber

of

Seville

is often used this way.

When this idea first became

,

many composers

,

such as Mendelssohn

,

began

writing overtures specially

for concerts.

A s

ce

n

e

in

Th

e

Nut

c

r

ac

k

e

r

:;UIiE

P

Costumes and scenery

Opera and ballet often use

spectacular costumes and

scenery. Sometimes parts of

the scenery have to move

during the performance.

17th

ce

ntur

y o

p

e

r

a sce

n

e

r

y

Often complex machiner

y i

s

needed to do this. This can

make ballets and operas very

expensive to stage.

t - - : •

.

· .

-

.

..

•

,

,

,

,

,

I

,

, ,

,

,

,

,

,

,

.

,

,

,

I

,

,

,

•

,

,

,

I

,

-M

a

c

hin

e

ry to move th

e

s

ce

n

e

r

y

sh

o

wn

a

b

o

v

e

</div>
(70)<div class='page_container' data-page=70>

This tune is from a
light-hearted opera called Cosi fan

tutte

by Wolfgang Amadeus

Mozart (1756-1791). It was
written in 1790.

Moderato

fI .... I I

I

-"1 lJ.

rll'\. ~

)

~

p

f'--,-. +I"

4 4
2 3 2

1'1 .... 1 1
+I" ~

) ~J ' - -

• I

. , . 'i'!' -""

-I

-,;

I~~

II ....

OJ +I"

I

)

~ I

j

~R

I

•

I""

I I

,....

fI .... r--1 I

OJ .'i'!' ...I

I

-)

~ I I

.~ .--..

fI .... ~ I I

,

-7

-

r:

~ I

-J

~~

--70

..-I

-J

---I""

•

-I

-r

-,

-

...

Terzettino

I i

•

-I r

I~~

-

••

I I

__ JIlL :..

---.

I I

23 2 1

---

~ 2 1 2

c::::::oo '---- '--

• .

---Terzettino means "a little
trio". It is a song for three
people. On the left is a page
of music from the opera in
Mozart's handwriting.

Mozart

3 5

r-i

r;

I i~

r

I""

r

--~

-

I I

----~-~

1---- 1""

-I"" -~

I I I I

I I

Fi~

~

...

--... --'-=4

-I I

---

-•

5 4

3 2 3 4

3 4

1 3

_______..1 2 1

:l""

-l - I""

• ...

...I +I" -- ~----=

"-

• ..

~ ~

•

~~

..

-

--

F=i

-I I I I 1 'i

c::::::::;;;o t

U

I I

_ .

-n~

..

~

4=

f---.:.

</div>
(71)<div class='page_container' data-page=71>

On the right is a scene from a

performance of Cosi fan tutte.

It took place in 1969 at a

festival in Salzburg, the city 
where Mozart was born.

1\ ..

OJ 'i1'

1\ ..

II ..

@.
I

•

5
3

- "- " "

t

- " "

-

•

i

---~

~~

1\ ..

I
@.

II ..

I
@.

• 11.. +I'

3
1

r

-

----I

,...

i

ã

~--Ơ. 9

..

-

.

-j---I

" ""-"-?;T"

cr-- "

--~

- "" "

.~ ~ .~ ~

-

0...1

•

" " "

• ~-i

-

0 "

----i""""'-,

---I

" " " "

- " "

J

The words of the opera (the 
libretto) were written by 
Lorenzo da Ponte. He also 
wrote the words for two of 
Mozart's other operas.

I

•

I I

.:::IiI . . . .

-....

I
I

3
1

....t

.~'!'T"

-L

...

..

-_h

V

4 5

2 3

r-- . r-- /

• ...

IJ

• -

;

-Ft

".
._---/"

</div>
(72)<div class='page_container' data-page=72>

Ludwig van Beethoven
(1770-1827) wrote many kinds of
music. But although he was
interested in theatre music,

Fidelio was his only opera.

Andante

I

)

P

Fidelio

•

I I

--.

I I

2 3 2

-

~

) tJ 0...1 I I I I I I

j

~

1 l,....o0oi I I I I

7 3

I

, j

1

~ ~

C#I

)

I

\

I I I I ~

----10

'"

••

~

)

~ -9 I

)

I

I I

•

.~ ~

I

)

~ I I ~

)

I?

f'- L

I

2 2 3 1

-At first, audiences disliked
the opera. Beethoven rewrote
it several times before it was
a success. On the left you can
see a scene from the opera.

Beethoven

I'.

...

-3
1

•

r""'-oi I

-'"

4
2

-.

--.

-,-I

</div>
(73)<div class='page_container' data-page=73>

The Barber of Seville overture

Gioachino Rossini
(1792-1868) was a very famous and
successful composer. He
wrote The Barber of Seville in 
1816 for a theatre in Rome.

Allegro vivace

p

1\ JJ, ~ ~

~~~

I I I I

9 ~

~l 2

1\ JJ, ~ • • ~

-I I

I I

~ ;. ;. ;.

I I I I

P

I ;.

13 ~~

I\JJ, ~

jLjLjL

~~~

@.!

I I I I I I I I

1\ JJ, ~ ~~.

1 3 :-'\

~. ~

..

~ ~

-;. ;. ;. ;. .;.

~ ;.

I I I

---'

"--;. ;.

It was performed less than a
month after he started to
write it. Many people think it
is one of the best comic

operas ever written.

Rossini

• f-_

-

.;.;'~

I I I I

jLjLjL

~f-

jLjL

I I I I I

•

~~. ~f-~

I I I I I

---' "--

>

>

f

;. ;. > ~

</div>
(74)<div class='page_container' data-page=74>

This tune is from an opera by
Giuseppe Verdi (1813-1901)
called La traviata. It is now
one of the most popular
operas ever written.

All egre tt 0
fI I

I

1

PI'

1\ I

I

I

) @)

fI I

J

I ... I

-

-18

fI I~

----@)

J

...

•

24 3

...

-fI I ~~

-

> ~
I

J

• •

I

...

Drinking song

I T 'r

----

"11-•

•

I I I

I ;.;r I ...I

-

-3 ____

-r

•

---I r

t t

...

But the first performance in
1853 was not a success. This
is partly because it used
modern costumes like the one
on the left.

Verdi

I I I 3~

OIl

_._ ..

-~ -~ -~ _.

3.---~ lIlT" "1"" lIlT" ~

-ll-1"" 1""

-3 ______

/-::.

-"1""

::;;r--

-.---

---~

_.-,..

I'

• l....

::;;1

4

-I

l

t

</div>
(75)<div class='page_container' data-page=75>

::J----This made the sad story too 
realistic. At the time, people 
thought that operas should 
be like fantasies, and not like

real life.

30

fI I

r~ 1/ I"":

~ ,... ,...

,.

1::10 1::10

•

-F-

c--L ...

36 :\

fI I

n· ~ I~ -~t --

T:-~t--I·

j,LL t -~tt1-S--~

-~ ~- ___

J/lL~ __

•

-41

fI I

3 __________

I I

-46

fI I

}

-~~~ ..

I I

-I

3/, _

•

..I

_ JlL_~_ ~-

-rit.

-

-~~ -~

~

-I I

In some later performances, 
the singers had 17th-century 
costumes like the one shown 
here. This helped the opera 
become much more popular.

•

t ~~ ~

..I ..I ..I i r

~-S--_~ ______ L __ "~ ___

I I I

a tempo

I I

--~
~-

r-fL

----fL-- --F-

-I I I

).~~Eg~§§

~ 1::10_.1::10.

.

-

--

-

--

-

--

-52 3_____.

'I I ~

--- / '

,

-

---

-F

•

• k_ •

---F--

--I

)

~ I

J

I

-

~ ~ ~F-

F

~~~ ~

-F

--~ .

• ,;--

-

•

</div>
(76)<div class='page_container' data-page=76>

-This song is from another
opera by Verdi called 11

trovatore which means "The
troubadour". A troubadour
was a medieval poet.

Allegro

fI~

IJ -rr -~

1@.J

f

)

,~.oI\'

I

fI .t+

,

1

@.J ,...

)

~.oI\'

,

--'1'"'"

~-.

fI .j.j.

---IJ -rr

r-;

@.J I

I I

(

-9

--G--.j.j. > >

~ I

-The story of 11

trovatore

••

-2

Anvil chorus

..

-

-I

> >

I I

---,...

-.

••

>
I
>

2
4

The Count di Luna and the troubadour Manrico are

brothers, but they do not know this. The Count believes his
brother was killed by a woman called Azucena, but in fact

she has brought up Manrico as her own child. The Count
sentences Azucena to death for murdering his brother.
When Manrico tries to save her, the Count imprisons him.

The two men are in love with the same woman, Leonore,
though she loves Manrico. To save him, she agrees to
marry the count. But at the last minute she poisons
herself, and Manrico is killed. Only then does the Count
discover that Manrico was his brother.

-_.

-"Il'"":

It was written at the same
time as La traviata (see page
74). Verdi finished the two
operas within six weeks of
each other.

Verdi

~

-I

. . . .

--+f-~

. _

-I I _.

..

-..

-. -.

-lIT -,

-.-4

..

--.~~

....I ---.:

--.-

->
>

p

.. ~.~

---

-v-

--4

</div>
(77)<div class='page_container' data-page=77>

The An vii chorus is sung by 
people beating metal on an 
anvil. The bass line of the 
music imitates the crash of 
the hammer.

~ ,j.I.

I

1\

-4

) @)

f

. --~--.

... +.

• ••

On the left is some scenery 
used in a performance of the 
opera. The troubadour comes 
to this castle to sing to

Leonore, the woman he loves.

. . . ~.-.

-.-.

+

I

l~~~?~··~~';;--~

- - - . - - - - _ # - - - 4 f - - - ' - - - - _ # - - - .-.... _",L-. __

..

E~'.'~~-]-

I -.:

_

) @)

j

I I

( r·-'I'L;

II ,j.I.

I

-~-1l'~-)

@) y.

-+

)

~

.,.

.

.,.

-~.

Manrico and the Count fight a
duel over Leonore

.-..

-.-t-I I

---~-,J_- .

---4F-· -.. --. .

_"L

-2

10.

_._. -

,.,

1-- ..

-~ -,.,.-

-+

.-.

f-.-~

- - -~.

Leonore and Manrico are happy
until the Count arrests Manrico

•

I I

-l _

I j .

_. ----,

~ ..

</div>
(78)<div class='page_container' data-page=78>

This tune is from an opera 
called Faust by Charles 
Gounod (1818-1893). It is 
based on a story by the 
German writer Goethe.

Allegro (alla marcia)

II I

I

)

~

f

" .0;

.. L-4

fl I

. .

-,~

+

(

.~. . L

...I

II I

_ . ..":

II I

-,L.

•

18 3 3

II I 1

I"'"

•

78

Soldiers' chorus

•

I

~ -

--3

.

t-1"" ..

. , '

r

'0;

, . .1'-.,

• ---...

I"" •

.

...-..

I"'"

.,[

•

In the story, Faust sells his 
soul to the Devil. Several 
other composers, including 
Mendelssohn and Berlioz, 
also wrote music based on it.

Gounod

' 7

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</div>
(79)<div class='page_container' data-page=79>

This piece is by Georges
Bizet (1838-1875), shown
on the right. It was written
for L'ArIesienne, a play by
the French writer Daudet.

Tempo di Marcia

)

I

I

"

h
) @)

)

I

-' h

I

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h
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10

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3
3

I ~

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f

I I

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2 2

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March of the kings

2 1
2,...-. ,...-. ~

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----

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-2 3

---

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cresco

2 1 4

..-.. r--. ;.

fl- .,.

tJ'

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I I I

The tune itself is a very old
folk song. It comes from
Provence, the area in the
south of France where
Daudet lived.

Bizet

.,.

;. 3

,.

-

- L

...

1 I

~~~. 2

~- ;.

1 I I

...-... ~

-I

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3 2

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</div>
(80)<div class='page_container' data-page=80>

This tune is by Johann
Strauss IT (1825-1899). It is
from an operetta (short,
light-hearted opera) called

Die Fledermaus ("The bat").

Tempo di Valse

fI J,j. 3

I

ot1' I""

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IlIf

I

flJ,j. > 3

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k

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• :J

Strauss wrote 16 other

operettas. On the left you can
see a picture from the title
page of Die Fledermaus

showing Strauss as a bat.

Strauss

~ >

l .

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• -"!f'

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k

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----

</div>
(81)<div class='page_container' data-page=81>

This tune is by Edvard Grieg
(1843-1907). It is part of
some music he was asked to

write by Henrik Ibsen, a
Norwegian author.

Moderato

,

)

( / :---*S ·1

10

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r& .. '-1+-- -~ •. ~:.i

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Morning

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"to

""

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f+

I I I

+

-+

The music was written to go

with Ibsen's play Peer Gynt.

This part describe~ Peer Gynt
waking up and seeing the
sun rising in the desert.

Grieg

.

.-~ ~

..

1:10.

:::;I-3 I

mf

-

-" ' - -

----

---.,.

""

---====---

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</div>
(82)<div class='page_container' data-page=82>

Flower duet

This tune is from an opera
called Lakme by Leo Delibes 
(1836-1891). It was

successful immediately
because of its oriental style.

Andante

II ...

lL_o!1' 0

I

@) I

flip

A

r

1 3
~.

II ... 2

~ ~ ~

)

A A

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r

2
~o

II ...

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-II ...

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1"""--'1

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--.-/

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--3

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r:'

-.~

r

o
~.

---.-/

-I

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At this time oriental fashions
were very popular. They
influenced music, painting,
poetry and even the style of
dress some people wore.

Delibes

~ ' "

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A A

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r

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--.-/ I

R

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---

</div>
(83)<div class='page_container' data-page=83>

Delibes was very interested in
theatre music. He was chorus
master at the Opera in Paris.
On the right you can see the
singer Lily Pons as Lakme.

1I,jof I ,.- --...

'--'

@. ~ o...J

---

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r~.

II ,I.j. I':)

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1 2 1 I

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1I,I.j.
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---4

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r . I

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r: •

fr'

The sign ~. under a note
tells you to press the pedal on
the right, and to hold it down
for the full length of the note.

2 .~

-.

--....

-...

-

.1*-1 ~

-3 5 4 2

1 3 I

...

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l..-J

2 1

1 I

---...

1"""""1

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</div>
(84)<div class='page_container' data-page=84>

This tune is from a ballet
called Sylvia. It is one of
Delibes' most famous
pieces, along with another
of his ballets, Coppelia.

II Allegretto

I

I

~J'I"IL

)

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mp

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t-4

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rit.

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....

II 1

,

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I "':'"

II 1

r~ I""

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Pizzicati

-

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•

fl-I""

-1

....

fl--*!-"':" I

• ~

-*!-a tempo

•

~-I ~

• ....

• .ft.

..

The title means "plucked". In
this piece the string players
have to pluck their

instruments, not bow them.
This makes a special sound.

Delibes

..

-•

~ -~

-

---r' I I I

-.-I I

1 ..;.

\--~

•

fl-~

--r:;----.-

---.-

fl-~

fl-

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</div>
(85)<div class='page_container' data-page=85>

Sleeping Beauty waltz

This tune is from a ballet by 
Pyotr Il'yich Tchaikovsky 
(1840-1893), based on a fairy 
tale. It was written in 1890 in 
St. Petersburg.

Allegro moderato

1\ I

I ~ h

T

IIII'

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I

.

"-I

1\ I I

---I

1

@.l I

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1

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r'

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d-

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1

...

1 .

....

...

-I

I I

The picture shows the prince 
discovering Sleeping Beauty. 
He kisses her and wakes her 
up, breaking the spell of the 
wicked witch.

Tchaikovsky

1

---"lJ""':

I
~ ..

~

. . .

~

. .

--.

-I

-J

1 _

_ .

I

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...

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..tc.

. r····

r"

t

J ...

.-~

--:

</div>
(86)<div class='page_container' data-page=86>

-Music for dancin

Dancing has always been a popular entertainment.

A

t

first

,

most people danced privately in their

homes

,

or at feasts and parties. But

,

in the 18th and

19th centuries

,

as more people wanted to dance

,

large public halls called ballrooms were opened. An

orchestra or small band played the music. There

were many types of dance

.

Each one changed little

by little over many years

,

but some of them are still

danced today

.

Music for dancing is different from music for ballet

(

see page 69

).

Ballet music was written for

professional dancers and theatrical performances

,

bu t most of the music in this section of the book was

written for ordinary people to dance to.

Early dances

In ancient times

,

dances were

used as a way of praying.

People danced and sang to

ask their gods to make crops

I

,

,

f

,

~

,

i

I

grow. But this

died out in

most parts of

Europe when

Christianity

became the

most common

religion.

We know

from

M

e

d

ie

v

a

l d

a

n

cers

books

and

pictures

that

dancing

was still popular

,

but very

little dance music from before

about 1350 has been found.

This is probably because the

only music written down in

this period was church music

(see page 100). But gradually

people began to write folk

and dance music down too.

Ear

l

y

f

o

lk mu

s

i

c

86 i

\

1 6t

h

ce

n

t

u

ry

d

a

n

cers

During the 15th and 16th

centuries

,

the basse danse

was very popular. This was

in fact a series of dances in

several different styles.

However the music

was never very fast

because the clothes

people wore were so

bulky that they

were not able to

move quickly.

The suite

By the Baroque period

(about 1600 to 1750) the

basse danse had developed

into a musical form called the

suite. This is a set of dances

played one after the other.

An 1

8t

h

ce

n

t

u

ry

b

a

ll

roo

m

There was no limit to the

number of dances

,

but

normally there were four or

five. The most popular dances

were the allemande

,

the

courante

,

the sarabande and

the gigue. Any extra ones

were inserted between the

sarabande and the gigue.

In the allemande the

dancers linked arms.

It

was a

good dance to begin with

because it was not too fast.

The courante used quick

running steps. Sometimes it

was hard for the dancers to

keep up with the music.

18 t

h

ce

n

t

ur

y

d

a

n

ce

rs

After this

,

the slow

,

gentle

sarabande gave the dancers a

rest. The suite usually ended

</div>
(87)<div class='page_container' data-page=87>

The gavotte and

musette

The gavotte became popular

around the end of the

Baroque period.

It

was often

included in suites.

Another dance

,

called

the musette

,

developed

from the gavotte.

It

is

similar in style

,

but the

bass line contains a

repeated note known as

a drone. This sometimes

makes the music sound a bit

like a bagpipe

.

At around this

time in France

,

a small

bagpipe called a musette was

very popular.

A mu

sette

One of the most famous

musettes was written by

Johann Sebastian Bach

,

in

his

Notebook for Anna

Magdalena Bach

.

The minuet

The minuet was another

dance which was often

included in the suite. Minuets

are slow and graceful

,

in

three-four or three-eight

time. The dancing couples

bow to each other and point

their toes as they dance.

In the 18th century, the

minuet was one of the most

popular dances. Even when it

was no longer fashionable in

ballrooms

,

composers

continued to write minuets to

include in their operas

,

ballets and symphonies.

D

a

n

c

in

g a

minu

e

t

Mozart wrote lots of minuets.

Some were for dancing, but

others were part of larger

pieces of music like operas

and ballets.

The 19th century

The most popular dance in

the 19th century was the

waltz.

It

is in three-four time,

and is quite fast. Some people

believed the waltz was

unhealthy because the

dancing couples

whirled around the

room so quickly.

1 9t

h

cent

ur

y

d

a

n

cers

w

a

l

tz

in

g

One of the most famous

composers of waltzes was

Johann Strauss II, the son of

another composer called

Johann Strauss.

I

~

I

• L

I

,

• I

!

Ti

t

l

e

p

age o

f

Th

e

Blu

e

D

a

nub

e

Another very popular dance

in the 19th century was the

polonaise. This originally

came from Poland in the 16th

century. The polonaise was

slow and dignified, and was

often danced at weddings and

other special occasions.

In the 19th century, many

composers began to feel very

proud of the customs and

traditions of their countries.

They began writing music

that was based on folk tunes

and dances. This is known as

Nationalism. Famous

nationalist pieces are Grieg's

Norwegian dances and

Dvorak's Slavonic dances.

• ,

I

• I

• / /

t

.

1

/

f

</div>
(88)<div class='page_container' data-page=88>

Musette

J.S. Bach (1685-1750) came
from a very musical family.
His father was a musician
and three of his sons became
famous composers.

Moderato

fl ~ ~

•

I

)

mp

-111 111

fl ~ ~

•

I

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-(

•• 0!1'

111 111

9 2

'"

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-111 111

.

----

... ....I
111 111

~ -_._" .

... L

L..-

~

17 4 _ _ _ _ _ _ _ _ _ _

II~ _.

,

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1

~ ~ ~

j

-

...,

I

-~ ~

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I"'"

-4

-~.

=-.~.

-

_._;J-..

-+

•

This piece is from a book of
music he wrote for his wife,
Anna Magdalena. The picture
shows him accompanying his
family singing and playing.

J.

S. Bach

l=

~ . .

II!

..

II!

--Fine

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"""'f

• -

II!

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~. ~

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....

-"T=-=t

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..

I

</div>
(89)<div class='page_container' data-page=89>

The German dance had three
beats to the bar and people
danced it in pairs. The two
main kinds were the Uindler
and the waltz.

Allegro

-

-~ I

f

':I:

-

-,

1 j

(

I I

I

) @J

J

I

••

I I

-

I

....

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I /.

20

II ~

-I f

-I

....

~. I

t?

I I

....

...

German dance

-

....t

1 I

~ Fine

...

The Uindler involved hopping
and stamping. The waltz was
more elegant. Haydn,

Beethoven and Schubert also
wrote German dances.

Mozart

-

~

.... ....

...

-I

..

2
4

1
3

-I

..

--~

--

..

t-'

•

I I

2 3

I I

0

I I I

'F-•

--. _.

-

~ Deal Fine

,--I

</div>
(90)<div class='page_container' data-page=90>

Luigi Boccherini (1743-1805) 
wrote this minuet as one 
movement of a string quintet 
(a piece of music for five 
stringed instruments).

Moderato

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,

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mp

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I

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4 5 4 3 2

fl ~ l± ~.

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-

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I

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-

-5

fl ~ ±l: _..--_ - ~.~~ ~

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Minuet in A

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I"'"

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fl ~ l±

t.J

J

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•

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(

90

-f9

•

Music for small groups of 
instruments is often called 
chamber music. It became 
very popular around this time.

Boccherini

-

-I"'" - f j

--

•

II!. •

-~ .

f

tr

• _.-

-~---+

...

II!.

~~

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tr 
-

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+--

---•

</div>
(91)<div class='page_container' data-page=91>

-Boccherini wrote over 120
string quintets and about 90
string quartets (for four
stringed instruments). He
was also a talented cellist.

fI ,Iof 1±

1

@.J

-

-J

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II ,Iof +±

f9

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tL. •

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•

rit.

•

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"-

.

• f9

•

2 2

"-

_.

Like many other composers
at this time, he usually wrote
a minuet as the third

movement of his string
quartets and quintets.

-~.~-fL ~ I

---

a tempo

~ ~

J":":

"*

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,.

•

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.

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</div>
(92)<div class='page_container' data-page=92>

-The Blue Danube waltz

no.

1

Johann Strauss composed

this waltz in 1867. He was
asked to write some music to
accompany a poem about the
Austrian capital city, Vienna.

Tempo di Valse

II ~

I

)

p

I

'::I:

II ~

..

,

}

l-I

II ~

-I-

.,

@. I I

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I

I I

II ~

,

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(

• ...

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~ ~

-~.

.,

,

...

I I

.,

n·

: :

-(2-' -(2-'

~

-I-

--(2-'

The poem included the words
"Vienna, be glad,

Oho, why, why?"

Many Viennese people felt
insulted by this.

Strauss

-T T

• ---

,

r::

,

.,

n .

---

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...

n.

-*

*

mp

.,

fL

</div>
(93)<div class='page_container' data-page=93>

Later, when the words had 
been removed, the tune 
became extrememly popular. 
It was almost like an

unofficial national anthem.

-~---~--. - - ---~

Aid!

f2-\~

f9-.

~~:

I

. , . 0!1"

fI .j.jo 1± --1

~ . .

I , . 0!1"

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II .j,j. -I±

I f

.J

P 
T

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fro

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+

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r-I

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-

-..

- ~.-~

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•

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-p

•

-~~ .

•

r-I

• -

• -...

1
2

• ...

.j,j. -I±

•

,L

11.

2
4

Strauss' original copy of the 
opening is shown here. The 
full title is An der schonen 
blauen Donau ("By the

beautiful blue Danube").

- -

-I I I

•

+-.. ~

--F

-- .

I I I I

.--~

f

• •

•

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P

~ ~ ~

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</div>
(94)<div class='page_container' data-page=94>

Hungarian dance no.5

Johannes Brahms
{1833-1897} was born in Hamburg
in Germany. He wrote 21
Hungarian dances for piano
between 1868 and 1880.

Allegro

/ II ~

I

)

~ I

J

Illp

,"),. +I' T..

I

II ~

@.. I

I I

II~

@..

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II ~ ~.

.

I

@.

)

I

II ~ 2

I

1

~ I I I I

j

I

•

n·

•

-I

,.

....

"---

----,.

There were many Hungarian
people living in Hamburg at

this time. Brahms heard a
great deal of Hungarian folk
music as a child.

Brahms

-I

-'--- ~ r'

2 5

-(2-.

,.

-I

-r' c;

l/

</div>
(95)<div class='page_container' data-page=95>

Dance of the hours

Amilcare Ponchielli 
(1834-1886) taught at the music 
school in Milan in Italy. One 
of his pupils was Puccini, 
another famous composer.

Allegretto

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-Dance of the hours is from an 
opera called La gioconda

("The joyful girl") written in 
1876. It is Ponchielli's most 
famous opera.

Ponchielli

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</div>
(96)<div class='page_container' data-page=96>

Slavonic dance op.46, no.S

Antonin Dvorak (1841-1904) 
was born in Bohemia, now 
called the Czech Republic. 
Many of his pieces were based 
on Czech folk tunes.

10

Allegro

,G.

I 1 I':)

~.
rr-t,

. v

96

bl':)

1
3

On the left is the title on the

cover of his Slavonic dances.

It was one of the first pieces 
he was commissioned to 
write, and was very popular.

Dvorak

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</div>
(97)<div class='page_container' data-page=97>

Eugene

One gin waltz

Tchaikovsky wrote this piece
in 1879. It was performed in
Moscow the same year. It is
based on a story by Pushkin,
a Russian poet.

Moderato

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,

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,

On the left is a picture of
Tchaikovsky's country house.

It was half-way between
Moscow and St. Petersburg.

Tchaikovsky

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</div>
(98)<div class='page_container' data-page=98>

Norwegian dance op.35, no.2

Grieg went to a special music
school (shown on the right)
called the Leipzig

Conservatoire, in Germany.

Allegretto

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til

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Grieg was very influenced by Norwegian folk music. A lot
of his pieces, including this dance, are written in a

traditional Norwegian style. Some of his pieces were based
on folk stories, or were written to describe the Norwegian
landscape. He also wrote many songs using poems by
Norwegian writers. Many of these were first performed by
his wife, Nina Hagerup, a famous singer. In 1867 Grieg
founded the Norwegian Academy of Music, so that other
Norwegian composers could learn to write music in a
traditional style.

.

---The school was founded by
another composer called
Mendelssohn (see page 114)
in 1843, the year in which
Grieg was born.

Grieg

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</div>
(99)<div class='page_container' data-page=99>

Polovtsian dance

no.

I

This dance is from an opera
called Prince Igor. Alexander

Borodin (1833-1887) worked
on this opera for 18 years but
died before it was finished.

Moderato

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The opera was completed by
two other composers,

Rimsky-Korsakov and

Glazunov. Like Borodin, both
of them were Russian.

Borodin

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</div>
(100)<div class='page_container' data-page=100>

• Religious music

People have always used

music for prayers to

their gods and

goddesses, in different

religions all over the

world. The earliest

surviving written music

was composed for use in

churches. The pieces in

this section of the book

were written for worship

in different types of

Christian churches.

Early church music

The first type of church

music is known as plainsong

or plainchant.

It

was first

written down in the 6th

century AD, but may have

been used for many years

before that. Each prayer had

its own chant, and there were

different chants for various

times of the year. The tunes

were very slow and only used

a few notes.

13th

century

music

(left)

• '-

,

I

I

they mixed chants with folk

tunes. Gradually church

music became more varied.

Early

folk

• musIcIans

Church composers

Until the 17th century, most

composers were paid by

churches to write music. In

many large churches, the

composers had to write new

music for every week. This

was performed in church by

professional musicians, at

first an organist and a choir,

later an orchestra too.

Later composers did not

16th

century

music

(right)

-

--

-

~-

.

-

..

-

have to depend on churches

Beside plainsong, the only

for their money. But some

other popular music was folk

still worked for churches,

music. Folk songs were lively and others wrote church

and tuneful, and so were

music for special occasions.

enjoyable to sing. In the 10th

In the 19th century, some

century, some composers

composers wrote religious

began to think that they

music that they intended to

could make their church

be played in concert halls,

music more interesting if

rather than in church.

100 The

St.

Mark's

Cathedral,

Venice

A mass is a type of religious

service (set of prayers) held

in many Christian churches.

Masses have special words,

usually in Latin, that are

spoken by the priest. In the

7th century, composers began

to set the words of the mass

to music. At first the tunes

were chants. Later they

became more complicated,

and parts for instruments

were added.

Medieval

monks singing

mass

</div>
(101)<div class='page_container' data-page=101>

There are masses for many

different occasions. As well

as ordinary ones for each day

of the year, there are masses

for special events like

coronations, weddings and

funerals. A funeral mass is

called a requiem

("re-kwi-em").

It

gets its name from

the Latin words "Requiem in

pace" which means "May they

rest in peace".

The chorale

In Germany in the 16th

century, some church leaders

believed that people should

take part in prayers, not just

An 18th

ce

ntu

r

y performanc

e

of an oratorio

Soon this type of church

singing became popular all

over northern Europe and

later in America. Today,

tunes in this style are often

called hymns. Some are based

on earlier chorales, but there

are marty recent ones too.

The oratorio

An oratorio is a piece of

music that tells a story

based on scenes from

the Bible.

It

is sung by a

choir and is usually

Sometimes they added hymns

and chorales. But oratorios

were not intended to be

performed on stage, and the

singers do not wear costumes

or act out the parts. The main

parts are sung by soloists

and the rest by the choir.

Spirituals

.

Spirituals are religious songs

that developed in America

during the 18th and 19th

centuries. They are sung in

churches in the same way as

listen to the choir

or orchestra. One

of these, Martin

Luther, began

writing tunes for

everybody to

sing. They had

words that were

written in

everyday

languages, not

Latin. These

accompanied by a small

group of instruments or

by an orchestra.

Martin Lu

t

h

e

r

Oratorios were

developed by a group of

church leaders who were

trying to encourage more

people to go to church. They

believed that people would

find stories from the Bible

much more interesting if

they were presented in this

way. Opera was very popular

at around this time, so many

composers started to develop

a musical style similar to

opera for writing oratorios.

hymns, but the style of

music is often different

from hymns.

tunes are called chorales, and

they were usually

accompanied by an organ.

Some chorale tunes are

based on plainchant melodies,

others on folk songs. The

melodies were simpler than

most masses of the time. This

made them easier to sing and

meant that everyone could

join in.

J. S. Bach was one of

the most important

composers of chorales.

H

y

mn sin

g

ing

in th

e

19th

ce

n

t

ur

y

P

e

opl

e

• sIngIng

• spiritu

a

ls

• ,

I

'

,

This is because they are more

closely related to folk songs.

By the end of the 19th

century, spiritual songs had

become very popular as

concert pieces. Because of

this, spirituals used in

church services began to

change, and a new form of

religious music developed.

This new style became known

as gospel music.

</div>
(102)<div class='page_container' data-page=102>

Wachet auf! is a cantata (a
piece for choir or solo
singers with an orchestra).

It is usually known in
English as "Sleepers wake".

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6

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r

j

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Wachet auf!

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Bach wrote Wachet aufin
1731. This tune from it is a

chorale (see p.101). It is
called "Zion hears!"

r

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J. S. Bach

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</div>
(103)<div class='page_container' data-page=103>

Bach wrote over 200 church
cantatas. This one is number
140. He also wrote a lot of
other church music, such as
oratorios and masses.

fI I

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I

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tr

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Bach was the director of St.
Thomas' Church in Leipzig
from 1723 until he died. On
the left you can see him
directing his church choir.

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4

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3

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</div>
(104)<div class='page_container' data-page=104>

Jesu, joy of man's desiring

This piece is also from a
cantata. It is a very popular
tune and many people have
tried to write music that
sounds similar to it.

Moderato

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-

3 1

I

)

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J

I

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104

• ,

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On the left you can see the
town of Leipzig where Bach
lived and worked for most of
his life.

J. S. Bach

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</div>
(105)<div class='page_container' data-page=105>

The Heavens are telling the glory of God

This song is from an oratorio
(see page 101) called The 
Creation by Joseph Haydn
(1732-1809). It is about the
creation of the world.

Allegro

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•

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+ ....

•

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II ...-'!

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)

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,

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I I

I 3 I 2

I I I

-I"'

-The picture shows the palace
of Esterhaza in Hungary.
This is where Haydn worked

for the princes Paul Anton
and Nicholas Esterhazy.

Haydn

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</div>
(106)<div class='page_container' data-page=106>

The Lord's my shepherd

The tune of this hymn was
written in the middle of the

19th century by Jessie

Seymour Irvine (1836-1887).

Moderato

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..

)

/lip I

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fl I

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f

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0

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106

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---I

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The music is played on an
organ, and the congregation

(the people in the church)
sing the words.

J. Irvine

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----

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-

I I

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I I

-

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</div>
(107)<div class='page_container' data-page=107>

This music was written to
go with a poem called

Jerusalem, by the English
poet William Blake (shown
right).

Maestoso

II .j.I. ...

-@.

II .j.I.

I

) @) I

)

"-I

II .j.I.

I ,,,..

) @) I

I

I 1\.j.I.

I~ 11.

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j

1\ .j.I.

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j

1I!f'

2
4

....

to..

* ..

• -~r

-4
2

.'

• Jerusalem

Charles Parry (1848-1918)
was a great admirer of J. S.
Bach. He studied and wrote
about Bach's music and about
the history of musical style.

Parry

~r:J

n

~ 2

l:"""l

~ .-l

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r"'-"I

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4
2

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n

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4

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t::

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..

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LJ

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.".. ."..

r:,.I'

</div>
(108)<div class='page_container' data-page=108>

This is a type of song known
as a spiritual (see page 101).
Spirituals were first sung by
slaves in America in the 18th
and 19th centuries.

Andante

mp

.

-,..

•

-

--5

1\ I

I~

)

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. -

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mp

-7.--

108

Go down Moses

I
I

5
2

f

---

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I

•

-7;;.

5
1

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I I

t-r

I I

--
._----o·

-t-I

-•

+

+-~

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---.

I
I

-I

Many spirituals are based
on stories from the bible.
This one is about slaves in
Ancient Egypt, who were
led by a man called Moses.

T

---

--•

r

T

I

-•

•

-- - ' 7

-I

---- - - ..IlL

I I

,.

• -I

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r---,

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-=t=

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+-I

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</div>
(109)<div class='page_container' data-page=109>

Swing low, sweet chariot

This is another spiritual that 
was first sung by slaves. 
Sometimes they sang songs

like this while they worked.

Adagio

"

""

IfW-

':I: _ ..rl

) @J

'1-)

P 0 ~?

I

:l$ f9

':I:

II ""

, _~_'rL

)~I

J~.

( , . <If ~-

.,

.~

l I I

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..-..

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Coda-$-4

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-

3 l 5 2

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+

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)

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( / '

r

---I I I ' L ' --'"

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I .:1- :;.1-

-

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.~. ---# j+

.,.

_ .. I...J

+

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f.-I

It is hard to know when it 
was composed, as people 
learned spirituals by heart 
and passed them on, instead 
of writing them down.

~ ~

~ ~ ~

.- .

j

_.

•

~

-h-t ' ...

-l'

f

.-.1"\

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,..

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r

r~it.

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</div>
(110)<div class='page_container' data-page=110>

This type of music often uses

special themes (melodies) for

the main characters

in

the

story. This helps listeners to

recognize the people

in

the

story when their themes are

played. Sometimes it is also

possible to tell the mood of

the character. For example, if

the theme is played very

loudly, with drums in the

background, it could mean

that the character is angry.

Another Russian composer,

Tchaikovsky, wrote a piece

about the war between Russia

and France in 1812. He used

parts of the Russian national

anthem to describe the

triumphant feeling of the

Russians as they finally beat

the French. The music even

includes cannons to create

the sounds and atmosphere

of a war. The piece is called

the

1812

Overture.

Russian s

o

ldi

e

rs fighting th

e

Fr

e

n

c

h in

1812

Seasonal music

Sometimes music is written

to describe different times of

the day or year. Vivaldi wrote

a set of pieces called

The Four

Seasons.

It

describes the way

the seasons change

throughout the year.

.

-,

,

....

,.

-

-•

•

..

-,

=.' - -

_

._

--A

s

c

ene from Th

e

Four Seasons

He wrote lots of comments

above the music to say what

was happening, such as "the

dog barks" and "shivering

with cold".

Haydn also gave

descriptive titles to a lot

of his music. He wrote

three pieces to describe

different parts of the

day. These are called

Ie

matin

("Morning"),

Ie

midi

("Noon") and

Ie

soir

("Evening"). There

are no words written above

the music, but you can hear

the mood change in each

piece. Le

matin

has a slow

introduction, as if the sun is

rising. Then the music livens

up as the day begins.

Music bout feelings

Many composers have written

music that describes their

feelings and emotions. The

French composer Berlioz fell

in love with the actress

Harriet Smithson after seeing

her in a play. He was unable

to arrange to meet her, so to

attract her attention he wrote

the

Symphonie fantastique

("Fantastic symphony") about

,

The story behind the piece is

a mixture of facts, emotions,

dreams and nightmares. At

the first performance, the

audience was given a printed

copy of the story to read. The

• mUSIC expresses

his feelings and

is often very

dramatic.

Though Harriet

Smithson was

not at the

concert, she and

Berlioz later

met, and were

Harriet

eventually

Smithson

married.

Chopin composed many

pieces called Nocturnes. They

were written specially to

create a mood or atmosphere,

rather than to describe a

specific place or event.

Chopin used to play them for

his friends in the evenings as

a form of relaxation.

his feelings for her.

Chopin playing Nocturnes

111

</div>
(111)<div class='page_container' data-page=111>

This tune by Antonio Vivaldi
(1678-1741) is from The Four

Seasons, a set of four violin
concertos. Vivaldi learned the
violin as a child.

Allegro

f

/ fI I

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.

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f

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His father was a violinist in
the orchestra at St. Mark's
Cathedral in Venice.

Sometimes Vivaldi played
there instead of his father.

--

-4
2

4
2

--

-2
1
2

:.;;;r

Vivaldi

~"~~ ~"~~

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-

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.

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.

--,..

</div>
(112)<div class='page_container' data-page=112>

Vivaldi was born in Venice
and lived there for most of
his life. On the right you can

see a picture of Venice during
a carnival.

p

3
1

</div>
(113)<div class='page_container' data-page=113>

Felix Mendelssohn
(1809-1847) first wrote this
Nocturne as part of a

descriptive overture called A

Midsummer Night's Dream.

Andante

-@) I

)

p

I

fI 2

,

r-.J 1 I 1 1

J

(

-I I I 1

Nocturne

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The story of

A Midsummer Night's

Dream

-In Athens, Theseus is about to be married. Four lovers are
in a wood nearby: Hermia and Lysander (who are in love),
Demetrius (who loves Hermia) and Helena (who loves
Demetrius). There are also six craftsmen rehearsing a play.
Oberon, a fairy king, uses a magic love potion on his

queen, Titania, and on Demetrius (to make him love

Helena). In the confusion that follows, Titania falls in love
with one of the craftsmen, who has been given a donkey's
head by one of the fairies. The play ends with a triple
wedding, the craftsmen's play and a fairy dance.

-.

..

!..-~

---0

9

-This piece was inspired by
William Shakespeare's play
(see below). Later he used the
same tunes to write a longer
piece to go with the play.

Mendelssohn

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Oberon and his magical
servant, Puck

-2
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r--=

</div>
(114)<div class='page_container' data-page=114>

When Mendelssohn first 
came across Shakespeare's 
play, he immediately decided 
to write a piece of music 
about it.

18 5

1\ - ~

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c~·

1 1

2 3

•

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2 3

.

-@)

t:\ a tempo

i-n·

r-F--- "

'---30

~ ~

---f'--Puck casts a spell on Bottom,
giving him a donkey's head

11
3

I 2 1

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0...= I I I

1
3

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...----

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J

1
4

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j

2
4

j """

~j

A scene from the craftsmen's
play

J

He was so excited about the 
music that he wrote to his 
sister, Fanny to tell her about 
it. Fanny (shown left) was 
also a talented composer.

••

•

rit'r-;

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-

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</div>
(115)<div class='page_container' data-page=115>

Hebrides overture (Fingal's cave)

Mendelssohn was very
popular in Britain, and he
visited England ten times.
You can find out more about
this piece on page 110.

Andante

iloilo

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t-c

}

mp

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t-""

fut

ot1'

:J

t

I

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ltJ

n

•

3
5

n

1

Mendelssohn loved the
excitement of London. He
spent much time going to
concerts, operas and balls,
and walking in Hyde Park.

n

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1

:;::::

Mendelssohn

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</div>
(116)<div class='page_container' data-page=116>

~--Nocturne op.15, no.2

Fryderyk Chopin
(1810-1849) was a Polish composer.

He was also a brilliant pianist
and teacher, and was famous
for his delicate playing.

Andante

~- 4

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P legato

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fl oI.j.~.

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tr

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r-I

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1.

In fact, he did not give many
public performances. But he
often played for small groups
of friends and admirers, even
as a young boy.

Chopin

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.

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-I I I I

1
4

The piano shown on the right was given to Chopin during a
visit to London in 1848. Unlike most other composers,
Chopin did not write music for many different instruments.
Almost everything he wrote was for the piano. The only
music that he wrote for orchestra was to accompany large
piano works. He composed a lot of his music while he was
playing (called improvising), then wrote it down later.

--- --~

</div>
(117)<div class='page_container' data-page=117>

This piece was written in
1869. It is called a fantasy
overture because the audience
has to imagine the story as
they hear the music.

Andante con moto

II .olo 1±n fro

I

)

f

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f\ .olo ~

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f\ .olo ,-,

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I .L.~ IL _oH'_

IiJtt 1 1

I

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I

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Romeo and Juliet

Each theme (or tune)

represents a particular

character from the story. This
helps the listeners to know
what is happening.

Tchaikovsky

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</div>
(118)<div class='page_container' data-page=118>

Tchaikovsky went to America 
in 1891. He found the people 
very friendly, and felt he was 
welcome there.

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rit.

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He was particularly

impressed with the Capitol 
building, which he visited in 
Washington, D.C.

•

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mp

</div>
(119)<div class='page_container' data-page=119>

This tune by Modest
Musorgsky (1839-1881)
represents the composer
walking though an art
gallery looking at paintings.

Moderato

fI I

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Promenade

-

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fI I --""""'I

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3 5

10 5 4 3

rJl

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r

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120

It is from a piece called

Pictures at an Exhibition.

The pictures he is looking at
were painted by a close friend
of his, Victor Hartmann.

Musorgsky

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</div>
(120)<div class='page_container' data-page=120>

Bedrich Smetana (1824-1884)
was born in Bohemia (now
the Czech Republic). He was
very fond of his country and
often wrote music about it.

Andante

floI1

-I

.~.

)~- i"

< II!!, legato

)

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r

V

fI .>I-

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Vltava

•

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•

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...

I I

-f'-"

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•

This piece is from a larger
work called Ma Vlast ("My
Country"). Vltava is about the
river Moldau which flows
through Prague.

Smetana

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I I ~

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3

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2
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10

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5

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r'" roo:

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p""

r

</div>
(121)<div class='page_container' data-page=121>

Nikolay Rimsky-Korsakov 
(1844-1908) wrote a lot of 
music based on fairy tales. 
This piece is based on a story 
called The Arabian Nights.

II .j.j.

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4
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,

122

Andante

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3
5

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f·

Scheherazade

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---

r-~

~:

I I

In the story, an evil sultan 
vows to marry and kill a

different woman each day. 
Scheherazade saves herself 
by telling him stories.

I..

Rimsky-Korsakov

--

n. ~ ~

-"

J.

?T.

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n. ;::.

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r·

t':). ; : : ~

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r·

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f·

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J

</div>
(122)<div class='page_container' data-page=122>

Each night, Scheherazade
ends her story on a note of
suspense. The sultan wants
to know what happens next,
so he cannot kill her.

20

1'1 ~

I

1 )

I

~ ~

I

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I

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I ,

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1

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f

I I

:10. . . .,.I

I I

~ ~

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4
1

--

r-J

After one thousand and one
nights he decides she should
be allowed to live. This tune
is thought to represent a
princess in one of the stories.

:::::::::::0

-

•

-

---

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r-I

3
1

f

~-r

r

-3

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r:

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3
:::::::--,

-I I

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-.

t:'I

I

----

</div>
(123)<div class='page_container' data-page=123>

The girl with the flaxen hair

Claude Debussy (1862-1918)
was a French composer. On
the right you can see the
town where he was born,
called St. Germain-en-Laye.

Andante

fI,j,j.

-I

1 ...

-< P sempre legato

I

.

fI,j,j. I

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1

~ l"..o.0oi

f.,.L l:'

I I I

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(,"lo.:

oIf kL.

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12 3
2
1

j

:;I

...

-

-I I

9 - - . . . .

-V

I .

He studied the piano at the
Paris Conservatoire (a

special school for music). But
soon he became much more
interested in composing.

r

9 9

-I

.---9

n

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Debussy

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. .

-I 2

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n~.

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I

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. . .

t-r

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</div>
(124)<div class='page_container' data-page=124>

While he was a student, his
teacher found him summer
jobs working as a musician
for wealthy patrons.

22 4

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-3

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t

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2 '? 2 1

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~

5
1 • -f'- •

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r

•

2
1

,....

r .

.

-His first job was as a resident
musician to a millionaire
music-lover at her home, the
Chateau de Chenonceaux
(shown on the left).

-

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l,,,..o000O

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</div>
(125)<div class='page_container' data-page=125>

Playing the pieces in this section of the book

On these pages you will find some hints on
playing the pieces in this book. When you
are learning a piece, it is often better to
practise each hand separately, slowly at first,
until you can play them both comfortably.
Then try them at the correct speed, and
lastly try playing with both hands together.

There are suggestions for fingerings in
the music, but if these do not feel

comfortable you could try to work out your
own. If you want to begin with the simplest
pieces in the book, try the Sleeping Beauty
waltz on page 21 and the Eugene Onegin
waltz on page 33.

Terzettino

Take care in bars 9, 22 and 28 with the
semiquaver passages in thirds. Practise
these bars on their own first. You may find
bar 13 a little difficult. Try each hand
separately until you are confident about
the fingering, then play both hands
together. In bars 26 and 27, play the left
hand part very quietly so that you can still
hear the chord above.

Fidelio

From the second beat in bar 5 to the first in
bar 9, you need to play the left hand a little
louder than the right.

The Barber of Seville overture

Play this piece lightly. The left-hand chords
should be quieter than the right-hand notes.

Drinking song

You might want to practise the first few bars
several times before trying the whole piece,
to get the rhythm right. Make sure the left
hand is very even and don't play the second
and third beats louder than the first.

Anvil chorus

Make sure your hands keep absolutely
together where they are playing the same
rhythm (from bar 11 to 15).

Soldiers' chorus

Take care with the coda in bars 18 and 19.
Make sure you play the thirds in the right
hand at the correct speed.

March of the kings

The notes must be kept as short as possible
especially in the left hand. Where two notes
126

are slurred and the second has a dot over
it, the second note should be very short.

Du und du

Keep the left hand very even and make sure
the three-note chords are not too heavy.

Morning

Play this very smoothly and gently. There
are lots of accidentals in the middle section

of the piece (bars 8 to 16). Practise this
section on its own first to make sure you
are confident of the notes.

Flower duet

When both hands play quavers together,
make sure the notes are even. Take care
not to speed up during the longer quaver
passages (such as bars 5 to 7). Practise
bars 26 to 30 on their own until you can
play them smoothly.

Pizzicati

This piece should be played very lightly,
with each note as short as possible. Try it
slowly at first and then speed it up.

Sleeping Beauty waltz

Emphasize the first beat of each bar in the
left hand, but keep it smooth.

Musette

Practise the right hand part of bars 13 to
18 on its own at first. Once you are
familiar with the accidentals and the
rhythm, then add the left hand. Try to

make a difference between the slurred and
the staccato notes.

German dance

Make sure you count carefully when both
hands are resting, and keep the tempo even.

Minuet in A

Practise both hands separately until there
are no mistakes. Then put the parts

together very slowly and gradually speed
up. You do not need to play too quickly,
but you must keep a steady pace, especially
the left hand.

The Blue Danube waltz no.1

</div>
(126)<div class='page_container' data-page=126>

Hungarian dance no.5

Practise the right hand of bars 13 to 15 on
its own. When you can play it at the

correct speed, add the left hand.

Dance of the hours

The second note in each pair of quavers

should be as short as possible.

Slavonic dance

Practise the rhythm in the first two bars,
as this appears throughout the piece.

Eugene Onegin waltz

Make sure you hold the dotted minim right
to the end of each bar.

Norwegian dance

Play this piece very lightly. Practise it
slowly until you can play all the notes
accurately.

Polovtsian dance

The rhythm is fairly difficult so try playing
it very slowly at first. The left hand helps to
keep the rhythm, so add this as soon as you
can.

Wachet auf!

You may need to play this slowly until you
get used to the fingering.

Jesu, joy of man's desiring

It is easier to count this as three beats in a
bar. Keep a steady pace without playing it
too slowly, to make it flow.

The Heavens are telling the glory of God

The left hand is fairly tricky, especially in
bars 6 to 8. Practise these bars until you
can play them without any mistakes before
you put the two parts together.

The Lord's my shepherd

Take care not to rush this piece. Play it
fairly slowly, keeping the notes even.

Jerusalem

Maestoso means "majestically". Play it very
boldly and at a steady pace.

Go down Moses

Practise the rhythm in bar 3, it appears
several times in the piece. Bars 12 and 13
may need some extra practice.

Swing low, sweet chariot

The rhythm in the right hand is fairly
difficult. Make sure you can play it
confidently before you add the left hand.

Autumn

The right hand has thirds almost all the
way through the piece. You need to
practise these until you can play them
evenly. The left hand has the same rhythm,
so make sure you play the two parts

absolutely together.

Nocturne

This should be very gentle. Make sure the
accompaniment is always very soft to allow
the tune to come through.

Hebrides overture (Fingal's cave)

From bar 9 to the end the left hand part is
fairly difficult. Learn the left hand on its
own before putting the two parts together.

Nocturne op.15, no.2

Bar 7 has a very tricky rhythm in the right

hand. You need to practise this bar slowly
and accurately before playing the whole
piece.

Romeo and Juliet

Make sure you keep the left hand very
even. Play the left hand a little quieter
than the right hand to stop it from
sounding too heavy.

Promenade

The time signature changes every bar. Try
to keep a steady crotchet beat, placing a
little more emphasis on the first beat of
each bar.

Vltava

Try to play this very smoothly, without
leaving any gaps between the notes.

Scheherazade

Hold the chords in the left hand for the full
length of the notes. Keep the right hand
flowing smoothly.

The girl with the flaxen hair

Take care with the rhythm in bars 14 to 15
and 33 to 34. The fingering is fairly hard,
so you will need to practise it until it feels
comfortable.

</div>
(127)<div class='page_container' data-page=127>

Index

Albinoni, Tomaso, 5
allemande, 86
America, 119
Arne, Thomas, 5

Bach, Johann Sebastian, 5,
19,87,88,101,102-103
bagpipe, 87

ballet, 68, 69, 86, 87
ballrooms, 86

Baroque period, 4, 5, 86,
87

basse danse, 86
baton, 38

Beethoven, Ludwig van, 3,
23,33,37,72,89.
Berlioz, Hector, 39, 78,

111

Bizet, Georges, 79
Blake, William, 107
Boccherini, Luigi, 90-91
Bohemia, 96,121
Borodin, Alexander, 99
Brahms, Johannes, 39,94
Brandenburg concertos,

cadenza, 22
Camerata, 4

cantata, 4, 102-103, 104
caprice, 44

chamber music, 23, 90
choir, 33

Chopin, Fryderyk, 39, 51,
111,117

chorale, 101, 102
choreographer, 69

church music, 66, 100-101
Classical period, 22, 23
concerto, 4, 22

concerto grosso, 4
conductor, 38
courante,86

Cristofori, Bartolomeo, 4

dance, 4, 35, 69, 86-87
da Ponte, Lorenzo, 71
Debussy, Claude, 124-125
Delibes,Leo, 69,82, 84
Dvorak, Antonin, 87, 96

Esterhazy, Paul Anton
and Nicholas, 23, 105

Field, John, 50
folk music, 86, 87, 94,

98, 100, 101
Franco of Cologne, 11

gavotte, 87
German dance, 89
Giazotto, Remo, 8
gigue,86

Glazunov, Alexander, 99
Gluck, Christoph

Willibald, 23, 25

Goethe, Johann

Wolfgang von, 52, 78
gospel music, 101
Gounod, Charles, 78
Grieg, Edvard, 39, 81,

87,98

Guido of Arezzo, 10

Hamburg, 94

Handel, George Frideric,
5,12,68

Haydn, Franz Joseph,
23,26,89,105,111
hymn, 101, 106, 107

Ibsen, Henrik, 61, 81
impromptu, 40
improvising, 117
Irvine, Jessie Seymour,

106

Jennens, Charles, 13
Judas Maccabaeus, 14

landler,89

Leipzig, 98, 103, 104
libretto, 13, 68, 71
Lieder, 38, 42
Liszt, Franz, 39, 54
London, 116, 117
Lully, Jean-Baptiste, 69
Luther, Martin, 101

masque, 21

mass, 100-101, 103
melody, 111

Mendelssohn, Felix, 39,
52,53,69,78,98,110,
114-116

Milan, 95
mime, 68, 69

minuet, 4, 35, 87, 90-91
Moldau (river), 110, 121
monks, 100

Monteverdi, Claudio, 4
Moscow, 97

movements, 22

Mozart, Leopold, 24
Mozart, Wolfgang

Amadeus, 23, 31, 68,
70-71,87

musette, 87, 88

Musorgsky, Modest, 120

Nationalism, 87, 110
neumes,.10

nicknames, 3
Nocturne, 111
nocturne, 50, 54
Norwegian dances

(Grieg), 87, 98

opera, 4,68,69,87,
101

Opera (Paris), 83
opus numbers, 3, 67
oratorio, 4, 101, 103,

105

orchestra, 4, 22, 38,

101, 102

Orfeo ed Euridice, 23
organ, 101, 106
overture, 45, 69

Pachelbel, Johann, 15
Paderewski, Ignacy, 54
Paganini, Nicolo, 39, 44,

46,54
Paris, 83

Conservatoire, 124
Parry, Charles, 107
piano, 22,31, 38, 117
piano quintet, 35
pitch,10

pizzicato, 84

plainsong, plainchant,
100, 101

polonaise, 87

Ponchielli, Amilcare, 95
Pons, Lily, 83

Prague, 110, 121

Pres, Josquindes, 11
Puccini, Giacomo, 39,

68,95

Purcell, Henry, 5
Pushkin, Alexander, 97

Rellstab, Heinrich, 36
Rimsky-Korsakov,

Nikolay, 99, 110,
122-123

Romantic period, 38, 39
Rome, 73

Rossini, Gioachino, 39,
69,73

St. Germain-en-Laye,
124

St. Petersburg, 85, 97

Saint-Saens, Camille, 39
Salzburg, 24, 71

sarabande, 86

La Scala, Milan (opera
house), 68

scenery, 69, 77

Schubert, Franz, 38, 39,
89

Schubertiads,43

Schumann, Robert, 39, 48
serenade, 29

Shakespeare, William,
114-115

singers, 68
slaves, 108-109

Slavonic dances (Dvorak),
87, 96

Smetana, Bedfich, 110,
121

sonatas, 22

spiritual, 101, 108-109
staff, 10

Strauss, Johann, 80, 87,
92-93

Strauss, Johann (father),
87

string quartet, 27, 91
string quintet, 90-91
suite, 4, 14, 86-87
symphony, 22, 87

Tchaikovsky, Piotr Il'yich,
39,69,85

Telemann, Georg Philipp,
16

terzettino, 70
theatre, 68
titles of music, 3
troubadour, 76

Venice, 113

St. Mark's Cathedral, 112
Verdi, Giuseppe, 39, 68,

74-77
Vienna, 92

St. Stephen's Cathedral,
15,23

Vivaldi, Antonio, 5, 111,
112-113

Wagner, Richard, 39, 57
waltz,87,89,92

</div>

The Usborne Book Of Piano Classics

<b>Moderato </b>

13

1

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<b>14 </b>

<b>£lJ!{lJA.SS - l4.A.l\rr£ </b>

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<i>otJ)I1't</i>

<i>. </i>

<b>Philip Hawthorn and Caroline Phipps </b>

•

<b>USIC </b>

Edited by Jenny Tyler and Helen Davies

Series

editor:

Anthony Marks

<b>Designed by Kim Blundell and Lindy Dark </b>

Cover design by Russell Punter

<b>Illu </b>

<b>ted by Joseph McEwan, </b>

<b>Guy Smith and Peter Dennis </b>

Cover illustration by Ross Watton

<b>ts by Daniel Scott and Caroline Phipps </b>

Music

engravings

by Poco Ltd

and

Michael Durnin

<b>Contents </b>

Section 1

Baroque music 4

Classical music 22

Romantic music 38

Playing the pieces in section 1 62

Glossary 64

Composer chart 66

Section 2

Theatre music 68

Music for dancing 86

Religious music

<b>100 </b>

Descriptive music

<b>110 </b>

<b>Pieces in this book </b>

e

i

<b>Introduction </b>

The tunes in this book are taken from popular

pieces of classical music, and have been specially

arranged and simplified to make them easy to

play. Many of them should be familiar, even those

with titles that you may not recognize. The pieces

are grouped in three sections according to the

period in which they were written. At the

beginning of each section there is an introduction

to the music and composers of that period.

<b>Naming </b>

n

<sub>p </sub>

<b>of </b>

c

Most pieces of music have a number, called an

opus number. (Opus is the Latin word for "work").

In the 17th century, composers began to number

their works as they were published, opus 1 (or

op.l), opus 2 and so on. Often a single opus

number was given to a group of pieces published

together in one book. When several pieces

appeared with the same opus number, each one

was given a second number, for example,

op.l, no.4.

Composers often gave their music titles as well.