SKU: BT.DHP-1115173-401
ISBN 9789043139298. 9x12 inches. English-German-French-Dutch.
Are you looking for a duet book full of surprises? Then Klezmatic Duets is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. hese skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren.Klezmatic Duets for Cellos ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafu?r als Duette fu?r zwei Celli bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fu?r Violine oder Viola besitzen. Geiger mu?ssen fu?r diese Stu?cke nur die erste Lage beherrschen; für Celiisten geht es bis zur vierten Lage. Klezmatic Duets for Cellos est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux violoncellistes, mais également en duo avec un autre instrumentiste cordes, tel quâ??un violoniste ou un altiste possédant le recueil approprié. En tant que violoncelliste, vous devrez cependant maîtriser les quatre premières positions. Klezmatic Duets for Violins è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due violoncelli. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per violine o viola. Per lâ??esecuzione di questi brani è richiesta solo la padronanza della prima posizione.
SKU: BT.EMBZCHA06
SKU: BT.EMBZ14662
Angelo Maria Fiore (c. 1660-1723), composer and virtuoso cellist, was the founder of the Piedmont school. In 1697 he was invited to the Accademia Filarmonica di Bologna as a rare cello player. During his lifetime his work entitled Trattenimenti di camera a due stromenti, violino e cimbalo o violino e violoncello was published by Bartolomeo Gregori in 1698, barely three years after the first cello sonatas to appear in print, the works of Giuseppe Jacchini. Three of the 14 Trattenimenti were written for cello and basso continuo, and they form the contents of this volume. This edition is faithful to the text of the source and the archaic style of writing has been modernized to makethe score (intended for practical, pedagogical purposes) easier to read. Der Komponist und virtuose Cellist Angelo Maria Fiore (c1660-1723) war der Gründer der Piemont-Schule. 1697 wurde er in der ‚Accademia Filarmonica di Bologna als raro suonatore di violoncello' aufgenommen. Schon zu Lebzeiten erschien sein Werk: ‚Trattenimenti di camera a due stromenti, violino e cimbalo o violino e violoncello, kaum drei Jahre nach den ersten gedruckten Cellosonaten von Giuseppe Jacchini, der Herausgeber war Bartolomeo Gregori. Von der vierzehn ‚Trattenimenti' (eigentliche Barocksonaten) entstanden drei für Cello und Basso continuo, diese Werke beinhaltet unser Band. Die Ausgabe bleibt zum Text der Quelle treu, um die Lesbarkeit der praxisorientierten, vorallem pädagogischer Zwecke dienenden Noten zu vereinfachen, wurde die alte Schreibweise modernisiert.
SKU: BT.EMBZ7222
English-German-Hungarian.
SKU: HL.49008156
ISBN 9790001122184. UPC: 884088073091. 9.0x12.0x0.175 inches.
These duet studies are intended as a companion volume and as additional exercises to the method 'Cello mit Spass und Hugo', but they are equally well suited as complementary material to any other course of study. Each piece tackles a clearly defined technical or tonal task, yet they are meant to be fun and useful additional to the chamber music repertoire in their own right. Initially the upper part is intended for the pupil, the lower one for the teacher. But as both parts are comparatively equal, they could also be attempted by two pupils. For group tuition it is suggested to introduce a couple of rhythmical accompanying parts.
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