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Cesar Franck (1822 - 1890

)

in A major for String Bass and Piano

SONATA

Transcribed and edited by Eugene Levinson

Medici Music Press
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SONA.TA· inA major for String Bass and Piano Cesar Franck Transcribed and edited by Eugene Levinson .

His Violin s<o. ow n ins tru rnent when hefi rs. Spanning the' vaSI range' of 1he instrurnent.o for B. ln April" 11980. Levrnsoo) willi be releas.esot~ 0 rc hes tea as S wei! i31S fe'atured sotetst with the orchestra iii. ~ When tlhe' workfinallly matetia~lized. singhil r.agin'g 1he pia. preselflh~!c 'I:h.tory whelr.$t$ c.e m o'vem. [ElIH IEINE LEV IN SON.l$i with lhe' osio Phiilharmcmic and the Coplenhagen Symphony Orchestra .eng. The f. Fra.1n followed. Vincent d. st. bass lst.eils.a. 6'1"1 ponse ~OCosi rna W'<lIQII'i elr's adm ir'sUon of his SIO Ires ngls..Jsi. was inspilredl by the vioilin playin. for vjiol i n .·sca·lltain. a ndi be gan h ['5 m u sica ~s tud ie-sa ~ ~he .ears agiO. Flmllda.aliso received hiis dcctorate degll'eea. h'e prom ised 10 write' ·8 sona ta ~'o her. parlners in equ~.nd ~he Fr.emlamaOofl. Mlary Ann F. the basstst at one polntswoops ahnostlO the end of the fing..es :Borde. Ollaf Colleg's and the lPealbod y Co nserva I. Ysaye and Mime BOordes·PeneS-Sllstelr 'of Ch~rl. HIis pupiil 'Clh. d ou b[le.s·s of title Leningrad Chamber Orchestra for thirteen yei1lilrs. based on two ildeas" with lhe stringed tnstrurneru oMen east in an . howevilllr.ry S.a[l. supple and compe. if'l ~he I~j'g'e torrns.c: at a time oI W.nd s. ot [Ion '198:2'.. .lIIill[ed an a.ov.ated wJiH'i Ysay. :Irllegave a solo recital and made a r'eeordlng #o:r Oslo ra.dr8ma .arles Borde·s. ll'Ow.nt s uecess wit h pu bl ic and criti C$ Out of a dlHi!IP I.ch and Bruckner-s-ene of tlhegrea.! of his career.calu'i<u . c.OId thouQlht of for eel h:J'as well . .pass.O'i'yin [Ban 1more.eadi.s. levi rison has been prl I1Ici poa. under W.an's.e K.vi rison ~~p ist). the thlird movement is a fr'se fa. tsa m'e~o. Mr. diselple. 1977" Mit.OlJy with a pOlished canon be'tween the' coUabor.stru ek h j m as as trong possl biliity tor his.ee decades. demonstraliin!:l the vi. to whom 'he was a s.Issevitzlky Conc'ert. eXIPIFessiv9 Id'ea gradualilly u. gmr.anClk $Onat.am enUire glenera. Mr."al~of 11886.an 110ft of Saint.e' tli irdl concert of lhl. . w.anck championed the GlaWe Iidieal ot aostract insuumental mI. . The' second mo. The ~il1al'e.mng . The' tormal il. Le'vinson plailed th.aiin~ co. playijng rrom memory.cord 3· Co.~s.as married iin thevli.lly written for bass.lndy.a:s$. With Gina le. HachmaninoU and Tclliai. B.)/$ cast as. 1886.f music Illsto.nfolds over a br.acy efa shlp.em .CQrn.graduated hom tile Leniflgrad ConselVa.coIOlrfulll. seemed moeam a hundred years ago.l'jlnson was Prpncipal Ba.el'glan Luxembculrg" Franck was unable ~O' aUemd the ceremonies.J am"Ja ry17.ary.e expaoslon . as sccompantst.es. .irst Ame'rican re. Ijln B. h.gets. Iyrlic.1IoC· . P. sea cif tnstrumentel s·QIiJli1d.oad :$pan ot shing rhetcrlc. Franck's. As a aclclet.agneriafl excess. Gina.rte IRecords. a h.me down to earth.ky (iranscribed tor the bass by Mr.e in dQ'ubl..H[e was . As a.Mille COre . He lis also a. but the' pertorrnance almost was: a ftasce when the lightilng failled.liic ee 1IIIlh at un aergoes a mylr~ad O~'tra Il:sform·alii ens.Adon. one of his laat 'great clillamber wod($.t or'9a.Ii .$-pllayed thwough the work betore an invited iiliudience ofconslderabte presHge. Levins.uggle:sts noth~f19' 'o.y. noted teache~. In tneIast s.ratlng tcur-de-tcree tor the keyboard.f the 'ex:lraordina.ag.ngl in P·aris·with Mrne MlonUgln.arboard. . .ongl yearned h:u more m. In h j.m .e:had I.ajor plec.kOv$.wflS wUh B. at H. Fr.calied it the ipurest mode~ ot the cyc~ical principle to be 'found ill'llan Instrumentalll sonata.o.:ar F'r. the University of MinneSQ1~.st made its way '10 Paris in J. The jldea flrst came to Ihim in 1859 when. the musrc sounds <IS if li1 were olrigina. lin severall concerts.rt the Sic hi ubert C I~ib inS t. sonata came' bassist Ellgene levins.e manuacrtpt of the new ViiOllin SOlflataJ t.nts.con.Is oft. 1 ten.ability ot the ba~s:sas a solo' instrument.t hea.gel'O~ CESAR FRANCK 'Ysa. In contrast.anck's violin origin.. an exliIil[a.ye .lllil.as.Remaury. The' br'oad.and has Ireleas.e. lhe bellaved rrrerrtor of .g of hos cornpatrlot.ewo.on.alnUOII"Y.. wlnlen the viirtuoso w.e·li[ke d.dilo with hns wife.a-whilch the composer rurnsett hI. taeu Ity member of tllie Aspen Music Festival and School of Music since 19 79..vemellt lis the qUi.rk.ed in MarGti of 1984 on iP'ro·A. named for Ule1'Romal1 empemrS.da in A Major andether woriks by Shostallo:. But the tamous portrait oI Franck lin the org.. repn3:sen'l:ing his Im'lliste'r.1 0 f UlB M iM.IClill'Y member of the New C.fY.. When tile work at IIa.ed ln recitativ.1 roles.ofH!186. lhe result is a." 11ge2:. The public perterrnance SeO.anu. not merely a l1obh~ membelr of thecrehestrat :strings.o'L. he' i111 ian t'Foducad the: transe rip'liO'llat a oC·on'c·e. He made m.:lllinQof the Franck violln g.e he .tion of French composers.eldman ~- '.in Mme' Bord. once aga. [EUJgene' In the autumn .ellVed On ~he f ac u'I'ty.. In J. it.e bass forums and workshops both ln 1he Unil1!~d'Slates.rda perfo rmanca by cetlist Piem~ Fournier in Russia fI.of the doulJlle bassre. when he prepared an adaptatjon that brought the string part as cl'osel'l as posstble to iFr.c:kes't of lhe let. duriil1g a. and in Europe.as born in Kie<\!".emed by Uu~. ill was an ~n$'la. Before that" it had enJoyed a. convlctlcn that it would be an ide".e tor the' substance of this.esi'gn" departing from 'Iradman.e new Ily foul'ilded SOC iet'e Mlod erne.COfH. Mr" le".na~ytic a I com me n· tary i!11lie' Trij'ite de compo'sltlon.olVich.early lwe'nty y.milnOlr mode and full! of ardor that is e~press.[lIagle of . On iDecembe'r 16.9IQ.es·Pene col[Iabor.paying role.~lick:. The idea simmered in his Ihoughts untlil11981.! vehicle fOlrlh.!'I u:5S ia.llck Festivall at BnJ5S.s a. an Allegretto hat .olrhmity. Si ncs J an uary.i'ltasia.edllhr'ee record· ii'fllg 01'1M.wiilll Ui9 M ilrmesota Orcnestra under Maestro [K~alls Tennstedt.abl. h.alwa.uors. and 1he players were forced to.pertore.no in 'Ihe hidden .of the somata's tou rs ize.any solo and ens~mlble pel'if<Cltmances on USS[~radio and 'leleviisJi(. member o'f the' a leningrad Philharmonic SyrnplhOIi'iIY On::i'le stra tcrslxtsen ye~lrs.. he appei'ilred as $Oolo.en asked to parHcipat.the bridal couple.mbition that he nunure-d for nearly thr.e.eolClothild'e" exudling the suprem. nd a.olliege Muslic Festivall in Sarasota. proceed in near darkness.S!1 the first oPP.el od ia Re.

sum 69 IMe'asure 83 err measure p so iito beg inn i ng of measu re ~b mf beginni'ngl of measure mp begi'rlning of measure (fifflh rneas IlJI re of re hearsa I hEine C~fnf beg inn ifig of rneasu Ire r p .3thrnaasuea of rehearsal ~etter q pp beginning of meas.an sClrl~rt)ed a n d Edlil edl lOrylEu ge ri! e LeliJ'insen Re1!l'iS~OIIllS.So C nJ a 131 inA M a.n!g (Jf measure .llettew A) 'Cr.sure 1'[)1 M easu re 13 MeasiJre14 Measune 67 'MeaswlB Pan 68 Mea.e Measure 1·4 Me!asu r.o J= 120\.ene r F)I I(! meaSllIlIFe) po!co Iril.allentannd.lr:s~d ~ettsr B) p beg iiI"H'!ng of measur'e i ~.g of measure for ful II measure R. f on lbeat four. Ibe.jO~ (V ilo~iln·Pi.s!.132 tOI thurd bea.Jiue no 0 ~rom th i'rd beat to e nd of mea s ure.(tlifUl measure g~ reheilrse~ Ilethi)lrC) p 't:legrfl'1lnii ngof measu~e f11.ginl!i!ing o'f me·aSl!re.ano)1 to r St ri ng B ass and Pi ano 'Wr. dimiilFiluendo startifilgat beglinrilin.e 1.lI·bilt..5.lUI~e (17 t h 1m easure of re healFsall ~eUeiF i(.ard enH'~e rn eaS·l.A) sameaa measure 15 accentsen sY!'Ico'pate'Q quarter notes in top voice m Ibeg Ii IFiI n ing elf rneasu fe (re he a.iilIto ~.ea~sa.tenth measure 'o~ ~elheaJsal :h~UerB) iP beg~nlil~ng of rneaaura (one rnaasure be'~on~ rehearsal'l' letter C) cr:escelilldlo' ~~an~nlg s.!139 .llleuer 1(:jd:liminu8Ii1do startingl on beat three rnp a~ beginning of meaSi!.egr.o be. p on lb1eat~hFee (one measure befolre rehearsalletter D. Measure '17 M eas ures 20·21 MeasLue 28 Mea.e of Irehearsa.lIllre aternpe begiinOliing of meaSI!iJ'~e.II. 1:hf!l1l1 di min uendo tlh rOUI9 h beat ~our nn MeaSlm. "" &O~63 MeasuJlE! '9 Mea. {rehearsa~letler q f at begiinni.) mlfa t beg ilrln ~III9 of meas Ure (20th me~SUFe O'r relil.s:ecorild m'tinllSuf. I)ii!'Ii!.esee Ii1I do from ibeginning of me'aSulf'e (11 tlh mea sure of lie h eaMli1li II I.UEl'.t.s u r·e 2$:)1 Measure 38 Measure ·43. to Ph\l]no Movement' Anegreno ben moder.ecoll'ld ltleat. MeasiJJre4~ MeastJre 48 Measure 56 Measure 60 Mea$u~e 63 Me. ~ (fourth measure of re Iii sarsa I ~etter .ginningl o~ meaSUIre mlP begunming of measure (n'llllilntln measure aif reheersat letter :[)~ p begl~'nniilng of mEN1IS'!iJr'e! Movemeliilt III rnt beginniilllg A.o ltH1!Qliili"l!'!iIilQ with beat ~hre. mf e rss ce III dla lbeg ~ iJ'iI QI lbeat two intQbeat tl~mge.asu Ire 64 Measulre 66 Measure 7'9 Measure 137 Measure 138 mr beg in 1'Il~1n 91'oft he measuwe ('.

lgh ~he 'lime! of work.g On bela~tl~m~:.11 all'te~ nO~Je (16th meas u re 'of rehea~sa I lettelF I). c reseend n semp~e p ~mHiJ measyre of f.aslJIre' 1~5"1116 f ' J (rehea fsa I ~e1:1ew Ell) .7 M f!'a.er K) quasl p~es~o ( ~.su re of re hea rsall I.eh e.al p subi~O on beat four 206.) bonn h.eighth measure! of reh. (SI~X meas u re 'of Ire h ea rsal lene r '6) ~.lay ~locobeglinJi'ling of mea:surethrOll. Ira lie ndando be:g ~n !iIIilng' of IlifJeasuwe' .as.! rehe.eIJIP to ~ at the end.) p' at .ginningl (12~h meaSmt! measur:e Iletter H) of . at beg ino ing oif meas U f.S!S II.:'gretto poco moss D .jIl!lte'~Hil mea.ing on ~o11J11Ih 'qu.d]s Ibeg.nds .g.of mea SUfie ~h (l~}U:il measure o~ Irelt'liI~Ja~:sal IlleUe~'G.1IleU.Ih.at be.e r 1!i!'O~ie of '~igh t Iha. miD ~to.lr!e eo f a1 begl! iii! liI~in.I.s.ate mpo on fourth q 1.l re 2'2.Uas ~~ hFee measlII res oif mOlv'Hm e n~)1 bot It'! ItJa. J .slIiJI'IB' 15\2 IMeasu re153 Measure il58 Measure ".ehe'!i'lrsall le.! 11.anlilm a te fOUi'rt hi q UC!Jtelr Ii!Io1e beg ins I~ = aO} (one meaSIJlre Measure 221 MleaSilJrie 226 M!eas!i.ettew H).(r.8we Measure '~64 Measure 171 SQiIm€!. m easlll~e 139' (orH.(3.IIf8 before r.!hea r:sa.~ 72·76 befme f1€hearsal IleUer (. ' I i(- f): M'easu're 53 Me.CleIJi'l~Os lawtlun g' om Ibeat ~WO'I~C reseende irJlIh) mex 1 mleaS~.glo~· mea:S1yn: (l.~ "" 56·'58) ~ .~ .t two measu res J"" ao.'!me. poco .ave down melt tria fHll beg inn ing On Ibe.228 beg in n.I Measur>I. =~12.art.a~ o'Ctav@!S l~ower - loco in bol hi A.arsaJI Iettelr pat lbeg in l'1IIi ng of mea$IUe. pl~ay Qo~.~.nd pi ay Illoci 1111 roug h Uile end I~eft ha n d .e163 .ii I'll ". 2117 M easu re2i19 hit e'lS'Y re 226 (.612 Measur.a~ one p la~toc~a:~le down both harllds.refi'ears. IP..eal1sall lener C) Hilem toco (0 lill[! m'elaS~Jr!e befof'l.Iin gl Ibea ~tw'o o~ las.S:w'e .ette'r KJ' m p ~t beg in n~n'9 of rn e a SIL!e ~hi r erescenee begil'1ll"!l~n'g w~th beat two.~11 Mea.enid of m ave: menU p Ibeg~illil ifiIIg beat two.e .i1l1'lIdsplay octaves IbelOw wh'e~e w~iUen for emgl'llt measures (meC!!sUllfe 72' .) .IFantasia Ben m ode~ato ~ .O·n\2) 0 beg v fH'I~n.ill 1 be gl~In 1i!1~". clrescendo~'o beat two of next measure (f) (fou n h rn easu re behHQ .beg inn irng O'lill Ibea~ two.t 172 '119 iI B1 1 beaI~our t'iHillUlito' a tempo .H.arsal I.Measure IMess u re M'easu re M El'asu:re M ea.aJlm otes iii ha 1iI.begli!'mi!I~ng' mlleastlf1€ 'of e reS. FlecHahifO .e r .

-D G ".1 II m .or Str ~ Bass and P I.'-f II m()#orilJ_ n C~~}T~g~liIt ©] 984 byrd: Em ('I MIr s An R ~f.ano ng I 60·~G3 Cesa r .~I'"_.C6!1!·~. .::SS. l~ If'r3..IlIf'k 13 lj' - .. ..r:PRf.4 \\'. '9·!j.22 2'06 R id!:~"""j)fJd 6.!. U -So A..gh~ll'l!l" i ~..~1lIS(!l1il SONAT'A in A maJlln (.t' nomp:re dolc~ C D )) + ~: .~!ih.r<lJb~.~.sso '1'1'1.1:1 se ribe-d and' ed ihtll b)l E U gf'fl e Le'.:ihl~ ~H:!t·s~ I'lo'e~_ HI:~~ iFl.

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II v- ..Mo~t.t(1~i{] ~.-.. =a 'lfif D G_ DG J' DC ~c pOCQ"l'lim<'lh) .6 Recitativo Fantasia HI ~ . G~&n J(JfI.(lI leflto lllolJ- ~v - .

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