14 - Purcell's Rigadoon should have a catalog number Z. 6 - O Come, Little Children (Ihr Kinderlein, kommet) is by Johann Schulz It would have been better to write the piece in 2/4 like Mozart, if Suzuki did not want to deal with starting a piece on an upbeat. To many, this may be a small thing, but right off the bat, the Suzuki Method presents a piece with wrong phrasing. But the melody itself is "Ah! vous dirai-je, maman," a song published anonymously in the 1760s, not "Twinkle." The song is a gavotte, starting on the second big beat, as most gavottes do. Fair, Suzuki himself wrote variations on "Twinkle," as did Mozart, Dohnanyi, and many others. 1 - Let us start with the most controversial.
I hope that my list will be helpful to the next generations of teachers and students using the Suzuki Cello Method. I would like to compile a comprehensive (by no means exhaustive) list of works where the Suzuki Cello Method, and by extension violin and viola methods, err in composer and title attribution. All three options are around us every day, whether we say, "that sounds like a piece from the Classical period," or, "that song is so 1980s." As a method of great influence, I believe that the Suzuki Method, now published by Alfred, owes its consumers the latest in musical scholarship, especially since the scholarship is easier than ever to obtain. Three things can happen when we do not know the composer or title of a music work: 1. The issue of composer and title attribution is as old as music itself. What is more popular than the Suzuki Method? This rhetorical question is meant to make you think about the influence of the Suzuki Method on generations of musicians for the last half-century.
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