Reinhold

Glière
Huit Morceaux pour Violon et Violoncelle
Eight Pieces for Violin and Cello
Op. 39

______________________________

Alternative violin part for

Clarinet B
Ed. Ana FERNÁNDEZ FERRER
Salamanca 2022
 Reinhold
Glière
Huit Morceaux pour Violon et Violoncelle
Eight Pieces for Violin and Cello
Op. 39

______________________________

Alternative violin part for

Clarinet B
Ed. Ana FERNÁNDEZ FERRER
Salamanca 2022
 Prefacio
Reinhold Glière (1875-1956) compuso sus 8 piezas para violín y violoncello Op. 39 en 1909 al

poco de llegar a Moscú desde Berlín. La obra está dedicada a Boris Kaliushno.

En esta edición se ha transportado y arreglado la voz de violín para que pueda ser tocada

con un clarinete en Si♭. La línea de violoncello se ejecuta en la tonalidad original. Se han

modificado ciertos pasajes por razones técnicas: dobles cuerdas y trémolos. Estos cambios

se han llevado a cabo con diferentes criterios: en algunos pasajes se han ido alternando las

notas, como puede ser en los primeros compases del primer movimiento, Prélude, o en el

c. 15:

En otros pasajes, como en el c. 47 del tercer movimiento, Berceuse, se ha optado por

cambiar la figuración de manera que suenen todas las notas originalmente escritas:

En el último tiempo del c. 22 del primer movimiento, Prélude, el violín también tiene

escritas dobles cuerdas mientras que el violoncello tiene una nota larga. Para adaptar ese

compás, las notas inferiores del violín deberían ser tocadas por el violoncello junto con su
nota original, quedando el compás de la siguiente manera:
En el último movimiento, Étude, se han eliminado los trémolos en la parte de clarinete. Se

sugiere que, cuando estas piezas vayan a ser tocadas con un violoncello, se eliminen

igualmente los trémolos de este último instrumento.

Este arreglo se ha realizado con la finalidad de ampliar el corto repertorio camerístico para

clarinete y violoncello. Igualmente, la voz de violoncello también se podría arreglar para

que pudiese ser interpretada con un fagot o con un clarinete bajo. Como anexo, se incluye

la partitura general editada por Jurgenson en 1909 y la particella de violoncello,

igualmente editada por Jurgenson y reimpresa por Robert Forberg en Bonn (posterior a

1950).

Ana FERNÁNDEZ FERRER

Salamanca, 2022
 Preface
Reinhold Glière (1875-1956) composed his 8 pieces for violin and cello Op. 39 in 1909

shortly after arriving in Moscow from Berlin. The work is dedicated to Boris Kaliushno.

In this edition the violin part has been transposed and arranged so that it can be played

with a B♭ clarinet. The cello part is played in the original key. Certain passages have been

modified for technical reasons: double strings and tremolos. These changes have been

carried out with different criteria: in some passages the notes have been alternated, as it

can be in the first measures of the first movement or in measure 15:

In other passages, such as in measure 47 of the third movement, Berceuse, it has been

decided to change the figuration so that all the originally written notes sound:

In the last beat of c. 22 of the first movement, Prélude, the violin also has double strings

written while the cello has a long note. To adapt that measure, the lower notes of the violin
should be played by the cello along with its original note, leaving the measure as follows:
In the last movement, Étude, the tremolos in the clarinet part have been eliminated. It is

suggested that, when this piece is to be played with a cello, the tremolos of the latter

instrument should also be eliminated.

This arrangement has been made with the purpose of expanding the short chamber

repertoire for clarinet and cello. Likewise, the cello part could also be arranged so that it

could be played with a bassoon or bass clarinet. As an appendix, the full score edited by

Jurgenson in 1909 and the cello particella, also edited by Jurgenson and reprinted by

Robert Forberg in Bonn (after 1950), are included.

Ana FERNÁNDEZ FERRER

Salamanca, 2022
 Huit Morceaux
Clarinet B♭
1. Prélude Reinhold Glière (1875-1956)
Andante

                               



 
1
                              
5

           
poco cresc. 

 
                                          
10 2

cresc.
 

                                         
15

                  
cresc. poco a poco

3
       
rit. a tempo

                      
20

                  


                    
25

                   
dim.

 
                                
30

  

Orig. GLIÈRE, Reinhold. "Huit Morceaux pour violon et violoncel". Moscow, P. Jurgenson, 1909. Dpto. Musicología, Conservatorio Superior de Castilla y León

Violin part arranged for Clarinet B♭ by Ana FERNÁNDEZ FERRER. Salamanca 2022 Non-commercial copying welcome

anaferferrer@gmail.com
 2

2. Gavotte

   
               

      
Allegretto

   

  


        
          
      
5

          


     

      
1

    
9


             


           
13

   

                    
  
           
    
17

   


        
2

     
21

   

        


             



   
 
25

           
3

           
29


Musette

                 
33

  




                  
37

   




           
4
        
 
41
  
3

                    
 
45


5

               
     
49

 


 
                            
53

dim.

    

      

     
       
Tempo I

 
58

        

         
6

         
63

          

     

      
    
67





7

                       
71

     

                    
  
           
   
75

              
  
79

   
rit.
 4

3. Berceuse

   
                
Tranquillo

     


               
  
6

cresc.

        
             
      
1

11

     
 cresc. dim.

         
     
2
 
16




            
  
21

 cresc.

      
    
  
3

  
26

      
            
poco cresc.  

 

31

   
         a tempo
        
4

    
36

3
poco rit. 

     
3 3

            
       
41

cresc. dim.

     
    
  
46

     
3


 5
4. Canzonetta

        
          
Moderato

  




         


       
5

 

                


dim.


1

  
9

         



           
13

    
con moto
2

       
        
17 3 3

        


        
         
20

        
               
      
3

   
23

      
cresc. 

  
       
           
27

  
         


     
cresc. dim.

   

4


31

         


      
  
5


35

       
         
39

dim.
      dim.
 6
5. Intermezzo

    
                              
Andantino

      



    
1

   
                     
6

 

                  
           
11

 
  
cresc.

        
2

           
16

           
      
 

            
dim.

                
21

cresc. 

               
3

       
26

cresc.
  

  
     
4

      
    
31

      

 


                       
36

      


       
                    
5

 
41

  

      


      
        
46

   
cresc.
dim.
 7
6. Impromptu

   
       
Poco animato

       
              

                                  
 leggiero

          
5

cresc.

                     
  
             
10

            
dim.

                  
 
15

cresc.

     


                          
25

 

           


                      
      
34

cresc.

          


              
     
         
41

                    


                 
46


      
                 
      
52

                         
     
56

     
     
         
          
61

     
dim.
 8
7. Scherzo

          
Vivace

     
             


   

           

1

           
11

  2

        
   
            
21

  
dim. 
3

                        
31

cresc.   cresc.

             
4

      
  
         
41

 



 
5

                
50

          
  
                    
  6

      
61

 
       
cresc. 

      
       
  
70

 

           
7 Tranquillo

   
        
81

    

        


  
8

            
    
91

    
 
  
9

             
9
     
101

 
10

          
111

cresc.
      


11 Tempo I

                
   
121

    
 
 
   


 
12
      
               
131

  

        
    
           
    
141

13

                        
151

   
cresc. 

                       
14
 
161


    


     
                 
171

        



15

     
                    
181

     

    
16
                
   
191


 
 10

Étude

                   
 
Allegro molto

          
  
          


               
5

      

  
cresc.

             
1

    
        
9

 
     
                       



   2
    
14

 
     


           

3

            
19

  

            
dim. 

                     
24

 
            
 cresc.

         

4

    
         
28

  5           
          

33


            6  


       
    
38

   

    
dim.

             
43

       
 
 dim.

               
48

        
*Cuando esta obra sea tocada junto con un violoncello, se sugiere que este renuncie al trémolo.
*When this piece is played along with a cello, it is suggested to delete the trmolos in the cello part