2 or more Violoncelli - late intermediate SKU: BT.EMBZ14886 For 4 viol...(+)
2 or more Violoncelli -
late intermediate
SKU:
BT.EMBZ14886
For 4
violoncellos. By
Arpad Pejtsik. EMB
Chamber Music for
Violoncellos. Educational
Tool. Set (Score and
Parts). Composed 2014. 54
pages. Editio Musica
Budapest #EMBZ14886.
Published by Editio
Musica Budapest
(BT.EMBZ14886).
9x12
inches.
The latest
volume of Chamber Music
for Violoncellos contains
four sacral works, two of
which were arranged for
cello quartet by the
editor of the series,
Ãrpád Pejtsik. Both
Angelus!, Liszt's piano
piece of ethereal beauty,
and the Kyrie of Mozart's
Requiem, an irresistibly
surging four-part fugue,
are magnificent when
played with the immensely
rich sound of the four
cellos. The second part
of the volume contains a
pair of inspired works by
two prominent cellists
and composers of the 19th
century: Karl Friedrich
Wilhelm Fitzenhagen's
Consecration Hymn and
Friedrich
Grützmacher's Ave
Maria. While an
instrumental skill of at
least intermediate level
is required for playing
the upperparts due to the
use of higher positions,
the lower parts can be
performed by beginner
cellists. The editor has
assisted the appropriate
interpretation of the
works by providing the
fingering and bowing.
Band 15 der Reihe
für Violoncelli
enthält vier
Kirchenmusikwerke. Die
ersten beiden wurden vom
Herausgeber der Reihe,
Ãrpád Pejtsik,
für Celloquartett
arrangiert. Es folgen
zwei Werke von zwei
berühmten Cellisten
und Komponisten des 19.
Jahrhunderts:Karl
Friedrich Wilhelm
Fitzenhagens CONSECRATION
HYMN und Friedrich
Grützmachers AVE
MARIA. Für die
höheren Lagen sollten
die Schüler mindestens
fortgeschritten sein, die
tieferen Lagen können
von Anfängern gespielt
werden. Der Herausgeber
hat für eine
werkgetreue Wiedergabe
Fingersätze und
Striche
hinzugefügt.
Inhalt:
1. Liszt: Angelus!
Priere aux anges
gardiens 2.
Mozart, Wolfgang Amadeus:
Kyrie from the
Requiem (K 626) 3.
Grützmacher,
Friedrich:
Consecration Hymn
(Op. 65) 4.
Fitzenhagen: Ave
Maria
Conte
nts: 1. Liszt:
Angelus! Priere aux
anges gardiens 2.
Mozart, Wolfgang Amadeus:
Kyrie from the
Requiem (K 626) 3.
Grützmacher,
Friedrich:
Consecration Hymn
(Op. 65) 4.
Fitzenhagen: Ave
Maria
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.
(For Strings - Cello Book). By Larry Clark. Arranged by Doris Gazda Larry Clark....(+)
(For Strings - Cello
Book). By Larry Clark.
Arranged by Doris Gazda
Larry Clark. For 2 Cello,
Compatible with Bf50,
Bf51, Bf53. 32 pages.
Published by Carl Fischer
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.