O)

:CO
SCHIRAER:S
LIBRARY
Vol. 231

RODE
TWENTY-FOUR
CAPRICES
FOR
VIOLIN
(DAVID)
PR. SOc

~~
f
 Vr '

.
'' ;:: -

Schirmer's Library of Musical r r r

f. "^ ' '"'"'^

Classics -
** r

^X
r

9 ^<{-'-
v
Vol. ,

231

PIERRE RODE
TWENTY-FOUR
CAPRICES
(STUDIES)
FOR THE

VIOLIN
IN THE

14 MAJOR AND MINOR SCALES

*
EDITED AND FINGERED
BY

FERDINAND DAVID
WITH A BIOGRAPHICAL SKBTCH op THE COMPOSER BY

THEO BAKER

NEW YORK: G. SCHIRMER

COPYRIOHT, 1895, BY G. SCHIRMER

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY
 v v,

.. v
.^^>-
v
*. ;

MT

58C408
 PIERRE RODE, (whose baptismal short time the faste acquired for a rov-
names in full were Jacques Pierre Jo- ing life
impelled him to seek new lau-
seph,) shared with Baillot the honor rels in fresh fields; he undertook a
of being the most distinguished among second concert-tout, through Spain,
the violinists trained by Viotti. He and at Madrid made the acquaintance
was born Bordeaux on Feb. 26,
at of Boccherini, who provided the in-
1774, and under his first violin-master, strumentation for several of his con-
Andre Joseph Fauvel, made such rapid certos; for Rode, like many other
progress between the ages of 8 and 14, French virtuosi of the period, possessed
that at 12 he astonished both amateurs but a fragmentary knowledge of the
and artists by his performance of con- art of composition. In 1800 we find
certos in public. him once more in Paris, installed as solo
In 1778, Fauvel was so deeply im- violinist to the First Consul. In 1803,
pressed by his
pupil's development acceding to a flattering offer from the
that he decided to exhibit his talent in Imperial Court, he journeyed to St.
the national arena, and accordingly repaired with him Petersburg, where he was attached to the Czar's private
to Paris. Here young Rode appeared at a Concert Spiri- orchestra in the capacity of first violin. His debut in that
tuel, and his playing attracted general attention and ap- city was the first of a series of indescribable triumphs, in-
probation; one (to Fauvel) unforeseen consequence of creasing in magnitude throughout his sojourn of 5 years
which was his desertion of his old teacher in order to in the Russian capital.

profit by the instruction of Viotti, then at the zenith of This was the culminating point of his artistic fortunes.
his fame as a violin-player. Though doubtless intensely On his return to Paris (1818) the great audience assembled

chagrined by this occurrence, Fauvel concluded to stay in at the Odeon, prepared to give their former idol an over-

Paris, and met with no inconsiderable professional suc-
cess, despite his mishap at the beginning.
Rode, after two years' study with his new
appeared (1790) in
public, playing Viotti's i^th violin-
concerto at the ThMtre de Monsieur, as an entr'acte to an
whelming ovation, left the hall disappointed; for, although
the same surety and finish of technique, the same breadth
master, re- and purity of tone, were still his, the style lacked his old-
time fervency and potency of expression. This was Rode's
last public appearance in Paris for
many years the cool- ;

Italian opera. This led to his engagement, in the same ness of his reception cut him to the quick, and, though
year, as leader of the second violins in the orchestra often giving private recitals, he now persistently avoided
attached to the Theatre Feydeau a responsible posi- the concert-stage in Paris. In 1811, weary of such un-
tion for a lad of sixteen. Here, too, at the concerts given wonted he recommenced his travels in central
inactivity,
during Holy Week, Rode performed various other con- Europe. At Vienna he met Beethoven, who wrote for
certos by his illustrious teacher and patron, and re- him the great violin-sonata in G, Op. 96. Spohr, hearing
ceived his share of the applause showered on both
full Rode play while in Vienna, noted with wonderment the
composer and interpreter; the i8th concerto (in E-minor) decay of his style a style with which, 10 years before,
was a special favorite, and was repeated by request at 3 he (Spohr) had been so enchanted as to deem it worthy of
concerts. his peculiar study and zealous emulation. In 1814 he
His career as a traveling virtuoso began in 1794, when married, at Berlin, where he remained for a time; he then
he left the Theatre Feydeau for a brilliant tournee
through settled in Bordeaux, and lived there for the remainder of
Holland and to Hamburg; he also visited Berlin, and his days, with the exception of an ill-starred
attempt, in
played before King Frederick William II. Returning 'to 1828, to regain the affections of his earlier Parisian admirers.
Hamburg, he embarked on a vessel bound for Bordeaux; The acute disappointment consequent on this final repulse
but by stress of weather they were forced to seek shelter hastened his death, which occurred Nov. 25, 1830, at Bor-
in an English port, and Rode seized this favorable deaux.
oppor-
tunity to pay his respects to Viotti (then acting as thea- As Rode was one of the leading spirits of the
a player,
tre-manager and concert-giver London). Probably a
in Franco-Italian school founded by Viotti, and one of the
hope of repeating his Continental triumphs likewise in- foremost artists who have ever lived. As a composer,
fluenced him to take this step, which, however, these traits are brought into full prominence; some few of
proved
anything but fortunate, as he was able to appear only his works the Variations in G and E, and the 7th Con-
once, at a charitable concert, and before a comparatively certo in A-minor are classics, to which must be added
small and unenthusiastic audience. This misadventure " "
his 24 Caprices, still a standard instruction-book, rank-
disgusted him with England, and he soon returned to ing in difficulty just above the celebrated "42 Eludes"
Hamburg, passing thence to France through Holland and by Kreutzer, and of equally great pedagogical value; al-
Belgium, and giving, on the way, a succession of con- though Rode, on account of his unsettled life, took but
certs which added new lustre to his few pupils in a regular course of training. His published
already great pres-
tige. works embrace, besides these renowned Caprices, 10
Onarriving in Paris, he was made (1796) professor of violin -concertos, 3 books of duos, 5 sets of quartets, and
violin in the newly established Conservatory. Yet in a THEO. BAKER.
7 of variations-
 Caprices
Down - bow PI .
E means "on the E string."

Up -bow V. A - A "

Positions I, II, HI, IV, V, VI, VII. D - >- " D -

G - " * G "

PIERRE RODE.

Cantabile.(J>=84)

strongly mark the staccato notes.

1187*
11878
 Allegretto. (J. =

H872
 fP jtlhold the 3*d finger down.
fP

11872
 This study should be played in the second position.

Commodo.(J=i-4o)

hold down 2nd -

fi n2 e r.

11874
 hold down 1d finger

11872
8
Siciliano. (= io)

Allegro. (J=i38)T T y T T
 9

tf* P cresc

hold down 4tl> finger. 4

hold down 4*J finger.

UNIVERSITY OF TOROI\

to,
11878
 Moderate. (J=
5rato.(J=ioa) / Ci\
i.iimtr&C&tlV

H87 sempre rnarcafo.

 A A
'
A

1187*
 '
Moderatos, <,

11874
 4

G D -

- G .

con forza. ,n n
a *

1187* -f -f f f+ Jf
14
Moderate. ( J = 104)

1187*
 .. 6 . . ff. .

H872
16

Moderaio assai.(J =100)

T T 1 1

fcfc

11872
 17

n-u en _ do aI P

11878
 poco a poco cresc

\
moderato. ^ /

This study is to be played in the fourth position.

Allegretto (JUiof

11872
118758
dimin, p
20
This study is to be played in the third position.

Allegretto. ()-.<>

1187*
 21

s
552
Allegro brillante. (J = 1*0)

11872
 oresc.
1187'Z f
 Commodo. (U ss)

-H
 do not take too long bows.

dolce

11872
 Grazioso.(J
A

un poco piu mosso.

11874 cresc. _
 ten pocoptu mosso

allargando.
1187*
28
Adagio con espressione. (J =

14

Jz f* fo sostennto e ere seen do

ten.

sostenuto.

Appassionato.(J .
- ee)

1187*
 pooo rttard.

a tempo.

11872
f
30
Vivace assai. (J-ee)

15

p poco a poco

P f

ere seen dim. .

H878
 31

p cresc.

ipt
I m

11878
Andante. (*) = ios)
 33

11872
34

*
-h 1 . a
^'
-r n lr ffr
'>
rdolce.
i
j~ /

11878
11872
36

Vivacissimo. (J =

sempre

'ih* L.p r=i=

i

cresc.

f segue.

ere seen
11872
 37

P Jss sempre staccato-

11878
38

Presto. (J.= 104)

fp fp fp fp

11872
 ft
Arioso, (j) =96)

attacca subifoi
11878
40
Allegretto.(J- =

do not take too longbows

down the third finger.

p
1187*
 41

H87S
 Grave e sostenuto. (J^=

n rr stentando

i
sosten. e f; segue sopra una corda

iS
* v
^ i.

'ue sul G calando p

,/V sosten.
1187*
1187*
44
Tempo giusto.(6)-=*4)

rTl s^ fl aE f .

4 1 6- rn i =i==^-?-+t=i:=^

^^ * *

^
poco ofesc.

G
~ 4t^N *

"^"^x :>"

I
k. L k ,
I

i
,

r v%

-4 4-,

f
Jri tftL
RE
i
11872
 cresc. /

*
*
1 '- ? '- i F . A

1187*
46
Presto. (J-=io4)

r h\ fr fee
ft^' ,rrr,rEggf
*y i
1187Z
 47

.
^ _ . 8,

11878
11872
H87*
50
Introduzione. ( J)= 104)
n n n o )

Agitato con fuoco.(J = las) ,

(187*
 p

f p
11872
UNIVERSITY OF TORONTO

88SS U.BAIJY.
 VIOLIN MUSIC
SELECTED FROM

Schirmer's Library of Musical Classics.

The numbers marked contain a portrait and biographical sketch of the
(*) composer.
(A descriptive-catalogue, giving list of contents of each volume, is to be had on application.)

FOR PIANO AND VIOLIN. PRICK VOL. FOR PIANO AND VIOLIN. ]

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

417. VITALI, T., Ciaccona, for Violin with figured Bass, arr. by
*
$200 F.David ..............................................
The same, bound in cloth 4 00
<

Sonata, in A. Op. 47 (dedicated to R. Kreutzer). (Brodsky- 606. WIENIAWSKI, Souvenir de Posen. Mazurka
Vogrich)
Concerto, in D. Op. 61. With Cidenees by H. Schradieck.
75
50 607. -
- (Lichtenberg) .......................
Op. 4. Polonaise brill., iu
H., Op. 3.

U
Ire
50

8 234.

215. BERIOT,
2 Romances: Op. 40, in G. Op. 50, in F (Schradieck)
Ch. de, Op. 70. Concerto No. 6, in A
50 608.
- Op.
Op.
5.
6. Airs russes.
(Lichtenberg). !..'.'!!! !'."""!
Adagio elegiaque (Lichtenberg) ...................
2 Uomances de Warlamoff, variees
DO

216. Op. 76. Concerto No. 7, in

Airs varies (Schradieck) :
(Schradieck) G
(Schradieck) 75
75 610.
6n
-
- (Lichtenberg) .........................
Op. 7. Capriccio-Valse, in E (Lichtenberg) ....... .. ..!!;.
Op. 9. Romance sans paroles, and Rondo elegant (Lichlen-
75
n
-
-
408. Air varie No. 5, in E. Op. 7 50
409.
" berg) ..................................
6, in A. Op. IS 50
" Op. 12. Sielanka and Chanson polonaise (2 Mazurka's')' aiid
410.

217. BRUCH,
7, in E. Op. 15
M., Op. 26. Concerto, in Gminor
50
100 612.
618.
-
- Op. 17. Legende (Schradieck)
. .

Op. 15. Theme original varie (Lichtenberg).

Op. 16. Scherzo-Tarentelle (Lichtenberg) 75
*525. CORELLI, A., La Folia. Variations (Lichtenberg). Piano 646. -Op. 20. Fantaisie brill, sur "Fatal." de Gounod (I.ichten-
Ace. and Cadenza by H. Leonard ..... .................. .
N berg) 1 00
236. DAVID, Introd. and Variations on the Russian
- F., Op. 6.
Air: "The red Sara/an'"
*237. Op. 16. Andante and Scherzo
(Schradieck) ...................
capriccioso (Schrudieck) .....
75
75
FOR VIOLIN SOLO.
411. ERNST, H. W., Op. 11. Fantaisie
" Otello"
brill, on the March and 221. BACH, J. S., Six Sonatas (Ed. Herrmann) i on
Romance from Rossini's
407. Op. 22. Hungarian Airs with Variations (Schradieck)
(Schradieck) 50
50
603/4. BLUMENSTENGEL,
each
A., Scale- and Arpeggio-Studies. 2
Books, 50
GADE, N. W., Op. 6. Sonata, in A major L In the first Position.
- (Lichtenberg).. . 1 00 II. In the
22s! Op. 21. Sonata, in Dminor (Lichtenberg) first three Positions.
100
524. GRIEG, E., Op. 13. Sonata No. 2, in Gmajor (Lichtenberg). . . 1 00
602. DANCLA, CH., Op. 68. 15 Studies (with a 2d Violin)
626. Op. 73. 20 Brilliant and characteristic F.tudes 60
416. HANDEL, G. F., Sonata, in A, for Violin with Figured Bass, 219. Op. 74. School of Mechanis 50 Daily iLxercises (p.
arr. by F, David 50 Lehmann) 50
512. HAUPTMANN, M., Op. 10. 3 Sonatinas (E. Herrmann) 50 DONT, Op. 37. 24 Exercises. (Preparatory to the Studies
J.,
o/K. Kreutzer and P. Kade)
629. LEONARD, H., Op. 2. Souvenir de Haydn. Fantasy on the 429. Op. 88. 20 Progressive Exercises, with Ace. ol aXM Violin!!
so
U5
Austrian National 100
220.
Hymn (Lichtenberg)
Gr. Military Fantasy (Schradieck)
Op. 15.
75 *228. FIORILLO, F., 86 Studies or Caprices (Schradieck) 50
^ MASTER-PIECES
dieck):
for the Violin with Ace. of Piano (Schra- 500.
561/5.
HOHMANN,
1 he same
C. H., Practical Violin-Method.
in 5books, each
Complete.. 1 50
0& 354. Vol. I. Ernst, H. W.
50
Elegie, Op. W.-Raff,J. Cavatina.-
t& Vteuxlemfs, H. Reverie, Op. 22 No. 3. 50
306/8. KAYSER, H. E., Op. 20. 86 Elementary and Procressive
J66. Vol. Studies. (Introductory to the Studies /iy A'. Kreulzer ) 3
Oft
II. U'ieniamski, H. 2 Mazurkas, Op. 12 (Sielanka la
et Chanson polonaise), and Legende, Op. 17
Books, each 50
ynampetre 50 513.
.5. Vol. III. Sfiolir, L. 8 Slow Movements from Concertos Nos Op. 44. 50 Short Exercises ..........'.'.'.'.'.'.'.'.'!.'.'.'.','." 50
6, 9 and 11 50 *230. KUEUTZER, R., 42 Studies or Caprices (E. Singer) 50
235. MENDELSSOHN, F., Op. 64. Concerto, in Eminor (Schra- MAZAS, F., Op. 36. 75 Melodious and Progressive Studies :
<*"=<*) 50 487. Book 1.
u 2. Special Studies CO
488.
419. MOLIQUE, B., Op. 21. 5th Concerto, in Aminor (Schradieck). 75 489.
''
Brilliant Studies 60
3. Artist's Studies CO
*511. NARDINI, P., Sonata, in D (David-Schradieck) 50 449. RIES, HUBERT, Op. 28. 30 Elementary Studies 60
521. PAGANINI, N., Op. 11. Moto perpetuo (Lichtenberg) 75 231. RODE, P., 24 Caprices (Studies) in the 24 Major and Minor
420. RAFF, J., Op. 85. 6 Pieces. (Marcia. Pastorale. Cavatina. Keys (F. David) 50
Scherzino. Canzone.
Tarantella) (Schradieck)
418. RIES FRANZ, dp. 34. Suite No. 3, in G. (Moderato.
108. SCHOEM, M., Op. S2. The A-B-C of Violin-playing 50
Bourree. Adagio. Gondoliera. Perpetuum mobile)..., 1 SCHRADIECK, H., Scale Studies. New Edition revised and
514. RODE, P., Op. 9. Violin-Concerto No. 7,
augmented by the Author
in Aminor (David- School of Violin-Technics. Neia enlarged Edition:
Schradieck) 515. I. Promoting
628. Op. 10. Air varie (Andante con V..r.), in G (Lichtenb'ergj! Dexterity 1 00
! ! 516. II. Double-stops 75
224. SAINT-SAENS, C., Op. 28. Introd. and Rondo capriccioso 517. HI. Modes of Bowing 75
(Schradieck) \ 75 896/7. SCHUBERT, L., Op. 50. Violin-Method, in Accordance with
SCHUMANN, ROB., Compositions (Schradieck) :
Modern Principles. 2Vols., each
412. Op. 73. 8 Fantasiestucke BO
414.
Op.
Op.
94.
102.
3 Romances
5 Stuckc im Volkston.
BO
BO
FOR TWO VIOLINS.
477. Op. 102. The same for Piano and 'Cello'. BO
415. Op. 113. Marchenbilder. 4 Pieces
. '.

!!!!!!!!!! H
331/2. MAZAS, F., Op. 38. 12 Little Duets (Schradieck). 2 1:
each CQ
fa SPOHR, L., Concertos (H. Schradieck): %% PT^P- 39 6 Duets (Schradieck)! '^Books'/each'.'.'.'.
-

No. 2. in Dminor. Op. 2 (F. David) 446/7.

Op. 70. 12 Little Duets (Schradieck). 2 Books, each
" JB !!. 60
7, in Eminor. Op 38
" 75 LI YE Q NrV P" 8
389.
800.
'
8, in
9, in
A (Vocal ScenaX
Dminor. Op. 55
Op. 47 ...
78 9& n
298. L ChLittle
Op. 48. Duels
-
,
' 6 Little Duets 50
75 448. ^Op.59. 6 Little Duets
...'.'..'.'..'.'.'".'.'.'.'.'.'.'.'.'.'.'.'.",' 50
fa 522. TARTINI, G., Le Trille du Diable (Lichtenberg). Piano Ace
by Rob. Volkmann VIOTTI, J. B., Duets concerl ants (Lichtenbi-ri;):
fa 520. Op. 9. Three Duels fin Bt, Gm., E). 60
VIEUXTEMPS,
~ H. Op. 11. Fantaisie-Caprice (Schradieck). 100 Op. 20. Six Duets (in Bh, d, G, D, Am.,
Dm.)!!!!
Jvo t- oncerto No -
5- in Aminor (Schradieck) 75
518. Op.29. Three Duets (in D, A, Cm.)...! |;o
de
~rf~An No. o
g. n Polonaise de Concert (Schradieck).... 75
-Op. 40. 3. Bohemienne (Schradieck) 75 FOR STRING QUARTET.
443. VI T I
dTe c'k)''
B '" Conce " No '
^
in A ""inor (David-Schra-
263/4. STRING QUA RTET-ALBUM. Celebrated Pieces, arranged
444. Concerto No.' 23, 'in G major' (bavi'd-'Schradieck) !!!!!!.!!!!!.' for 2 Violins, Viola and 'Cello
75 by EuRen
* Gruenberg. 2
Vols., each j QQ
MT Rode, Pierre
265 Caprices, 22.

FACULTY OF
MUSIC LIBRARY
DATE DUE

JUL (U

MAY 3 - SEPT.9