2 cellos, string orchestra and basso continuo (3 Violine I - 3 Violine II - 2 Vi...(+)
2 cellos, string
orchestra and basso
continuo (3 Violine I - 3
Violine II - 2 Viola - 3
Basso - 1 Cembalo) -
intermediate
SKU:
HL.49019634
Urtext. Composed
by Antonio Vivaldi.
Edited by Wolfgang
Birtel. This edition:
Folder. Sheet music.
String Ensemble.
Softcover. 88 pages.
Schott Music #CON267-70.
Published by Schott Music
(HL.49019634).
ISBN
9790001191296. UPC:
888680913090.
9.0x12.0x0.26
inches.
The genre
of the violoncello
concerto was born in
17th-century Italy.
Thanks to the Venetian
composer Antonio Vivaldi
(1678-1741), there exists
today not only a wealth
of magnificent violin
concertos but also quite
a number of cello
concertos to whose
development he
contributed considerably.
More than two dozens of
his concertos are
dedicated to the
violoncello, including
the probably most famous
double concerto: the
Concerto for two
violoncellos, string
orchestra and basso
continuo in G minor (RV
531) written after 1770.
The sonorous work with
its playful outer
movements and expressive
largo is published in
this critical new edition
on the basis of the
sources.
Composed
by Friedhelm Rentzsch.
German title:
Streichsextett (1981).
Set of Orchestra Parts.
Composed 1981. 88 pages.
Duration 15 minutes.
Carus Verlag #CV
15.408/09. Published by
Carus Verlag
(CA.1540809).
34 Original Violoncello Duets from 5 Centuries. Edited by Beverley Ellis and...(+)
34 Original Violoncello
Duets
from 5 Centuries. Edited
by
Beverley Ellis and Rainer
Mohrs. This edition:
Paperback/Soft Cover.
Sheet
music. String Ensemble.
Baroque, Classical,
Modern,
Renaissance, Romantic.
Performance score,
softcover.
152 pages. Schott Music
#ED
22416. Published by
Schott
Music
Performance Score.
Composed by Gerhard
Mantel. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Playing score.
44 pages. Schott Music
#ED8781. Published by
Schott Music
(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.