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.48024948
ISBN 9781784545659. UPC: 840126947205. 9.0x12.0x0.195 inches.
Drawing on the composer's transcriptions for violin (with Samuel Dushkin) and for cello (with Gregor Piatigorsky), Kim Kashkashian has produced a long-overdue viola version of this neoclassical masterpiece. The choice of movements from Stravinsky's Pulcinella Suite differs between those for violin and cello; Kashkashian has in turn made a slightly different selection comprising Introduzione, Serenata, Aria, Tarantella, Toccata and Minuetto e Finale. A show-stopping addition to the repertory of modern viola music.
SKU: HL.50565899
SKU: IM.3778
Originally for cello, this joyous four-movement work is now available for viola and piano, edited by master violist Paul Neubauer.
SKU: AP.36-52720600
ISBN 9781429126267. UPC: 679360613795. English.
This volume continues the development of playing skills found in Book 1 and progresses to more complex rhythms, left-hand finger patterns and techniques, bowing techniques, and preparation for shifting. Book 2 introduces students to: long and controlled bow strokes, slurred legato and staccato bow strokes, string-crossing slurs, and producing dynamic contrasts; new rhythmic patterns including dotted notes, triplets, sixteenth notes, swinging eighth notes, and syncopated rhythms; new time signatures including 6/8 and 3/8, along with cut time for cello/bass; and major and minor left-hand string patterns, extended fingerings, and beginning octave harmonics and shifting. Online audio available.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: IM.3777
These delightful, charming pieces, originally for cello, are now available for viola.
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.
SKU: CU.MA3962
SKU: HL.14025729
ISBN 9780853604990.
Based on Playing The Cello, this book includes old and new material to offer a direct and interesting approach to sound technique. By Alison Milne.
