Partitur Nr. 03 LES LARMES DE JACQUELINE

Thomas Rüedi Solo Series

LES LARMES DE JACQ UELINE JACQ UES OFFENBACH (1819–1880)

03 SOLO WORK NO

Transcribed for Euphonium by

THOMAS RÜEDI

Thomas Rüedi Solo Series

LES L A RMES DE JACQ UELINE J AC Q U E S OF F E N B AC H (1819 –18 8 0)

Transcribed for Euphonium by THOMAS RÜEDI

PREFACE THE WORK

Offenbach composed «Les Larmes de Jacqueline» in 1846 as the second in a set of three pieces under the title «Les Harmonies des Bois» (Op.76). During this time Offenbach was traveling throughout Europe performing as a cello virtuoso. Often performing his own music, «Les Larmes de Jacqueline» was most likely composed for himself and Friedrich von Flotow.

Flotow performed regularly with Offenbach for the better part of a century and for whom Offenbach wrote most of his cello and piano music. The work gained further popularity by the celebrated cello virtuoso Jacqueline du Pré (1945 – 1987), who gave many memorable performances of the piece.

THE FORM

In «Les Larmes de Jacqueline», Offenbach used a simple A-B-A’-B’-coda form and simple harmonic changes to parallel and relative keys (shown below). This is typical of his compositions, relying more on melodic content that pleases the listener than complex harmonies and structures.

section

A

B

A‘

B‘

coda

tonality

c minor

c minor

C major

C major, (8 va)

c minor

When one sees that the coda is quoting the A theme material, it is hard not to notice the palindromic nature of both the structure and harmonic movement throughout this piece.

PERFORMANCE CONSIDERATION

«Les Larmes de Jacqueline» (The Tears of Jacqueline) is written for cello, so some effort should be made to present the beneficial characteristics of the cello including fluidity and evenness of tone throughout the complete range. This is solely for the purpose of serving the music.

Remember that, in the end, you play the euphonium. The goal is embodiment not imitation.

As we have established already, melody is king; simple, elegant phrases will do wonderfully.

Slight touches of rubato or agogic accents into/out of harmonic changes can help to organize the piece into a larger cohesive interpretation. When sections are repeated, try to avoid repetitive vibrato or inflection in the same places. Try to keep the material fresh for your audience.

THE ARRANGEMENT

As this piece is written by the virtuoso himself and with the cello in mind, some range issues have been shifted in octaves for performability on the euphonium. This piece is not too often heard and does not have many arrangements for other instruments, but it works marvelously on euphonium.

THE COMPOSER

á June 20, 1819 in Cologne, Germany † October 5, 1880 in Paris, France Raised in a musical family, Offenbach began studying violin but switched to cello at age 9.

By age 12, the cello virtuoso was performing recitals of his own compositions; music which showcased technical demands that challenged his teacher. At age 14, Offenbach was admitted to the Paris Conservatory, but after one year he decided that academic study was not an interest of his and dropped out. He quickly found positions with various orchestras in Paris.

For the next 20 years he toured Europe and gained international fame as a cellist. Not satisfied with his career, he felt his true calling was as a composer, which is what he put his energy toward and is still known for today.

Offenbach is often credited, along with Johann Strauss (jr.), as being one of the two most important composers of popular music during the romantic era. He was most popular for his over 100 operetta comedies. His compositional style was very conservative in structure and harmony, he rarely surprises the ear as, for instance, Debussy would have during the same time. To create diversity in his compositions, he relies on creative uses of rhythm. Known for his happy and comedic music, he didn’t often write serious music. His facility of melody was celebrated even by his more «serious» contemporaries such as Debussy, Bizet, Mussorgsky, and Rimsky-Korsakov.

MILESTONES

1844 Visited London and performed in the Windsor Castle and Memorial Union with Joachim and Mendelssohn.

1860 Finally allowed to became a naturalized citizen of France, after living there almost 30 years.

1880 He was so popular at the time of his death, he was given a state funeral.

Thomas Rüedi Solo Series

The Thomas Rüedi Solo Series is a collection of selected masterpieces arranged for euphonium and piano. This series strives to enrich the solo repertoire for euphonium, thus opening a window into the fascinating world of some of the leading composers of the Baroque and Romantic period. By studying these famous works, the performer develops a more profound musicianship and a more defined awareness of style and musical beauty.

Audiences in turn, may appreciate hearing these beloved masterpieces performed in a fresh voice – the wonderful lyrical expression of the euphonium!

No. 01

Granados, Enrique

Madrigal Romantic

No. 02

Schubert, Franz

Sonata for Arpeggione - First Movement Romantic

No. 03

Offenbach, Jacques

Les Larmes de Jacqueline Romantic

No. 04

Ravel, Maurice

Vocalise-étude Romantic

No. 05

Tchaikovsky, Pytor Ilyich

Andante Cantabile Romantic

No. 06

De Falla, Manuel

Ritual Firedance Romantic

No. 07

Fauré, Gabriel

Sicilienne Romantic

No. 08

Schubert, Franz

Moments Musicaux Romantic

No. 09

Toselli, Enrico

Serenata Romantic

No. 10

Bridge, Frank

Four Short Pieces Romantic

No. 11

Scarlatti, Alessandro

Sonata No. 1 in D minor Baroque

No. 12

Gabrielli, Domenico

Sonata No. 1 in G major Baroque

www.thomasruedi.ch

follow me on: facebook.com/euphtom

© 2017 All rights reserved by Thomas Rüedi | Cover Artworking by zuckerbrot.ch

THOMAS RÜEDI is a Swiss-born international euphonium artist, music educator and arranger.

His solo engagements have led him throughout Europe, Africa, Asia, South America and the USA. Thomas Rüedi’s solo CDs «Elégie» and «Madrigal», both featuring his own arrangements, received international recognition.

Thomas Rüedi is professor of euphonium and chamber music at Bern University of the Arts and Lucerne University of the Arts; as a guest professor he regularly gives master classes throughout Europe and overseas. Thomas Rüedi is also an acclaimed arranger and composer, thus supporting the further development and enrichment of the euphonium repertoire.

THOMAS RÜEDI is a BESSON performing artist.

euphtom www.thomasruedi.ch