Melodious Etudes Selected from the Vocalises of Marco Bordogni
These vocalises are considered to be among the most musically appealing studies in the vocal repertoire. They have been carefully transcribed and edited to add a new dimension to the study of legato performance on the string instruments. In these etudes the student can work on phrasing, tone quality and musical line. Sonority and richness of tone are key elements in mastering these etudes. Presented are fifty-four etudes with a variety of keys and rhythms that will explore the range of the instrument. Multiple types of bowing opportunities are also covered.
Title: Melodious Etudes Selected from the Vocalises of Marco Bordogni, By Bordogni, Marco, Edited by Doris Gazda, Published by Carl Fischer
An excellent study tool for playing the Rococo Theme and Variations with commentary and preparatory exercises by Daniel Morganstern. Also includes score and optional part for 2nd cello. No piano accompaniment included.
Beriot's Six Spanish Airs, originally written for two violins, are a
delightful addition to the duet repertoire for Viola and Cello. A
contemporary of Mendelssohn and known as the father of the
Franco-Belgian violin school, De Beriot composed masterpieces that will
enchant a new generation of string players!
Short classical pieces for cello. All selections may be played in the first position.
Contents: Volume 1:
Andante and Contradance (Mozart)
Wiegenlied, Op. 98, No. 2 (Schubert)
Altenglischer Tanz (Schubert)
Theme from Piano Sonata in A Major, KV 331 (Mozart)
Das Echo (Schubert)
Il est né, le divin enfant (Chanson)
Il était une fille (Chanson)
Le retour du marin (Chanson)
It has long been known that certain solo passages in Dvorák's autograph score were actually written by the cellist Hanus Wihan. Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together.
The editor Jonathan Del Mar has painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produce an authoritative edition which restores Dvorák's final and definitive version of the solo cello part. This differs, in details, in almost every bar from the version found in all other modern editions, while hundreds of corrections have also been made to the orchestral parts.
Includes cello part and a piano reduction of the score.