Classical Canons - 230 Solfeggio [Multilingual - Revised] 145841325X, 9781458413253

Citation preview

3 - 10

$22.95

CLASSICAL C A N O N S W I T H O U T TEXT

CANONS CLASSIQUES SANS LES T E X T S

KLASSZIKUS KÁNONOK SZÖVEG NÉLKÜL

Compiled and commentaries by Séléction et notes explicatives par

Összcállitotta és magyarázó jegyzetekkel ellátta

MOLNÁR ANTAL

(EMB EDITIO MUSICA BUDAPEST Z. 12 581

P R E FA C E T O T H E S E C O N D E D I T I O N

These canons were collected in the 1910s and 1920s by means of foreign second-hand book catalogues. I was in correspondence with antiquarian booksellers from several coun

tries and obtained numerous items in the form of early handwritten copies. When the collection by Jöde "Der Kanon" appeared in 1926 there were hardly any pieces in it which did not figure among the items of my own assortment and could thus be taken over.

The fact that the outstanding German master could not have been familiar with my work is supported not only by the date (my volumes were printed in 1928) but born o u t by

double evidence 1) my solfeggio textbook published in 1921 already contained quite a number of canons which were later published by Jöde as recent discoveries, 2) my collection of 1928 included several masterpieces missing in Jöde's book. The present collection has been conceived right from the outset so as to form an organic component of and a supplement to the teaching of solfeggio. The original texts and their relevant translations have been omitted with the intention that the pedagogical aim, namely that which is achieved through solmization, could be proprely emphasized.

There is hardly any need to recommend these pieces for cultivation. Luckily enough, solfeggio has become so wide-spread and in particular singing canons has gained such popularity that its praise would suggest an irony of the same kind as Erasmus' eulogy of foolishness. Nevertheless, it cannot be left unsaid how immensely this domain contributes

to raising the musical standards of the greatest number ofpeople possible. January 1955

Antal Molnár

IV

The editor's task has not been difficult since almost the entire musically valuable material o f the first edition could be used and it was only the sequence where changes seemed necessary. The canons which were originally published in three volumes are presented here

in one volume in the chronological order they succeed each other in the history of music. The keys used in the first edition have been retained. It lends variety to relative solmiza-

tion and provides opportunities for covering the whole circle of fifths. The canon output of six centuries, ranging from the anonymous composer of the 14th century to Brahms, offers a choice of material both with regard to melody and to ar-

rangement. The pieces have not been placed according to grade of difficulty as this depends on the attainments of the participants. At any rate, four aspects must be taken into consideration when selecting the pieces to learn next. It is extremely important to check the compass since the properly chosen range is a prerequisite for good singing. Works moving in the range of two octaves should be sung by adult choruses while pieces with a smaller range by singers whose voice is in the process of developing. For beginners short works consisting of a smaller number of parts should be chosen. This collection offers a rich selection of pieces starting from two-part compositions made up of four bars only to the most sophisticated canon. In the foregoing the external criteria of selection were enumerated; on the other hand, the melodic and rhythmic difficulties inherent in the various pieces reveal internal problems. If the work meant to be sung is selected on the basis of these four criteria and the prescribed tempo is kept we shall be able to make music well and sensibly.

These canons may be performed by voices and instruments jointly; certain parts are to be sung, others to be performed on an instrument. (Da cantare o sonare ...!) For pupils of the faculties of singing it is highly recommended to sing the canons in a soloistic manner (one singer per voice), as they facilitate acquiring sure attack and a skilful performance of an independent voice. Singers educated on such training material will delight conductors. In addition, these canons may also be used in the string and wind instrument instruction of beginners; canon like playing represents one of the stages of ensemble playing. For

these purposes the pieces must be provided with the appropriate signs such as bowing and blowing. The first initiatives relating hereto were made by Jöde in his work entitled "Spielkanons"

László Agócsy

V

NOTES

1. A good example of the Dorian mode.

2. a) and b): The principal melody is in Hypophrygian mode, the other voice moving in double (augmented) time-values is in Phrygian. The whole little piece is a canon at

the fifth. 3. An early example of the major key.

4. It is in the Aeolian mode. .5 Aeolian mode with ending in the Ionian one. 6. A canon by augmentation. The mode of the first and third parts is Hypodorian; moreover, the third part repeats the first one in double counterpoint and by inversion; the upper voice of the second part moves in the Aeolian mode, its augmented lower voice in Hypoaeolian mode. "Benedictus" of the mass "L'homme armé" , as a m a t t e r o f fact. An excellent example of polyphony in the Netherlands.

7. A sophisticated canon in which the lower voice repeats the same melody as the upper voice but with a rhythm slowed down (augmented) in the ratio of three to two; the middle voice repeats the same melody as the lower voice by double augmentation and

a fifth higher, i.e. it is a canon by augmentation and at the fifth.

The mode of the upper and lower voices is Hypodorian, that of the moddle voice is

Aeolian ending in the Dorian mode. Its original text corresponds with "Agnus Dei". 8. Mixolydian mode.

9. Hypoionian mode. 10. Phrygian mode. 11. Ionian mode. 12. Likewise.

13. Dorian mode moving in the Hypodorian.

14. In Dor ian mode.

15. As No. 11. It is built on a Gregorian theme (Ave Maria). 16. It precisely reflects the treatment of the early Aeolian mode. A raisen seventh degree (subsemitonium modi) is only used in cadence with beat.

17. As the previous piece. 18. In Mixolydian mode. 19. As No. 11. 20. It foreshadows the major key proper. 21. Its sixth degree is missing so that it can equally belong to the Aeolian and the Dorian modes.

22. Its mode is: Hypoionian.

23. Its contrapuntal construction shows similarities with that of Nos. 18, 19 and 20. 24. In Mixolydian mode. 25. As No. 16 26. The comment given at No. 13 also applies here. Its mode is: Hypoionian. 27. Its mode is Hypoionian coming near the major key as it is frequently the case in Lasso.

28. In the major key; as regards its construction see the comment given at No. 23. 29. This piece in G minor is characteristic of Baroque sentiment unfolded with rich chromaticism.

30. Also in the minor key with typical suspensions.

31. Related to the foregoing in that its opening motive heads the musical thoughts as a kind of motto.

32. Entirely in the major key. The fascinating power of this regularly constructed piece lies in its hiding a canon at the fourth and at the fifth at the same time, even if only as a hint.

33. The wit of this solution is that the imitating voice shifts the rhythm of the theme by a quaver, i.e. produces a change of accent. 34.

It provides a good example not only of a series of efficient suspensions but also o f

sequencing generally applied in the Baroque era. 35. Its light cheerfulness is enhanced by the succession of imitations started at the third entry. It reminds us of dance pieces.

36. In its "Ecce homo" mood the sharp dissonance effect practised since Lotti constitutes a n essential f a c t o r. (See the several f a m o u s " C r u c i fi x u s " b y L o t t i ! )

37. A majestic dance with pseudo-imitation at the later entries as in No. 32. Cf. No. 42

38. Similar to No. 36 but in a milder form.

39. A lively dance with similar endeavours to the ones remarked at No. 37.

40. A typical school-piece (for pupils); the previous comment refers hereto as well. 41. With a similar tendency as No. 36 but in a more modest form. 42. The remark made at No. 37 of the pseudo-imitation holds true for this piece as well;

in such a case Caldara produces for the most part the tonal answer according to the dux-comes relationship of the fugue.

43. A playful canon with a jest: The light imitative wit of descending trichord. 44. Its contrapuntal message corresponds to that of No. 37. 45. Similar in construction to the aforementoined ones. With an archaic allusion to the Dorian mode, yet within the minor key.

46. The same type of construction; it reminds us of the middle piano sections of the organ toccatas of those days. 47. Just like No. 41.

48. The same type as No. 42, with a shift of accent at the third entry.

49. This subject originating in the treasury of Gregorian chant was a commonplace device of the Baroque style. Bach applied its counterpart in the B flat minor fugue in the first volume of the Woltemperiertes Klavier. The remarks made of pseudo-imitation hold true for this case as well. There is a shift of accent at the second entry.

50. As far as the mood is concerned it is analogous with the previous one, only its imitation passages are more persistent.

51. It reflects a manner intended to be "strict" by the master brought up on Palestrina's style, with counterpoint in contrary motion at the second entry. 52. One of the most outstanding masterpieces of Caldara, with masterly powerful pseudoimitations, rhythmic shift of the opening syncope at the third entry. The sixth chord

made chromatic in the "Neapolitan" manner and applied as the subdominant of the cadence supports well its mood.

53. A didactic canon in which the head-motive emerges in several places in compliance w i t h the instructive i n t e n t i o n o f t h e m a s t e r o f counterpoint.

54. With similar tendencies as No. 29, yet on a modest scale. 55. It stands near the type of No. 44.

56. As No. 42, with a shift of accent at the second entry.

57. Closely related with Nos. 36 and 38 and even more so with No. 49. The diminished

seventh chord after the entrance of the voice has its origin in the Laments of Caldara's

operas.

VII

58. The first sentence of the foregoing remark holds true here as well. 59. A counterpart of No. 52. The "Neapolitan" chord appears here in the fundamental position and not as an inversion of the sixth chord.

60. A contrapuntal piece without artifice, yet in the manner of No. 52. At the same time it includes illuminating passing notes of a second to achieve a clean intonation of the diminished third interval. (In the previous canon the same method may contribute

to singing the E flat--C sharp completely in tune but there the passing notes should only be i m a g i n e d ! )

61. With the instructive aims of No. 53. 62. A counterpart of No. 60, bringing an almost exact imitation at the third entry,

enhanced by Lotti's dissonance effect and heightened by "Neapolitan" sentimentalism. By virtue of its artistic value it deserves to be placed beside No. 52.

63. It is also one of the lamenting pieces with "augmented sixth" which is fairly rare in canons. T o effect clean intonation of this as well as of the dimished fourth interval near the end is a thorny task!

64. The entire piece is one single sequence series. 65. The underlying idea is an imitation of remarkable beauty (second entry!). As regards the difficult intonation see the remark made at No. 60.

66. As far as the intonation is concerned cf. No. 63; otherwise it is a counterpart of the previous one.

67. It is related to the foregoing two. 68. A humorous, daring piece with freely handled dissonance effects. It could characterize three passionately debating persons who fall out with each other. 69. As No. 53 b u t rendered more difficult through the change of time.

70. The remark made at No. 63 holds partially true here as well; it may prepare for the e v e n m o r e d i f fi c u l t p i e c e N o . 2 9 .

71. A canon of the rare kind with entrances in quick succession; these stem from the stretti o f the fugue. Its polyphonic aspirations are counterbalanced by the lack of r h y t h m shift.

72. An instructive piece with a certain degree of undeniable contrivance. Its zeal surpasses its b e a u t y .

73. Trumpet-like formulas with typical "gallant" motives and graceful dance motions. 74. Telemann well-nigh boasts here of his knowledge of early Baroque music; but as soon as the contrapuntal situation turns serious he knows how easily to extricate himself, namely by suspending the voice under way. This method was frequently applied in later eras as well whenever the entrances were close to each other.

75. An illuminating piece for pupils, mostly for instrumental beginners. 76. Likewise. 77. Likewise; at the same time a" M i n u e t "

78. Likewise ; at the same time it is a "Siciliano".

79. A piece of similar aims but in a much simpler, less ambitious elaboration. A kind of "petty family joke" 80. It is related to the foregoing.

81. Greeting song for pupils of the lower grades. 82. The greeting of spring with the call of the cuckoo. 83. A canon for social gathering at feasts, with the chime of bells.

84. A concocted piece showing off with its ingenuity. 85. An airy, "gallant" piece. 86. The wise master's admonition; in a subtle form.

VIII

87-88. Mozart's old master heaps commonplace artifices of the contemporary idiom so skillfully that we forget about the contents and enjoy the form.

89. In this bagatelle it si again the design that lends the piece "academic" heights. 90. It is meant for a cheerful gathering. 91. A joke mocking dull conversations. 92. Epitome of "after rain comes sunshine"

93 and 94. So-called double canons with Fuch's didactic counterpoint. They are illustrative of what the Rococo meant by polyphony to the greatest glory of the Academy at Bologna. Nevertheless, they are not easy to sing well. 95-105. Eleven improvised master canons for social use. Mozart wrote such pieces when among friends for the sake of entertainment on the spot. Stray pearls of fully developed Classicism which evolved from the Rococo.

106-125. The approach of the paternal friend of Mozart to writing canons was just the

contrary to the method of the younger genius whom he recognized as the greatest musician. Haydn cultivated the genre of social canon as a model of contrapuntal care, cautiousness and crystal-clearness. Resulting from this his achievements in this field are not mere occasional master pieces but bagatelles of unappraisable value. Any chorus which succeeds in shaping the portrait of this powerful humorist through

performing these pieces can b eproud, indeed. The pieces were written partly for equal voices and partly for mixed voices! Nos. 124 and 125 are canons at the fifth.

126-131. Catch-clubs were extremely popular in England (particularly in London).The chief entertainment in these musical associations was the enthusiastic communal

singing.

132. Reinhardt is a significant representative of the song literature before Schubert. He

is frequently mentioned together with Zelter, a favourite of Goethe, but his musical imagination is more soaring than that of his Berlin master.

133. It is one of the late masterpieces of the centuries-long fashion of imitating cuckoos.

134-138. The composer of these pieces is the same Salieri (Italian teacher of singing and composer resident in Vienna) who is depicted in Rimsky-Korsakov's opera "Mozart

and S." as an intriguer poisoning Mozart. Though history's court of justice cleared him of the charge of murder, his remarks made on the occasion of Mozart's death

have survived according to which Mozart's early decease was an immense piece of luck for the Viennese colony of Italian musicians since their most dangerous rival

dropped out! No. 135 imitates bells of various sizes. The piece No. 137 is, with its

humorously abrupt modulations, a catchy test of clean intonation.

139-166. The renowned director of the Conservatoire at Paris was one of the few musicians of whom Beethoven had a very favourable opinion. It is well known what a profound influence Cherubini's operatic manner had on the style of "Fidelio". Thus e.g. the social canon in the first act of "Fidelio" could be associated with the name of the Frenchified Italian maestro with good right. The series in the present collec

tion bears the mark of noble classicism. And itis highly illustrative of what kind of forces were counterbalancing the amateurish-sounding romances in Paris at the tum of the century. No. 142 is a singing teacher's piece, a counterpart of Haydn's piano

teacher's piece for four hands: it mocks schoolboys who start learning solmization.

This was a current fashion in those days prevailing ever since Pergolesi's opera, the "Maestrodi musica. The singing class in Rossini's opera "The Barber of Seville" is

characterized by ironic mood because it stands as a pretextfor assignation. Music

teaching is a source of and an inexhaustible occasion for humour up to Debussy

("Doktor Gradus ad Parnassum"). The piece No. 153 provides an unparalleled

IX

example of imitation with close entry and shifted accent, of how the permanent contradiction blends into unity. It appears from No. 164 how much Cherubini was familiar with and aware of the achievements of his predecessors (Caldara). 167. Nageli was the initiator of a vivid and populat trend of elementary school music teaching in Switzerland. The counterpart of what is the Kodály movement in Hungary is about 100 years older in the west. One of the modest contributions to it was

this minuet by Hering, a teacher at Bautzen which was conceived with the aim of

"popularizing" it.

168-172. Berton, junior was a much celebrated composer mainly of revolutionary operas which were the craze o f the times after the French revolution. His canens are not so

distinguished as those by Cherubini; most of them are much rather homophonic songswith a successively attached simple accompaniment. No. 169 is a satire of the sentimentalism of love; No. 170 is a lively demonstration of what the sweeping fashion of marches in the nature of the Marseillaise meant in those days. The piece

No. 172/a is a tricky chord-changing canon at the fourth with a rather dilettante attitude; as a matter of fact, it is a series of chords broken up into its voices, an extremely instructive test of singing in tune! (Much more difficult than No. 183 which practises chromaticism.) The semblance of polyphony is enhanced if No. 172/b is sung to it which is otherwise complete in itself, too. Its opening message is like programme music: the chromatic piece symbolizes pessimism, the diatonic one optimism while the combination of the two suggests total fulfilment in which all con-

trasting features blend into one. It is thus a music of philosophic orientation just

like Wagner's R i n g is on a larger scale.Despite, pupils are fond of it. Such a successively composed structure was widespread in the 15th-16th centuries. A recent exemple

of it with real polyphony may be found in No. 145 of Bartók's Mikrokosmos. 173-180. Songs are the least characteristic among the works of Beethoven. His canons

are, without exception, jokes for special occasions contributing thus to the prevalent

fashion in society. No. 176 is a piano master's mocking arranged for voice (cf. No. 142). Similarly, all his other pieces are equally rooted in the instrumental idiom. The piece No. 179 has a bearing on the history of music inasmuch as it makes fun of Malzel, the inventor of the metronome; the musical message of this canon found its way is a rare into the unsurpassed scherzo of the Eighth Symphony. At the same time it imagined be to not example of keeping a mercilessly even tempo! (Live music is without changes in agogics. As soon as the performance assumes a metronome-like

character it gets reduced to the intellectual level of technical study.) nI effect, its irresisti ble h u m o u r arises from this fact.

com181. The famous conductor of Weimar (a significant forerunner of Chopin in piano unasthis position) represents a middle course between Mozart and Romanticism; suming piece indicates how much he was imbued with Mozart's music!

182-18 7. Didacti c canons , tests for hitting a n o t e .

Weber is one of the möst 188. As No. 71, only with a more advanced thinking in chords. his laurel s after ous and daring experi mente rs of techni que. He did not rest on consci

"Der Freischütz" either but continued in his striving for ever higher aims.

noch lau" (neither 189-1 94. Kuhla ut who, according to Beethoven's pun, is "Weder Kuh, for his educa tional sonatinas cow, nor lukew arm) is prese ntly know n exclusively although he was amany-sided and talented musician, in effect, the founder of the Danish national opera in Copenhagen. His canons are also among the happier products of his wit. The fun of No. 191 lies in that the piano teacher's chaff (cf.

X

Nos. 142 and 176) changes over unexpectedly into a melancholic tune in the minor, then as abruptly as before returns to the major. No. 194 reminds us of an early

French chanson.

195-207. Canons by the professor of the teacher's training college of Silesia are undoubtedly the most outstanding representatives of the music teaching movement in schools as described at No. 167.

208-209. Hauptmann is mostly known for his theoretical writings. It is, however, not for

nothing that Mendelssohn was so fond of him: several of his vocal compositions bear evidence of gentle invention. 210-213. These items cannot be ranked with Schubert's masterpieces, nevertheless, they

are charming and well-sounding. It si worth comparing No. 213 withNo. 99; the

difference between the approach of this Mozart-enthusiast yet romantic composer

and that of his great predecessor si striking. The prevailingfeature of fully developed

classicism is the stability of part-writing while romanticism is preoccupied with

"Liederseligkeit" (singing rapture). 214-215. Schreier of Kolozsvar was amusician imitating the masters of Viennese Classi-

cism. These two skilful pieces were found in the archives of the Secondary School for Music in Budapest along with so many other documents of the history of Hungarian music.

216-217. Lachner F. belonged to Schubert's circle. The chaffing, Viennese-like (popular) motive in bars 9-10 of No. 217 is also present in Schubert's music, namely in the

intermezzo of "Rosamunde"

218-219. Due to social reasons Schumann was conducting a female choral society, too;

this activity inspired him to write such fascinatingly charming improvisations. But his canons do not stand comparison with the majority of his other choral compositions. His striving for contrapuntal writing is not accidental, which is born out by the BACH-fugues and the "Studien" for piano in the form o f canon. 220. A school-piece by one of the numerous Cherubini followers.

221-222. A piece beloved of pupils of the lower grades written by an accomplished teacher. As a matter of fact, Koehler was a famous professor of piano.

2 2 3 - 2 3 1 . The relevant works for female choir by Brahms (which are unsuitable for male voices!) owe their existence te reasons similar to Schubert's (see Nos. 2 1 8 - 2 1 9 ) .

The difference is that they belong to the noblest works by Brahms. The eminent romantic master who settled in Vienna chose not only the text for his compositions with extraordinary taste but also followed the example of the early, great masters of the madrigal when establishing his notation of vocal music. No. 203 is a double canon at the fifth.

ANVI

ALPHABETICAL INDEX - TABLE ALPHABETIQUE BETÚSOROS MU TATÓ

§

Anon. (XV.)

2/a. 2/b

Kuhlau, Fr.

8 1 - 8 4

Lachne r, Fr. Lotti, A.

1

Anon. (XIV.)

22

Anon. (XVI.) Anon. (XVIII.)

188-187

Anon. (XIX.) . .

178_180

.168-178

Brahms. .J

.229-230

Cherubini, .L

33-70 139-166

Des Prés, Josquin F e r r a r a i , I.G. Fiocchi -

Gesius, B.

Gnumpelzhaimer, A Haydn, .J Hayes, Ph. Hauptmann, M.

. G. Hering, K

Hummel, N. J.

85-94 95-105

Mozart, W. A. Palestrina, G. Perti, J. A.

9

.-

30-31 29 21 18-20

Pitoni, G. O. -

Praetorius, Chr.

Praetorius, M. •

Clemens, n. Papa Demantius, Chr. De Orto, Marbriano-

32

Martini, G. B.

B e r t o n H.

Caldara, A.

• • 216-212

28

Ahle. J. R. Beethoven. L.

... 195-207 . . . 221-2 22 . . . . 189-194

. Karow, K Kochler, L.

. Agricola, M

16-17

132

Reichardt, J. Fr.

4

5-7 133

220 10 11_15

-• 106-125 • 196-180

208-209

Sartorius, E. Schreier, J. Schubert, Fr. Schumann, R

134-138 28-94

. 214-215 210-213

..

218-219

Staden, .J. Stierlein, J. C.

25-26 79-80

Telemann, G. Ph.

71-78

Vulpius, M. -

27

Webbe, S. •-

131 188

167

181

•

Salieri, A.

Weber, C. M.

INDEX O F PARTS - INDEX PAR NOMBR E DE VOIX

SZÓLAMSZÁM MUTATÓ

Canons à 2:

2/a, 2/b, 3, 4, 5, 6, 10, 73, 81, 124, 125, 139, 144, 146, 151, 153, 175.

Canons à 3:

1,7, 9, 11, 18, 31, 33-52, 54, 55, 56, 58, 59, 61-68, 70, 72, 75, 77, 78, 82, 85, 87-90, 92, 95, 99, 101, 102, 104, 108, 114, 117, 118, 127, 131, 134-138, 140-143, 145, 147-150, 152, 154-163, 165, 166, 167, 170, 171, 174, 176-178,180, 182, 185, 187, 189-194, 195-207, 209, 210-215, 218-220, 225,227, 229.

Canons à 4.

12, 13, 15-17, 21, 22, 24, 27, 30; 53, 57, 60, 69, 71, 74, 76, 79, 83, 91, 93, 94, 97, 100, 103; 105-107, 110, 113, 115, 120, 121-123, 129, 130, 132, 133, 164, 169, 172/a, 173, 179, 181, 183, 186, 188, 208, 221-224, 226, 228, 230,

Canons à 5:

8, 14, 19, 32, 109, 111, 116, 119, 184, 217.

Canons à 6:

20,26, 29, 86, 96, 112, 126, 128.

Canon s à 7:

23.

Canons à 8:

25,28,80, 84, 168, 172/b.

German master / Maitre allemand / Német mester

(15 th .c / XV° .s / 15. sz)

Mo der ato mo lto

Netherlandish master / Maitre néerlandais / Németalföldi mester 2. S * )

(15th c. / XV° .s / 15. sz)

1. A

2.a 2 v.

S

Entry of the part: L'entrée de la voix: Szólambelépés:

Molto m o d e r a t o 2

2.6 2 v

7

19 581

2

Martin AGRICOLA (1486-1556)

Moderato

g Lageo

г .

Marbriano DE ORTO (1500 körül)

Josquin DES PRÉS (1450-1521)

Maestoso

5.

Z. 12 581

3

Molto m o d e r a t o C

DES PRES

pats.

6 2v

L.pars.

С . |

Il. pars

8

. pars,

Z. 12 581

4

DES PRÉS

Moderato

Z. 12 581

5

Largo

CLEMENS non Papa (1510- -1556)

5v

Moderato

9.1 :

는

Giovanni Pierluigi da PALESTRINA (1526- 1594) 3.

2.

3 v.

Largo 10

Barth olom eus GES IUS (155 5--16 13)

2 v.

Mod erato

1 1. 3 v.

去族

Adam GUM PELZ HAIM ER (1559 --162 5)

Z. 12 581

6 Molto m o d e r a t o

GUMPELZHAIMER

1 2 4 1

Moderato

,GUMPELZHAIMER 3

13

o F

Moderato

GUMPELZHAIMER

Lento

GUMPELZHAIMER

15. 4 v

7 . 12 5 8 1

6 Molto m o d e r a t o

h

19 →

GUMPELZHAIMER

• l d eole r le Bled dl il Moderato

GUMPELZHAIMER

13.

a I d e

9年

SIT r I P i I はよ り

Moderato

GUMP ELZHA IMER 2

14.

• !.

П Л Н プル 」は よよ よ Lento

GUMPELZHAIMER

15 4 v.

Z. 12 581

7

Moderato

16.

Christoph DEMANTIUS (1567-1643)

1.

DEMANTIUS

L a rg o

Moderato

7

Michael PRAETORIUS (1571--1621) 2

-a

3 v.

PRAETORIUS

Molto m o d e r a t o

10 5 v.

PRAETORIUS

Moderato

20 6 v.

.Z 12 581

9 Moderato

J o h a n n S TA D E N ( 1 5 7 9 - 1 6 3 4 )

25. 8 v.

S TA D E N

Moderato

26. 6 v.

Melchior VULPIUS ( ? - 1 6 1 5 )

Mod erato

2 7. 4 v

2 6 г

M o d e r a t o molto

Johann Rudolph AHLE (1625--1673)

28 8 v

Z. 12 581

10

Giuseppe Ottavio PITONI (1657-1743)

9 E

52

J

→H dを

Moderato

30.

Jacopo Antonio PERTI (1661-1756)

4 v.

• 相 e cole

Z. 12 581

11

Allegro moderato

P E RT I

hat

h ilm5eei ee

P

Maestoso

52. 5 v.

お問

H

Antonio LOTTI (1667-1740)

Z. 12 581

12

Antonio CALDARA (1670--173 6)

Moderato

33. 3 v.

け

よ

J H E

CALDARA

Allegro moderato

3 4. 3 v.

Allegro moderato

CALDARA

35. 3 v.

0 4

Z. 12 581

13

Largo

CALDARA

36. 3 v.

I te

r

Pesante

3

CALDARA

37. 3 v.

Z. 12 581

14 Modera

CALDARA

35.

d o ?

10 re led l a s t

CALDARA

Псугі

A L L

50 3

y

P

P

Allegro

CALDARA

40 3 v,

Z. 12 581

15 Largo

2CALDARA

Andante

CALDARA

Allegretto moderato

Andante

CALDARA

CALDARA

Z. 12 581

16 Molto moderato

5

CALDARA

天战 号

Molto moderato

CALDARA

4 6. 3 1

Largo

CALDARA

Z. 12 581

17

Larghetto

18. 2*

.

JIJ

CALDARA

A J J .

Lento

CALDARA

49 . 3 v.

2. 19 58 1

18

CALDARA

⽉

Allegro

CALDARA

5 1. 3 v.

2袋

, 모름T E

Z. 12 581

19

CALDARA

Largo

52. 3 v.

CALDARA

Andante

53. 4 v.

2. 12 581

20

CALDARA

Adagio

=

5 4. 3 v.

I Pr i popI f

なよ あまま Allegro

CALDARA

55. 3 v.

Allegro moderato

CALDARA

56. 3 v.

2. 12 581

21

Anda nte

57.

CALDARA

pirla ala a l l e

4 v.

御 ⼭よはみ る よな 。はこ は。

よ はい よい かな」は調 あす」

Molto moderato

CALDARA

58. 3 v.

7. 19 581

22 Molto moderato

CALDARA

59. 3 v.

Andante

CALDARA

60. 2 i 4 v.

2. 12 581

23 Andante

moderato

CALDA RA

61. 3 v

L a rg o

CALDARA

62. 3 y

Lento

CALDARA

65. 3 v.

7. 19581

24

CALDARA

J otdd d o 8 ⼿

コ

CALD ARA

Largo

65. 3 y.

. A S

e pP to r

0 0.⾹

L a rg o

CALDARA

화 온도

Z. 12 581

25

Mod eralo

CALDARA

67.

lo é

3 v.

Allegro

68.

CALDARA a

4 v.

Andante

CALDARA

69.

Z. 12 581

26

Andante

70.

• e

T h d r otpl pps 요 ?

3v

CALDARA

Pesante

Georg Philipp TELEMANN (1681-1767)

71 4 v.

Moderato

TELEMANN

72 3 v

Z. 12 581

27

Pomposo

TELEMANN

7 3. 2 V.

Andante moderato 2.

71 .

Z. 12 581

TELEMANN

28 TELEMANN

Allegret to

75; 3 v.

9 ⽣早

Moderato

TELEMANN

76 4v

7. 1 2 581

29

Allegro moderato

TELEMANN

TELEMANN

Andantino

78. 3 v.

Z. 12 581

30

J. C,S T IE R L E IN (XVIII. sz.)

Moderato

79. 4 v.

ST IE RL EI N

Adagio

80. 8 v.

bi

Moderato

Anon (18th .c / XVIII* .s / 18. sz.)

Allegretto

Anon (18th .c / XVIII* .s / 18. 5z)

Moderato

Anon (18th .c / XVIII* .s / 18. sz)

82. 3 v.

83. 4 v.

2. 19 581

31

Anon (18th .c / XVII s. / 18. 52)

Moderato

s4. &3 5号

1.

8 v.

Allegretto

. MARTINI (1706-1784) Padre G. B

85. 3 v.

Modera to

M A RT I N I

86. 6v

7 1 9 581

32

Moderato, con brio M A RT I N I

S7.

3v.

l o r ri a T I o L a

%

8 8..

Andantino

M A RT I N I

3 v.

态故 pf e Z. 12 581

33

Mod erato M A RT I N I

89. 3 v.

Alla danza

(Moderato)

90 3 v.

2. 19 581

M A RT I N I

34 Allegro non troppo

M A RT E T

91. 4 .v

1

Z. 12 581

35

U n poco lento

MARTINI

ed ⽤

6

6'9.

D I R I

Moderato

21T

M A RT I N I

93. 11A)

4 V.

Allegro

2.(B'

1.(S)

2.(T)

9 4. 4 v.

1. A

Z. 12 581

M A RT I N I

36 Andantino

Wolfgang Amadeus MOZART (175B_-1791)

95. 3 V.

현 W. A. MOZART

Allegro

5?

96. 6 v.

Allegro moderato

W . A . MOZART

Allegro, non troppo

W. A. MOZART

97. 4 V.

98. 6 v.

Z. 12 581

37

Andante mosso

W . A. MOZART

99.

§d

3 v.

IP e li e l i e

Moderato

W . A . MOZART

100. 4 v.

7. 12 581

38

, MOZART W . A

eolool Bahta gibrad ladosloreeireedld? r t - 1 C r e s c

•{

I d e

品品

cr

diJer --

Moderato molto

W. A. MOZART

102. 3 v.

A⽇

J

J J U NI A

e e ee Z. 12 681

진모 !

' LaVZOW V' M

189 61 %

poadpeg 30 81 201 5348

'tOI

I f f f eeE l I t i ng 5 6

P 'ppl eepal p fre tioteeceser: #y 14,8

P d M e t el ID I

JUVZOW 'V 'M 6€

40

Larghetto M

105.

. MOZART W. A

1.

4 v.

Largo

Joseph HAYDN (1732--1809)

106 4 v.

z . 12 58 1

41

Moderato

1076.383

J, HAYDN

4 v.

salaasla delerraldjaslia

ri erea B e I sas prl ppt rpop pe p Andante

J.

H AY D N

108. 3 v.

Moderato non troppo

J. HAYDN

109. 名点 -6

7.12.581

42 Amabile

J. HAYDN

110 4 v.

Larghetto

J. HAYDN

Mode rato

HAYDN

11 9 6 v.

Andantino

J. HAYDN

4 v.

Z. 12 581

43

Maestoso

J. HAYDN

に はよとはよ ⼀⾯

Andante J. HAYDN

Z.12 581

44

類は」を」におさよよ りよ ま よ よ よよ ♥ャ はな

舞」 」」はも とよ」はよ 」な 強 ょ 」ととよよよは いは よ

かと もよな 」 ますよよ! Andante J. HAYDN

116 5 v.

Z. 19 581

10

J. HAYDN

"? !

이미이 해 J. HAYDN

Moderato

11 8 3 v.

..Rol gupl

J. HAYD N

Allegro moderato

119. 5 v.

D

⽉ 7 1 9 58 1

46

よ J orTretrepd は £ N

Allegro

120. 2 02

J. HAYDN

1. (S)

4 v.

Pr

Z. 12 581

47

An dan te

と はま る は 出る： アーは。 243 - le esere

Alle gret to

J. H AY D N

J. HAYDN

122 4 v

2時＊

( B

7 1 9 581

48

よ の ン ト と ト 」 り よ ⽇ 、部

Allegro

1236.61

J. HAYDN

r?(S

§(A)

7 .1 2 581

49

Allegretto moderato

J. HAYDN

124.

J. HAYDN

Mode rato

125. 2 v.

Z. 12 581

50

Phili p H AY E S (1738 --179 7)

Allegro

126.; 6 .v

P C I I |

!

Oa d i l e o l e gr p i e e a d a HAYES

Moderato

127. 3 v.

HAYES

Marzia le

128 6 v.

Lento

H AY E S

129. 4 v.

Z. 12 581

51

Allegro moderato

130. X

H AY E S

1.

4 v.

Cordialmente

Samuel WEBBE (1740--1816)

131. 3 v.

Andante

Johan n Fridric h REICHARDT (1752--1814)

132 4 v.

Z. 12 581

52

Allegretto

133. 6669 NO I

Jacopo Gotifredo FERRARI (1759- 1842)

Non troppo moderato

134

O 4

Antonio SALIERI (1759--1825)

1.

3 v.

135.

Moderato

SALIERI

3 v.

Z. 12 581

53

f - alld dald 95. Allegretto

SALIERI

136. 3v

Allegro moderato

SALIERI

137. 3 v.

Z. 12 581

54

Allegro molto

SALIERI

138. 3 v.

mf cresi

f cresc.

m t

Icresc.

pp

f f Z. 12 581

cresc.

55

стезс.

f cresc. Con moto

ff

Luigi CHERUBINI (1760--1842)

139. 2 v.

Leggiero

CHERUBINI 2.

140. 3v

L a rg o

CHERUBINI

141. 3 v.

Z. 12 581

56

dE.

j - ld J a J iP pie d # d j ※

[! J

Hpt d」』 」! 。 J o g2 Moderato

CHERUBINI

142. 3 v.

Moderato

CHERUBINI

14 3 3 v.

Z. 12 581

57

Allegretto CHERUBINI

14 4. 2 v.

Alla d a n z a

CHERUBINI

14 5 3 y

Largo

CHERUBINI

14 6 . 2 v.

Andantino

CHERUBINI

147 3 v.

7. 12 681

58

G

Andante

CHERUBINI

148 3 v.

p o c o rit.

1 p o c o rit.

poco rit.

Z . 12 58 1

59

Andante con moto

CHERUBINI

149.

П3.

Allegretto

CHERUBINI

150 3 v.

Z. 12 581

60

CHERUBINI Andante

151. 2 v.

CHERUBINI

Andantino

152. 3 v.

Z. 12 581

61

Andanto con m o t o

CHERUBINI

igleses

Largh etto

CHERUBINI

154 3 v.

9 袋#

7 . 19 581

62

CHERUBINT

Sostenuto

155. 3 v.

e

Andan te

CHERUBINI

156. 3 v.

Z . 12 581

63

Andantino

CHERUBINI

157 3 v.

Z. 12 581

64

Andantino

CHERUBINI

Sostenuto

CHERUBINI

158: 3v

159. 3v

t o

7 . 1 2 581

65

Largo ma non molto

160 3 v.

-

7 1 9 581

CHERUBINI

66

Allegretto

CHERUBINI

161. 3v

0 44

7

19 581

67

Sontenuto

CHERUBINI

162.

( pila f )

「O P よ し よとよ

西 印 (piitf)

よ お種を よよ♪は Andant e

CHERUBINI

167 31

(Echo)

Z . 1 2 581

68

•. . .

! e

(Echo)

(Echo)

104 .2 年

Andante con moto

Z. 12 581

CHERUBINI

69

L a rg o

CHERUBINI

165

e

Sostenuto

to

CHERUBINI

166 3 v.

Z. 12 581

70

Alla menuetto

Karl Gottl ieb HER ING (176 6-18 53)

167. 3 v.

Allegro risoluto

Henry Montan BERTON (1767--1844)

168 8 v.

4.

Z. 12581

71

Andante

B E RTO N

169. : 4 v.

B E RT O N

Te m p o di marcia

170. 3 v.

7 1 9 581

72

T I L L

Andantino

B E RT O N

171 3 v

Z. 12 581

73

什

Z. 12 581

74 2.

BERTON

172.a 4 v. a

0

5 0

tho

BERTON

172.b 4 v.

Z. 12 581

75

Allegro zeloso

Ludwig van BEETHOVEN (1770--1827)

173. 4 V.

BEETHOVEN

Modera to

17 4 3 v.

Allegro moderato

BEETHOVEN

175. 2 v.

2 』 BEETHOVEN

Allegro moderato

176. 3 v.

71 9 5 8 1

76 , Andante

BEETHOVEN

177. 3 v.

よ おだり よ いも に!よ! ほ +

Vi v a c e

178.

3EETHOVEN

1.

3 v.

. 12 581 Z

77

Allegretto

BEETHOVEN

179. 28 9c

And ante

BEETHOVEN

180. 3 v.

1

Z. 12 581

78

よ と と。とよ とよる あっ

Andante

181

Johann Nep. HUMMEL (1778--1837)

4 v.

7. 19 581

79

Anon (19th .c / XIX* .s / 19. s2.)

Moderato

182 3 v.

183.

Allegro commodo

Anon (19th .c / XIX° s. / 19. s7.)

Allegretto

Anon (19th c. / XIX° s. / 19. 52)

1.

4 v.

18 4 5v

5

Z. 12 581

80

A n d a n t e con m o t o

Anon (19th c. / XIX° .s / 19. sz)

185 3 v.

Anon (19th .c / XIX° .s / 19. sz.)

L a rg o

186. 4 v.

e

Allegretto

Anon (19th c. / XIX° s. / 19. sz.

187 3 v.

. 12 581 Z

81

Moderato 3.

188

Carl Maria WEBER (1786--1826)

4 v.

Friedrich KUHLAU (1786--1832)

Animato

189=

1 .

3 v.

L Z. 12 581

82

1 00g 所 1

KUHLAU

08 8 r Pi 1.

Al leg ro mo de ra to

KUHLAU

191 3 v.

2. 19 581

83 Maestoso e pesante

192.

Allegro moderato

193 3 v.

7. 19 581

KUHLAU

KUHLAU

84

Allegro non t r o p p o

KUHLAU

194. 3 v.

Moderato

Karl KAROW (1790--1863)

195. 3 v.

Z. 12 581

85

Risoluto

196.

KAROW

Пп!

3 v.

Allegretto

KAROW

197. 3 v.

Commodo

KAROW

1.

198 3 v.

z. 12 581

86

198部年0 ⽇ はめ♪ はっ と よ。 Poco a l l e g r o

KAROW

6

o PP pt po POEE

Molto moderato

KAROW

200. 3 v.

24

2. 12 581

87

Moder ato

」d」♪ は。 およね。 KAROW

201. &

=

Moderato

KAROW

202 3 v.

7. 19 581

88

Andantin o

KAROW

203. 3 v.

Andantino

9

1.

204.

KAROW

3 v.

Moderato

KAROW

205. 3 v.

Z. 19 581

89

Lusing ando

206. 3 v

」♪ 」♪の はS

KAROW

ET cresc.

N 」N

PP

cresc.

cresc. Moderato KAROW

207. 3 v.

3 . г

Andantino

Moritz HAUPTMANN (1792-1868)

208 4 v.

Z. 12 581

90

Allegretto

HAUPTMANN

209. 3 .v

Andantino

Franz SCHUBERT (1797--1828)

210 3 v.

„E durban is énekelhetö"

Moderato

SCHUBERT

211. 3 v.

т р

5

т р

pp

т р

p P Z. 19 581

91

Modorato

312. Bitt

.

3 v.

SCHUBERT

1F 」 I Pp P I r e a

あ ！♪よ! ぁ出

「 サ o イr a

Moderato

1 1」 S C H U B E RT

213. 3 v.

Z. 12 581

92

SCHREIER János (ca 1780)

Allegretto

214 3 v.

Andante

世 215. 2 ⽣

SCHREIER

1.

3 v

Z. 12 581

93

Fra nz LACHNER (18 03--18 90)

A l l e g r o moderato

216. 3 v.

LACHNER

Amabile

217. 5 v.

Z. 12 581

94

A l l e g r om o d e r a t o

Robert SCHUMANN (1810--1856)

218. 3 y.

Allegro moderato

SCHUMANN

219. 3 v.

Z. 12581

95 Andante

FIOCCHI

220.810 dIe

(1810 körül)

S.a

flerend

All egr o m o d e r a t o

Louis Heinrich KÖHLER (1820-1886)

221.

Vivace

KÖHLER

222

7.12581

96

Johannes BRAHMS (1833--1897)

Allegretto

223 4v .

4 BRAHMS

Andante conm o t o

2 2 4. 4 v

A n d a n t e con moto

BRAHMS

225. 3 v.

Z. 12 581

97

A n d a n t e espressivo

Andante espressivo

227.

BRAHMS

-3

BRAHMS

3 v.

A n d a n t e espressivo

228. 4 v.

Z. 12 581

BRAHMS

98

A n d a n t e con n o t o

BRAHM S

229. 3 v.

Risdisto 11S

BRAHMS 3.(Г)

230. 4 v.

4.(B)

Z. 12 581