ΒΙΒΛΙΑ

Die fröhliche Viola’ is a viola method for children which is aimed primarily at pupils who start to learn playing the viola without taking a detour to the violin. Those who have already played the violin and use the method as a ‘way to change instruments’ may skip some pieces or even start with Vol.2.
Like ‘Die fröhliche Violine’, this book intends to make the children have fun while learning to play the viola. For this purpose, a stylistically varied range of classical and folkloristic songs and instrumental pieces encourage music-making, and small texts provide interesting information on the viola, the music and its composers.
The viola is used both as a solo and as an accompanying instrument, and the ‘hearing’ and ‘counting’ of middle and lower lines are specifically trained. Due to the fact that many songs and secondary parts are notated in the treble clef and thanks to examples for trio and quartet playing, this book especially encourages ensemble playing with friends or within the family.
 
 
Score Pages: 144
Language: German
Publisher: Schott

Since its premiere in 1873 this work has held an important place in the violoncello repertoire. It is on the one hand a short charming composition; on the other hand, equally important, is its use in instruction during the first few years of playing. Central here are the articulation of the opening theme and its various repetitions juxtaposed with lyrical passages calling for legato playing.
Christine Baur’s new scholarly-critical edition is based on a thorough examination of all the sources, including Saint-Saëns’ later orchestral version. The edition incorporates many articulation alternatives for the soloist, which are marked “ossia” above the solo cello line in this version for cello and piano.
This important new publication offers cellists not only an Urtext part, but also one with bowing and fingering; both parts have a fold-out page so that no page turns are necessary.
– The first Urtext edition of this important work
– Fold-out page in the solo cello part, so no page turns are needed
– Includes articulation alternatives as “ossias“
 
 
Editor: Baur, Christine
Score Pages: 8
Cello Part Pages*: 3
Language: German, English, French
Publisher: Barenreiter
* with marked and unmarked string parts

The first two volumes (Z. 14306 and Z. 14324) of the edition called Chamber Music for Violoncellos include four violoncello quartets each. The grade of difficulty of the pieces ranges from easy to medium. Their style covers the period from the Renaissance to late Romanticism. Among the works we find familiar pieces and new arrangements alike. In contrast to the majority of similar editions, the added score helps a good grasp of the quartets. The recommended fingering and bowing facilitate rendering the parts according to identical concept.
 
Contents
 
1. Tchaikovsky, Pyotr Ilyich: Hymn of the Cherubim
2. Gesualdo, Carlo: Gagliarda del Principe di Venosa
3. Kossovits József: Slow Hungarian Dance (1794)
4. De Swert, Jules: Elegy
 
 
 
Score Pages: 40
Language: English, German, Hungarian
Publisher: Editio Musica Budapest

The series – after three volumes of quartets – continues with trios this time. In the trio by Haydn the three cellos take turns playing the leading part. A special feature of the Purcell Chaconne is the fact that the two parts above the 6-bar ostinato bass move in canon throughout the piece. All three Mozart works? The Canon inversus (mirror canon), the Canzonetta and the Adagio ? are miniature masterpieces. The Elgar work: Salut d’ amour, with which the volume ends, demands a slightly higher level of skill, but is a rewarding task for everyone who performs it.
 
Contents
1. Haydn, Franz Joseph: Trio
2. Purcell, Henry: Chaconne
3. Mozart, Wolfgang Amadeus: Canon inversus
4. Mozart, Wolfgang Amadeus: Canzonetta
5. Mozart, Wolfgang Amadeus: Adagio
6. Elgar, Edward William: Salut d’amour
 
 
Score Pages: 40
Language: English, German, Hungarian
Publisher: Editio Musica Budapest