24 Arrangements for 4 to 5 Cellos from Susato to Comedian Harmonists [4(5)vc]
Lots of pieces for lots of celli!
72 pages | 23 x 30,5 cm | 282 g | ISMN: 979-0-004-50262-4 | Softbound
With Roswitha Bruggaier, the cello is always in the spotlight and not just one! Her arrangements of highlights from five centuries are always for four and five parts, and hand-tailored to the instrument she loves. The book offers something from every taste and in every style: from Renaissance dances to elegant pieces from the Baroque, Classical and Romantic eras, and from the Jungle Book to the Comedian Harmonists. The level of difficulty is graded, which thus also gives beginners a chance to join in the music-making. All the pieces have been taken on a "test run" in the classroom and recital hall: Bruggaier's own ensemble "Dr. Hoch's Philharmonische Cellisten" has celebrated major triumphs with the "Cello-Phil-Vielharmonie." Also worth noting is that the number of musicians is always variable; even 20 cello students can band together to play these pieces with a truly "philharmonic" sound!
"This attractive assortment will help build confidence in ensemble playing and provide great enjoyment at the same time." (Mary Nemet, Music Teacher Magazine)
|1. Praetorius/Caroubel||Three Gavottes from: „Terpsichore“ 161|
|2. Phalèse||Branle V|
|3. Purcell||Trumpet Tune|
|4. Haydn||Chorale St. Antonii aus: Divertimento B-dur Hob II:4|
|5. Mozart||March of the Priests from „The Magic Flute“ K. 620|
|6. Beethoven||Hymn to the Night|
|7. Schubert||Death and the Maiden D 531|
|8. Flotow||The last Rose of Summer from: „Martha“|
|9. Sibelius||Festive Hymn from: „Finlandia“ op. 26|
|10. Gilkyson||The Bare Necessities from: "The Djungle Book“|
|11. Reisfeld/Marcuse||Mein kleiner grüner Kaktus|
|12. Jurmann||Veronika, der Lenz ist da|
The arrangements in this book were all made for my ensemble „Dr. Hoch’s Philharmonische Cellisten,“ which unites students of all ages from my cello class.
Stylistically, the twelve arrangements span a range of about four centuries of music history. Their ambitus corresponds more or less to that of a male chorus,whereby the pieces are particularlywell suited to the tenor and bass range, the cello’s intrinsic compass. So often, in similar arrangements, one encounters upper parts with high violin-like ranges, which are usually too difficult for the ensembles that form the target group. For pedagogical and textural reasons,we have refrained from using such high positions in these arrangements.
This allows less proficient students to join in the ensemble and enjoy their contribution without having to compromise on the musical quality of the pieces. Tips and comments for teachers and performers can be found on page 27 and following.
I wish you lots of fun and success!
Frankfurt am Main, Winter 2003