ISOLUTION

Young cellists (and their teachers and parents) will have fun taking this musical promenade through the zoo. Animals from A to Z help young learners to master cello techniques and skills in a spirit of fun. Tiny ants form caravans with minuscule footsteps, a lion roars in two-part counterpoint, a seal frolics in a liquid 6/8, and two little donkeys draw attention with daring glissandos.
The colour illustrations by the well-known Polish artist Marcin Bruchnalski whet the curiosity for each piece and capture its character with a wink of the eye.
– Easy cello pieces with piano accompaniment
– Teaches technical skills in a spirit of fun
– Imaginative melodies
– Colourful illustrations
 
The Authors
Antoni Cofalik
Romuald Twardowski
Marcin Bruchnalski
 
 
 
Cello Part Pages: 20
Score Pages: 16
Language: German, English, French
Publisher: Barenreiter

Vorwort
Die 2. Lage: 1. Die Töne (Übung 1-5)
2. Lagenwechsel. A: Freier Einsatz (6-10)
B: Zusammenziehen und Strecken der Finger (11-18)
C: Gleiten mit demselben Finger (19-37)
D: Fingerwechsel auf dem demselben Ton (38-40)
E: Fingerwechsel und Gleiten (41, 42)
3. Dreiklänge und Etüden (43-47)
4. Duette (48-54)
Die dritte Lage: 1. Die Töne (55-59)
2. Lagenwechsel. A: Freier Einsatz (60-64)
B: Zusammenziehen und Strecken der Finger (65-69)
C: Gleiten mit demselben Finger (70-76)
D: Gleiten und Aufsetzen eines anderen Fingers (77-79)
E: Fingerwechsel auf demselben Ton (80-81)
F: Fingerwechsel und Gleiten (82-92)
3. Tonleitern und Dreiklänge, Etüde (93-98)
4. Duette (99-109)
Literaturhinweise für das Spiel in der 2. und 3. Lage
Quellen
 
 
Pages: 56
Language: German
Publisher: Barenreiter

Language: German/English
Product format: Piano reduction, Part
Instrumentation: Violin Solo, Piano
Solo Pages: 9
Piano Pages: 11
Publisher: Barenreiter
CONTENTS
When the young Marlene Dietrich took violin lessons in Dessau from Friedrich Seitz (1848-1918), did she have this concerto in her repertoire? Whatever the case, her career, as we all know, took off on a different slant. But the Student Concerto in G major, op. 13, advanced to become one of the most popular and effective recital pieces for young violinists en route to the great concert stage.
Friedrich Seitz was a concertmaster and violin teacher, first in Magdeburg and later, from 1884, in Dessau. He published his op. 13 concerto in 1893. It is laid out in the conventional three movements: a charming Allegro non troppo poised between concert and salon music, a sentimental Adagio in a minor key, and a merry Rondo in 6/8 metre as a finale. Like almost every work by this passionate music educator, it stands in the facile e brillant tradition, achieving maximum impact with minimum technical demands while adopting the posture of a virtuoso concerto. A solid command of the first position is sufficient for its performance, with good left- and right-hand coordination required in the fast passages. The learner’s technical skills are honed on simple double stops and détaché, legato and elementary spiccato bowing. Typical formal sections, such as a cadenza in the opening movement, and lovely, memorable melodies, call for an imaginative delivery: students learn how much fun it can be to play ‘virtuoso’ music!
This edition appears in the Bärenreiter’s Concert Pieces series, which includes popular concertos and concert pieces for young violinists. The editor is the internationally acclaimed violin teacher Kurt Sassmannshaus, who has added fingering and bowing to the solo part and explains the technical requirements in a short preface.
– One of the most popular and effective student concertos of the 19th century
– Written entirely in first position
– Includes a solo part and a score with the piano accompaniment
– Short preface in German and English with information on technical requirements

Volume / Series : BÄRENREITER URTEXT
Editor: Bartoš, František / Plavec, Josef / Šolc, Karel
Language: English/German/Czech
Pages: 38
Publisher: Barenreiter
Composer / Author: Smetana, Bedrich 
The composition of the first string quartet “From My Life” was preceded by a period of fateful changes in Smetana’s life. In 1874 he lost his hearing. Two years later he moved with his family to Jabkenice in the countryside, which seemed to him like an expulsion; he suffered from his deafness and missed contact with like-minded company. He presented the string quartet as a conversation within a close circle of four friends who discuss what is tormenting them. It is a kind of passionate and resigned dialogue between a spirited person and his destiny. Smetana’s first string quartet soon became one of the most frequently performed works in the quartet repertoire.
The musical text of the new edition is based on the “Study Edition of the Works of Bedrich Smetana”, Volume XV – Chamber Music Works.
– Urtext from the “Study Edition of the Works of Bedrich Smetana”
– Detailed foreword ( Cz /Eng/Ger) by Marta Ottlova
CONTENTS
Predmluva
Preface
Vorwort
I Allegro vivo appassionato
II Allegro moderato alla polka
III Largo sostenuto
IV Vivace

Volume / Series : BÄRENREITER URTEXT
Editor: Faltus, Leos / Doležal, Jan
Language: Czech, English, German
Pages: 40
Publisher: Barenreiter

Leos Janácek, almost seventy years old, characterised the wind sextet he had just finished as “a kind of memory of youth” in a letter to Kamila Stösslová. The suite “Youth” was written in the summer of 1924, prompted by the composer’s need to take stock on the occasion of his 70 th birthday. Janácek also heard the Parisian ensemble “Société moderne des instruments à vent” several times in Salzburg and Brno. He expanded the classic quintet scoring by the addition of a bass clarinet.
Janácek referred to an earlier part of his life in this work not only by quoting a theme from “March of the Blue Boys”, but particularly through his general freshness of expression, astute humour and use of form which adhered to the classical style.
The piece was enthusiastically received by both critics and the public and appeared in print as early as 1925 issued by the Prague publisher Hudební matice.
– Wind sextet in the classical style
– Urtext based on the “Critical Complete Edition of the Works of Leos Janácek”
– New foreword by Jirí Zahrádka (Cz/Eng/Ger)
CONTENTS
Allegro
Andante sostenuto
Vivace
Allegro animato