Andante et Allegro

J. Guy-Ropartz/arr. A. Shapiro

Publisher: Carl Fischer, LLC

Range: C3 - A4

Program Notes

Joseph Guy-Ropartz (1864-1955) - French composer J. Guy-Ropartz was born into an artistic family.  He showed a remarkable talent for music and poetry at an early age, and was accepted into the Paris Conservatoire in 1885.  He studied with Dubois, Massenet, and Franck.  He composed for all types of musical ensembles, but is perhaps best known for his vocal and chamber works.  The Andante et Allegro in C minor was originally for Trumpet and Piano, but has been arranged for a number of instruments including trombone and euphonium.

From Pat Stuckemeyer

The Andante et Allegro was the first solo that I ever played on the euphonium, and remains one of my favorites to use as an educational tool even today.  From a teacher's point-of-view, this piece is great because not only does it stretch the player to new heights, but really includes some great thematic material from the French-style of performance.  While this solo is not incredibly challenging from the onset, the performer should be aware of the many intricate nuances of this piece.

Andante (ms. 1 - 48) (quarter note = 72)

This opening Andante section should be slow, but not so slow that you can't make the phrases.  Watch carefully for the gradual crescendi and decrescendi in ms. 6 and 7, and also make sure that you reach a nice MF in ms. 13.  From measure 25 to 30 try and make the crescendo as gradual as possible for maximum effect.  If you have to break the phrases to breathe, make sure that you breath after the half notes and not before them.  The main goal in this seciton is to keep a steady flow of the musical line and don't let the tempo get too boggged down.

Allegro (ms. 49 - 88) (quarter note = 96)

The best advice for preparing this section of music is to not play it too fast!  While this first part might seem easy to play at 120, you must realize that the next section starting at ms. 89 has to be played at the same tempo as you start in ms. 49.  So, pick a tempo that you can play this section and the next section at - cleanly.  One of the biggest problems with this section is not playing the correct rhythm in ms. 53, that is not holding the 4th note long enough.  It is a dotted sixteenth-note, so please hold it long enough!  This section should have a stately quality to it.  When working with my students, I often have them sing sections of this piece or even have them put words to it - you could also have them describe the scene in a play in which this music would accompany.  One correction from the Carl Fischer edition, the first two notes in ms. 69 should be slurred, as should the last three notes.  This is also the case in ms. 70.  If you check the piano score, you will see these are slurred.  Also, take notice of the P in ms. 85: make a real difference here with this dynamic.

Allegro (ms. 89 - 116) (quarter note = 96)

When starting to learn this section, the key here is to be able to play all of the notes equally.  First, practice the rhythm that is present in ms. 89 and each following bar on a concert F.  Don't vary the note yet.  Be able to play the rhythm cleanly and evenly on that concert F, and then after you master that - try doing the gradual crescendo that grows steadily throughout the section.  Don't get too loud too fast, or you won't have anywhere to go!  Take notice of the tuning in ms. 98 and 100.  Watch the Gb and Cb's - you might have to use an alternate fingering for these to get them in tune!  You can pull back on the tempo slightly in ms. 112 if you like to add a sense of finality to the section.

Andante (ms. 117 - 128) (quarter note = 72)

This section should be prepared in the same manner as the beginning.  Make sure that you bring out the real nuances in the music - make if sing!  Don't try to play this section too softly.  Begin on a nice MP and then really swell with the crescendi and decrescendi.  Watch the tuning on the A to Bb in ms. 123.

Allegro (ms. 129 - 158) (quarter note = 96)

The goal for this section is to perform the music in the same style as you played in ms. 53, but without forcing the tone to get the higher notes.  Keep an open throat and use PLENTY OF AIR to get up to the high concert A, and make sure that you don't just squeak it out!  Practice this away from the horn, and make sure that you can HEAR what it is that you are playing before you try to play it.  Keep the style light, and sing through this section!

Brilliante (ms. 159 - 166) (quarter note = 96)

You might feel the urge to play this section a little faster than the previous secton, but hold off on your faster tempo for the ending.  If you play this section too fast, then your ALLEGRO at the end won't have nearly as much driving force!  Brilliante is an Italian word meaning,  "brilliantly."  You should approach this section in the same rhythmic precise manner in which you played ms. 89, but keep the dynamic up to a strong FF, but DON'T OVERBLOW your instrument!  Always maintain a good, steady sound.

Ending (ms. 167 - end) (quarter note = 88 (Largamento) to 108 (Allegro)

This ending section can be quite spectacular if played correctly with the right styling.  First, Piu Largamento is an Italian term meaning, "more broadly."  Imagine a cello player or a bass player, and mimic the sound that their bow would make using long BROAD strokes.  You should watch the tuning on the high concert F in ms. 170 - you might want to try using 4th valve (if you have one) for this note, as it can help with the tuning.  Also, save enough air that you can soar up to the high concert G in ms. 172.  Utilize the ritard, and then give us a nice swift Allegro to finish out the piece.  Notice the rhythm in the last three bars: make sure that you play sixteenth notes preceding the longer notes - not eighths!