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(String Solo). For unaccompanied cello.
A Cello solo with Piano Accompaniment composed by Édouard Lalo.
What does it mean to perform expressively on the cello? In Cello Practice, Cello Performance, professor Miranda Wilson teaches that effectiveness on the concert stage or in an audition reflects the intensity, efficiency, and organization of your practice. Far from being a mysterious gift randomly bestowed on a lucky few, successful cello performance is, in fact, a learnable skill that any player can master. Most other instructional works for cellists address techniques for each hand individually, as if their movements were independent. In Cello Practice, Cello Performance, Wilson demonstrates that the movements of the hands are vitally interdependent, supporting and empowering one another in any technical action. Original exercises in the fundamentals of cello playing include cross-lateral exercises, mindful breathing, and one of the most detailed discussions of intonation in the cello literature. Wilson translates this practice-room success to the concert hall through chapters on performance-focused practice, performance anxiety, and common interpretive challenges of cello playing. This book is a resource for all advanced cellists—college-bound high school students, undergraduate and graduate students, educators, and professional performers—and teaches them how to be their own best teachers.
A Cello solo with Piano Accompaniment composed by Johannes Brahms.
An Oboe solo, composed by Benedetto Marcello.
A solo, for Viola with Piano Accompaniment, composed by Benedetto Marcello.
This edition of the Bach Cello Suites is appealing to both the scholar and the performer. The genesis of this edition was the alignment of the relevant manuscripts for easy comparison and study using a line-by-line layout. It has resulted in the ultimate scholarly approach to the study of these manuscripts and has led to many discoveries concerning notes, trills, dots, dynamics, and rhythm. In the scordatura version of "Suite No. 5," pitch names are given above the notes for the re-tuned top string, clarifying confusing elements in the notation. Fingerings and bowings in this edition reflect those used on the DVD set of Starkweather's performance of the suites (item number 730150). Reference to the manuscript edition makes it possible to visually assess the ambiguity of many of the slurs and to reach one's own conclusions.
Sonata no. 3 in C major is one of the first three Beethoven's sonatas (opus 2) written in 1795 and dedicated to Joseph Haydn. This UTEXT edition is based on early original editions, which Beethoven personally supervised. The fingerings are provided by the editor.
Includes miscellaneous newsletters (Music at Michigan, Michigan Muse), bulletins, catalogs, programs, brochures, articles, calendars, histories, and posters.
Few composers even begin to approach Beethoven's pervasive presence in modern Western culture, from the concert hall to the comic strip. Edited by a cultural historian and a music theorist, Beethoven and His World gathers eminent scholars from several disciplines who collectively speak to the range of Beethoven's importance and of our perennial fascination with him. The contributors address Beethoven's musical works and their cultural contexts. Reinhold Brinkmann explores the post-revolutionary context of Beethoven's "Eroica" Symphony, while Lewis Lockwood establishes a typology of heroism in works like Fidelio. Elaine Sisman, Nicholas Marston, and Glenn Stanley discuss issues of temporality, memory, and voice in works at the threshold of Beethoven's late style, such as An die Ferne Geliebte, the Cello Sonata op. 102, no. 1, and the somewhat later Piano Sonata op. 109. Peering behind the scenes into Beethoven's workshop, Tilman Skowroneck explains how the young Beethoven chose his pianos, and William Kinderman shows Beethoven in the process of sketching and revising his compositions. The volume concludes with four essays engaging the broader question of reception of Beethoven's impact on his world and ours. Christopher Gibbs' study of Beethoven's funeral and its aftermath features documentary material appearing in English for the first time; art historian Alessandra Comini offers an illustrated discussion of Beethoven's ubiquitous and iconic frown; Sanna Pederson takes up the theme of masculinity in critical representations of Beethoven; and Leon Botstein examines the aesthetics and politics of hearing extramusical narratives and plots in Beethoven's music. Bringing together varied and fresh approaches to the West's most celebrated composer, this collection of essays provides music lovers with an enriched understanding of Beethoven--as man, musician, and phenomenon.