BERTINI - Grand Rondo de Concert, Op.105

Grand Rondo de Concert
Composé
Pour le Piano
avec accompt. d’Orchestre
ou de Quatuor ad libit.
Dédié a son ami Henri Herz
par
Henri Bertini jeune

1798–1876
Op. 105
c 2007 by James L. Bailey

Copyright
Non-commercial copying welcome
Downloaded from the Werner Icking Music Archive
Henri Jérôme Bertini 1798–1876
Henri Jérôme Bertini was born in London on October 28, 1798, but his family returned to Paris six months later.
He received his early musical education from his father and his brother, a pupil of Clementi. He was considered a
child prodigy and at the age of 12 his father took him on a tour of England, Holland, Flanders, and Germany where
he was enthusiastically received. After studies in composition in England and Scotland he was appointed professor of
music in Brussells but returned to Paris in 1821. It is known that Bertini gave a concert with Franz Liszt in the Salons
Pape on April 20, 1828. The program included a transcription by Bertini of Beethoven’s Symphony No. 7 in A major
for eight hands (the other pianists were Sowinsky and Schunke.) He was also admired as a chamber music performer,
giving concerts with his friends Fontaine (violin) and Franchomme (cello). He remained active in and around Paris
until around 1848 when he retired from the musical scene. In 1859 he moved to Meylan (near Grenoble) where he died
on September 30, 1876.
Bertini concertized widely but was not as celebrated a virtuoso as either Kalkbrenner or Henri Herz. One of his
contempories (Marmontel) described his playing as having Clementi’s evenness and clarity in rapid passages as well as
the quality of sound, the manner of phrasing, and the ability to make the instrument sing characteristic of the school of
Hummel and Moschelès. Thomas Tapper, in the preface of his edition of the Études Op.100 published by Ditson, says:
He was in his time a shining example of the most admirable qualities of an artist. Living in an age of garish
virtuosity, and hailed as a brilliant executant himself, he maintained nevertheless the most rigorous standards
of musicianship in his playing, in his compositions, and in the music which he appeared before the public to
interpret. This is the more remarkable when one considers that his manhood was reached during the luxuriant
period of French romanticism and that the extravagances of the literary outburst were reflected in the musical
movements of the time. Virtuosity was subjected to sore temptations and many succumbed. Bertini stood for
the sounder qualities of the artist and gradually acquired an extended and remunerative prestige. His life was
singularly devoid of incident and official distinction, but the legacy of pedagogic works which he has left to us
and his honorable activity give it every right to be called a success.
Bertini was celebrated as a teacher. Antoine Marmontel, who devoted the second chapter of his work on celebrated
pianists to Bertini, writes
He was unsurpassed as a teacher, giving his lessons with scrupulous care and the keenest interest in his pupils’
progress. After he had given up teaching, a number of his pupils continued with me, and I recognized the
soundness of the principles drawn from his instruction.
It is above all in the special class of studies and caprices, that Bertini’s immense popularity is founded. It
is here that he occupied a unique position and opened the path over which the next generation of composers
was to rush after him. In each of his numerous collections of studies, embracing every degree of difficulty, he
has insistently given to every piece, easy or difficult, brief or extended, a character of salient melody. The
technical problem to be overcome presents itself as a song; even where the study is devoted to the problem
of velocity the general contour falls into a melodic curve, and this is the first and transcendent cause of the
universal success of these pieces, which are, furthermore, natural in respect to rhythm and carefully thought
out harmonically.
Robert Schumann, in a review of a piano trio in the Gesammelte Schriften, comments that Bertini writes easily
flowing harmony but that the movements are too long. He continues: “With the best will in the world, we find it
difficult to be angry with Bertini, yet he drives us to distraction with his perfumed Parisian phrases; all his music is as
smooth as silk and satin.”1 German sentimentality has never appreciated French elegance.
Bertini is best remembered today for his piano method Le Rudiment du pianiste, and his 20 books of approximately
500 studies.
For more information on the life of Bertini, see Henri Bertini pianiste virtuose, compositeur de musique (Grenoble,
1999) by Pascal Beyls (http://perso.wanadoo.fr/pascal.beyls/bertini/bertini.html).
1
from Cobbett’s Cyclopedic Survey of Chamber Music, Second Edition, Volume 1, page 124.
Grand Rondo de Concert Op.105, par Henri Bertini Downloaded from the Werner Icking Music Archive
1
Grand Rondo de Concert Op : 105

Henri Bertini jeune (1798–1876)
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303
4 44 6 Tutti. M. = 100
4 4 -
G 6 ? > ? > ? >
- - pp leggiero con grazia.
§ ff

Solo.
4 44 J

J
4 (
G 6 ? > ? > > H >
-

!
#
8a
307
4 44 6 4 6 4 4 4
4 - 6 4 6 4 4
G
. ? >
? ? -

§

I 4 44 J
4 H
> > > >
#
! !
8a
tr #

( ( ÁÁ
309
4
4 4
4 4 (
4 \
G çç åå ? ÁÁ
> ÏÏ ÍÍ
§

4 4
4
I4 4 J
4 H - 4
> > > ? > ? > - ? >
! -

#
18
8a
5
4 4
312
4 44 (
Tutti.
4 -
G ? > ? >
-
pp Solo.
§ ff

I 4 44 J
4 ? > > H >
-
8a

315
4
4 44 6 4 6 4
4
G
4
- 6 4 6 4

? ? . -
? >

§

I 4 44 J
4 > H > > >

8a
tr

317 4 ( 4 ( ÁÁ
4 44 (
4 4
G ççåå ? ÁÁ
>
ÏÏÍÍ
§

4
I 4 44 J4
4 H - 4
> > > ? > ? > - ? >
-

320
4 44

4
G ÁÁ
Å
Å ÁÁ
§ p espress:

4
I 4 44
4 ::: :::
+
3 ++
3 ::: +
3 ++
3 :::
+ + + +
+ +
323
4 44 4
4
G ÇÇ
Ë
Ë
ÁÁ
Å
Å ÁÁ
ÇÇ
§

4
I 4 44
4
19
326

4 44 6 4

4
G
ÇÇ
Ë
Ë ÇÇ ÁÁ
Å
Å ÁÁ
3
§

4 4
I 4 44
4
8a
4
329
4 44
G
4
Ê
Ä
§

4 4
I 4 44
4
8a
332
4 44 6
4
G Ö
Ê
§

4
I 4 44
4
8a
6 ^
335

4 44 4
4 \
^
4 <
G > Ï
Ï Ï
Ï
ÉÉ Ï
Ï
pp
§
6
4
I 4 44 4
4

\
338

4 44 \
4
G 4
> > >

§

I 4 44
4
20
8a ^
6 6
341

4 44
^
4
^
G Ï
Ï Ï
Ï 6 Ǒ
Ǒ >
Ï
Ï
Ǒ
Ǒ
§

I 4 44 6
4

\
343
4 44 \ =
4 4
G
> >

§

I 4 44
4

8a
346

4 44
G
4
=

> >

§ poco rit – – – – – – – –
pp

I 4 44
4
in Tempo.
349
8a
4 6
4

4
4 4 6

4 P 4 6 4
G < Å
Å
Å Å
Å
Å
ÅÅ
Å Å
> > ? Å Å
Å
Å
Å
-
§ – – – – – – – – – – prestissimo.
ff

I 4 44 (
P
4 H ?
>

350a Adagio Tempo 1.

4 44
6 ÉÉ P P

4
4

2
G 6

Ë
Ë
ËË Ë
4 6

) ( ? ? 4
Ë
§ rall – – –
ÅÅ
Å
– – – – –
dim.
4 44 J
P
4
2
G ? ? ? 4

Q -
21
Allegro moderato.

352

4 44

4 2 4
- - Ú
ÚÚ
Ú Ä
Ä

-
G 4 A

Ä
Ä ÁÁ
Ä Ä
ÇÇ
È Ä Ä
ÈÈ
È
p

I 4 44 2 ( (
4
4 ?

8a
6 2 tr Ä Ä
356
4 Ä Ä
4 44

2 ^

4 4

-

6 2 ^ Z 2
2 6 2 ( 4 6
G
ÍÍ A

Ä
Ä Ä
Ä Z
Î
ÎÎ
Î

Z 6 2
622 22 62

I 4 44 ( 2 2
4
- ? ǑǑ - ?

360

4 44

4 4
- - Ú
ÚÚ
Ú Ä
Ä

-
G A

Ä
Ä ÁÁ
Ä Ä
ÇÇ
È Ä Ä
ÈÈ
È

I 4 44 ( (
4
?

in Tempo.
8a
C
364

4 44

6 6 4 \ 5 4
4
G 4 \
-
ÍÍ A áá àà ?
Î
Î

p
poco rit. – – – – – – – –
^
4 6 4 4
I4 4 (
4 6
4 - ?
§
³ -
³
8a

369
4 44 tr 54 46
4
4
ǑǑ
Ǒ
G ÁÁ Ǒ
Ä
Ä Ä
Ä

I 4 44
J (

4 H

-
22
8a

3
373
4 4 tr
4 44
tr

4 È
ÈÈ È
G - - È ÈÈ
È È
ÈÈ
È ÁÁ
È
ÈÈ
È ÈÈ ÁÁ -
ÈÈ -
cres. - f
§

4
I4 4
4
( 4
4
?
§ Ǒ Ǒ
§ ³³ §
§
8
a
( 3 (
378
6 6 6 6
4
4 44 5 5
4 - - - - - É
É
G - - - ³
³ ³
³ É 4
É
³
³ ³
³ f
§

Ä 4
I 4 44 4 4 J
4 (
- H6
4 54 46 4 66 ( ?
¡
³ ³ ¡ ¡ ³ ³
- -
8a 6 6
383
4
4 44 5
4 4
6 6 - ÉÉ
G ÉÉ 4
- -
§ f
Ä Ä 4
I 4 44 ( J
4 H6 4 5 4 46
4 66 ( ?
³ -
³
³ ³ ³ ³
- -
in Tempo. tr
387
4

4 44 4 5 4

4 4 ( ÉÉ ( (
G ÉÉ 4 4 6 É
É É
É
?

- -
§ p rall – – – – – – – – – – p
cres.

I 4 44

4

4

? ?

³
³ ³ ³ - -
É
ÉÉ
É É
ÉÉ
É ÉÉ
392
tr ÉÉ É
ÉÉ
É
4 44 (

(
4 ( (
G (
? 5
- ? - - ? - ? ?
§ -

Õ
Õ
I 4 44
4 4
Ö Ö ó ó
ó ó ó
ó í
í ç
ç

23
Ï
Ï
Ï
Ï Ï
Ï
397 Ï
Ï Ï
Ï
Ï
Ï
4
4 4
4
G ( ( ( 4 4 6 4 5

? 5
? 54 6 4 5
§ - - - ? - ? - ? - ? - ?
á Õ á
( 4 ( ( 4 (
I 4 44 4 (
4
4 5
ç ó ? ? ?
Õ
?
Ï Ï Õ
8a
402
4
4 44 4 5 4
(
4 4 5 4 6 4 4 6
G 4 6
-
- - - ? - ?
§ - ? - ? ? ?
( ( (
( 5 ( 4 (
I 4 44 6 4
4 ? ? ? ? -
ÛÛ ÛÛ ÛÛ ÛÛ áá? áá? ? >
8a
8a

6 4 6
406
4 44
4 Ê
Ê 4
G Ê
Ê
Ê
Ê (

Ê
Ê

§ p
6
I 4 44 = = =
4 ÊÊ
H
-
410 8a
4 44

4 ÈÈ
G ÈÈ Ê
Ê

- Ê
Ê

§
6 6 6
4 44
4
G ? >
-

414

Ê
Ê Ê
Ê
4 44

4

Ê
Ê
G Ê
Ê

Ê
Ê
Ê
Ê

§ ff
4 44 = = J
4 (
G ? > > ?
-
24
418
4 44

Ä Ä

4
Ä Ä
G

§ p leggiero.
I 4 44
4
> ? > ? > ? ? >
- - - -
422 8a
4 44

4 4 4
G
Ä
Ä
Ä
Ä Ä
Ä
Ä
Ä
§
I 4 44 = = = =
4
426 8a
4 ^
4 4 4
4
4

6 ^
4 Ê
Ê Ê
Ê 4
G Ê
Ê Ê
Ê Ä Ä Ê Ê 4
Ä Ä Ê Ê
§
I 4 44 = = = =
4
430
4 44 ^ ^ Ê
Ê
Ê
Ê

4 4
4
G Ê
ÊÊ
Ê Ä 4 ^ 4
Ä Ä
Ä Ê
ÊÊ
Ê
§ poco rall – – – – –– –– – – – –
I 4 44 = = = = =
4
Cantabile. M. = 112
435
4 44 in Tempo.
4
G
fz
§ p

I 4 44 (

Ö
Ö

4

25
439 tr EEEEEEEEEEEEEEEEEEEEEEEEEEEE Ù
Ù Ù
ÙÙ
4 44 Ù
4

G -

§

I 4 44 Ö
Ö

Ö
Ö
Ö
Ö
4

Ù
ÙÙ
tr ÙÙ
Ù
443

4 44 5
4
G ÊÇÇ ?
-
fz
§
5
4 5
I 4 44 4 4
4 ÏÏ ÕÕ ÉÉ ÉÉ

448 tr
4 44 4 tr

4 Â
ÂÂ
Â
G Ä Ä Â
ÂÂ
Â
Ä Ä
§ 4 espress:

I 4 44 (

4 -

?
8a
tr EEEEEEEEEEEEEEEEEEEEE
452
4 44
4
G Ǒ
Ǒ
Ǒ Ǒ
Ǒ Ǒ
§

I 4 44
4
4 ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ

8a
457
4 44

4 (
G
? -
§
4 4
I 4 44

4 ÊÊ ÕÕ (
Ê
Ê ÉÉ
ǑǑ ǑǑ ¡¡

26

461
4 44
4
G ? ÉÉ ÕÕ
. ÄÁÁ
fz
§

4 4

6 6 6
4
I4 4
4 ÏÏ ÉÉ ÏÏ ÏÏ ÏÏ

¡¡ ¡¡ ¡¡
466 8a
4 44
4
G

> -
? ÎÎ p cres.
§ f
Cor ÏÏ

6
I 4 44
ÕÕ
4 ÕÕ ÕÕ ÉÉ
- ? > ¡¡ ¡¡
! ¡¡
#
471 8a

4 44

4
G
- p
§ p cres. f
^ ^ 6
I 4 44 6
4 ÉÉ 6 ÉÉ ÏÏ Õ ÕÕ
¡ ¡ ÕÕ Õ
¡ ¡ ³
¡¡ ³
# !
476 8a

4 44

4
G .
-
§

4
I 4 44
Ö
Ö

Ä
Ä

4

480
in Tempo.

4 44
4
G
- -
§
ritenuto. p cres.

4

I 4 44
4 ÕÕ áá ÏÏ
ǑǑ
ÏÏ
¡¡
27
485
4 44
4
G
-
§
6

I 4 44
4 Ä
Ä
Ä
Ä

Ä
Ä

489
4 44
4
G
§ ff
6 6 6
I 4 44 Ê
Ê Ê
Ê 4
6

4

8a

493

4 44
4 ÁÁ
G
dim. fz
§
6 4
I 4 44 4

4 Ê 6 Ê

¢
8a in Tempo.

498
4 Ä
Ä
Ä
Ä
4 44 Ä
Ä
4 Ê
Ê
G Õ

ÕÕ Õ Õ
Õ 4 Ê
Ê - ? ? ?
-

§ poco rit: fz
4
ÄÄ
I 4 44 §
§ J
4 ( H
6

502

4 44 4 6 4
4
G 4 6 4
? . ÁÁ ? ÁÁ ÁÁ
ÁÁ ÁÁ ÁÁ .

§ cresc.
6
6
I 4 44 Ǒ
Ǒ
§
§
4 Ǒ Ǒ H
Ǒ Ǒ Ǒ Ǒ
6 6 6
4
28
6 8a
4 in Tempo.
507
4 6
4 44 4 6 ÈÈÇÇ
G
4
ÇÇ ÈÈÇÇ ÍÍ - Ñ
Ñ
ÑÑ

S
É ÇÇ
É ÉÉ ÎÎ Ñ ?
ÑÑ Ñ Ñ (
Ñ Ñ
Ñ
§ poco rall – – – – – – – – ff prestissimo.
4 44 ²² P J
4 ³ ²²
G ³ ¡
¡ 6 4 ( ? S
4 64 > >
6 6 4
Allegro brilliante. M. = 100 8a

511

4 44
4 S Ê
Ê
Ê
G Ê
(
4 3 2 1 4
§ pp leggiero.

I 4 44 S
4 H ( - -
? - ? - ? ? ? - ? ? ?

-
-
513 8a
Ê Ê
4 44 4 6 Ê Ê 4
6
4 4 6 4 6
G Ê
Ê Ê
Ê
Ê
Ê Ê
Ê
§

4 44 J (

4 ( (
G -
( ? ( ? ? ? ? ? - ? ?
-
8a

515

4 44
4 Ê
Ê
Ê
G ( Ê

§

I 4 44 (
4 H ( - -
? - ? - ? ? ? - ? ? ?

-
8a
517
Ê
Ê Ê
Ê
4 44 4 6
4 6
4 4 6 4 6
G Ê
Ê
Ê
Ê
Ê
Ê Ê
Ê
§

4 44 J (

4 ( (
G ( -
( ? ? ? ? ? ? - ? ?
-
29
Allegro risoluto con brio. M. = 126 8 a

8a
(
519
4 ( ( ( 4
4 4
G
4
( ? Ï
Ï 4 6
Ǒ Ǒ Ǒ Ǒ Ǒ Ǒ Ǒ Ǒ Õ
Õ Õ
Õ - ? -
?
§ ff

I 4 44 ( ( J
4
? H (
? ? ? - ?
- (
? H ? (
- ?
8a

522
6 4
4 44 4 6 4
G
4
-
?

§ ff
4 44 J
4 (
G
? H (
?

8a
( 8a
524
( ( ( 4 4 6 4 6 4
4 44 6 66
G
4 4 6 6
ÎÎ Ú ÚÚ - ? ?
Ú -

§

4 44
4 ( J (
J 6 66
G ? ? - ?
-
? H ? (
?

6
-
8a

8a
527

4 (

1

1

Ï Ï
G - ?

§ f ff

(
I
(
? ? - ?

8a
8a

530

1

1

-
G ?

§ f
ÄÄ

I

J (
?
ÄÄ
30
8a
( (
533 4 6

4
? 2 (
G
ÖÖ Ü 2 22 6
Ü
- ? - ?
§ p espress:

I ( 22
? 22 ( ?

6 Z 6
536
22 6 Z 6

G2 2 - ? - ? ? ? ?

?

- - - -
§

I 22

22

8a

539 6 6 6
22
G2 2 ?
-
§

I 22

22

8a 8a

542

22

G2 2
- -
? ? > 6 6

§ ff
Piano seul
I 22 ( J
(
22 - ? ? H ? >

8a
545 8a
22
2
G 2
>
6

§

I 22 J
22 H >

31
8a 8a
548

22 ^ ^ 6
G2 2 6 6
> ^ 4 6
>

§
6

I 22 6 6
22 > >
6
551 ^ 8a
^
2 2 6
\ 6 4 ^ \ 6 44
G2 2 4

6 66 4 4
6 >
§ ff

I 22 6 ^ J 6 64 44
22 H 66 4
6 >

8a 6
553

4 44 6 6
4
G > ? ? ? 6 ? - ? ? ?
- - - - -
-
§ pp poco rit.
I 4 44 J J
4 H 6 6 H66 6

in Tempo.
8a
4
557
4 44 6
4
Ǒ ÇÇ ñòñ
G - ? Ǒ ÈÈ ò «¬«¬
§ pp
I 4 44 J J J
4 H H H6
6 6
#
# !
8a
6
4 6 4
560
4 44 6 6 4
4 4 6
G ñòñ ñ
ò ±²±² òòñ ±±² 6
² ff
§ Piano seul.

I 4 44 < J
4 H6 H
> 6
4
!
32
8a
563
4 44
ÕÕ 4

G
4
Ö
6 6 4 6 4

4
§
4
4 44 J 6 J 4
4 < <
G > H
>
6
8a

566 6 6 6
4 44 6 64 6 ^ 6 ^
4 ÏÏ
G ^ ^
ÕÕ ÕÕ ^
^
§ ff

64
I 4 44 6 6 J64
4 H 64 64 6
6 > > 6 > >
8a
^ 8a
^
569
4
4 44 ^ ^
4 ^
G ^ >
4
> 4 ( ?
4
§ 5

6 6
I 4 44 6 64 6 J6 4
4 6 H 64 6
> > 6 > > ? H
6 -
8a

572
4
4 44
4 4 - 4
G ?

§

4 44 5 5
4
G - ? 5
575
4 44
4 4
G ?
- 4 4

§ ff
4 44 5 5
4 J
G ( ? 5
33
578
4 44
4 6 ( 64 -
G ? > -
4 ( - ? 4 ? ?
-
? ? - ?

§ con Calore.

6 64
I 4 44 5

4
4
- ? > > ? > - ? > - ? H
-
8a

4
581
4 44 6 \ 6 \
4 4 -

4 -

- -
G ? ? ? - ? ? ^ ? ? - ? - ?

- -
§
4 44 ^ \ \ Ǒ
Ǒ
4 \ ( (
G > 6 ( ? > ? > 64 ? > ? ?
-
4 -
8a
584
4
4 44 4 6 4 6
4 -
G -
? > ? >
-
? >
-
? >
§
8a
4 44 4 5 6
J
4 5 4 (
G -
? > ? > ( ? > ? >
-
587
M. = 138 8a
4 44

4
G ( ? >
> >

§ ff Tutti.
Solo.

I 4 44 (
J
4
? > > H

>

8a

590
8a
4 44

4
G >
>

§
ff Tutti.
Solo.

I 4 44

4 > > H

34
8a

593 8a
4 44
G
4 -
> ǑǑ ǑǑ ?
ff
§ Piano seul.

4 44 J

4 -
G > ?

596

4 44 J ǑǑ
4
G H ǑǑ
ǑǑ

§

I 4 44 <
4
> > H >
<
8a 8a

599
4 44
4
G

§
4 44 J
4 <
G > > > > H

8a

603

4 44 J
4 < <
G > >
§
4 44 J
4 < <
G > >

8a
Fin.
607

I 4 44 ǑǑ ǑǑ
ÉÉ
4 H

ǑǑ ǑǑ ǑǑ
<
ǑǑ ÕÕ >
§

ǑǑ ǑǑ
I 4 44 ǑǑ
4 ÕÕ H

ǑǑ
<
ǑǑ ǑǑ ÕÕ >
#
35
Variants
294 ^ \ 8a
4 44 64
4 64
G > > > >

4 44 ^ 64

4
G 4
64 > > > >
8a
544 8a 8a
22

G22 - ? >
<
> >
<
>
Ǒ Ǒ

>
<

22 J J
G 2 2 ( ? >
<
>
H >
<
> >
<

549
8a ^ 8a ^
22 Ǒ \ 4 \
^ Ǒ
G22 >

^ 6 < Ǒ
ÕÕ
6 ^
6 > > 6 4 Ǒ ǑǑ Ǒ Ǒ >

6 ff

I 22 6

< 6 ^
22 > H
> >
6 >

562 86a
8a
Û 6
22 Û 4
G22 <
Û
< 6 4 6 4 Ǒ <
> Û > Ǒ >
4

4
22 J 6 6
G 2 2 < < < 4 < <
6 > > > > >
8a
595

22 J Ǒ Ǒ
G22 < <
> > ǑǑ
H ǑǑ > >

I 22 < < J
22 > > H > > H

8a 8a
599

22 Ǒ Ǒ

G22 >
<
>
>
<
>

ǑǑ ǑǑ

22 J J
G 2 2 >
<
> H
>
<
> H

36
Editorial Notes
The present edition is based on a collection of pieces by Bertini which I bought in northern France from a used book
store. The pages measure 25.5 cm × 34 cm. The compositions were obviously bought separately and later bound
together. It contains the following:
Grande Fantaisie Etude, Op. 46. 24 pages.
Variations de Concert (for piano and string orchestra), Op. 69. 14 pages.
Trois Nocturnes (L’Espérance, 4 pages, Les Regrets, 8 pages, Le Calme, 4 pages), Op. 87.
Grande Polonaise (for piano and orchestra or string quartet ad libitum), Op. 93. 19 pages.
Deux Nocturnes (A Toi!!! et La Solitude), Op. 102. 8 pages.
Grand Rondo de Concert (piano and orchestra or string quartet ad libitum), Op. 105. 20 pages.
Dell’aura tua Profetica, Varié pour le Piano, Op. 106. 14 pages.
Solo pour le Concours de l’Ecole Royale de Musique, Année 1836, Op. 109. 16 pages.
Grande Fantaisie sur une cavatine par Rubini dans La Straniera, Op. 113. 22 pages.
Grande Fantaisie Dramatique, Op. 118. 22 pages.
2e Solo pour le Concours de l’Ecole Royale de Musique, Année 1838, Op. 121. 19 pages.
All were published by Henry Lemoine except the first which was published by S. Richault.
As time permits I intend to typeset all these pieces and make them available at the Werner Icking Music Archive.
Although the three compositions for piano and strings can be played as solo piano pieces I would greatly appreciate it
if someone could supply me with the string parts so I can make them available as well.
Revisions
At four places (bars 294, 544, 562, and 595) the score splits. The main line continues with the lines lines on page 35;
these are intended to be played with the string accompaniment. Above this is printed the lines used in this edition; they
are marked Piano seul and are intended to be used in a solo piano performance.
No attempt has been made to indicate the line or page breaks. Accidentals which are in parentheses are not found in
the original; accidentals which are redundant because they occur earlier in the bar, either in the original or editorial,
have been silently dropped. In addition, the following changes have been made:
bar 23, left hand, second quarter: chord has b43 rather than c44.
bar 29, left hand: no change to treble clef.
bar 30, left hand: no change to bass clef.
bar32, right hand: the b-sharp–c-natural in the run is in the origianl.
bar 75, right hand, first beat: b85 sharp.
bar 251, right hand: no tie on the lower f44
bar 296, left hand: first rest missing.
bar 546, right hand: octavation terminates at the end of the previous bar.
bar 584, left hand: no ocavation indication.
Approximate duration: 11:00
James L. Bailey
College of the Rockies
Cranbrook, BC, Canada
bailey@cotr.bc.ca
August 21, 2007

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Grand Rondo de Concert

Dédié a son ami Henri Herz

Henri Bertini jeune

c 2007 by James L. Bailey

Grand Rondo de Concert Op : 105

176 Cantabile. M. = 112

Allegro brilliante. M. = 184 8a

350a Adagio Tempo 1.

Allegro brilliante. M. = 100 8a

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BERTINI - Grand Rondo de Concert, Op.105

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BERTINI - Grand Rondo de Concert, Op.105

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Grand Rondo de Concert

Dédié a son ami Henri Herz

Henri Bertini jeune

c 2007 by James L. Bailey

Grand Rondo de Concert Op : 105

176 Cantabile. M.  = 112

Allegro brilliante. M.  = 184 8a 

350a Adagio Tempo 1.

Allegro brilliante. M.  = 100 8a 

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176 Cantabile. M. = 112

Allegro brilliante. M. = 184 8a

Allegro brilliante. M. = 100 8a