viennese bass method - lesson 15 classical music arrangements - letter format

8/11/2019 Viennese Bass Method - Lesson 15 Classical Music Arrangements - Letter Format

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82Viennese Bass Method

Lesson 15. Classical Music Arrangementswww.viennesetuning.com

Exercise 120. Beethoven, Sonata for Violoncello, op. 17, 1st Movement,Allegro Moderato

Copyright 2010 by Igor Pecevski

The prospect of exploring the classical music arrangements for Viennese tuning is indeed very attractive,

considering that such arrangements would sound "in style" by default. The question is only how many

pieces and of what type could be arranged given the unique features of the Viennese tuning? As will be

shown, the list is rather long and consists of some of the finest classical pieces ever written. This lessoncan also be considered an answer to the old question of "what other pieces would we have today if the

period bassist were a little more active to commission music from the best period masters? ".

If one assumes a level of virtuosity associated with the later Sperger's works, than a number of works by

the best composers such as Mozart, Haydn and Beethoven could easily be played. The period style,

harmonic progressions and figurations are in many instances well transferable to the Viennese tuning

technique - sometimes with minor alterations and sometimes without any! Moreover, the register of the

original instrument has not proven to be an issue either, as some of the period's most advanced violin and

clarinet pieces can also be successfully emulated by Viennese technique.

The biggest surprise however was the horn literature, as by some unusual stroke of luck it appears that

all period Mozart and Haydn horn concerti can be performed in the original pitch on Viennese bass

completely unaltered too! The most fascinating element of these horn arrangements is that the sequence

of natural harmonics on horn actually perfectly overlaps the sequence of high register harmonics on the

Viennese bass. Thus no transposition is needed at all, as one only needs to tune to the adequate D or E

flat setup in order to match the original D and E flat horn concerti keys.

Thus with this approach, the Viennese bass can easily prove itself far more successful in bringing the

substantial classical literature to the solo podium than the regular bass was ever able. In the following

pages you will see that by present count the Viennese bass can claim five additional concertos by Mozart

and three by Haydn. Moreover, all this is just the beginning of the exploration process that is destined to

reveal many other valuable pieces in the future.


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Exercise 121. Beethoven, Sonata for Violoncello, op. 17, 3rd Movement,Rondo


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84Exercise 122. Beethoven, Sonata for Violin, op. 24, 1st Movement,Allegro


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8Exercise 123. Beethoven, Sonata for Violin, op. 24, 3rd Movement,Scherzo

Exercise 124. Beethoven, Sonata for Violin, op. 24, 4th Movement,Rondo


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86 Exercise 125. Boccherini, Menuet from 4th Quintet

Exercise 126. Haydn, Serenade (Quartet no.17)


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Exercise 127. Haydn, Concerto for Horn Hob. VIId:3, 1st Movement -Allegro

Exercise 128. Haydn, Concerto for Horn Hob. VIId:4, 1st Movement -Allegro moderato

The following Horn concerti are arranged in the period Viennese notation to match the original horn pitch

- whether in clefs of D (D setup) or E flat (Eb setup). They could be performed from the existing horn

piano reductions and even with the orchestra. No transposition is needed.

However due to relatively high register setup, the same concerti could be performed an octave lower in a

more traditional solo bass register (disregard Ottava signs). There is also an option to transpose them

down to A major, which would provide a bit more convenient register down a fourth from the original.


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Exercise 129. Mozart, Concerto for Horn No.1, K. 412, 1st Movement -Allegro

Exercise 130. Mozart, Concerto for Horn No.2, K. 417, 1st Movement -Allegro maestoso


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8Exercise 131. Mozart, Concerto for Horn No.3, K. 447, 1st Movement -Allegro

Exercise 132. Mozart, Concerto for Horn No.4, K. 495, 1st Movement -Allegro moderato


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90 Exercise 133. Haydn, Concerto for Violoncello Hob. VIIb:1,1st Mov. -Allegro moderato

This is how the famous Haydn's C major Violoncello concerto could have looked if Esterhazy's bassist

asked Haydn to make the arrangement for solo bass. The piece is transposed down a 7th to common bass

register and due to the triadic nature of Viennese tuning the majority of arpeggios and double stops are

preserved. The technical difficulty in this arrangement is probably lees than of Vanhal concerto and

equivalent with Dittersdorf concerti.


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Exercise 134. Haydn, Concerto for Violoncello Hob. VIIb:1, 2nd Movement -Adagio


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92

Exercise 135. Haydn, Concerto for Violoncello Hob. VIIb:1, 1st Movement -Allegro moderato

This is how the same Haydn's C major violoncello concerto might have looked if Sperger himself asked

the great master for the arrangement of this work. The register is slightly elevated from the cello original

due to the D major key requirement that necessitates a transposition from C to D. In this arrangement

even more of the original double stops are preserved and the higher register allows a quicker and more

precise execution, however at the cost of acquiring Sperger's own technique. Although the technical

requirements for this arrangement are above the average, a versatile solo bassist could be able to perform

the piece at the artistic level expected of the violoncello original.


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1

2

1

(

)

1

2

2

1

3

o

3o

2

1

2

I II I

2

2

2

1

3

3

1

3

1

3

o

-

2

1

Loco

4

1

2

1

4

2

3o

1

3o

2

3

1

3

1

3o

2

2

3

1

3

2

3o

III II I

3

1

2

1

1

2

1

1-3

2

2o

9


13/16

4

2

I

.

1

3

3

2

3

1

1

1

1

II I

3

1

1

2

2

1

3

1

2

II

()

2o

2o

3

1

1

2

1

2

II I

2

2

2

1

3

1

1

II

2

2

2

1 .

2o

2

I

1

1

2

2

(

)

2

I

.

1

3

3

2

3

1

1

1

1

II I

3

1

1

2

2

2

1

2

1

1

II

(

)

2

3

3

2

1

3

1

1

2

I

3

2

2

3o

2o

1

3o

1

II I II I II

1

2

1

3

1

1

2

I

(

)

1

2

1

3

1

3

o .

3

2

I

2

J

3o

II

3

o

I

2

o

2

2

II

.

3

o

2o

1

3

3

3

o

III

(

)

3o

I

2o

2

2

II

.

3o

2o

1

3

3

1

III

2

3

3

3

1

3

1

2

1

(

)

1

1

3

1

3

2

3

1

3

2

3

1

1

I

3

1

3

1

2

1

1

1-3

1

3

2

94Exercise 136. Haydn, Concerto for Violoncello Hob. VIIb:1, 2nd Movement -Adagio


14/16

c

w

2o

III

w w

2

1

1

2

3

II I III

1

2

II III

()

j

j

21

j

III III

III

1

2

III II III

2

1

1

2

3

II I

1

2

2

III

(

)

2

1

1

2

3

2

2

2

III II I

1

2

2

III

2

1

1

2

3

II I

(

)

2

4

4

1

4

1

2

1

4

I III II I

4

1

2

4

1

3

1.

3o

j

4

4

1

1

4

1

.

1

.

1

Loco

2

1

2

4

2

1

2

j

L

III II III

2

1

2

2

2

1

2

j

L

I

2

1

2

2

2

1

2

2

1

2

2

2

1

2

II I II I

(

)

2

1

2

2o

2

1

2

2

1

2

2o

2

1

2

I

1

2

2

1

1

II I II I

()

2

1

2

2

1

1

I II I II I

2.

2.

3

1

1

3o

3

3

1

1

(

)

3

3

2

1

1

2

2

3

1

1

I

3

3

3

1

1.

3

J

2

2

2

2

4

1

1

II III

9Exercise 137. Haydn, Concerto for Violoncello Hob. VIIb:1, 3rd Movement -Allegro molto


15/16

3

.

2

o

J

1

I II I

3

1

2

1

1

2

J

2

J

3

2

2

o

1

2

1r

2

2

1

o

2

I II

(

)

2

2

1

II I

1

2

1

2

3

3

1

3

1

w

I

()

2

2

3

1o

3

2

3o

2

3

2

3

2

3

2

3

I

2

3

2

3

2

3

2

3

1

2

3

1

2

3

2

3

.

2

1

II

(

)

3o

3o

1

1

3

3

2

2

I II

o

1

2

III I

3

2

1

2

3

2

1

2.

3

2

3

(

)

2

1

2

1

3

2

3

2

2

1

2

1

3

2

3

2

II III II III I II I II III II III I II I II

2

1

3

1

2

1

2

1-3

2

I

4

.

1

o

J

2

o

III II

2

o

1

o

I III

.

1

2

3

III II I

3

1

3

II

.

3

2

3

I II I

(

)

.

3

2

I II

r

3

.

1

I

8 .2

3

1

3

II I

1

96Exercise 138. Mozart, Concerto for Clarinet, K 622., 1st Movement -Allegro

Exercise 139. Mozart, Concerto for Clarinet, K 622., 2nd Movement -Adagio

This is one of the most beautiful classical concerti in the entire repertoire featuring the finest writing of

mature Mozart. This arrangement is exactly an octave lower from the clarinet pitch so it can be

performed from any standard clarinet edition. The second movement arrangement is particularly

convenient as it enables an easy and expressive cantabile on harmonics in the same style of Vanhal's

concerto second movement.


16/16

(

)

.

2

3

2

I II I

1

.

2o

2

3o

I II I

2

2.

2

J

1

1

2

2r

3

.

1

2

2

8

2o

1

II I

3

3

3

3

1

1

3

1.

2

J

3o

3

2

II I

3

3

3

1

2

2

1

1

2

L

1

J

2

1

2

II I I

(

)

1

o

1

1

3

1

1

3

1

I

.

2

J

3

o

3

2

3

1

2

1

1

2

L

1

2

3

1

II I II

J

3

I

7

2

III II

2

1

3

1

3

3

2

2

1

2

I II I

2

2

3

1

3

J

1

1

3

I

2

3o

1

3

1

3

3

2

3

1

3

()

3

3

3

2

1

2

2

1

2

1o

I II I II

2

3

2

4

Loco

1

4

2

1

2

L

I II

1

1

2

1

4

2

4

2

3o

1

3

2

III II I

(

)

.

3o

J

3

IJ

3

J

3

J

3

2

1

3

1

.

2

J

1

2

1

3

3

3

1

2

2

1

1

2

1

J

2

1

2

(

)

1o

1

1

3

1

1

3

1

I

.

2

J

3

3o

2

I

3

1

2

1

1

2

1

2

3

1

II I II

I

9

Exercise 140. Mozart, Concerto for Clarinet, K 622., 3rd Movement -Allegro

viennese bass method - lesson 15 classical music arrangements - letter format

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