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La Rejouissance, Sarabande, and Gigue

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La Rejouissance, Sarabande, and Gigue Achievement Series • Grade 2.5 La Rejouissance, Sarabande, and Gigue from Suite in D, TWV 55:D8 Georg Philipp Telemann arranged by Robert D. McCashin 1 Full Score 8 Violin 1 8 Violin 2 3 Violin 3 (Viola T.C.) 3 Viola (Violin 2 A.C.) 5 Viola 5 Cello 5 Bass Extra Part - P3035951 3035952 Program Notes Georg Philipp Telemann (1681–1767) was born in Magdeburg, Brandenburg-Prussia. He began his musical studies at the age of 10 and was immediately fascinated. He continued to study music and compose, against the wishes of his parents, and eventually became one of Germany’s most noted and most prolific composers. He wrote for nearly every form of his day, including operas, passions, cantatas, oratorios, orchestral suites, and chamber music. Telemann composed hundreds of concertos for nearly every instrument that existed in the time period. He was a leader among composers in the 17th to 18th centuries, and was a critical musical link between the established Baroque style and the developing early Classical era. These three movements, La Rejouissance, Sarabande and Gigue, are the fifth, sixth, and seventh movements, respectively, from Telemann’s seven-movement Suite in D (TWV 55:D8), a concerto originally composed for trumpet, strings, and continuo. Carefully transcribed from the original manuscript, these movements are an authentic and delightful addition to any concert. About the Arranger Robert D. McCashin, DMA, is Professor Emeritus and former Director of Orchestras and Professor of Conducting at James Madison University. He recently retired from academe after a 43-year career of conducting and applied string teaching at the college/university level. He was awarded JMU’s Distinguished Teacher Award for the College of Visual and Performing Arts in 2015. For the past 24 years, Dr. McCashin has been Music Director for the JMU Symphony, Chamber Orchestra and Opera Orchestras, and taught all relevant orchestral conducting and academic courses within the MM and DMA curricular core, as well as applied studio strings. Dr. McCashin, a violinist, has been a successful writer and arranger of educational publications, having now published nearly 80 works for the Grade I through V educational performance levels. His original works and arrangements are published through Wingert-Jones, FJH Music and Tempo Press. He has been a regular guest conductor for a variety of orchestral ensembles, including Regional and All-State Orchestras across the US as well as Regional professional orchestras. He has been invited to present more than 30 conducting workshops and seminars for national and state level teacher conferences throughout the U.S. Dr. McCashin is Founder, Past President and former National Board member for the College Orchestra Directors Association. Duration ca. 5:30 La Rejouissance, Sarabande, and Gigue from Suite in D, TWV 55:D8 Georg Philipp Telemann arranged by Robert D. McCashin (ASCAP) Allegro (in 2) h = 80 - 84 I. La Rejouissance 4 4 . ˙ ≤. Violin I ° # 4 ≥ œ œ œ œ œ œ . œ œ œ . ˙ ˙ œ œ≥ œ œ œ œ œ ≥ œ & #4 œ œ œ œ œ œ œ œ mf . p ≤ ≥ ≤ ≤. ≥ ≤ Violin II # 4 . œ ≤. & #4 œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ ˙ œ œ œ œ œ m.f . p. 4 . ≤. ≥ Viola # 4 œ≥ œ œ . œ . œ . œ . ˙ ˙ œ œ ˙ . B #4 œ œ œ œ œ œ ˙ œ œ œ œ œ œ mf p ≤ . ˙ œ. œ. ≥. ≥ Cello 4 ≥ . œ œ œ œ . œ œ œ . ˙ ˙ ˙ œ œ œ œ ?##4 œ œ œ œ œ œ œ œ mf 4 -4 ≤ -4 . ˙ œ. œ. ≥. ≥ Bass 4 ≥ . œ œ œ œ . œ œ œ . ˙ ˙ ˙ œ œ œ œ ?##4 œ œ œ œ œ œ œ œ ¢ mf 2 3 4 5 6 . œ. œ. ≤ ˙ ≤. œ≥ œ . ≥ , ≥ Vln. I ° # œ œ œ œ œ. œ œ œ. ˙ ˙ œ œ œ ˙ œ œ & # ™ ™ mf ≥ ≤ ≤ ≤ ≥ ≤ ≥ ≤ Vln. II # œ. œ. œ. ˙ œ. & # œ œ œ œ œ œ œ ˙ ˙ œ œ œ ˙™ ™ œ . m. f 4 œ. œ. œ. ≤ ≤. œ. ≥ ≤. Vla. # œ. œ. œ . ˙ ˙ ˙ œ œ œ ˙ œ B # œ œ œ œ œ ™ ™ . mf ≤. x4 . œ. œ. ˙≤ œ . ≥ , ≥ Cello ?# . œ œ œ œ. œ œ œ. ˙ ˙ œ œ œ # œ œ ˙™ ™ œ œ p . mf -4 ≤. œ. œ. ˙≤ œ . ≥ , ≥ Bass ?# . œ œ œ œ. œ œ œ. ˙ ˙ œ œ œ # œ œ ˙™ ™ œ œ ¢7 p 8 9 10 11 . 12 mf Any reproduction, adaptation or arrangement of this work in whole or in part without the consent of the copyright owner constitutes an infringement of copyright. Copyright © 2018 Wingert-Jones Publications, Exton, PA 19341 International Copyright Secured Made in U.S.A. All Rights Reserved Full Score 13 ≤L1 . ˙ ≤ ≥ . Vln. I ° ## œ œ œ œ. œ . œ œ. œ . ˙ ˙ . œ. œ & œ œ #œ. œ L1 (2) (3) (-1) 4 ≥L1 (2) # ≤ ≤ ≤ Vln. II # œ. œ. œ. #œ œ. œ. #œ œ. ˙ ˙ #œ œ. & . œ. œ. ˙ œ. œ. H≤ 3 . ˙ ≤ ≤ ≥. Vla. # œ œ œ œ œ œ. œ œ œ ˙ ˙ . œ. œ œ B # œ. œ x2 x4 . ≤. ≥ . Cello ?# œ. œ œ . ˙ ˙ ˙ œ . # œ ˙ œ œ œ œ. œ . œ. œ. ≤. ≥ . Bass ?# œ. œ œ . ˙ ˙ ˙ œ . # œ ˙ œ œ œ œ. œ ¢13 . œ. 14 œ. 15. 16 17 . H3 4 ≥ . ≤ Vln. I ° ## œ. œ œ œ. œ œ œ. œ œ. ˙ & #œ. #œ œ œ œ œ <n>œ. ˙ ˙ . p 4 H3 ≤ Vln. II ## & #œ. œ œ œ <n>œ. œ. #œ œ. #œ œ. œ œ #˙ ˙ ˙ . pœ. œ. ≤. H≤3 ≥ . ≤ Vla. # œ œ œ œ œ œ œ. œ œ œ. œ œ ˙ ˙ B # œ. œ. ˙ pœ. x4 ≥ ≥ ≥ x≤2 Cello ?# œ. œ œ. œ. ˙ #˙ # œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ p. optional (-1) (3) -1 ≥. ≥ ≥ . ≤ Bass ?## œ œ œ œ œ œ œ œ œ œ. œ œ. œ. œ ˙ ˙ #˙ œ . œ œ . half pos. ¢18 19. 20. 21 22 p 2 Full Score 25 ≥ , ≥ ≤ Vln. I ° ## œ. œ œ œ. nœ. œ. nœ. œ œ & œ ˙™ œ n œ œ. œ œ œ œ œ œ œ œ œ mœf œ . < >. 4 ≤ ≤ ≥ ≤ ≥ , ≥ Vln. II ## & œ. œ. œ. #œ ˙ œ œ œ<n>œ œ. œ œ. œ œ. œ œ. œ . ™ mœf œ. ≤ ≤ ≥ ≤ ≥ , ≥ . Vla. # œ. œ. œ. œ. œ . œ . œ . œ . B # ˙™ œ œ œ œ œ œ œ œ œ mœf . 0 œ. ≥ ≥ Cello ?## œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. (4) (3) œ œ. œ œ œ œ œ œ œ . m.f 2 -4 œ. œ≥. œ≥ Bass ?## œ œ œ. œ. <n>œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ¢23 24 25 26 27 mf ≤ ≥ . œ. œ. œ. œ. œ œ œ , ≥ Vln. I ° # . œ. œ œ œ œ œ œ œ œ œ . œ œ & # œ œ œ œ œ œ<#>œ œ œ œ f . mf , # ≥ . , ≥ Vln. II # œ. œ œ. œ. & ˙™ œ œ. œ. œ. œ œ. œ. ˙™ œ œ œ f . œ. œ. mf , . , Vla. # ≥ œ. œ œ . ≥ B # ˙™ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ ˙™ œ œ f . mf , ≤. ≥. ˙™ ≥ Cello ?## nœ œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ ˙™ f mf ≤. ≥. , ≥ Bass ?# œ œ œ. œ. œ œ œ œ œ œ œ œ ˙™ œ œ # ˙ œ ¢28 ™ 29 30 31 32 mf f 3 Full Score 37 . ˙ ≤. œ≥ . Vln. I ° # œ œ. œ œ œ. œ œ œ. ˙ ˙ œ œ œ œ. & # œ œ f 4 . ≤ Vln. II ## œ œ. œ œ. œ œ. ˙ ˙ ˙ & œ œ. œ. œ. œ. œ. œ. œ. f 4 œ. œ. œ. ˙ ≤. ≥ œ . Vla. B## œ œ. œ œ œ. œ œ. ˙ ˙ œ œ œ œ f ≤. œ. œ. ˙ œ ≥ . Cello ?# . œ œ œ œ. œ œ œ. ˙ ˙ œ œ œ # œ œ f . 4 -4 ≤. œ. œ. ˙ œ ≥ . Bass ?# . œ œ œ œ. œ œ œ. ˙ ˙ œ œ œ # œ œ ¢33 34 35 36 37 . f . œ. ≥ ˙ . œ œ ≤. ≤. ≥ U Vln. I ° # œ œ œ œ œ œ. ˙ ˙ œ œ œ ˙ 3 & # ™ Œ 2 ≥ Vln. II # ≥ . U 3 & # œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ Œ 2 . œ. ™ . ˙ ≤ ≤. ≥. ≤. ≥ U Vla. # œ œ œ. œ œ. ˙ ˙ œ œ œ œ œ ˙™ 3 B # œ. Œ 2 ≤ ≤. œ. œ. œ. ˙ ˙ ˙ œ œ≥. ≤ ≥ U Cello ?## œ. œ œ œ œ ˙™ Œ 3 œ. 2 -4 ≤. œ. ˙≤ œ ≥. ≤ ≥ U Bass ?# . œ œ œ œ. ˙ ˙ œ œ œ 3 # œ œ ˙™ Œ 2 ¢38 39 40 41 . 42 4 Full Score 43 II. Sarabande Andante (in 3) h = 62 - 66 ≥ ≤ ≤ ≥ Vln. I ° ## 3 ˙ ˙ ˙ ˙ & 2 ™ ™ œ w™ ˙ ˙ ˙ w ˙ ™ œ w™ mp mf H3 # ≥ ≤ ≤ ≥ Vln. II # 3 ™ & 2 ™ ˙ w w ˙ ˙ ˙ ˙ w w mp ™ w ˙ mf ™ ≥ H3 ≤ ≤ ≥ Vla. # 3 w ˙ w B # 2 ™ ˙ w ™ ˙ ˙ w ˙ ˙ w ™ mp mf ≥ ˙≤ ≤ Cello ?# 3 w™ ˙ ˙ w™ # 2 ™ ˙ w ˙ ˙ ˙ ˙ w mp mf ≥ ˙≤ ≤ Bass ?# 3 w™ ˙ ˙ w™ # 2 ™ ˙ w ˙ ˙ ˙ ˙ w ¢43 mp 44 45 46 47 mf 48 1. 2. 52 4 ≤ ˙ œ œ ≥4 , ≥ , ≥ Vln. I ° # ˙ w™ w™ ˙™ œ & # ™ ™ ˙ ˙ nw f ≤ 4 ≥ , ≥ , ≥4 Vln. II # ˙ ˙ & # ˙ w™ ™ w™ ™ w ˙ w™ f ≥4 ≤ ˙ ˙ w , w≥ , ≥ Vla. # ˙ ™ ™ w B # ™ ™ ˙ w™ f ≥ ≤ ≤ ≥ Cello ?# w ˙ w™ # ˙ ˙ œ œ œ œ ™ ˙ ˙ ˙ ™ ˙ œ œ f ≥ ≤ ≤ ≥ Bass ?# ˙ w ˙ w™ # ˙ œ ˙ œ œ œ œ ™ ˙ ˙ ™ ¢49 ˙ œ 50 51 52 53 f 5 Full Score ≤ 4 ˙≥ ≤ Vln. I ° # ˙ ≥ w œ œ œ & # ˙ n˙ w ˙ ˙ <#>˙™ œ ˙ œ ˙™ œ ˙ mf ≥ ≤ ≥ ≤ Vln. II # ˙ ˙ & # ˙ ˙ ˙ w w ˙ w ˙ ˙ w m˙f ˙ 4 ≥ ≤ ≥ ˙ Vla. # ˙ ˙ ˙ w ˙ w B # ˙ w ˙ w w ˙ mf ≤ ≥ Cello ?# ˙ w ˙ w ˙ w ˙ ˙ # n˙ ˙ ˙ ˙ ˙ ˙ ˙ mf ≤ ≥ Bass ?# ˙ ˙ w ˙ w ˙ w ˙ ˙ # n˙ ˙ ˙ ˙ ˙ ˙ ¢54 55 mf 56 57 58 59 60 1. 2. ≥ w ≥ ≥ Vln. I ° # ˙ ˙ œ ˙ œ œ ˙ œ w w 6 & # ™ ™ ™ ™ ™ 8 mp p p ≥ ≥ ≥ Vln.
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