CAPUZZI BASS CONCERTO IN F PDF

adminComment(0)

The pdf of the piece has some errors, consult your bass teacher to get them corrected. The Lucio Buccarella recording is of him accompanied by an orchestra . Extra Information, The first printed edition was London: Boosey & Hawkes, ( WorldCat), ed. Francis Baines (–), transposed to F major with many. Capuzzi - Double Bass Concerto in D - Bass&Piano - Free download as PDF File .pdf), Text File .txt) or read Capuzzi - Concerto for Double bass in F Major.


Capuzzi Bass Concerto In F Pdf

Author:VERONICA KOPISCHKE
Language:English, Arabic, Japanese
Country:Seychelles
Genre:Academic & Education
Pages:149
Published (Last):10.04.2016
ISBN:837-2-69501-734-3
ePub File Size:19.75 MB
PDF File Size:16.72 MB
Distribution:Free* [*Register to download]
Downloads:30081
Uploaded by: JONATHAN

Capuzzi - Concerto for Double bass in F Major - Download as PDF File .pdf), Text File .txt) or read online. Capuzzi - Concerto for Double bass in F Major. Edited by Lucio Buccarella. CONCERTO for Double Bass. Allegro. Antonio CAPUZZI. ( - ). -- r-. 1) h. +-. 8l. Y. E. O by Rodney Slatford. External-identifier: urn:imslp_record_id: RG91YmxlLUJhc3MgQ29uY2VydG8gKENhcHV6emksIEFudG9uaW8p. Genre: Concerto. Identifier.

Authentic interpretation of early music before the last few decades of the twentieth century was largely in the domain of the enthusiastic amateur and a few dedicated professionals.

In a more modest way, the double bass repertoire has suffered a similar fate.

Some printed editions bear little resemblance to the works they claim to be, having sometimes been transposed into other keys, partly recomposed or seriously simplified. One fanatical editor reputedly erased notes from autograph manuscripts that he deemed unplayable or unsuited to an instrument he believed he understood.

Meier examined nineteen basses in Vienna, made in and around the city from to , and he discovered that although many of them had been altered over the years, most were originally built as five-stringed instruments and that they had probably had frets.

He brought to light a rich source of material that had lain more or less undisturbed for over years. All this, however, is comparatively recent. To all intents and purposes, the key to the performance of a vast number of important double bass works from the Classical era had been lost and buried with the works themselves. The playing tradition had become shrouded in the passage of time. Earliest references to a double bass type of instrument in printed treatises appears in the mid-seventeenth century.

Evidence points to a considerable amount of experimentation: sizes of instruments varied enormously and there was little standardisation of tuning.

Strings varied in number between four and six, with some of the bigger basses being confined to outdoor use or occasional church performances, where they could add weight to support large instrumental and choral forces.

String manufacture was primitive and even as late as the s orchestral players often wore leather gloves to protect their fingers when changing position a practice that was discouraged for the right hand as it made bowing more difficult!

The advent of silver wire-coverings for lower strings enabled thinner strings to be made and shorter playing-lengths to be used.

Capuzzi Andante And Rondo Pdf Free

Consequently, smaller instruments could be built—one of the major factors that led to the development of the cello. Very few solo double bass works from the period had been published in the s and those that were in print had been adapted, sometimes quite brutally, to make them work on an instrument tuned in fourths: E—A—d—g, or more usually F sharp—B—e—a, the modern scordatura used by most soloists from the beginning of the twentieth century.

Passages were either transposed where they lay more comfortably on a modern bass, inverted, or often omitted altogether, thereby rendering any classical shape or form largely undetectable. Comparatively little is known about early virtuoso players who worked in Vienna in the eighteenth century, but it is clear that a school of playing emerged that had never been seen before. His mission was to raise the status of the instrument from that of a bottom-line player to something more spectacular, and by most accounts his use of harmonics and his technical dexterity served him well.

He visited England, but his success there was nothing compared to that of Domenico Dragonetti — who was probably one of the finest bassists ever to have lived.

Apparently blessed with very long sight, Woschitka could read details in the score over the shoulder of the harpsichordist with ease and accuracy. Inevitably, with the demise of court and chapel orchestras, the extraordinarily fertile period of the development of the Viennese virtuoso double bass style came to an end. Nineteenth-century symphonists were looking for different sonorities and with the evolution of the modern orchestra the whole pattern of European musical life was to change irreversibly.

Additional Information

The works recorded here are heard more or less in their original versions, the only major change being in the accordatura used.

It was customary in the late eighteenth century to tune the solo double bass a semitone higher than normal, so it would have played in D but sounded in E flat.

This scordatura has not been used here, the bass and the orchestra playing and sounding in D. Orchestral material has been faithfully edited from eighteenth-century parts, with dynamics added where appropriate. The first Dittersdorf concerto is titled Concerto per il Violone and the second Concerto per il Contrabasso, the first probably dating from and the second from , both having been conceived for the same player and the same instrument.

Also read: 438 DAYS BOOK

Carl Ditters von Dittersdorf — was born in Vienna and became one of the most important figures of the Viennese Classical school. Composed in , the concerto is considered as one of the major works in the tuba repertoire.

It consists of three movements: Allegro Deciso, very rhythmical and technically challenging, presents a difficult task for the tuba player especially in tongue and finger co-ordination.

The second movement, Lento e mesto, very lyrical, cantabile and rather slow presents one of the most difficult challenges for the tuba player, the high register.

Allegro giocoso, very close in character with the first movement, gathers both these problematic factors. Sonata for Tuba, another major work for the tuba repertoire composed by Paul Hindemith shall be the score analyzed in chapter five. The sonata is divided into three movements: Allegro pesanto, Allegro Assai and Variationen: moderato comodo. Wide leaps in range both tongued and slurred and legato articulation, are amongst the difficulties encountered in the study of this sonata.

Chapter six is about Serenade no. The serenade consists of six movements.

Tag: Simandl

Being a solo work, the soloist needs to work a lot on the interpretation in order to make the work interesting to hear. Articulation is one of the key factors to achieve this result. In fact, accents and diaphragm accents are the basis of the discussion found in this chapter.

The ending chapter describes the piece Sleeping with Cats by the local composer Ray Sciberras. This piece was commissioned by my friend Josef Attard and myself specifically to be utilized for our final recital.We cannot post your review if it violates these guidelines.

Er starb zwei Tage nachdem er die letzten Seiten seiner Autobiographie diktiert hatte. As contemporaneous documents, we include these in our edition as already in the Dittersdorf case — nevertheless, you also offer your own cadenza.

If you believe that any review contained on our site infringes upon your copyright, please email us. Is it a good teaching tool?

Antonio Capuzzi - Concerto for Double Bass and Orchestra, Piano

The follow overview shows the various playing options of the new Vanhal edition. Auf der Schallplatte haben wir zwei Eigenkompositionen von ihm vorliegen, Chanson triste und Valse miniature, sowie eine Reihe von Transkriptionen—also nichts aus dem Goldenen Zeitalter des ausgehenden achtzehnten Jahrhunderts.

Authentic interpretation of early music before the last few decades of the twentieth century was largely in the domain of the enthusiastic amateur and a few dedicated professionals.

BESS from Burlington
I do enjoy reading novels questionably. Review my other articles. I have a variety of hobbies, like rope climbing.
>