SKU: LM.C06672
ISBN 9790230366724.
Maria, l'oie - Perrine, la lapine (mesures binaires et ternaires) - Emmanuelle, la sauterelle (quartes et quintes) - Dess-Laura, la chatte angora (chromatismes) - Benoit, le koala (sauts de cordes).
SKU: BT.MUSVWP000125
Born in Nottingham, England, in 1862, Edmund Severn moved to the United States at the age of four along with his family who settled in Hartford, Connecticut. Severn began to study the Violin with guidance fromhis father, who taught the instrument professionally. He later studied with Franz Milcke and Bernard Listemann, concertmaster of the Boston Symphony Orchestra, before moving to Berlin to study bowing technique under Emanuel Wirth,the first assistant of Joseph Joachim at the Berlin Hochschule.
As a composer Edmund Severn wrote mainly orchestral music, as well as many pieces for the Violin including a concerto; he also wrote threestringquartets.
To this day, the Polish Dance for Violin and Piano has remained Severnâ??s most famous work. The piece is arranged here by Alan Arnold for Viola and Piano.
SKU: HL.49046384
ISBN 9781540086471. UPC: 842819108283. 9.0x12.0x0.079 inches.
This fantasy in song form, develops an expressive melody in Eb minor. Its characteristic iambic rhythm is announced in the initial bars of the ostinato piano accompaniment. The central section contrasts by its diversified themes and its tonal mobility. A tight recapitulation in the treble register is dramatically interrupted before the coda. Collected and harmonically dense, the last bars resound like a last breath, tone painting the 'in manus tuas domine commendo spiritum meum' (Ps. 31,6).
SKU: BT.SLB-02032701
230 X 305 inches. French-English-Italian.
Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d’amore, the subject of a manual he wrote entitled Tecnique de la viole d’amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called “original†part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the “original†version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.Henri Gustave Casadesus nourrissait une profonde passion pour les instruments anciens, qu’illustrent notamment plusieurs photographies qui le représentent avec la viole d’amour, un instrument pour lequel il écrivit le traité Technique de la viole d’amour. Le Concerto en ut mineur fut publié pour la première fois en 1947 par Mica Salabert. Dans la première édition imprimée du Concerto en ut mineur, la partie du violoncelle soliste était qualifiée d’« originale » tandis que la partition, d’après la préface citée, est la version d’Henri Casadesus, réadaptée pour alto, violon ou violoncelle. Toutefois, d’après l’analyse du style de la pièce et des recherches musicologiques successives jamais contestées du reste par la famille Casadesus il apparaît que la version « originale » pour violoncelle, de laquelle découlerait l’adaptation, n’est pas attribuable non plus Johann Christian Bach, mais aurait été composée selon sa manière deux siècles après. En dépit de cela, ce concerto a connu une bonne fortune et est encore étudié et interprété aujourd’hui par les altistes et les violoncellistes.
SKU: HL.14010880
ISBN 9788460494560. 8.5x12.0x0.135 inches. English.
SKU: BT.YE0009
Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino â?¦ di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.
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