O)

:CO

SCHIRAER:S

LIBRARY
Vol.

231

RODE
TWENTY-FOUR
CAPRICES
FOR

VIOLIN
(DAVID)
PR. SOc

~~

''

Vr

'

;::
-

Schirmer's Library of Musical

Classics

"^

**

'

'"'"'^

^X

9
v
Vol.

f.

^<{-'-

231

PIERRE RODE
TWENTY-FOUR
CAPRICES
(STUDIES)
FOR THE

VIOLIN
IN

14

THE

MAJOR AND MINOR SCALES

*
EDITED AND FINGERED
BY

FERDINAND DAVID
WITH

A BIOGRAPHICAL SKBTCH op THE COMPOSER BY

THEO BAKER

NEW YORK:
COPYRIOHT,

G.

SCHIRMER

1895, BY G.

SCHIRMER

UNIVERSITY OF TORONTO

EDWARD JOHNSON
MUSIC LIBRARY

v v,
..

.^^>-

v
*.

MT

58C408

PIERRE RODE, (whose

baptismal

short time the faste acquired for a rov-

Pierre Jo-

ing

life

seph,) shared with Baillot the honor

of being the most distinguished among

rels

in

names

were Jacques

in full

the violinists trained

second concert-tout, through Spain,

and at Madrid made the acquaintance

He

by
Bordeaux on Feb. 26,
and under his first violin-master,

was born
1774,

Viotti.

impelled him to seek new laufresh fields; he undertook a

of Boccherini, who provided the instrumentation for several of his con-

at

Andre Joseph Fauvel, made such rapid

progress between the ages of 8 and 14,

certos;

that at 12 he astonished both amateurs

but a fragmentary knowledge of the

art of composition.
In 1800 we find

and

artists

his

by

for
Rode, like many other
French virtuosi of the period, possessed

performance of con-

him once more

certos in public.
In 1778,

pressed

Fauvel

by

was so deeply im-

his

by the instruction of Viotti, then at the zenith of

fame as a violin-player. Though doubtless intensely
chagrined by this occurrence, Fauvel concluded to stay in
Paris, and met with no inconsiderable professional sucprofit
his

new

master, re-

(1790) in

appeared
public, playing Viotti's i^th violinconcerto at the ThMtre de Monsieur, as an entr'acte to an
This led to his engagement, in the same
leader of the second violins in the orchestra

Italian opera.

year,

as

to

the

Theatre Feydeau

responsible posiHere, too, at the concerts given

Rode performed various other con-

tion for a lad of sixteen.

during Holy Week,

certos by his illustrious

teacher and patron, and reshare of the applause showered on both

composer and interpreter; the i8th concerto (in E-minor)
ceived his

full

was a special favorite,

concerts.
he

and was repeated by request

at 3

His career as a traveling virtuoso began in 1794, when

left the Theatre Feydeau for a brilliant tournee
through

Holland and to

Hamburg; he also visited Berlin, and

King Frederick William II. Returning 'to
he
embarked
on a vessel bound for Bordeaux;
Hamburg,
but by stress of weather they were forced to seek shelter
in an English port, and Rode seized this favorable
opporplayed before

tunity to

pay

his respects to Viotti (then acting as thea-

tre-manager and concert-giver

London).
Probably a
hope of repeating his Continental triumphs likewise influenced him to take this step, which, however,
proved
in

anything but fortunate, as he was able to appear only

once, at a charitable concert, and before a comparatively
small and unenthusiastic audience.
This misadventure

him with England, and he soon returned to

Hamburg, passing thence to France through Holland and
Belgium, and giving, on the way, a succession of concerts which added new lustre to his
already great pres-

disgusted

tige.

On

In

arriving in Paris, he was made (1796) professor of

violin in the newly established Conservatory.
Yet in a

1803,

from the

he journeyed to

Imperial Court,

arena, and accordingly repaired with him

to Paris.
Here young Rode appeared at a Concert Spirituel, and his playing attracted general attention and approbation; one (to Fauvel) unforeseen consequence of
which was his desertion of his old teacher in order to

the national

attached

Consul.

acceding to a flattering offer

pupil's development
that he decided to exhibit his talent in

cess, despite his mishap at the beginning.

Rode, after two years' study with his

in Paris, installed as solo

violinist to the First

Petersburg, where he was attached

St.

to the Czar's private

orchestra in the capacity of first violin.

His debut in that
the
was
first
of
a
series
of
indescribable
city
triumphs, in-

creasing in magnitude throughout his sojourn of 5 years

in the Russian capital.

This

was

the culminating point of his artistic fortunes.

On

his return to Paris (1818) the great audience assembled

at the Odeon, prepared to give their former idol an over-

whelming ovation, left the hall disappointed; for, although

the same surety and finish of technique, the same breadth
and purity of tone, were still his, the style lacked his oldtime fervency and potency of expression. This was Rode's
last public appearance in Paris for
many years the coolness of his reception cut him to the quick, and, though
;

often giving private recitals, he now persistently avoided

the concert-stage in Paris.
In 1811, weary of such un-

wonted

he recommenced his travels in central

At
Vienna
he met Beethoven, who wrote for
Europe.
him the great violin-sonata in G, Op. 96. Spohr, hearing
Rode play while in Vienna, noted with wonderment the
decay of his style a style with which, 10 years before,
he (Spohr) had been so enchanted as to deem it worthy of
his peculiar study and zealous emulation.
In 1814 he
married, at Berlin, where he remained for a time; he then
settled in Bordeaux, and lived there for the remainder of
his days, with the exception of an ill-starred
attempt, in
inactivity,

1828, to regain the affections of his earlier Parisian admirers.

The acute disappointment consequent on

hastened his death, which occurred Nov.

this final repulse

25, 1830, at Bor-

deaux.

As

Rode was one of the leading spirits of the

by Viotti, and one of the
foremost artists who have ever lived.
As a composer,
these traits are brought into full prominence; some few of
his works
the Variations in G and E, and the 7th Concerto in A-minor
are classics, to which must be added
a player,

Franco-Italian school founded

his

"

"

24 Caprices,

still

a standard instruction-book, rank-

difficulty just above the celebrated "42 Eludes"

by Kreutzer, and of equally great pedagogical value; although Rode, on account of his unsettled life, took but
few pupils in a regular course of training. His published

ing in

works embrace, besides these renowned

violin -concertos, 3
7 of variations-

books of duos,

Caprices,

5 sets of quartets,

10

and

THEO. BAKER.

Caprices
Down - bow

PI

E means "on

Up -bow

V.

Positions

I, II,

HI, IV, V, VI, VII.

A
D

>-

"

the

"

"

D
G

string."

"

PIERRE RODE.
Cantabile.(J>=84)

strongly

1187*

mark

the staccato notes.

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Allegretto.

H872

(J.

fP

11872

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jtlhold the 3*d finger down.

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in the

second position.

Commodo.(J=i-4o)

hold down 2nd

11874

fi n2 e r.

hold down

11872

1d

finger

Siciliano.

(= io)

Allegro. (J=i38)T

tf*

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hold down

cresc

4tl>

hold down

finger.

4*J

finger.

UNIVERSITY OF TOROI\

11878

to,

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(J=

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en

do

aI

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This study

is

to be played in the fourth position.

Allegretto (JUiof

11872

moderato.

118758

dimin,

20
This study

is

to be played in the third position.

Allegretto. ()-.<>

1187*

21

552

11872

Allegro brillante.

(J =

1*0)

oresc.
1187'Z

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do not take too long bows.

dolce

11872

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un poco piu mosso.

11874

cresc.

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pocoptu mosso

allargando.
1187*

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15

poco

poco

ere

H878

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dim.

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ipt

11878

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11872

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fp

11872

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fp fp

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Arioso,

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11878

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do not take too longbows

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p
1187*

the third finger.

41

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e sostenuto. (J^=

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f; segue sopra una corda

iS
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sul

,/V sosten.
1187*

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i.

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giusto.(6)-=*4)

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11872

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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.

BEETHOVEN,
The

217.

Ch. de, Op. 70. Concerto No. 6, in

76.
Concerto No. 7, in
(Schradieck)
Airs varies (Schradieck) :
Air varie No. 5, in E. Op. 7
"
6, in A.
Op. IS
"
7, in E.
Op. 15

Op.

75
50
50
75
75

(Schradieck)

236.

411.

F., Op.

100

Romance from

Op.

22.

22s!

GADE,
-

21.

524.

GRIEG,

416.

HANDEL,

Op.

E., Op.

Sonata, in

6.

Sonata, in

Sonata No.

13.

512.

HAUPTMANN,

629.

LEONARD,

M., Op.

H., Op.

^
0&
t&

Op.

A major

(Lichtenberg)..

2, in

MASTER-PIECES

Gmajor (Lichtenberg).

3 Sonatinas (E.

I.

J66.

Vol.

II.

Elegie, Op.

Vteuxlemfs, H.

Fantasy on the

.5.

ynampetre

Vol. III.

75

235.

Cavatina.-

W.-Raff,J.

Reverie, Op. 22 No. 3.

50

2 Mazurkas, Op. 12 (Sielanka la

polonaise), and Legende, Op. 17
8 Slow Movements from Concertos Nos

L.

Sfiolir,

MENDELSSOHN,

F., Op. 64.

419.

521.

420.

MOLIQUE,

RIES

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

514.
628.
224.

Tarantella) (Schradieck)
Suite No. 3, in G.
dp. 34.
(Moderato.
Adagio. Gondoliera. Perpetuum mobile)...,

P., Op. 9. Violin-Concerto No. 7,

Schradieck)
Op. 10. Air varie (Andante con V..r.), in

SAINT-SAENS,

Introd.

C., Op. 28.

in

G (Lichtenb'ergj!

414.
477.
415.

fa

ROB., Compositions (Schradieck)

8 Fantasiestucke

73.
94.
102.
102.
113.

The same

for

"

389.
800.

522.

"
'

Piano and

'Cello'.

!!!!!!!!!!

TARTINI,

Op 38
(Vocal ScenaX
Dminor. Op. 55
G.,

Le

Jvo

~rf~An
-Op. 40.
443.

VI T

de

No. o
3.
g.

'"

No

Fantaisie-Caprice (Schradieck).

Aminor (Schradieck)

Conce "

Concerto No.' 23, 'in

No
in A ""inor (David-SchraG major' (bavi'd-'Schradieck) !!!!!!.!!!!!.'
'

60
(p.

50

Op. 37. 24 Exercises. (Preparatory to the Studies

o/K. Kreutzer and P. Kade)
Op. 88. 20 Progressive Exercises, with Ace. ol aXM Violin!!
J.,

FIORILLO,

so
U5

F., 86 Studies or Caprices (Schradieck)

HOHMANN,
1 he same

306/8.

KAYSER, H.

C. H., Practical Violin-Method.

books, each

in 5

50

Complete..

50

50

86 Elementary and Procressive

E., Op. 20.
(Introductory to the Studies /iy A'. Kreulzer ) 3
Books, each
Op. 44. 50 Short Exercises
..........'.'.'.'.'.'.'.'.'!.'.'.'.','."
Studies.

75

50

449.

RIES,

75

231.

RODE,

108.

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

SCHRADIECK, H., Scale Studies. New Edition revised

KUEUTZER,

50

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

Special Studies
Brilliant Studies
3.
Artist's Studies

Book 1.
u 2.
''

50
50

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

HUBERT,

Op.

P., 24 Caprices
Keys (F. David)

CO
60
CO

30 Elementary Studies

28.

(Studies) in the 24

60

Major and Minor

50
50

and

augmented by the Author

515.
516.
517.

75

896/7.

School of Violin-Technics.
I. Promoting
Dexterity
II.
Double-stops

HI.

Modes

SCHUBERT,

MAZAS,

%% PT^POp. 70.

446/7.

518.

75
75
75

L., Op.

F., Op. 38.

00
75

Violin-Method,

in

Accordance with

2Vols., each

TWO

VIOLINS.

12 Little Duets (Schradieck).

39
6 Duets (Schradieck)! '^Books'/each'.'.'.'.
12 Little Duets (Schradieck). 2 Books, each

1:

CQ

!!.

60

...'.'..'.'..'.'.'".'.'.'.'.'.'.'.'.'.'.'.'.",'

50

6 Little Duets

'

50

^Op.59.

6 Little Duets

J. B., Duets concerl ants (Lichtenbi-ri;):

Three Duels fin Bt, Gm., E).

Op. 9.
Op. 20.
Op.29.

60

Six Duets (in Bh, d, G, D, Am.,

Dm.)!!!!

Three Duets

(in

D, A, Cm.)...!

|;o

FOR STRING QUARTET.

263/4.

STRING QUA RTET-ALBUM.

for

75

75

50.

LI YE
Q NrV P" 8
9& n
L ChLittle
Duels
Op. 48.

298.
448.

Neia enlarged Edition:

Bowing

Principles.

each

VIOTTI,
100

of

FOR
331/2.

Piano Ace

n Polonaise de Concert (Schradieck)....

Bohemienne (Schradieck)

dTe c'k)''
444.

11.
5- in

first

68.
15 Studies (with a 2d Violin)
20 Brilliant and characteristic F.tudes
School of Mechanis
50 Daily iLxercises

500.
561/5.

520.

H. Op.

t- oncerto

...

du Diable (Lichtenberg).

Trille

by Rob. Volkmann

VIEUXTEMPS,
~

Op. 47

on

Position.
three Positions.

first

487.
488.
489.

JB
75
78
75

Eminor.

00

CH., Op.

73.
74.

Op.
Op.

Modern

'.

4 Pieces

In the
In the

50

BO
BO
BO
BO

L., Concertos (H. Schradieck):

2. in Dminor.
Op. 2 (F. David)

7, in
8, in
9, in

75
1

50

513.

SPOHR,
No.

*228.

3 Romances
5 Stuckc im Volkston.

Marchenbilder.

*230.

and Rondo capriccioso

SCHUMANN,
Op.
Op.
Op.
Op.
Op.

75

Herrmann)

A., Scale- and Arpeggio-Studies.

50

! !

DANCLA,

DONT,

Aminor (David-

(Schradieck)
412.

BLUMENSTENGEL,
each

Lehmann)

Canzone.

RODE,

J. S., Six Sonatas (Ed.

50

FRANZ,

Bourree.

BACH,

MAZAS,

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

PAGANINI, N., Op. 11. Moto perpetuo (Lichtenberg)
RAFF, J., Op. 85. 6 Pieces. (Marcia. Pastorale. Cavatina.
Scherzino.

418.

602.
626.
219.

Concerto, in Eminor (Schra-

<*"=<*)

*511.

DO

429.

Chanson

9 and 11

6,

50

II.

100

U'ieniamski, H.
et

<

Mazurka

Books,

50

Herrmann)

for the Violin with Ace. of Piano (Schra-

W.

Ernst, H.

Vol.

Oft

fa
fa

00

dieck):
354.

Ire

(Lichtenberg) .......................
4.
Polonaise brill., iu
(Lichtenberg). !..'.'!!! !'."""!
5.
Adagio elegiaque (Lichtenberg) ...................
6.
Airs russes.
2 Uomances de Warlamoff, variees
(Lichtenberg) .........................
Op. 7. Capriccio-Valse, in E (Lichtenberg) ....... .. ..!!;.
Op. 9. Romance sans paroles, and Rondo elegant (Lichlenberg) ..................................
Op. 12. Sielanka and Chanson polonaise (2 Mazurka's')' aiid
Op. 17. Legende (Schradieck)
Op. 15. Theme original varie (Lichtenberg).
Op. 16. Scherzo-Tarentelle (Lichtenberg)
-Op. 20. Fantaisie brill, sur "Fatal." de Gounod (I.ichtenberg)

100

Hymn (Lichtenberg)
Gr. Military Fantasy (Schradieck)

15.

603/4.

50
10.

Souvenir de Posen.

3.

Op.
Op.
Op.

00

A, for Violin with Figured Bass,

in

Souvenir de Haydn.

2.

Austrian National
220.

50
50

(Schradieck)

Dminor (Lichtenberg)

G. F., Sonata,
by F, David

H., Op.

FOR VIOLIN SOLO.

221.

on the March and

brill,

Hungarian Airs with Variations (Schradieck)

N. W., Op.

arr.

" Otello"

Rossini's

612.
618.
646.

75
75

(Schradieck) ...................
capriccioso (Schrudieck) .....

Fantaisie

11.

Op.

WIENIAWSKI,

and Variations on the Russian

Andante and Scherzo

16.

ERNST, H. W.,

407.

Introd.

6.

"The red Sara/an'"

Air:

Op.

610.

6n

M., Op. 26. Concerto, in Gminor

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

DAVID,

607.
608.

50
50
50

BRUCH,

Ciaccona, for Violin with figured Bass, arr. by

*

T.,

F.David ..............................................
606.

*237.

VITALI,

4 00

BERIOT,

408.
409.
410.

*525.

$200

same, bound in cloth

FOR PIANO AND VIOLIN.

VOL.
417.

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

Concerto, in D. Op. 61. With Cidenees by H. Schradieck.
2 Romances: Op. 40, in G. Op. 50, in F (Schradieck)

234.
215.
216.

PRICK

L. van, Sonatas (Ad. Brodsky)

Celebrated Pieces, arranged

2 Violins, Viola and 'Cello
by EuRen
*
Gruenberg. 2
each

Vols.,

QQ

MT
265

Rode, Pierre
Caprices,

FACULTY OF
MUSIC LIBRARY
DATE DUE
JUL (U

MAY 3

SEPT.9

22.