Gn,ORGE,

ROCT{BERG

C,tpRICE,

WIATIONS
for

Llnaccomp anie d Vio lin

Edited by

LpwTs KAPLAN

CatalogNo.

Galaxy Music

corporation a diaisiont

mfl

1.2501

fo, Daniel

Kobiallca

CAPRICtr VARIATIONS
For Solo V iol in
-

:::

bg Leu is Kaplan

GEORGE ROCHBE
F
OO

' =88-92)

-+++++++e+C+
scmnre

-lfI=-J-J

i-J

\t(simile)

(m)

4 4l
CletttteClt
LJ | | |

r'

---

C:price Variations have been recorded on Musical Heritage Society, MHS 3719.

r)

P.

, P resto

()=rzotzo)

.7"u

time

p)fl;-

"Ja

=J-t

senza rit.

!\=

A llegro

molto e con f uoco

| = c.112)

= )

.f

-=

.ff
,
4

Poco allegro ma quasi recitando

(J-"a. r20)

J-_+

I
a)

.\

,-

irt !

) d +qhC t o .- j

I
.)

t-t-

poco lot'gamente

Poco asitato ma con molto rubato

d =rz-a;)

con sord.1

tr

fle

t)

------

1--

<>

cOn s0rd.

Poco allegretto ma con rubato

..=ca.44)

9r-

senza sord.

Presto

().=ca.a+

After Beethoven
Op.7

4 Scherzo

t"ggi"rmente

.fft

cresc.

.f.

.fz

.f,

.f

.f'

cresc.

.fr,

='

rl-

Lansuid oQ.=+o)

8 uft", Schubert
Waltz

Op. 9, No. 22

B- ;;--

dolce

nz-^-:
Z' p

+
Cn

dolce

.f\rrpr-

2z^

z/h, i-n
/' p

!p

.--?
I

'-J

\on troppo presto rJ=s8,1

aiter

3':..--"

Brahms

s.f

0p. 35, Bk. I, No.2

s.f

^n

\.->I

|.-1

tf

L
A

\.4-'-r'l-l-l-l

\/n
t,L

----l

-A _

.1

a,

\:
1

=LJ
ii

a-

\/

-l

n
^

ffii

--F
-

r-

Jf-

lllr

t-J

n-[

l-

|f'
/>

V ivace r J.=ca . og)

10

--\O

after Brahms
Op. 35, Bk. I, No. 3

a-

tr Itr

-t4
I

eLTt

"

\-...-.. -

, -

-.

.l:

l;

ndante t.|)=oo>
after Brahms

11

Op. 35, Bk. I, No. 11

t-__......-,

r,,....--r

dolciss imo

1-....

e mollo legalo

--\
2\-'---/'
--->.

l---=--L--/

.- Andante con motoGf =os)

L after Brahms

Op.35, Bk. I, No. 12

1--e

1-.
I

------...-. --.'

,1----.-----/

4-

, o F"roce, energicorJ.= ca.72-76)

le) after Brahms Op. 35, Bk. II, No. 10

sempre simile

sempre pizz

L4^:'=:rli]"'ra;

allegretto con molto rubato

ry
poco

\-=
poco

.f

l-.--

ma

espr.

.f

ma espr.

F.
,ry' t

tl .

-a
3'-e

. , Con grazia; un poco agitato

rD

j,= so -gol

p comincia agitato e cresc.

.f

ancoro

molto rneno agitato

2

cresc.

.f

dtt'-v:

piu tranquillo
3

-.

y.^

n2

molto

M.

[---t

rit. -

v...--_

-r
n

molto cantabile e rubato

16

ii=ii:,":

"*oroso

l- dolce

vltf

'Jtli

N^.\

#-----:

-.---\O
poco

.f

tempo prtmo

rnf

Wco dolciss

rit. -

,-

dolciss.

lr.

r*-

I -==-PI

P:=-PP

17

Poco adagio
o

=c.4'2)
q,uasi

.f *o dolce e rnolto

espr.

t --^>

J---\

,_^_
va?.!

.fz

piu

lunga

'a
l.r----\

8_
,)>,

,-^

3?

.lX^ Allegro fantastico

I

't\r' ()=132-144)
d

-.f1,

come

,fr,

,fT,

,f<,ffz

molto {onore

tem?o \f sul pont.

,ff *olto

sonore

<.ffz

tempo sul Pont'

a tempo sul

ppp

flautando

free
ord. \9

8tempo

a
ord,.

free I

,f

come sopra

bdSio,

pon:

III

q
ILLt

Nai

\-ivace

)=2o8r
throughout
rhr-thm
Eract

2-7

,frYv

VV

nr

t-

7JV

Iv

.ff

f.

h?=

.fr, .fr,

.fr,

<-:

.fr,

come sopro

20

Quasi caden za andante con molto espressivo

hYV

,.^t,

Ieggiero e rubalo

dolce

)-.\

leggiero e rubalo

simile

\/

Y..

poco cresc.

?,

L.. =\
f ,* grctdo espr.

piu

.f

|--

=:a

e
-e--.
piu .l'

rtgiluto

/\/

--:-a

-,-_--'
tn)lto egital0
A.--

(\
----------

un poco

sosten.

cresc. ed accel.

a'

tempo prrmo

molto rit.

,-

ranquillo
4

f+

pp
* Stop trill over l6th

notes; however, the

ppp

dolciss

should continue

to

sound. Resume

trill on fourth

beat

-:

-{llegro con brio6J=ca .r3z)

ol
aL after Beethoven
Svmphcnl' No. 7, Finale

---ri

arco

bL

^_

* +:

^ ^ Molto espressivo
,q
(J

--

rnolto pesonte

L. H. pizz.

e cantando

c.60)

-G

--..

v.

..---.-l--.,

r;^
Andante grazioso e tranquillo

*r-,

(J=ca.58)

dolciss.

+-}..7/v

tetnpo

mosso

o2

tempo

v2

-J.
dim

p delicale

tr
r

-t--'---/

-----'

llegretto

, l.\
2=.
t:.h-xLt

mf

dolc'e

z---:

arco2.--l

.,---\

25

r3,^..

, {,/

:::::"
v

.fp

.fz

.f.

.f

rAr--
0n- -<-

.f wild, suingt

Con brio

26 (J.= so)

.ff

.fif',

^-i
,,ff,

,7,T,

TT--

27 ::_':

,^,
? dolce,

con grazia

J
?

\i_/.
=i

-\-r'

-.--.-

,
3

28

Mo

lto agitato

O =92- rOO)

s.f

333

s.f

tf

='

p cresc.

t-

cresc. molto

molto

lst time l>

.ip

cresc. molto

.fp

,f'

cresc. mollo

Both times

t/

.fp

p
cresc. molto

.f.

cresc. molto

\/Y-. temPo Primo3

i\

3-3-n

J-J

33

'fr',

.)t
.ff

appas

s i o n o t, m er,t

o-

[-en to ma non troppo

r =ca.69

delicate; intimate

Poco allegretto e leggiero

30 -\
t '72-76)

pp

dolciss.

gairT\

N-

=-J

o12

.-i1

u.-)
'i r tr]-?
2-1

t_

dolci.s.s.

sintile

Vr--^-\
senza sord.

.Yn tt

.)

31

j,,_-\

':::::.11"*'o

JTl
t-I I---/
re s tle

pp-

'

s; rubato; threatening
J.^\

\t-

TT

ll-

.simile

-t-r

r,)

pp

pp

misterioso

<_)

brb

pi dolciss.

(q,uasi

rh
1

""oF

pi dolciss.

<->/4

--+
T?I

Iempo prtmo

_(ry)

poro
2----.

Iry

---

\/-

q,

tJt

Allegro assai; burlesco

;= ca.66,r

.fp

.f,-

it,

:=

x\
,.fz

J --=-

iN
L4'
--J
-=

l=-

z-

-\\

----a

-7
1

= * G.ace notes maY be omitted.

,r,.'-=-i--- =

urco

33

\loderato; con umore

-=C.

-J---.-=--*

rt)

Tf'

s.fz

6 (come sopra)

rry

arco

tl

1|;-j

^'-fi

ip

.f.f,

,-i

7P

vp
mar calts

nrO
!.,--ttrl
-

tmo

--

s.fz

.fr,

-.f,

ptzz.t

-1

Qf

fr,

.f

.f con fuoco
COt

mOrCAt lSS.

===t=

pizz.

t.

|zptrill

{r ossia; senzo

ptt

tfrt,

poco

,f' =-P

flaut'

L hrtri.'
con sord.

3.1 llolto adagio

sempre sim.

35 ij::i::norto;

fantastico

.fl

eroce

NB: varY Pattern of

groups at will

Repeat ad lib.

I almost unbearab . e
intensity and break off

unti

tAJ

a piacere

.ff

-,fz
{X

q{-\

heavv bow pressure

heavy bow pressure

.fr
non troppo

'

heavy bow

.fr,

o purcere

6\

lvavy

bow pressure

* )= sharp cutoff

Repeat ad lib.
O

-- = no attack

until

maximum

intensity and
break off

Chrmle bous ad lib.

36

:1:i:;sereno

.t'---'"\--I-I:-

r"

\U
\--.=-

l\-=-----'l

.^

.T

I
I

<>
-

"\-/

\-'-.---l'

..f-

,/

-rv\

--=--//

legatiss tmo e do lc is s.

cr4

etf

Barcarolle
r =c.66)

\_/

.r:

tr) a tempo

bbJ
sub.

gtp

38

t;"^1^

temPo: Presto

,r--)

t\->

'rrl 't frl

A,-:
V

ta't)

A,---'
l--

A-a
T

>^

t
7

t/

* The pizzicato

may be played

col legno

fu,ttuto.

39

a piacere
r

Elegiac; fantastico

r; --t: r 'z
,,

oscillote slowlg, within quarler

.,,,

pp

a pl&cere

rl

po*,f9P

9p
yib.

t:0r1

Sliss.

(slow uibrato)

pr,tch.

:,':o.f

tone.

1;

p--

oscillale slowlg, within quarter

tone.

.fr,

.t'

poch.

POC'O

r sul prtnl.

r1

L+
( c'rtmc .sopru)

=-

-pp
poco adagio

\/
V,,-......-.

ord.

lJ

.f

?1.-

v/-;-\

1..-;

t4

poco accel.

molto

espr.

hold

back

=\r=--7

,,----.

poco accel.

and,

l-

Vslow-

- _to_

_fast_

more impassioned

/1
')

2
A

-1+
t t
>''---------'

'e
,/
,-''

t')

n-

')

mollo accelerando (but begin slowlg)

.f.f

fuiioso

.frrwhirling

simile

Aa
t'-....--L-

poco a poco meno mosso e dim.

lunga con iuoco

poco vib.

non vib.

\ ------/ ITl\-

11

1 v ---

i-i,,':.frr

J0
r \''

Robust: do
,

=Ca

.66

not rush

^,f ---.'_-.

e^

.l

41 Allegro molto (j=roe)

Tr
(after Webern Passacaglia, Op. 1)
.f'.f:f'

V
4

t'n::'-'t-'':;

!-._

F.-

4
+

op?os- I

qT

n7.-

?r-;\

L)

sempre simile

d\

l1
rfiI
o3

il

hi+i
-+4;L

J
=

Break

con sord.
UV

'j-2,*

12

ord. lo sul pont.

Nocturnal; slow

ord.

to

sul pont.

rl

sul pont.

ord.

tW Q,rasi echo)

pppp p

"nf=-

ord.

pp

to

sul ponl.

6\

ord.

to

sul pont.

ord.

p
*

Play

ry
tone below pitch.

gliss.
the horizontal Unes indicate approximate duration; the slanting lines indicate

Via

sord.

senza sord.

Io
+

Andantino
r)=

---e-

ca. sa )

sempre leggiero

non troppo

Tempo I "
V

--C\

sub.5t

It
't"l

Scherzo(a.=ca.6l])

after \lahler

St mphony No. 5, Scherzo)

45

P,resto
b= ca.76)

tT *,-i7 -----

rj

t:
.t'

pp

simile

sul pont.

, >,.t

bi-

sul pont.

.fr,

.f

eroce

t.

/t>,

.ffz

scnza sord.

16 Bravura; sempre recitando; in t he "grand manner"

e3211

j-

=-Tl.--

!--Y .

9-----

2-">

2z----'

+-

2.-,

urco,

.low'

47 Arabesque ; fantastico

arco

fttV

battute

,fz<

:fJ

dim.

battute

ppp

scorreaole,

fleetifi

-s

tri.dent

31,-

wco.f

dolciss. 6,

.fl.

PP

---

dolce

I rr.t1t1tr.t

6\

48 Moderately fast: fantastico

.fr-

eC

Very fast

erco I

a piacere

/1

y.-,,

1)

*%
V

/./ r
.w .f
Very fast

fast

o"nt

pizz. F

sub..f

espr.

Very fast

piu.f (fuu

2-

qQ

Braaura

bows)

F>

piu

cresc.

ff

fast

meno mosso

_pizz. arrg
6t-

-t.

rtp<.

r
1-

lunge

.f

.fff.
Verl'
F-

fasr

ff,

Az

49

Feroce

,/

h-fr

dim. molto

.fr,
molto lunga

dim- molto

ffi

.fr,

,ff,

---.tff

pppp

--

:----T
')---E
7-

mobo agitato

punta d'orco

L|

slow
q,uasi lunga

poco

n..\\l

Tr^

ffi
G-L

tr'-

.f. pp

.f27ry>PPP

subito adagio

laut.
V

come Prtma

Iunga
r1
)

A/--\

,tr^r\

simile

ffi/

lTf
,tr-.\

\r

,tr--_..

Ar-.

\
/
v

v
v

r
v

,tr-..

E-^z-

2fr
tl

,tr=-_.r\

.f.fr,

,tz^-.

rr--.\

v
v

\'

50

FantasY

.f.

.f,
scorreaole, f leeting

----_
|.1

=
p

.f

poro accel. mlolto e

ta s to

mo

lto

cresc.

rubato

p
lu n
t t---/

?-

r !---

''l
q?
I ----/

'--,.-

pp

sul pont.

slower

pp_p

iloutando;

lowing

stm

p.ocere rl
ca. D
hold bow up;
ttacca subito
Paganini's theme

lropid gliss. oner hormonics'l

to

inaudibi

litv

(znd time:?)

51
v-

Quasi Presto; robusto

no

P^aganini's Theme

Caprice XX[V, Bk.

)'--Y

ID

.fr,
AFTERWORD TO THE PERFORMER

It is understood that both the form

and performance style of Pganini's theme, the concluding music of the

Caprice Variations, have been altered somewhat in order to provide a fitting ervoi for this work.
Considering the number of 'caprice-variations' which comprise this work, the performer my omit some of the
repeats in order to reduce the duation of performance time to manageable length, especially when the entire work
is being performed. It is suggested, however, that the performer observe all or most repeats in the faster variations in
order to establish clearly their style and gestural character. In slower variations, let a istic dissetion be the judge of
which reDeats to droD.

A player choosing not to pelform the entire st.is at librty to select those sections which will add up to a
satisflng whole in musical ternrs and still iepresent the intntions of the work. In a'shortened performan version,
it is strongly wged, though, that the performer include as nany of vadations 5,18,19,33,34,35,39,41,42,45,47,
48, 49 and 50 as possible, so as to preserve a balance in the stylistic spread which is a fundamental premise of this work,

George Rochberg

(1

97 0')