SKU: BT.EMBZ14661

Volume 9 in the series includes two works by Georg Goltermann (1824-1898) written for four cellos. The first work in the volume is the well-known Ständchen by Schubert, and the last is a transcription for four cellos of the equally popular Humoresque by Dvo ák. Since parts III and IV are easy, if the members of the ensemble are of equal ability it is possible in the repeated sections for an exchange of parts to take place between I and III, and between II and IV.

Inhoud:
1. Schubert, Franz: Ständchen
2. Goltermann, Georg: Nocturne
3. Goltermann, Georg: Religioso
4. Dvoák, Anton n: Humoresque

Der 9. Band der Serie beinhaltet zwei auch ursprünglich für vier Violoncelli geschriebene Werke von Georg Goltermann (1824-1898). Das Eröffnungs- und Endstück der Ausgabe sind Transkriptionen, das erste das allgemein bekannte ‚Ständchen' von Schubert, letzteres die ebenfalls beliebte Humoresque von Dvo ák. Da die dritten und vierten Stimmen eher einfach sind, wenn die Musiker des Ensembles am selben Niveau spielen, besteht in den repetierenden Abschnitten die Möglichkeit, die ersten und dritten bzw. zweiten und vierten Stimmen vertauscht zu spielen.

Sommaire:
1. Schubert, Franz: Ständchen
2. Goltermann, Georg: Nocturne
3. Goltermann, Georg: Religioso
4. Dvoák, Anton n: Humoresque

Contents:
1. Schubert, Franz: Ständchen
2. Goltermann, Georg: Nocturne
3. Goltermann, Georg: Religioso
4. Dvoák, Anton n: Humoresque

SKU: HL.49019267

ISBN 9790001180689. UPC: 841886018143. 9.0x12.0x0.074 inches. Edited with fingerings and bowings by Fritz Zumkley.

Goltermann (1824-1898) left a plethora of works for his instrument, including seven cello concertos which sometimes go to the limitsof what was considered to be technically playable in his time. Even today, these works have maintained their importance throughout the methodological progress in literature. Apart from the concertos, Goltermann also composed a large number of character pieces, including romances, reveries, nocturnes and serenades. Stylistically wholly rooted in the Romantic spirit of their time, the pieces are relatively short and of medium difficulty as regards the technical demands. It is not least due to their melodic and harmonic catchiness that they enjoy a lasting popularity both in music lessons and in domestic concerts.

SKU: CF.BF130

ISBN 9781491153536. UPC: 680160911035.

Cello Power is a series of books designed to be used to expand the cello student’s facilityand knowledge of the instrument. The books are structured to focus on the advancedmaterials that appear in our cello literature. Most important are the exercises and myfurther recommendations on how to work on them. The process is first to digest thefundamental of each and thereby to enable one to build a solid technique in preparationfor the difficult passagework ahead. An example are the double-stop excerpts, which arebroken down into two-string bow patterns to aid in intonation and to clarify the spacingfor the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack of materials covering, ina progressive order, the transition from the introduction of the thumb position into astudent’s studies and the work on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, then there are the ensuingrepertoire demands of the concertos of Dvořák and Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique and facility in the lower areaof the cello. This includes material to help make the fifth, sixth and seventh positions lessawkward for the student. The goal is to aid in the ability of the student to become moreable to apply this technical comfort to the attainment of a more nuanced and emotionallyfulfilling musical performance on the cello.
Cello Power is a series of five books designed to be used to expandthe cello student’s facility and knowledge of the instrument. Thebooks are structured to focus on the advanced materials thatappear in our cello literature. Most important are the exercisesand my further recommendations on how to work on them. Theprocess is first to digest the fundamental of each, and therebyto enable one to build a solid technique in preparation for thedifficult passagework ahead. An example are the double-stopexcerpts, which are broken down into two-string bow patterns toaid in intonation and to clarify the spacing for the left hand.Books 1 and 2 are planned to fill the gap left vacant by lack ofmaterials covering, in a progressive order, the transition from theintroduction of the thumb position into a student’s studies and thework on the much more difficult application of this informationinto studies by Popper, Grützmacher and Piatti. Of course, thenthere are the ensuing repertoire demands of concerti by Dvořák,Saint-Saëns and such like.Book 3 is aimed at developing a sure and secure technique andfacility in the lower area of the cello. This includes materials to helpmake the fifth, sixth and seventh position less awkward for thestudent. The goal is to aid in the ability of the student to becomemore able to apply this technical comfort to the attainment of amore nuanced and emotionally fulfilling musical performance onthe cello.