398 Sentences With "violoncello" | Random Sentence Generator

When I said "cello" (short for "violoncello") it sounded like ucello, little bird.

In 1839 Kummer wrote a method, Violoncelloschule für den ersten Unterricht (Violoncello School for Preliminary Instruction), Op. 60, for the violoncello that to this day remains very popular.

Whirling Udumbara II for viola, violoncello and He-drum 11\. November 2014 Hamburg, Hochschule für Musik und Theater Hamburg (D) · Ensemble Les Amis Shanghai; Jensen Horn-Sin Lam, viola, Weixi Luo, violoncello; Ehesuma, He-drum.

Parisonatina al'Dodecafonia is a 1964 composition by Donald Martino for violoncello solo.

From 1982 to 1992, they conducted an annual master class for piano duo at the Würzburg Musikhochschule. With Josef Trumm (violoncello) and Cyrill Kopatschka (violin) he performed as a Chopin Trio. With Marcel Charpentier (violin) and Eckard Stahl (violoncello) he founded the Osnabrück Piano Trio. Together with Ludwig Müller-Gronau (violin), Wilhelm Isselmann (viola) and Werner Thomas-Mifune (violoncello) he formed the West German Piano Quartet.

Because of the variety in terminology used in the eighteenth century, it can be difficult now to determine exactly what instrument was intended in specific instances. The terms "violoncello da spalla" and "viola da spalla" tend to appear in theoretical works rather than as instrument designations from composers. However, it is possible that J. S. Bach, and perhaps other composers, might have intended the violoncello da spalla in cases where the "violoncello piccolo" is specified. This term, "violoncello piccolo", features in many of the Bach cantatas, with the parts written in a variety of clefs (bass, tenor, alto and soprano).

August Theodor Eichhorn (30 July 1899 − 16 Juni 1980) was a German musician and professor for violoncello.

Lezioni di violoncello con toccata e fuga is a 1976 commedia sexy all'italiana film. It stars actor Gabriele Ferzetti.

With his violoncello, Ralf J. Radlanski is a member of the Berliner Ärzte-Orchester and the World Doctors Orchestra.

Wilhelm Joseph von Wasielewski, Isobella S. E. Stigand, The Violoncello and Its History, page 190 (1894), via Google Books.

As a child, his family moved to Dresden on an invitation by the court chapel to his father, an oboist. Kummer, initially an oboist, took an interest in the violoncello and studied with notable performers Friedrich Dotzauer and Bernhard Romberg.Lev Ginsburg, History of the violoncello. Neptune City, New Jersey: Paganiniana Publications, 1983.

Violoncello da spalla The violoncello da spalla, known informally as the cello da spalla, is a small cello played braced against the shoulder. The violoncello da spalla was designed to be played by violinists, who have limited experience playing instruments such as the viola da gamba or cello, which are held in a vertical position fixed between legs. The viola da spalla is held on the shoulder and chest, and is larger than the viola. There are also numerous instances of suites, serenades, divertimenti, and cassations that begin and/or end with marches.

Piano Trio No. 1, Op. 8, in C minor for violin, violoncello and piano is a chamber composition by Dmitri Shostakovich.

Cyr 1982 The new, smaller type was also linked to the new name of violoncello, a hypocoristic form of the older term violone, meaning literally "small violone" (i.e., ultimately, "small large viola").Bonta 1978, Schmid 1987. The bass violin remained the "most used" instrument of the two in England as late as 1740, where the violoncello was still uncommon.

An award was given in Nelsova's name at the 2008 Naumburg International Violoncello Competition; the winner was Saeunn Thorsteinsdottir, from Iceland."THE WALTER W. NAUMBURG FOUNDATION Announces Winners of INTERNATIONAL VIOLONCELLO COMPETITION". Instant Encore. Another award was presented at the 2011 International Cello Festival of Canada to an emerging Canadian cellist;"Internationally renowned cellist had North End Winnipeg roots".

Sergei Istomin () is a cellist and a viola da gamba player. He began his violoncello studies at the age of six at the Gnesin’s School for gifted children in Moscow, Russia, where he obtained his bachelor's degree (violoncello class of Mrs. V.M. Birina). He completed his master's degree at the Moscow Tchaikovsky Conservatory in the class of Valentin Feigin.

1750, or Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opus 9, first published in London in 1765.

Glamorama Spies for flute, clarinet, violin, violoncello and piano is a chamber-music work by Italian composer Lorenzo Ferrero, written in 1999.

Scent Dance II was commissioned for the 2010 3rd Beijing International Music Competition - Violoncello Competition and included in the list of required repertoire.

Important examples are the String Quartet No. 2 (1997), the Quartet for Oboe, Violin, Viola and Violoncello (2000), and Quasi una sinfonia (2008) .

Gunn was born in Edinburgh about 1765. Gunn taught violoncello and flute in Cambridge. From 1789 he was in London for several years, making studies in languages and history in his leisure moments. He wrote at Cambridge his Treatise on the Origin of Stringed Instruments, and published it with his Theory and Practice of Fingering the Violoncello, with Examples, about 1789.

Forty favourite Scotch Airs adapted for Violin, Violoncello, or Flute followed as a supplement to that work. In 1790 Gunn translated from the Italian A. D. R. Borghese's New and General System of Music (originally published in French, 1788, Paris). In 1795 Gunn returned to Edinburgh. An Essay on Harmony … adapted to the Violoncello was brought out at Edinburgh, 1801.

Mrs Philarmonica (fl. 1715) was the pseudonym of an early-18th century English female, Baroque composer. She published a collection of 6 trio sonatas for two violins with violoncello obbligato and continuo, as well as a set of 6 divertimenti for 2 violins, violoncello or harpsichord (or organ) with Richard Meares in London about 1715. Her actual identity is unknown.

Hans Maria Kneihs (born 1943) is a leading performer and teacher of the recorder. He was born in Vienna and studied at the Music Academy, later to become the Universität für Musik und Darstellende Kunst. Originally, he studied the violoncello and played with the ORF Symphony Orchestra. He also edited the Eulenberg mini-score of the CPE Bach Violoncello Concerto.

The Cello Sonata No. 1 in E minor, Op. 38, entitled "Sonate für Klavier und Violoncello", was written by Johannes Brahms in 1862-65.

Yehuda Hanani is an international soloist, recording artist, Israeli-American cellist and Professor of Violoncello at the University of Cincinnati College- Conservatory of Music.

Three Sonatas for Violoncello and Keyboard, BWV 1027-1029 by J.S. Bach edited by Bernard Greenhouse and Kate Dillingham, published by G. Schirmer Inc.

The composer continued with the composition of other 'serious' classical pieces, thus demonstrating the flexibility and eclecticism that always has been an integral part of his character. Many orchestral and chamber compositions date, in fact, from the period between 1954 and 1959: Musica per archi e pianoforte (1954), Invenzione, Canone e Ricercare per piano; Sestetto per flauto, oboe, fagotto, violino, viola, e violoncello (1955), Dodici Variazione per oboe, violoncello, e piano; Trio per clarinetto, corno, e violoncello; Variazione su un tema di Frescobaldi (1956); Quattro pezzi per chitarra (1957); Distanze per violino, violoncello, e piano; Musica per undici violini, Tre Studi per flauto, clarinetto, e fagotto (1958); and the Concerto per orchestra (1957), dedicated to his teacher Goffredo Petrassi. Morricone soon gained popularity by writing his first background music for radio dramas and quickly moved into film.

Päuler, Bernhard, and Göpfert, Carl, Andreas. Quartett in B-dur Für Klarinette, Violine, Viola Und Violoncello. 1st ed. Vol. 1. Winterthur: Amadeus Verlag, 2005. 3.

The Sonata for Violoncello and Piano, Opus 6, by Samuel Barber is a sonata for cello and piano. It is in the key of C minor.

Whirling Udumbara II ( trio ) ( 优昙波罗旋转舞 II ) is a work for viola, violoncello and He-drum, composed by He Xuntian in 2012.

Geburtstag, Thema und Variationen für Violoncello Solo. These compositions were partially presented in Zurich on 2 May 1976. Wolfgang Fortner died in Heidelberg in 1987, aged 79.

Zoffany painted a number of 'conversation pieces' featuring a violoncello – The Cowper-Gore family, Sharp Family, Morse & Cator family, and the family of Sir William Young. In c. 1780.

The Sonata for Violoncello and Piano in A major by Hubert Parry is a sonata for cello and piano composed between 1879 and 1880, but not published until 1883.

Jeffrey Solow (born January 3, 1949) is an American cello virtuoso and past president of both the American String Teachers Association and the Violoncello Society, Inc. of New York.

Violoncello was a notable Australian Thoroughbred race horse. Bred in England where he had raced six times for three wins, he was purchased as a seven-year- old for 4,000 guineas by Sir Samuel Hordern and sent to Australia. His half- brother, Quinologist had won the 1916 AJC Metropolitan Handicap which influenced Hordern to purchase him. Violoncello won the 1921 Caulfield Cup and the inaugural running of the Cox Plate in 1922.

Engaged to play at the Oxford concerts, he was so well received that he settled in the city and died there in November 1825. Reinagle was a very able violoncellist, and enjoyed a wide popularity. Nathaniel Gow was one of his Edinburgh pupils. He composed a good deal of music for violin, violoncello, and pianoforte, and wrote a Concise Introduction to the Art of playing the Violoncello (London, 1830), which went through four editions.

Music for Violoncello and Orchestra was performed by Heinrich Schiff and the Vienna Philharmonic Orchestra under the baton of Daniel Barenboim at the opening concert of the 2006 Salzburg Festival.

Andrei is a scholarship recipient of the Deutsche Stiftung Musikleben and performs on a violoncello made by Giovanni Battista Rogeri from Brescia in 1671, generously on loan from the foundation.

She worked extensively with texts by romance poet Ahmad Rami and composer Mohammad El-Qasabgi, whose songs incorporated European instruments such as the violoncello and double bass, as well as harmony.

After graduating, he successfully passed his entrance examination to the Academy of Music of the University of Ljubljana. From 2002 to 2007, Dervišić taught violoncello at various musical schools in Slovenia.

Bellinghi studied violincello under "several well-known Italian masters," including Teodulo and Jefte Sbolci. He gained a reputation as a cello virtuoso in Florence, and worked in important concerts in Bologna and Florence, and as first violincellist in the theatres. He taught the violoncello as well, and cellist Elvira Paoli was one of his students. While teaching violoncello, Bellenghi "became enamored of the mandolin," which was in fashion at the time with the aristocracy and nobility in Italy.

Sarah Gray, William Flackton, 1709-1798, Canterbury bookseller and musician', in: The Mighty Engine: The Printing press and its impact, ed. Peter Isaac and Barry McKay (Winchester; Delaware: 2000) pp. 121-130. In 1770, he published his Six Solos, Three for a Violoncello and Three for a Tenor,A common term for the viola in eighteenth century England was 'tenor' or 'tenor violin'. Accompanied Either with a Violoncello or Harpsichord, dedicated to Sir William Young, Lieutenant-Governor of Dominica.

Giorgio Antoniotto (Giorgio Antoniotto d’Adurni), (1680–1766), was an Italian musician, who is noted as the author of a musical treatise, L’arte armonica, and as an early composer of music for violoncello.

The members of Destiny were: Hiroaki Yura (Violin), Ayako Ishikawa (Violin), Christian Boennelykke (Viola), Kenichi Mizushima (Violoncello), Hanae Seto (Clarinet), James Fortune (Flute), Joshua Hill (Percussion), Chiron Meller (Percussion) and Jem Harding (Piano).

Inspired by the work of the Swiss painter Jörg Müller, "Mutation of a landscape".Festival International de Musique Contemporain. Enseble Ιntercontemporain. Conducting: Peter Eötvös "Newsepia" for flute trombone, violoncello, piano and tape (1989).

The founding members of the quartet were: 1st violin: Bohuslav Lhotský 2nd violin: Karel Procházka viola: Karel Moravec violoncello: Bohuslav Váska (until 1911), succeeded by Ladislav Zelenka (until 1914), and by Antonio Fingerland.

The Austrian composer Marian Paradeiser wrote a concertino for organ (or harpsichord), violin, violoncello and orchestra; a manuscript of this work is kept in the library of the Melk Abbey in Melk, Austria.

In the fall of 2008, Kirshbaum assumed an appointment at the University of Southern California Thornton School of Music as (i) Chair of the Strings Department and (ii) Gregor Piatigorsky Chair in Violoncello, an endowed position. He is the fourth person to hold the Piatigorsky Chair in Violoncello. The three predecessors were Lynn Harrell (1986–1993) (also from Denton, Texas), Ronald Leonard (1993–2003) and Eleonore Schoenfeld (2004–2007). Kirshbaum has recorded extensively; selections from his discography are shown below.

His salary rose from already high--100 ducats and 30 kreuzers--a few times suggesting his extraordinary qualities as an instrumentalist. At the premiere of Haydn's oratorio Il Ritorno di Tobia, Hammer played his own cello concerto. During 1776–1813, he was member of the Viennese musicians' society. From his works have survived sonatas for viola da gamba, viola d'amore and violoncello with basso continuo and also manuscript collections of instructive pieces and solo concertos for violoncello or viola da gamba and orchestra.

Crosdill's musical training began when, at a young age, he became a chorister at Westminster Abbey under the direction of John Robinson and Benjamin Cooke. He later took up violoncello under his father's tutelage.

The serenade is scored for flute, oboe, bassoon, horn, clarino, trombone, violin I, violin II, viola, violoncello, and basso continuo. Haydn, Johann M. Serenade in D. 1767. Bad Reichenhall: Comes Verlag, 1987. Print. Shaffer, Kris.

That same year he published a mass and other church music. His Metodo di violoncello (Milan, 1876) has an interesting preface, comparing the earliest bowed instruments, and their evolution, with folk instruments from many countries.

In both, his playing and teaching styles, he displayed a combination of the German and French schools. He published a method for the violoncello (Méthode pratique pour le violoncelle, Op. 30) in 1845, with the distinction of being accepted as a manual at the Paris Conservatory. The method has been republished in various countries and Lee's studies and duets are still used today. He is most notable for the composition of an anthology of 40 cello études faciles (40 Easy Etudes for Violoncello, Opus 70).

Six Chamber Sonatas, for transverse flute, violoncello, or harpsichord, op. 1 (VI sonate da camera : per il flauto traversiere, violoncello o cembalo : opera prima), in C, F, B, D, G Mi, G Ma (Nürnberg: Balthasar Schmidts Witwe, 1756). Facsimile reprints: (1) Firenze : Studio per Edizioni Scelte, 1988; (2) New York : Performers' Facsimiles, 1998. New editions: (1) Fayetteville AR: ClarNan Editions, 1989; (2) Kassel: Furore, 2007; (3) Sonata op. 1 no. 6, edited by Elisabeth Weinzierl, in Flute Music by Female Composers (Mainz, New York: Schott, 2008).

In 1994, CBC Japan Radio & TV (Chubu-Nippon Broadcasting) hired him again along with his ensemble Quinteto Argentino de Cuerdas Ricardo Francia currently does freelance work teaching violoncello and orchestra instrumentation for Escuela de Musica SADEM.

The Ludwig Quartet is a French string quartet ensemble founded in 1985 and leading an international career. It is composed of Thierry Brodard (first violin), Manuel Doutrelant (second violon), Padrig Fauré (viola) and Anne Copéry (violoncello).

He is most well known for a fast 2/4 movement from one of these sonatas, Allegro Spiritoso, which has had versions published transcribed for a wide variety of instruments, from violoncello to bassoon to euphonium.

12 Oct. 2008 . Els was famous, among other things, as a chamber music composer (preferring to compose for violoncello and double-bass); in addition, she wrote two symphonies. Her son is a cellist and politician Peeter Paemurru.

The Junior String Orchestra (JSO) is a middle school group composed only of string players (violin, viola, violoncello, and string bass). They are for the least- experienced string players that audition for the Junior Symphony or Orchestra.

Elke Martha Umbach, Susanne Wendler, flute; Johannez Platz, violin; Heike Johanna Lindner, violoncello; Jan Grüter, theorbo; Ilka Wagner, bassoon; Anke Dennert, harpsichord. “Sonatas from the Court at Bayreuth.” Korschenbroich, Germany: Aeolus, 2003. Sonatas for Harpsichord op. 2.

Some of Marshall's best-known compositions are the strathspeys The Marchioness of Huntly, The Marquis of Huntly's Farewell, Craigellachie Brig (named after the Craigellachie Bridge), and Lady Madelina Sinclair; the air The Nameless Lassie; and the reel Easter Elchies. Marshall published two collections of his work, A Collection of Strathspey Reels with a Bass for the Violoncello or Harpsichord in 1781, and Marshall's Scottish Airs, Melodies, Strathspeys, Reels, &c.; for the Piano Forte, Harp, Violin & Violoncello in 1822. A third collection, Volume 2nd of a Collection of Scottish Melodies Reels Strathspeys Jigs Slow Airs &c.

Violoncello Piccolo in Bach's Vocal Works Bach Cantatas Website. Retrieved 27 June 2016 The "dark and shaded" timbre of the movement has been seen as representing the protection provided by Christ. Denying the fear of the threatening death, the violoncello piccolo plays continuous runs. Movement 3 is again a recitativo accompagnato, even more complex than the first one; the strings play long chords, whereas all the oboes repeat the same four-note motif throughout the movement, sung by the alto on the words "Ich bin bereit" (I am ready).

12 Sonate per camera a violoncello e cembalo, op. I, Roma, 1717 12 Divertimenti per camera a violino, violone, cimbalo, flauto e mandola, op. II, (1720), Antonio Cleton, Roma. 10 Sonate a violino e violone o cembalo,op.

Carl Andreas Göpfert (1768-1818) Carl Andreas Göpfert (or Goepfert) (1768 – 1818) was a German virtuoso clarinettist, and composer.Päuler, Bernhard, and Göpfert, Carl Andreas. Quartett in B-dur für Klarinette, Violine, Viola und Violoncello. 1st ed. Vol. 1.

Although officially retired from active geological teaching at the University of Zürich, he currently teaches violoncello (he continues to love playing cello) and Chamber Music performance in Isirac, France and is actively engaged in doing the musical compositions.

Jiří Zahrádka trans. Gerald Turner, preface to Leoš Janáček: Skladby pro violoncello a klavír Prague: Editio Bärenrieter Urtext, 2007. BA 9509. ISMN 979-0-2601-0384-9 This version was published by Hudební Matice Umělecké Besedy in 1924.

Several of his church compositions were published by Costallat, Paris, and he left many unpublished works, consisting of church and instrumental pieces, and mandolin sonatas, which, with his mandolin and violoncello, were preserved in the home of his parents in Marseilles.

"Seachanges" is a piece of music written by Raymond Deane in 1993. The piece is scored for flute and piccolo in G, piano, violin, violoncello, and percussion. The percussion includes gong, maracas, rainstick, crotales, marimba, cymbals, guiro, and bass drum.

Strub war selbst dedicator of Pfitzner's Duo für Violine, Violoncello und kleines Orchester op. 43 und von dessen Streichquartett op. 50.Sabine Busch: Hans Pfitzner und der Nationalsozialismus (M-&-P-Schriftenreihe für Wissenschaft und Forschung: Musik). Metzler, Stuttgart among others 2001, , .

He is President of The Violoncello Society, Inc. of New York and past president of ASTA, the American String Teachers Association. Mr. Solow resides with his wife, Sharee, who is a landscape designer, in Elkins Park, a suburb of Philadelphia.

Jan Šťastný (c.1764 – c.1830) (also Stiasny, Stiastny) was a Czech composer and cellist from the end of the 18th century to the beginning of the 19th century. He is considered one of the founders of Czech national violoncello school.

The entries in all four fugues present a double tonal center on A and E.Erwin Stein, "Strawinsky's Septet (1953) for Clarinet, Horn, Bassoon, Piano, Violin, Viola & Violoncello: An Analysis'", Tempo new series 31 (Spring 1954): 7–11. Citation on p. 9.

In 2007, the theft of Jan Škrdlík's violoncello inspired what was possibly the first instrumental classical music video in history.Taťána Kuxová, Metropolitan magazine, year 3, July-August 2008, p. 19 The instrument, a precious product of the craft of Adam Emanuel Homolka in 1842, was stolen from his studio; news of the crime merited a spot on TV news and the violoncello was returned. A year later, this led to the innovative Claude Debussy – Sonate pour violoncelle et piano, set as a short film narrative, with mime, an imaginative performance based on events around the “crime”.

In 1997-2009 Jan Škrdlík taught violoncello and chamber music performance at the Brno Conservatory. Some of his students went on to work with him on the organisation of a variety of musical projects, or became players in ensembles that he led. Further pedagogical activities include teaching violoncello interpretation courses in Murcia, Spain in 2003 and international courses in baroque music in Kelč in 2009 and elsewhere. His teaching aims to support the natural musical development of the student with respect to the development of her/his personality; it is far less concerned with criticism of performance.

Philipp Jakob Riotte was born at St. Wendel (Saarland). He was probably descended from a French emigrant Huguenot family. The earliest records indicate he was expelled as choirboy in his hometown of Sankt Wendel. He studied violin, violoncello and later piano and organ.

Full and half-period instrumental lessons are offered in piano, pipe organ, guitar, violin, viola, violoncello, contrabass, tuba, horn, trombone, trumpet, saxophone, flute, clarinet, percussion (orchestral and drum-kit), bagpipes, and voice, are available. The school has a variety of music tutors.

Adolfo Gutiérrez Arenas studied piano in Munich. At the age of 14, he started playing the cello and also studied in Spain. He graduated from the Reina Sofia School of Music under Frans Helmerson. Later, he continued his violoncello studies with Lluis Claret.

Jean Baptiste Masse (c. 1700 - c. 1757) was a French composer and violoncello player. He was an Ordinaire de la Chambre du Roi and a member of the King's Bande of Twenty-Four Violins and of the orchestra of the Comédie Française.

Honoured as a lovable, upright person, Göpfert died in Meiningen on 11 April 1818. Göpfert's compositional output, valued and much played during his lifetime, now mostly slumbers in archives.Päuler, Bernhard, and Göpfert, Carl, Andreas. Quartett in B-dur Für Klarinette, Violine, Viola Und Violoncello.

Krzysztof Penderecki's Cello Concerto No. 1, also known by its original Italian title Concerto per violoncello ed orchestra, Nr. 1, is a revised version of Penderecki's Concerto per violino grande e orchestra, which was never published nor recorded. It was transcribed for cello in 1973.

Another composer to have made a completion is Philip Wilby. Another completion was made by Italian Composer Alessandro Solbiati for I Solisti Aquilani and played first time in Rotterdam during International Viola Congress 2018 (Soloists: Daniele Orlando, Violin – Gianluca Saggini, Viola – Giulio Ferretti, Violoncello).

Christians, Hamburg 1978, , . He played with the conductors Eugen Jochum, Joseph Keilberth and Wolfgang Sawallisch. From 1938 to 1943 he was primarius of the Hanke Quartet in Hamburg. He played with Rudolf Prick (2nd violin), Fritz Lang (viola) and Rudolf Metzmacher and Bernhard Günther (violoncello).

62, 1822), Franz Berwald, and Adolphe Blanc (Op. 40, ca. 1864),Category:For clarinet, bassoon, horn, violin, viola, cello, double bass imslp.org, accessed 5 October 2020 and, with small changes in the instrumentation, Franz Lachner (1824; violin, viola, violoncello, contrabass, flute, clarinet, horn),See: [Mus.ms.

Almost all of his children played and composed various instruments. Şehzade Mehmed Burhaneddin used to play the violoncello. Naime and Ayşe Sultan took piano lessons from François Lombardi, Şadiye Sultan was also interested in mandolin besides the piano. She continued with French Madam Avisnad Bavis.

A violoncello piccolo complements the soprano in a recitative, which begins as a secco recitative, "" (How dear are the gifts of the holy meal), and leads to the fourth stanza of the chorale, "" (Ah, how my spirit hungers), sung in a moderately adorned version of the tune. Bach uses recitative to introduce the chorale by evoking the "gift of communion", while the chorale stanza expresses the longing for this gift, mentioning thirst and hunger. The melody sounds sometimes like a new melody, expressing that a personal longing. The violoncello piccolo in continuous motion "envelops the soprano's voice in a quasi womb-like blanketing of divine reassurance",as Mincham phrases it.

The bowed bass section of the San Petronio orchestra at this point therefore comprised Colonna on violone and Franceschini on violoncello. In 1676, presumably to better distinguish between the two instruments, the term ‘Violone’ is replaced by ‘Violone grosso’, and Colonna is listed as playing it. The fact that this distinction in terminology was not deemed necessary earlier implies that Vitali was playing the same instrument as Colonna (the ‘Violone grosso’, not the ‘Violoncello’). After Franceschini’s death his position was filled by Domenico Gabrielli (1659–1690) who was among the first virtuoso cellists – so this orchestra position is now clearly reserved for a ‘cellist.

Alén studied violoncello with Professor Fabio Landa at Alejandro García Caturla Conservatory in Marianao, Havana, and at the Amadeo Roldán Conservatory in the same city. He also studied psychology at the Havana University and musicology in the Higher Institute of Art (ISA) where he graduated in 1982.

Tofig Bakikhanov is the author of concerts for violin, violoncello, flute, oboe, dual concerts, musical comedies. Now the composer is the professor of Baku Academy of Music. Starting from 1969 till now, Tofig Bakikhanov performed recitals in Paris, Moscow, Tbilisi, Istanbul, Izmir, Tehran and in other cities.

The opera is scored for 2 flutes, 2 oboes, 2 clarinets, (1 also basset clarinet and basset horn), 2 bassoons, 2 French horns, 2 trumpets, timpani and strings. Basso continuo in recitativi secchi is made up of cembalo and violoncello. Period performance practice often uses a fortepiano.

Whirling Udumbara II ( trio ) was written especially for viola, violoncello and He-drum. He-drum was created and designed by Mr. He. The distinctive sound and the performance method of He-drum make a deep impression. The Soloist of this Works is the first worldwide He-drum performer Ehesuma.

He has been a professor of the Conservatoire de Paris since 1989, and he is now director of "Bordeaux International String Quartet Competition". He has served on the Rostropovich Cello Competition jury in 1986, and most recently on the "1st Gaspar Cassadó International Violoncello Competition in Hachiōji" in 2006.

19; Concerto for Violoncello and Orchestra, op. 22; Media, op. 23: Orchestral Suite from the Music to the Ballet Cave of the Heart, with Zara Nelsova (cello), CD recording, Pearl GEM 1051 (Wadhurst, E. Sussex, England: Pearl, 2001). According to some sources, Barber destroyed the score in 1964.

Despić has won many awards for his music; his "Manchester Trio for flute, violoncello, and piano, Op. 93" (1987) – composed specifically for a Manchester performance – and "Diptih, Op. 166, for English horn and chamber orchestra" (2005) – for which he won the "Mokranjac Award" – have been particularly singled out.

In addition to his teaching schedule, Braginsky continues to perform, mostly as a soloist and a chamber musician (with his cellist wife). He has recorded a number of works, including Shostakovich's 24 Preludes (op.34), Piano Sonata No.2 (op.61), and Sonata for Violoncello and Piano (op.40).

Davidov (also appeared in different spellings: Davydov / Davidoff / Davidov) transcribed and arranged Chopin's solo piano works for violoncello and piano accompaniment. Transcription albums of Walzer and Mazurkas published by Breitkopf & Härtel. Another transcription album is a selection of Nocturnes and others solo piano works published by Edition Peters.

He went on to complete the quartets now numbered Thirteenth, Fourteenth, and Sixteenth. The last work Beethoven completed was the substitute final movement of the thirteenth quartet, which replaced the extremely difficult Große Fuge.Cf. Beethoven-Haus Bonn, Fugue for 2 violins, viola and violoncello (B-flat major) op. 133.

The initial version from 2011 was written for two players on one piano. The orchestral version from 2017 is written for 13 instrumentalists playing: flute (doubling piccolo), oboe (doubling cor Anglais), clarinet in B♭, bassoon, 2 horns in F, percussion, piano, 2 violins, viola, violoncello and double bass.

Missa Catacumbae – for choir, trumpet, trombone, vibraphone, violin and violoncello (1994); The Prussians – an opera after Juozas Grušas's drama play Herkus Mantas, premiere staged at Klaipėda Music Theater by Nerijus Petrokas, conducted by Stasys Domarkas (1995). The Child of the Open Sea – a ballet after Jules Superviel's short story (1996).

The show is orchestrated for a band of eight, including the music director. The parts are: MD/Keyboard; Violin; Viola; Violoncello; Guitar 1; Guitar 2; Bass Guitar/Upright Bass; and Drums. The show was orchestrated by Alex Lacamoire, who won the 2017 Tony Award for Best Orchestrations for his work.

Duranti was also an abbot, count and knight. He studied sciences and music; he was known as an excellent player of the violoncello. He specialized in still life paintings of flowers. Many of those, he donated to the church of Palazzolo sull'Oglio who sold to the royal court of Spain.

Eggebrecht has contributed greatly as a chamber musician to the discovery of worthwhile music by neglected composers. In 2000 she issued, together with the cellist Friedemann Kupsa, the world premiere recording of the Sonata for violin and violoncello (1947) by the Greek Schoenberg pupil Nikos Skalkottas, and the Sonatina op.

Finck was born at Bethel, Missouri, and raised in Portland, Oregon, where he was taught piano and violoncello. He taught himself Latin and Greek so thoroughly that he was able to enter Harvard as a sophomore in 1872. At Harvard, he studied philosophy, the classics, and music. He graduated in 1876.

Sonata à Violoncello solo del Signor D. Antonio Vandini, in C Major (1717, I-Vnm, Mss. It.IV.1095) (Van. 1) Sonata del Signor D. Antonio Vandini, in C Major (D-B, KHM 5528) (Van. 2) [Sonata] Del Signor D. Antonio Vandini, in B-flat Major (1730, F-Pn, VM7-6285) (Van.

3) [Sonata] Del Signor D. Antonio Vandini, in A Minor (1730, F-Pn, VM7-6285) (Van. 4) Concerto del Signor D. Antonio Vandini, in D Major (D-SWI Mus. 4736/4) (Van.5) Sonata à Violoncello Del Signor D. Antonio Vandini, in B-flat Major (D-B, KHM 5527) (Van.

It was made for a mixed choir, viola and violoncello. After Lindgren got a stroke in 1998, she asked her daughter and Kerstin Kvint to read literature to her. Among her requested works was also her own poem If I were God.Jens Andersen (2018): Astrid Lindgren: The Woman Behind Pippi Longstocking.

From 1965 to 1972 he formed a piano trio with Horst Göbel (piano) and Gottfried Schmidt-Enders (violoncello) in Berlin, which also gave concerts in other European countries.Paul Siegel: News from Germany. In Record World, 16 May 1970, . Kayser issued several recordings (Haydn, Mozart, Bruch, Svendsen and Bach among others).

Louis Rosoor (September 1883 – March 1969) was a French cellist,Edmund Sebastian Joseph van der Straeten. History of the violoncello, the viol da gamba, their precursors and collateral instruments: with biographies of all the most eminent players of every country, Volume 2. AMS Press, 1976, p. 656. performer and teacher.

In fact Shostakovich dedicated the work to singer Galina Vishnevskaya. The composition is written for soprano, violoncello, violin and piano. The first performance took place on October 25, 1967 at the Moscow Conservatoire Hall with Mstislav Rostropovich on cello, Mieczysław Weinberg on piano, David Oistrakh on violin and with Vishnevskaya.

The instrumentation is similar to Copland's Appalachian Spring, with the addition of oboe and horn and the reduction of strings to one on a part (as opposed to pairs): 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 piano, 2 violins, 1 viola, 1 violoncello, 1 string bass.

Born in Szczecin, Weber studied violoncello from 1958 ubntil 1961 with E. Neumann at the Hochschule für Musik Franz Liszt, Weimar. Privately he took lessons with August Eichhorn and Karl Grosch. From 1961 to 1965 he worked with the Konzerthausorchester Berlin. In 1965 he became principal cellist of the MDR Symphony Orchestra.

The trio sonata typically consisted of three parts, two violins and continuo. However, the two violins could be substituted with pairs of flutes, recorders, or oboes. The third part, the basso continuo, has two components. First, it includes the bass line, which commonly was doubled by a bass viol, violone, violoncello, or bassoon.

Aside from classical music he performs with singer-songwriter Angela Taylor and can be heard on singer-songwriter Sahffi's upcoming album Turning Tides. Born in Burlington, North Carolina, Jason studied violoncello with Ronald Thomas and conducting with Frederik Prausnitz at the Peabody Conservatory. He is Past President of the Peabody Alumni Association.

Her mother is a violoncello teacher and her father worked as a taxi driver. While out cycling, she was hit by a truck and was told by her doctors that to keep her knee in good shape she could no longer run or dance. She stopped both and took up yoga and acting.

He has also worked with other young performers including Klara Shuman (flute), Hristina Lazarova (soprano), Uljana Levit (soprano), Fulvio Bertosso, Ina Petkova (violoncello), Maiko Enomoto (violin) and Miho Yamamura (piano). Since 2017 he works as a piano teacher at the Franz Schubert Conservatory - Vienna and at the Schmid & Zettelmann Private Music School.

Typically, though not exclusively, these tend to be rhythmically > highly complex, with dense webs of wide-flung micro-tonal melodies, and the > same horror of rests that one finds in Fauré's later chamber works. In such > a context, even a new cello solo by Stockhausen (Violoncello aus > Orchester—Finalisten) sounded meek and mild.

Epimetheus (1977) for organ, is a recognisable nod to Messiaen, whereas Ten Preludes for Guitar (1980), composed in a contemporary jazz-neoclassical style, stand among the most popular pages of contemporary Serbian guitar music. Duo for Piano and Orchestra (1973) and Sonata for Violin and Viola (1987) pay homage to musical expressionism, while the Sonata for Violoncello and Piano (1984) evokes his late romanticism. However, these simple commentaries are only a nod in the direction of the journey of travel of Trajković's curious musical spirit; he would more or less regularly combine, within a single piece, the basic eclectic ideas with popular music genres (most notably in his Violin Sonata and his Guitar Preludes), and, particularly, post-impressionism (Sonata for Flute and Piano, 1986; the Violoncello Sonata).

Spanish composers Gabriel Erkoreka, Luis de Pablo, Antón García Abril and Carmelo Bernaola have written works premiered by Polo, who was described as "outstanding" by Carlos Prieto. Polo plays on a Francesco Rugieri violoncello (Cremona 1689) bought in collaboration with Banesto. He currently teaches at the Centro Superior de Música del País Vasco-Musikene.

1760) #Two Sonatas for pianoforte, violin and violoncello #Four Sonatas or Duets for two Performers on One Piano Forte or Harpsichord (1777) #Anthems, etc. #6 Songs composed for the Temple of Apollo, book 1, op. 2 (c. 1750) # I will love thee, O Lord my strength (Psalm xviii), solo, chorus, orchestra, DMus exercise (1769) #XII.

He was asked what musical instrument he liked to play. He replied "Violoncello", because its name sounded nice to him, even though he had never seen an example of it. The jury looked at his fingers and approved his choice. He saw a cello for the first time in the conservatory's string instrument workshop.

Dukarić performed at the 51st Summer Festival held at Ljubljana Castle in 2003. Samo Dervišić Samo Dervišić was born December 12, 1981, in Ljubljana, Slovenia. He started playing violoncello at the age of five, at the Franc Šturm Musical School. He continued his musical education at the Secondary Musical and Ballet School in Ljubljana.

"Women in Flux", The Museum of Modern Art, Retrieved 15 June 2014. In 1966, Beuys, then-associated with Fluxus, created his work Infiltration Homogen für Cello, a felt-covered violoncello, in her honor. However, Moorman, like numerous other female artists including her close friend, Schneemann, was "blacklisted" by Fluxus-organizer George Maciunas for reasons that remain unclear.

David Millar Craig was well-known among Edinburgh music audiences for his violoncello playing.'Piano and Cello Recital', Edinburgh Evening News, 1 April 1920, p. 4. Immediately prior to joining the BBC he was writing the analytical notes for Scottish orchestral concerts in Glasgow and Edinburgh.'New BBC official for Scotland', Glasgow Herald, 11 February 1924, p. 6.

Many of the melodies are French in manner, but Bastienne's first aria is true German lied. This melody is also used in Mozart's Trio in G for Piano, Violin and Violoncello, K. 564 (1788). Another purely German lied is Bastienne's aria "I feel certain of his heart". Mozart utilizes the orchestra sparingly, with the exception of the reconciliation scene.

Bräutigam was a son of Paul Bräutigam, who was cantor at the Johanniskirche in Crimmitschau at the time. He began taking instrumental lessons at the age of seven. In the end he was able to play violin, piano, organ, viola, violoncello and some wind instruments. Sometimes he took part in his father's concerts, singing, playing and conducting himself.

In 1987, he received his first recognition at the Segundo Concurso Nacional de Piano, and in 1988, he debuted with the Orquesta Sinfónica del Estado de México. In addition to giving performances, Vega began a classical trio of piano, violin and violoncello at the Universidad de Sonora. Today, he is a professor at the same institution.

During his stay in Paris with Alessandro in 1735, he worked on the Sonata for Bassoon and Basso Continuo in B flat major and five other Sonatas Trio for two violins and violoncello, published around 1750 by Canavasse. According to a letter of Leopold Mozart dated 28 May 1778, he would have died in Turin in 1778.

Phantasy Quartet, Op. 2, is the common name of a piece of chamber music by Benjamin Britten, a quartet for oboe and string trio composed in 1932. In the composer's catalogue, it is given as Phantasy, subtitled: Quartet in one movement for oboe, violin, viola, violoncello. It was first performed in August 1933 as a BBC broadcast.

For the music, Handel used the same devices as in his operas and other oratorios: choral and solo singing. The solos are typically a combination of recitative and aria. His orchestra is small: oboes; strings; and basso continuo of harpsichord, violoncello, violone, and bassoon. Two trumpets and timpani highlight selected movements, such as the Hallelujah Chorus.

"Técnicas y procedimientos de escritura para obras destinadas al violoncello" Academia de Música de Basilea (Suiza) December 2, 1997. Lecture Festival Atempo Caracas, July 2001, “Juegos del Tiempo” Reflection on the concept. Speakers: Diógenes Rivas, José Manuel Briceño Guerrero and Asdrúbal Colmenarez. Introducer: Valentina Marulanda Festival Atempo Caracas, July 1999, “Caos y Armonía” Reflection on the concept.

Steinhardt 7 Soyer considered that his experiences performing commercial music helped him grow as an artist, and firmly believed that young musicians should be exposed to dance music, folk music, and gypsy fiddling. He was a connoisseur of art, and an avid sailor who owned a 24-foot sloop.Ruttencutter 44, 51–53 Violoncello (2001–2009) :Peter Wiley (b.

In the painting 'The Sense of Hearing', 1744, women are playing violin, violoncello, harpsichord, and flute. Yale Collection for British Art. Mercier became involved in a scandal of sorts and he lost favour. He left London around 1740 and settled in York, where he practised portrait painting for over ten years, before returning to London in 1751.

In 1923, Strub replaced Gustav Havemann as first violinist in the Petri Quartet, to which the orchestra musicians Erdmann Warwas (2nd violin), Alfred Spitzner (alto) and Georg Wille (violoncello) belonged.Michael Waiblinger, Strub Quartet, Booklet, Meloclassic 4002, 2014. According to the historian Michael Hans Kater, he soon surpassed his predecessor Havemann as a string player.Michael Hans Kater: Die mißbrauchte Muse.

Evi was born on April 30, 1990 in Durres, Albania, and grew up in Athens, Greece. She developed a love for music in the early years of childhood when she was exposed to by her mother, who is a professional performer and instructor of the violoncello. Her father is a biochemist. Evi has studied classical piano and lyrical singing.

Letter for a Dying Soldier (2016) for a cappella SSAATTBB chorus, dur. 7 minutes. commissioned by and written for Zoran Stanisavljević and the University of Niš Choir. a letter written by Walt Whitman for a dying soldier at the end of the American Civil War. Quatre états d'âme (2015-2016) for clarinet, violoncello and piano, duration 30 minutes.

Flute (C Flute, bass Flute and Piccolo), Recorder (sopranino Recorder, soprano Recorder, tenor Recorder, bass Recorder and Paetzold contrabass Recorder in F), Clarinet (Clarinet in Bb, bass Clarinet in Bb and contrabass Clarinet in Bb), Saxophone (soprano Saxophone, alto Saxophone and Eb Tubax), Trumpet in C (doubling Flugelhorn), Trombone, Percussion, Accordion, Violin, Viola, Violoncello, Contrabass, Electronics.

In 1962 he became teacher of a master class for violoncello at the Hochschule für Musik Köln (then called Staatliche Hochschule für Musik), and from 1972 until 1976 head of this institute. He started teaching at the Internationale Ferienkurse für Neue Musik in Darmstadt in 1962. From 1976 until 1981 he was Intendant of the Deutsche Oper Berlin.

Dimitar Furnadjiev is a Bulgarian cellist. In 1973 he was laureated at Florence's Gaspar Cassado and Budapest's Pablo Casals competitions, and one year later he won the Bulgarian National Violoncello Competition. He later settled in Spain. He was a member of the Orquesta Nacional de España for 16 years, and a first cellist at the Orquesta Sinfónica de Euskadi.

Charles Jane Ashley (1773–1843) was an English cellist. Ashley was born in London, the third son of John Ashley. He was a performer on the violoncello, and also for some time carried on the Covent Garden oratorios with his brother, General Charles Ashley, a violinist. He was also the brother of Richard and John James Ashley.

Lorenzo Carcassi was a 1700s Florentine instrument maker. He often worked with his younger sibling and business partner, Tomaso Carcassi. He and Tomaso were probably students of Giovanni Baptista Gabrielli, another Florentine instrument maker. His instruments are played to this day by artists including Gwendolyn Masin (a violin from 1761) and Vito Paternoster (a violoncello from 1792).

He traveled to England in 1740. In 1753 he moved to Verona, in the Republic of Venice, where he worked as a member of the Philharmonic Academy. In 1766 he was given the title of baron by Prince Maximilian of Bavaria.Short Bio of Abaco Abaco wrote nearly 40 cello sonatas, the 11 Capricci for Violoncello Solo, and other works.

"The Sweetest Lad Was Jamie" in the Schottische Lieder, op. 108, no.5, 1814-1815, musical autograph 25 Scottish Songs (or in full Twenty-five Scottish songs: for voice, mixed chorus, violin, violoncello and piano) (Opus 108) was composed by Ludwig van Beethoven. The work was published in London and Edinburgh in 1818, and in Berlin in 1822.

In 1814 he was admitted into the Dresden chapel as an oboist, since there were no violoncello vacancies. In the same year Carl Maria von Weber appointed Kummer as a violoncellist at the Royal Opera House.Ginsburg Kummer became an acclaimed performer and in 1850 he was appointed as the principal violoncellist at the court chapel after Dotzauer retired. Kummer himself retired in 1864.

Awarded numerous prizes at international music competitions, Glaetzner founded in 1968 the ensemble "Auslos trio" together with Wolfgang Weber (violoncello) and Klaus Schließer (bassoon). Later, Schließer moved up for Gerhard Erber (piano). With the trio he dedicated himself to baroque music and increasingly to new music. Together with the composer and pianist Friedrich Schenker he initiated the Gruppe Neue Musik Hanns Eisler.

He is a viola graduate of the Mozarteum University Salzburg and the Hochschule für Musik "Hanns Eisler" in Berlin. Among his main teachers were Thomas Riebl, Antje Weithaas, Eberhard Feltz and Andreas Schreiber. Malov's performance at Michael Hill International Violin Competition in New Zealand (2011) Malov is a winner of international violinist and violist competitions. He plays violoncello da spalla.

Massimiliano Messieri (born 1964 Bologna, Italy) is a musician and scholar with a doctorate in composition, electronic music, and violoncello. He was selected to take part in specialization courses in composition at the Music Academy of Fiesole held by G. Manzoni (1991–1992) and at the Academie d’Eté of the IRCAM held by T. Murail and P. Manoury (Paris, 1993–1994).

Walborg Concordia Maria Lagerwall (8 August 1851 – 3 December 1940) was a Swedish cellist. She was a student of the Royal College of Music, Stockholm 1872–1874, and toured Scandinavia in 1879–83. She played the violoncello in the troupe »Damtrion» ("The ladies trio") 1881–1883 together with Hilma Åberg and Hilma Lindberg, and at the Royal Swedish Opera in 1884–1889.

Bartók's Divertimento is scored for string orchestra: Violin I, II, Viola, Violoncello, and Double Bass, all of which contain divisi sections. Unlike the majority of orchestral scores, the minimum number of players in each string section is specified: 6 1st Violins, 6 2nd Violins, 4 Violas, 4 Violoncellos, 2 Double Basses.Béla Bartók, Divertimento for String Orchestra, 1940, (Boosey & Hawkes Ltd, 1940), p. 0.

Pietro Grossi was born in Venice, and he studied in Bologna eventually taking a diploma in composition and violoncello. In the sixties Grossi taught at the Conservatory of Florence and began to research and experiment with electroacoustic music. From 1936 to 1966 was the first cellist of the Maggio Musicale Fiorentino orchestra. Grossi began to experiment with electroacoustic music in the 1950s.

In the first movement, the bass as the vox Christi sings "I am a good shepherd", framed by instrumental ritornellos. The motif on these words appears already four times in the ritornello. The movement is between aria and arioso, with the oboe as a concertante instrument in "a mood of tranquil seriousness". The alto aria is accompanied by an obbligato violoncello piccolo.

Ayen Ho was born 6 March 1994 in Qingyuan. She moved with her family to Huizhou, Guangdong Province, where she lived during her school years. In 2012, Ho moved to Beijing and applied to study in the digital media and arts department of the North China Technologic University. During that time, she started learning to play guitar, ukelele and violoncello.

Bach's version is scored for soprano and alto soloists, two concertante violin parts, two ripieno violin parts, viola, violone, violoncello, and basso continuo. Bach's orchestration is richer than Pergolesi's original. Where in Pergolesi's version the viola often plays in unison with the continuo, Bach increases the independence of this instrument, thus creating the four-part harmony typical of his own style.Clemens Romijn.

Instrumentation for each concert is repertoire/instrumentation-based and is drawn from a sinfonietta-sized group: flute (doubling alto flute and piccolo), clarinet (doubling bass clarinet and E-flat clarinet), oboe (doubling English horn), bassoon (doubling contrabassoon), horn, trumpet (C trumpet, B-flat trumpet and piccolo trumpets in E-flat and D), trombone, percussion, piano (doubling synthesizer), two violins, viola, violoncello, bass.

Miklós Perényi (born 5 January 1948) is a Hungarian cellist. He was born in Budapest into a musical family and studied at the Ferenc Liszt Academy of Music in Budapest with Ede Banda and Enrico Mainardi. He continued his studies at the Accademia Santa Cecilia, graduating in 1962. In 1963 he won a prize at the Pablo Casals International Violoncello Competition in Budapest.

In 2003, she recorded, with SFS Assistant Concertmaster Mark Volkert and cellist Jan Volkert, a disc of Mr. Volkert's transcriptions for string trio entitled Delectable Pieces. In 2013, she released a cd of the music of Johannes Brahms, which includes the two viola sonata (F minor and E-flat major) and the Trio in A minor for Viola, Violoncello and Piano.

He also wrote chamber music: two string quartets, a duo for horn and viola, a Divertimento for violoncello, a oncertino for piano. His main field of work as a composer was film and television music. He composed film and television scores like Laramie for example. He also wrote for MGM Musicals like Peter Pan (New York 1954) and New Faces of 1956.

Antonín Dvořák was also inspired by the Bohemian Forest in his piece called Klid pro violoncello a orchestr. The traditional music of Bohemia and Moravia influenced the work of composers like Leoš Janáček, Antonín Dvořák, Bedřich Smetana, and Bohuslav Martinů. Earlier composers from the region include Adam Michna, Heinrich Biber, Jan Dismas Zelenka, Johann Wenzel Stamitz and Johann Ladislaus Dussek.

Mortari was born in Passirana di Lainate, near Milan in 1902. He studied at the Milan Conservatory with Costante Adolfo Bossi and Ildebrando Pizzetti. He graduated from the Parma Conservatory in 1928, having studied piano and composition. Already in 1924 he had won first prize with his composition Sonata per pianoforte, violino e violoncello at the Società Italiana di Musica Contemporanea competition.

Counter-evidence is the report in The Musical Times of 1 January 1891 of the performance of Mendelssohn's "Hymn of Praise" at the People's Palace, conducted by one W. R. Cave, and in the same journal of 1 September 1894, a book New Violin and Violoncello Music, with pieces by Gilbert R. Betjemann, J. W. Ivimey, W. R. Cave, ..., ..., etc.

Grove's Dictionary of Music and Musicians, 5th edition, 1954, Vol. IX, p. 298, "Wilhelmj, August" The solo violin part of Wilhelmj's arrangement is sometimes played on the counter-tenor violoncello. As a result of the popularity of the piece, on the G string remained in the name of various arrangements whether or not a string instrument playing on its G string was involved.

He wrote the film score for the 1970 movie Machina. He also contributed music to Canadian radio and television during the 1970s. From the 1980s on, Dolin wrote mostly smaller scale works such as his well-known Two Vocalises for Two Celli (1990). Two notable exceptions are his last symphonic works, Concerto for Oboe and Violoncello with Orchestra (1989) and Double Concerto for Oboe, Cello and Orchestra.

Woodwinds are recorders, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa), and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), and viola da gamba (Vg). Continuo are violoncello, double bass, bassoon, and organ. The Bible story is told by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative.

Although he could sing, write drama, play the violoncello and harpsichord; his favorite instrument was the viola d'amore, for which he wrote 21 solo sonatas. These are usually called the Stockholm Sonatas, as the sole surviving source for most of them is in the Statens Musikbibliotek in Stockholm, Sweden. The Stockholm Sonatas display Ariosti's liking for surprising harmonies, his inventive use of silence, and his wit.

Rococo Variations is the last ballet made by Christopher Wheeldon during his tenure as New York City Ballet's first resident choreographer; it was made to Tschaikovsky's Variations on a Rococo Theme for violoncello and orchestra in A major Op. 33 (1876–77). The premiere took place on Thursday, 7 February 2008 at the New York State Theater, Lincoln Center, with costumes by Holly Hynes.

The work is a septet for the following instruments: Flute, Clarinet, Bassoon, Violin, Viola, Violoncello, and String Bass. The work can be divided into three “movements” as indicated in the score. It runs a total time of about three minutes and 40 seconds. The first movement, ‘Vivement” begins with the clarinet and bassoon, and then expands to add the strings and flutes after four measures.

The Conservatory of music in Llíria (Valencia) is a public music school, depending administratively on the Conservatory number 2 in Valencia. The conservatory offers the following subjects: clarinet, bassoon, flute, hautbois, saxophone, French horn, trombone, trumpet, tuba, double bass, viola, violin, violoncello, percussion, piano and guitar. There are also music ensembles to complete the students educational program: orchestra, wind ensemble, big band and a choir.

He worked briefly with the US Army medical unit 406 collaborating with Oliver L. Austin and then moved to the Yamashina Institute of Ornithology where he worked for the rest of his life. He took a special interest in the seabirds. He was an able artist and a violoncello player. He also wrote on avian anatomy, including notes on the pectoral, and cervical muscles.

Along with the Vienna Philharmonic, he was also the chief conductor of the Wiener Johann Strauss Orchester up until his death. A forerunner of this ensemble was the 19th- century Strauss Orchestra founded by Johann Strauss I in 1835. He died in Visp, Switzerland. In chamber ensemble he led the Boskovsky Quartet with Philipp Matheis (2nd violin), Gunther Breitenbach (viola) and Nikolaus Hübner (violoncello).

This creates a "sepulchral" sound. The Bach scholar Christoph Wolff notes that this "opulent oboe scoring" with all four oboes playing together is used only in the two recitatives (1 and 3). The second movement, the first aria, is the longest of the work. It is sung by the tenor with an obbligato part for violoncello piccolo, an instrument with a tenor-bass range.

The church was commissioned by the Camillian order, and design of the church with its five chapels was originally by Giovanni Battista Quadrio. The undulating facade, described as a violoncello and with a roofline in the shape of the late 18th century marshal's bicorn hat, was designed by Carlo Federico Pietrasanta. The facade remains in brick, and never finished with marble decoration.Visita Milano, city tourism site.

He led the orchestras that accompanied La Grange, Maria Piccolomini, and Thalberg through the country. Meanwhile, in 1855, with himself as first violin, Joseph Mosenthal, second violin, George Matzka, viola, Carl Bergmann, violoncello, and William Mason as pianist, he began a series of chamber music soirées which were given at Dodworth's Academy. The Mason-Thomas concerts lasted until his founding of the Theodore Thomas Orchestra in 1864.

From his childhood joined musical associations that defined his vocation. He studied violoncello, Art History, ethnomusicology and choral and orchestral conduction at the National Conservatory of Music, and the National School of Music of UNAM. Disciple of prestigious teachers as Barbara Kaminska (Poland), Enrique Marmisolle, Jorge Cordova, Leonardo Velazquez and Christian Caballero among many others. Also attended Master Classes from Yo-Yo Ma and Mstislav Rostropovich.

The Luxembourg Sinfonietta is an orchestral ensemble for contemporary music in the Grand Duchy of Luxembourg. Initially it consisted of ten to fifteen instruments, including tuba, accordion, mandolin and harpsichord, but now typically extends to clarinet, clarinet bass, alto saxophone, tenor saxophone, baritone saxophone, horn, trumpets, tenor trombone, tuba, violins, viola, violoncello, piano, mandolin, accordion and percussion."21st Century Music, June 2001". Retrieved 12 January 2011.

His father, Luis Delgado, was a tailor and his mother, Lina Ramirez, was an actress, dancer and singer in the Teatro Musical de La Habana. When he was ten years old he entered the Amadeo Roldan Conservatory where he studied violoncello, an instrument that did not interest him. At twelve he left the conservatory, and pursued the study of sports and football. He later graduated in sport education.

The Quintetto Chigiano was founded in Siena, Italy, in 1939 and took its name from the Accademia Musicale Chigiana, which was founded by Count Chigi- Saracini. It was one of the rare permanent quintets in the world. The Quintet had the use of the four best instruments from Count Chigi-Saracini's private collection, namely a Camillo Camilli and a Guadagnini violin, an Amati viola and a Stradivarius violoncello.

The 2009 setting of Whitman's We Two Boys Together Clinging for baritone and tenor duet with vibraphone and violoncello was later recast as the central movement of his Not an End of Loving (2010) for 12-voice chamber choir, which was premiered and recorded by Chanticleer. Both versions are published by E.C. Schirmer. Sametz's earliest choral-orchestral works exhibit his fascination with a wide variety of orchestral coloration.

Kunstkammer was commissioned by the Deutsches Kammerorchester Berlin at the behest of the conductor Mikhail Jurowski, who conducted the world premiere in Berlin on 1 March 2006. The scoring is for twenty strings, harp, and twenty-one types of percussion, with solo parts for clarinet, violoncello, and concert accordion for the award-winning Trio NeuKlang, and a vocal part created expressly for the composer's wife, the soprano Andión Fernández.

In comparison to when a string is bowed, a plucked string dampens more quickly. The other members of the violin family have different, but similar timbres. The viola and the double bass’s characteristics contribute to them being used less in the orchestra as solo instruments, in contrast to the cello (violoncello), which is not adversely affected by having the optimum dimensions to correspond with the pitch of its open strings.

The cello ( ; plural celli or cellos) or violoncello ( ; ) is a bowed (and occasionally plucked) string instrument of the violin family. Its four strings are usually tuned in perfect fifths: from low to high, C2, G2, D3 and A3. Each string is an octave lower than the viola's four strings. Music for the cello is generally written in the bass clef, with tenor clef and treble clef used for higher-range passages.

Thus, the name "violoncello" contained both the augmentative "-one" ("big") and the diminutive "-cello" ("little"). By the turn of the 20th century, it had become common to shorten the name to 'cello, with the apostrophe indicating the missing stem. It is now customary to use "cello" without apostrophe as the full designation. Viol is derived from the root viola, which was derived from Medieval Latin vitula, meaning stringed instrument.

In 1928 Sharpe became professor of cello at the Royal Academy of Music in London. His teaching career was to span nearly 40 years before his retirement in 1966 at the age of 75. He contributed to books about cello technique, for example editing and revising "The Violoncello" a primer originally written by Jules de Swert in 1920. The cellist Dennis Vigay (born 1926) was amongst Sharpe's pupils.

Abraham was a son of Jakab Ábrahám (c. 1859-1909) – who was an merchant from Apatin, later head of a small private bank – and Flóra Blau (1872-1943), who came from Mohács (South-Hungary, next to Danube). Like many other composers of operettas, Abraham started with works of a serious nature. During the decade following his studies he wrote, among other things, sacred music, string quartets and a concerto for violoncello.

In 1974, he was hired as violoncello soloist with Orquesta Sinfónica del Paraguay as well as with Orquesta de Cámara del Paraguay. Two years later, he won a contest for substitute soloist with Orquesta Sinfónica de Rosario, Argentina. There, along with some fellow musicians he founded Quinteto Argentino de Arcos. He later returned to Buenos Aires and started as a cellist for Orquesta del Tango de Buenos Aires.

They include settings of poetry by A. E. Housman, Rossetti, Herrick, de la Mare, Robert Frost, and Emily Dickinson, several of which have been recorded. He also composed several instrumental works. Between 1929 and 1935 composed a string quartet and sonatas for violin, viola, violoncello, and piano., In later years he concentrated on church music, for his own use at Leicester church where he was organist from 1929 to 1955.

The Violoncello Concerto is a concerto for cello and orchestra by the American composer Christopher Rouse. It was commissioned to celebrate the 75th anniversary of the Los Angeles Philharmonic by philanthropist Betty Freeman—to whom the work is dedicated—and completed October 27, 1992. The piece was premiered in Los Angeles, January 26, 1994, with conductor David Zinman leading cellist Yo-Yo Ma and the Los Angeles Philharmonic.Rouse, Christopher (1993).

Similar to Rouse's previous Violin Concerto, the Violoncello Concerto is composed in two movements: #Combattimento #Adagiati The movements are titled from the works of innovative Renaissance/Baroque composer Claudio Monteverdi. Additionally, the piece contains quotes from Monteverdi's opera L'incoronazione di Poppea and William Schuman's song Orpheus with his Lute. Edgar Allan Poe's poem "The Conqueror Worm" was also placed in the score as a motto for the piece.

He took part in chamber formations with Mstislav Rostropovich, Shlomo Mintz, Yuri Bashmet, Pierre Amoyal, Jorg Demus, etc. He recorded for ARD, ZDF, radio Espace 2 CH, radio ТSR – 1 CH, Radio Camerata – Tokio, National Radio of Bulgaria, Bulgarian and Argentinian television. He was the principal cellist of Camerata de Lausanne under Pierre Amoyal for 7 years. From 1998 to 2008 he was a solo violoncello of Sinfonietta de Lausanne.

The occasion took place on the stage of the Bulgarian National Theatre "Ivan Vazov". Since 2009 he has been a solo violoncello of the Symphonic Orchestra of the Bulgarian National Radio. Since 2014 he has been a member of Ardenza Trio with Daniela Dikova, piano, and the solo violin of the Symphonic Orchestra of the Bulgarian National Radio Galina Koycheva-Mircheva.Носталгия по несъстоялия се фест, Вестник Култура, 13.01.

Munier was a prolific composer. His catalogue includes more than 350 published works. With the exception of a few works, including the "Trio for mandolin, violoncello and piano" and the "Three quartets for 2 mandolins, mandola and lute", Munier wrote primarily for mandolin and guitar. His production of methods was also remarkable: the Metodo completo for mandolin in two volumes; Lo Scioglidita in four volumes and the Venti Studi.

He was taught the mandolin while a child, and a few years later he received instruction on the violoncello. He appeared publicly as an infant prodigy upon both instruments. When he was eighteen years of age Della Maria wrote his first opera, it being performed in the theatre of his native town. This work caused a great sensation among musicians of Marseilles, as bearing the stamp of genius.

Vandini was born in 1691 in Bologna, though we know next to nothing about his early life or musical training. His first documented playing position is at the church of Santa Maria Maggiore in Bergamo which he obtained in April of 1720. Concurrently he was also Maestro di violoncello at the Ospedale della Pietà in Venice. During this period he was almost certainly performing extensively throughout northern Italy.

Born in Neubrandenburg, Timm studied from 1965 to 1970 at the University of Music and Theatre Leipzig and especially violoncello with Friedemann Erben. During his subsequent three-year aspirancy, he won several international competitions. In 1973 he became first solo cellist in the Leipzig Gewandhaus Orchestra and in the same year a member of the Gewandhaus Quartet. In addition to his work in the orchestra, he also performed as a soloist.

Born in Marktredwitz, Lodes grew up in Bayreuth. In 1986 she was accepted into the Maximilianeum Foundation (Wittelsbacher Jubiläumsstiftung). From 1986 to 1991 she studied music for the teaching profession at grammar schools (with piano and violoncello) as well as musicology with the subsidiary subjects and at the Hochschule für Musik and at the Ludwig-Maximilians-Universität München. In 1988/89 she studied at the University of California.

Maréchal was married to the former Lois Perkins of Norwich, CT, USA, an actress.New London Evening Day, June 10, 1941 They met in 1920 in France while Lois worked as a volunteer canteen worker with the American Expeditionary Force."Maurice Maréchal, La voix du violoncello" They had a daughter, Denise, and a son. Maréchal died Sunday, April 19, 1964, at his home in Paris following a kidney operation.

Filippo Amadei, also known as Pippo del Violoncello (fl. 1690-1730) was an Italian composer from Reggio Emilia, who was active in Rome and London.Haendel.it Filippo Amadei (Italian) He appears to have worked as composer of cantatas, oratorios, and as a cellist for Cardinal Ottoboni from 1690 to 1711, the year of his oratorio Teodosio il giovane (1711), then again from 1723 to 1729.Filippo Amadei Biography - (fl.

The English traveler and musical critic Charles Burney attended a mass at the Basilica in Padua in 1770. He wrote the following about the orchestra there and Vandini in particular: ″I wanted much to hear [...] the famous old Antonio Vandini, on the violoncello, who, the Italians say, plays and expresses a parlare, that is, in such a manner as to make his instrument speak; but neither of these performers had solo parts. However, I give them credit for great abilities, as they are highly extolled by their countrymen, who must, by the frequent hearing of excellent performers of all kinds, insensibly become good judges of musical merit. [...] It was remarkable that Antonio [Vandini], and all the other violoncello players here, hold the bow in the old-fashioned way, with the hand under it.” Through Burney's anonymous informers it is clear that Vandini was well known for his expressive, rhetorical playing that evoked speech.

The Kronos Quartet gave the premiere of the five-movement work in Seattle in 1973. A reviewer of that concert wrote that in the "exploration of each instrument as an entity–and the seemingly endless effects each can achieve–one feels as if [the composer] is manipulating the inner ear, and the listener’s sense of balance so that one reacts in a subtle though physical manner: not toe-tapping physical, but an inner torso movement that for this listener was completely involuntary and memorably image-provoking." 1999 Riffs, Echoes, and Rhapsodies (1999); Duo for Guitar and Violoncello, with Paul Grove, guitar, and Kevin Hekmatpanah, violoncello, on Paul Grove in Recital, a CD produced by JB’s Musical Services, Spokane, December, 1999. 1999 Waumandee Township (1999); Concerto for Organ, Winds Brass and Percussion, with Joseph Adam, organ, Robert Spittal, conductor, and members of the Spokane Symphony Orchestra, a CD produced by JMW, Spokane, July, 1999.

Crosdill made his first public appearance as a violoncellist at age nine when Emanuel Siprutini (1730–1790), his probable teacher, presented him in a duo. He was accepted into the Royal Society of Musicians in 1768, at the age of seventeen. In the spring of 1775, Crosdill played at the King's Theatre in the oratorios sponsored by Johann Christian Bach (1735–1782). He subsequently played for the oratorios at Covent Garden in 1777 and at Drury Lane in 1779, 1782 and 1784. Crosdill was the principal cellist for the Three Choirs Festival, each year from 1769, (except 1778) and was principal violoncellist for the Concerts of Ancient Music from its establishment in 1776 until his retirement. On 10 March 1778 Crosdill became violist in the Chapel Royal. In 1782, Crosdill was appointed chamber musician to Queen Charlotte and violoncello instructor to the Prince of Wales (later George IV). It was this appointment that made Crosdill the most fashionable violoncello teacher of his day.

E-flat major Klaviertrio op. 100, 2. Satz (Autograph) The Trio No. 2 in E-flat major for piano, violin, and violoncello, D. 929, was one of the last compositions completed by Franz Schubert, dated November 1827. It was published by Probst as opus 100 in late 1828, shortly before the composer's death and first performed at a private party in January 1828 to celebrate the engagement of Schubert's school-friend Josef von Spaun.

A number of his works were based on James Joyce texts, including "Tapioca Pudding," "Winter Canticle" and "Ecce puer" from Joyce's poem of the same name.Grayson, David. His famous Concerto for Violoncello and Orchestra started out as a request by the Baltimore Symphony in 1987 for a 15-minute orchestral piece. In 1988 the commission was changed to a concerto for Yo-Yo Ma. The composer credited Ma with his help completing the work.

The mandocello is classically tuned to an octave plus a fifth below the mandolin, in the same relationship as that of the cello to the violin: C2–G2–D3–A3. Its scale length is typically about . A typical violoncello scale is . A mandolone played by Giuseppe Branzoli during a concert in Rome, 1889 The mandolone was a Baroque member of the mandolin family in the bass range that was surpassed by the mandocello.

Yun's composition for symphonic forces started with "sound compositions", i.e. of works in which homogeneous sound planes are articulated and elaborated: Bara (1960) until Overture (1973; rev. 1974). A period of discursively structured instrumental concertos followed, beginning with the Concerto for Violoncello and Orchestra (1975–76) and climaxing with the Violin Concerto No. 1 (1981). From 1982 until 1987 he wrote a cycle of five symphonies, which are interrelated, yet varied structurally.

The earliest surviving cellos are made by Andrea Amati, the first known member of the celebrated Amati family of luthiers. The direct ancestor to the violoncello was the bass violin. Monteverdi referred to the instrument as "basso de viola da braccio" in Orfeo (1607). Although the first bass violin, possibly invented as early as 1538, was most likely inspired by the viol, it was created to be used in consort with the violin.

There are nine core members of the Radius Ensemble. The core personnel for the 2008-2009 season are Sarah Bob on piano, Miriam Bolkosky on violoncello, Sarah Brady on flute, Eran Egozy on clarinet, Anne Howarth on French horn, Jae Young Cosmos Lee on violin, Jennifer Montbach on oboe, and Gregory Newton on bassoon. The ninth core position (viola) is not filled for the 2008-2009 season. Additional musicians are engaged as the repertoire demands.

Felix Greissle wrote an arrangement of the whole set of songs in 1921. It was scored for a small ensemble which included a baritone, a piccolo, a flute, a clarinet, a bass clarinet, a violin, a viola, a violoncello, and a piano. The arrangement has only been recorded once by EMI, which was released in LP format. The performance of this recording was carried out by the Pierrot Ensemble Köln in August 1980.

The most famous landlord in this period was Mr Price, who was known for his skill in making music by beating a salt-box with a rolling pin, accompanying musicians such as Carl Friedrich Abel, who played the violoncello. The tavern appears on Rocque's map of 1746 on the corner of the Green Lane with the East-West track which was later to become the New Road. The place then had a walled garden.

Brahms composed the first two movements during the summer of 1862, as well as an Adagio which was later deleted. The final movement was composed in 1865. The sonata is entitled "Sonate für Klavier und Violoncello" (for piano and cello) and the piano "should be a partner - often a leading, often a watchful and considerate partner - but it should under no circumstances assume a purely accompanying role".Wiener Urtext Edition p VII by Wolfgang Boettcher.

Alexander Wheelock Thayer in A Dictionary of Music and Musicians (George Grove, Editor, 1900). Evidence of the close relationship that formed between Beethoven and Gleichenstein is the dedication to Ignaz of the Sonata in A major op. 69 for violoncello and piano, completed in 1808. As reported by Julius Schneller, a friend of the family, Beethoven furnished the first edition copy intended for Gleichenstein with the inscription: "Inter Lacrimas et Luctum" (Between tears and grief).

The composition is in one movement and takes up to 11 minutes to perform. It is scored for oboe, 2 clarinets in B-flat, bassoon, horn in F, two trumpets in B-flat, trombone, marimba, piano, synthesizer, two violins, viola, violoncello, and double bass. According to Torke, the work can be performed with multiple string parts and is compatible with symphony orchestras. There is no definitive seating arrangement for this composition for ensemble.

The first aria is sung by the soprano, accompanied by three oboes in pastoral time. A short secco recitative leads to a tenor aria, which is dominated by an obbligato violoncello piccolo in expansive movement. The last recitative for bass contains one line from Martin Luther's (German litany), which Bach set for four-part choir, marked allegro, as if the congregation joined the prayer of the individual. The closing chorale corresponds to the first movement.

Güdel studied violoncello at the with Richard Sturzenegger (1905-1976), at the Conservatoire de Paris with André Navarra and completed her artistic training in master classes with Paul Tortelier and Pierre Fournier. She has given concerts in Europe, South America and Japan and has been invited by German and Swiss radio stations to make solo and chamber music recordings. From 1953 to 1965 she was a member of the Strub Quartet in Detmold.

Notes (2nd Ser.), 49 (4): pp. 1630–32. The final movement, also in sonata form, subtitled La tempesta, was intended to evoke the sensation of a thunderstorm. In the first movement, the strings start with the main eight-bar melody, a theme which carries throughout the entire movement. Haydn makes use of the concerto grosso format in the second movement, with the melody in the concertino – two solo violins and solo violoncello.

Moncayo premièred his Sonatina for solo piano, performed by himself, and premiered as well Amatzinac, for flute and string quartet. His friends collaborated as performers in the following order: Salvador Contreras and Daniel Ayala, violins; Miguel Bautista, viola; Juan Manuel Téllez Oropeza, violoncello; and Miguel Preciado, as flute soloist. A review from José Barros Serra calls the students "The Group of Four," with the aim to promote the nationalistic spirit of Mexican music.José Barros Serra.

The scoring and keys are given for the late Leipzig version. The keys and time signatures are taken from Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the basso continuo, playing throughout, is not shown. In the first movement, there are two basso continuo lines – the first played by a violoncello and cembalo, and the second by a violone and organ.

The two arias are based on arias from Bach's 1713 Hunting Cantata (). The soprano aria "" (My faithful heart) resembles the former aria of the shepherd goddess Pales "" (While the herds all woolly-coated). In the church cantata, Bach used an obbligato violoncello piccolo, an instrument he experimented with in cantatas of the second cantata cycle (1724–25). John Eliot Gardiner describes it as "surely one of Bach's most refreshing and unbuttoned expressions of melodic joy and high spirits".

The instrumental part is in the first phase according to conservative habit written in three or five part, only rarely four part after more modern view. The chosen instrumentation by Buns consists of violins, alto and tenor violins, viola, viola di gamba, bass viola, violoncello, bassoon, and basso continuo, usually organ with bass- violins, sometimes with trombones. But to the contrary in sonata finalis nr. 15 opus V Buns composed for two instrumental choirs with basso continuo.

"String Quartet" Studio 105, Radio France "Tomi" for 2 flutes, clarinet, trumpet,trombone, tuba, violin, violoncello, and piano(1972) Paris, Conducting: Pierre Boulez "Untitled" for twelve strings (1980). Avignon Festival: Cannes Orchestra. Conducting:Michel Decoust/ "Trio" for violin, piano, cello (1984) "Pentalogue" for five soloists (1986) "Plot" for two flutes (1987) "Sepia" for wind quartet, string quartet and piano (1988) "Despite myself" for flute, bassoon, horn, piano and percussions (1993–94). The Athens Concert Hall, Conducting: Theodoros Antoniou.

Stratico became a violinist in the orchestra of the Basilica del Santo. In his Memorie sul violinista G. Tartini (1758), the physicist Giordano Riccati mentioned that Stratico was an outstanding violinist in the orchestra of the Basilica del Santo.Giordano Riccati, Memorie sul violinista G. Tartini (1774), Il Sainto, IX/3 (1969), pp. 408–411. His six sonatas for violin and violoncello or harpsichord, the only work published during his lifetime, came out through Peter Welcker in London, ca. 1763.

Ensemble DRAj was founded in 1996 by Anette Krüger (vocals), Ralf Kaupenjohann (accordion), and Ludger Schmidt (violoncello). But it was not until a year later - after a period of arduous rehearsals that the group considered the songs to be mature enough to be presented to a public audience. The first program, “Lieder aus den Ghettos” (“Songs from the ghettoes”) was first performed in Essen (Kunstschacht Katernberg). In 2000 the first CD Lieder aus den Ghettos was produced (EthnoArt/Essen).

13 mins 2 fl, 2 ob, 2 bn, strings, cembalo This is a chamber concerto, which could be played with a single person per part. The solo part is well integrated into the whole, and the music has an effervescent bounce. The slow movement is mainly orchestral and the finale is something of a Minuet with a Trio featuring wind solos. Published by Edition Tonger, Köln - Rodenkirchen, Germany Divertimento pour Pianoforte, Clarinetto, Viola et Violoncello, c1780 1\.

Additionally, the loudness and timbre of the four strings is not the same. The fingering positions for a particular interval vary according to the length of the vibrating part of the string. For a violin, the whole tone interval on an open string is about —at the other end of the string, the same interval is less than a third of this size. The equivalent numbers are successively larger for a viola, a cello (violoncello) and a double bass.

Howell was Musician in Ordinary to the Queen. He was professor of cello at the Royal College of Music from 1884 to 1898; he also taught at the Royal Academy of Music and the Guildhall School of Music. Amongst his pupils were the cellists W. H. Squire and Hebert Walenn. In 1879 he published A First book for the Violoncello which was an arranged version of the treatise on cello playing technique originally written by Romberg in 1842.

Alongside his conducting activities, Murphy is active as a viola soloist, recitalist and chamber musician, also performing on Bach's own hand-held violoncello piccolo (also known as the viola da spalla or viola pomposa). On this instrument, he was invited to give a special of recitals in original Bach castles as part of the Bachfest Leipzig and Thüringer Bachwochen. His recital partners have included harpsichordists Menno van Delft and Mahan Esfahani, and lutenist/guitarist Karl Nyhlin.

The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo. Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, "immense verve and charm". This is contrasted with the quiet, deep conviction of the music for the choruses of Christians.

In the same concert, the instrument called Chinese hat was heard probably for the first time ever in Finland. Later in the same year, Sigiswald Kuijken appeared as soloist with Musicians of the King's Road on violoncello da spalla. On the Night of the Arts 2015, the instrument in focus was the lira-chitarra, played by Eleonora Vulpiani from Italy. The next instrument presented in the series was the tromba marina played by Eberhard Maldfeld from Germany.

Eventually, Kalabis got work in the children's music section at Prague Radio, where he established the Concertino Praga competition for young musicians. In 1957, Manuel Rosenthal performed Kalabis' Concert for violoncello op. 8 at the Orchestre de Paris at the Théâtre des Champs-Élysées, which brought Kalabis new opportunities. His works were commissioned, for example, by the Czech Philharmonic, the Dresden Philharmonic, Camerata Zurich, Josef Suk, The Suk Trio, János Starker, Maurice André, the Prague Spring Festival and others.

The arpeggione is a six-stringed musical instrument fretted and tuned like a guitar, but bowed like a cello, and thus similar to the bass viola da gamba. The instrument is sometimes also called a guitar violoncello. The body shape of the arpeggione is, however, more similar to a medieval fiddle than either the guitar or the bass viol. It is essentially a bass viol with a guitar-type tuning, E–A–d–g–b–e' .

Their son, Joram, was born in Elizabethtown in 1940. From 1941 to 1949, he was head of the cello department at the Curtis Institute of Music in Philadelphia, and he also taught at Tanglewood, Boston University, and the University of Southern California, where he remained until his death. The USC established the Piatigorsky Chair of Violoncello in 1974 to honor Piatigorsky. Piatigorsky participated in a chamber group with Arthur Rubinstein (piano), William Primrose (viola) and Jascha Heifetz (violin).

Peshtpa is a musical composition by the Iranian composer Mehdi Hosseini completed in 2009. It is based on Kurdish Music. The work is scored for an oboe, bass clarinet, and violoncello. The Trio presented at the International Conference A REVERSE PERSPECTIVE which was included on a program that is dedicated to the anniversaries of the births of Pushkin (210 years), Gogol (200 years), and Futurism (100 years) and displayed music of the St. Petersburg school of composition.

The group participated in the Vienna premieres of works by Brahms, including his Clarinet Quintet and his Quintet in G major Opus 111. It also premiered Schoenberg's first and second string quartets and participated in the premiere of Verklärte Nacht along with two members of the Vienna Philharmonic Orchestra: Franz Jelinek, viola, and Franz Schmidt, violoncello. Among the quartet's performing collaborators were Julius Röntgen, Johannes Brahms, Franz Steiner, Bruno Walter, and Richard Mühlfeld. The quartet also made recordings.

These instrumental parts are frequently set in virtuoso repetitive patterns called figuration. Instruments include, in addition to the ones mentioned, organ, flauto piccolo (sopranino recorder), violino piccolo, viola d'amore, violoncello piccolo (a smaller cello), tromba da tirarsi (slide trumpet) and corno da tirarsi. In his early compositions Bach also used instruments that had become old-fashioned, such as viola da gamba and violone. Alto recorders (flauti dolci) are sometimes used in connection with death and mourning as in .

The new composition explores some solo predominance, spotlighting the several instruments in rather free forms: the viola in the first movement; violoncello in the second; the two violins in the third." He added, "After Bartok, Berg, and Webern, it is not easy to imagine new ways of playing on string instruments. I feel that I have been able to find some unusual paths for bow and finger. As for the rest, I have used all the possibilities hitherto available.

A composition of 172 bars, marked simply Presto, also exists in Janáček's hand on the same paper as the manuscript of Pohádka. No instruments are specified but it is almost certain, given the range and clef of the solo part, that it is for violoncello and piano. The scholar Jaroslav Vogel and others have thus speculated that this movement was intended to be included in the original version of Pohádka, but was removed when the work was revised.

The Monodies by Iranian composer Mehdi Hosseini was completed in 2011. The work is scored for flute, clarinet, piano, violin and violoncello. The world premiere of Hosseini's composition "Monodies" was on 21 November 2011 as part of the opening day of the 23rd Annual International New Music Festival "Sound Ways", in the Glinka Hall of the St. Petersburg Philharmonic Orchestra. The work performed by the Sound Ways New Music Ensemble under the direction of conductor Brad Cawyer.

This drew attention to him as a composer, and a productive period followed. In 1834 at age 26 Limmer was invited to accept the post of conductor at the German Theater in Timișoara by its director, Theodor Müller. The theater ran up to 15 opera productions a year, including local premieres of Beethoven's Fidelio and Verdi's Ernani, Macbeth, Il Trovatore and Othello. He wrote his Grand Quintuor for piano, violin, viola, violoncello and double bass, op.

Terakado recorded Bach's sonatas and partitas for solo violin, and also his Cello Suites, playing them on a violoncello da spalla, a small cello played braced against the shoulder. As a conductor, he has performed Baroque operas such as Purcell's Dido und Aeneas and The Fairy Queen, Rameau's Pigmalion and excerpts of operas by Jean-Baptiste Lully and Mozart. He has been a teacher at the Royal Conservatory of The Hague and the Toho Gakuen School of Music.

From 1988 to 2000 he was also its deputy scientific director and participated between 1977 and 2000 in the organization of the Bruckner symposiums in Linz. Harten is also President of the Hans Rott Society. Harten has been living in Vienna since 1964 and is married to the musicologist Christa Harten, née Flamm.Christa Flamm: Leopold Koželuch: Biographie und stilkritische Untersuchung der Sonaten für Klavier, Violine und Violoncello nebst einem Beitrag zur Entwicklungsgeschichte des Klaviertrios. Maschinschriftl. Dissertation.

3, for string quartet (1945) The Song of Songs (Sonata no. 3), for violin (1945) Three Sonatas, for violin (1945–1948) A Little Palestinian New Year’s Festival: 1\. Zeman Simhatheinu (The Season of Our Gladness; a Sukkot song), for baritone solo and pianoforte; 2\. In Thy Pavilion, O Eternal (Psalm 15), for see original work list; 3\. Happy Is Everyone Who Reveres the Eternal (Psalm 128), for see original work list; 4a. Orah “Elul” (I Am My Beloved’s and My Beloved Is Mine), for violin, violoncello, and pianoforte; 4b. Orah “Elul,” for soprano, alto, tenor, and bass and pianoforte; 5\. Kaddish, for violoncello or trombone and pianoforte (1946) Sonata no. 6 in C, for bichromatic organ (1946) Orah, for orchestra (1947) Jerusalem (hymn), for violin and pianoforte (1948) Sonata in A, for pianoforte (1948) Three Sonatas, for viola (1948) Symphony no. 3 (1948–1953) Psalm 130, for English horn and pianoforte (1949) Quintet (The Five Points), for string quartet and pianoforte (1951) Sextet, for clarinet, string quartet, and pianoforte (1951) Symphonic Psalms, for soprano, alto, tenor, and bass and orchestra: vol.

Born into a family of musicians, Mäkelä's father is the violinist Sami Mäkelä, and his mother is the pianist Taru Myöhänen-Mäkela. His grandfather, Tapio Myöhänen, is a violinist and violist. His younger sister Ellen Mäkelä is a dancer with the Finnish National Ballet. Mäkelä studied conducting at the Sibelius Academy with Jorma Panula and violoncello with Marko Ylönen, Timo Hanhinen and Hannu Kiiski. He became interested in conducting at age 12, when he sang in the choir of the Finnish National Opera.

Striking is the frequent use of Sesto in the Ländler-like eighth-note of the first viola, which is due to the line of the second violin and the violoncello of the first part and refers directly to the trio in Scherzo. An airy counterpart of the first violin pushes playfully unstoppable upwards. The actual implementation theme becomes the starting point of a fugue whose theme is contrasted with a striking triplet figure. Finally, the recapitulation follows in D flat major.

The title on the copy by Johann Christian Köpping is: "Concerto a 2 Violi:1 Viola. Fagotto Violoncello S.A.T.e Basso e Continuo / di Joh:Seb:Bach" (Concerto for 2 violins, 1 viola. Bassoon Cello S.A.T and Bass and Continuo / by Joh:Seb:Bach). The cantata in six movements is scored like chamber music for four vocal soloists (soprano, alto, tenor and bass), a four- part choir (SATB) in the closing chorale, two violins (Vl), viola (Va), bassoon (Fg), cello (Vc) and basso continuo (Bc).

Both Philippe and Pierre were excellent players, but Philippe seems to have been the more celebrated of the two, and to have been specially remarkable for his beautiful tone. It is said to have been owing in great measure to the impression produced by his playing that the viola da gamba more and more fell into disuse and the violoncello was more extensively introduced. He was the father of the violinist Joseph-Barnabé Saint-Sevin, dit L′Abbé le Fils.

He remained with the Symphony of the Air for three years. During the 1950s Shulman wrote numerous popular songs with entertainer Steve Allen and he did several arrangements for Skitch Henderson, Raoul Poliakin and Felix Slatkin. In 1956 he wrote his Suite Miniature for Octet of Celli which was commissioned by the Fine Arts Cello Ensemble of Los Angeles. That same year he was one of several musicians to found the Violoncello Society, later serving as the organization's president from 1967 to 1972.

The example of Schuppanzigh, and of the four brothers Moralt, suggested to Zeugheer the idea of attempting the same with his friends in Munich, as "das Quartett Gebrüder Herrmann". Zeugheer was leader; Joseph Wex of Immenstadt, second violin; Carl Baader, viola; and Joseph Lidel (grandson of Andreas Lidel, the eminent performer on the baryton), violoncello. They started Aug. 34, 1824, for the south, and gave performances at the towns of south Germany and Switzerland, and along the Rhine to the Netherlands and Belgium.

The Ensemble for Intuitive Music Weimar or Ensemble für Intuitive Musik Weimar (EFIM) is a German music ensemble, which was founded in 1980 during the period of the German Democratic Republic, originally performing music officially tabooed by the communist government. EFIM uses orchestral instruments (trumpet/flügelhorn, violoncello, and piano/organ) and live-electronics. The computer-as-mobile-studio is played as a musical instrument; one which can, through the use of multichannel sound diffusion systems, control the movement of sounds in space.

In 1801 he became substitute of the organist Adolf Heinrich Müller at the , in 1802 he changed as at the St. Thomas Church, Leipzig In 1808/1809 he was one of the four co-founders of the Gewandhaus Quartet, along with Justus Johann Friedrich Dotzauer, Bartolomeo Campagnoli and Heinrich August Matthäi.entry in the German biography His son Carl Ludwig Voigt followed in his father's footsteps and also learned to play the violoncello. Voigt died in Leipzig at the age of 41.

The Concerto for Violin, Violoncello and Orchestra is a double concerto for violin, cello, and orchestra by the American composer Ellen Taaffe Zwilich. The work was commissioned by the Louisville Orchestra for the violinist Jaime Laredo and the cellist Sharon Robinson and in memory of the sculpture Albert Wein. It was first performed by Laredo, Robinson, and the Louisville Orchestra under the direction of Lawrence Leighton Smith on December 5, 1991. The piece is dedicated to Lawrence Leighton Smith and the Louisville Orchestra.

Arch shaped lines emphasizing fourths in the first violin (C – F – C) and the violoncello (G – C – C' – G') are combined with lines emphasizing fifths in the second violin and viola. Over the barline between the second and third measures of the example, a fourth-suspension can be seen in the second violin's tied C. In another of his string quartets, KV 464, such fourth-suspensions are also very prominent. The second movement is in sonatina form, i.e., lacking the development section.

It is followed by a recitative for bass and an aria for alto, with obbligato violin and oboe. The second part begins with the central movement based on the New Testament text, a solo for bass, as vox Christi, accompanied by an obbligato violoncello. It is followed by an aria for soprano with obbligato recorders in unison. The second recitative for alto and strings leads into the concluding four-part chorale in which the choir doubled by the full orchestra.

The violetta was a 16th-century musical instrument. It is believed to have been similar to a violin, but with only three strings. The term was later used as an umbrella for a variety of string instruments.The Harvard Dictionary of Music Some of the instruments that fall under its umbrella are the viol, viola, viola bastarda, viola da braccio, viola d’amore, violetta marina, tromba marina and the viola da gamba, viola pomposa, violino piccolo, violoncello, and of course the violin.

A cello concerto (sometimes called a violoncello concerto) is a concerto for solo cello with orchestra or, very occasionally, smaller groups of instruments. These pieces have been written since the Baroque era if not earlier. However, unlike the violin, the cello had to face harsh competition from the older, well-established viola da gamba. As a result, few important cello concertos were written before the 19th century – with the notable exceptions of those by Vivaldi, C.P.E. Bach, Haydn and Boccherini.

He was born at Magdeburg. His father, Johann Peter August Fesca, was the market judge of Magdeburg and active in the musical part in the city; he devoted much of his time to the practice of the violoncello and piano. His mother was a singer educated under Johann Adam Hiller and Marianne Podleska; she had been a professional vocalist in early life. Friedrich received his early musical education in Magdeburg and completed his studies at Leipzig under August Eberhard Müller.

The Andante begins with a luscious melody played by the violoncello in its upper register (Theme A) with only the piano as accompaniment. The opening thematic material of this melody is a sequence of descending thirds, a gesture frequently used by Brahms (such as in his Op. 119, No. 1, and the opening to Symphony No. 4, to name two examples). The violin eventually joins in with a new melody over the cello. The viola enters later with a tutti descending stepwise idea.

His next appointment was to the private band of Napoleon, after which he travelled for three years in Russia with the violoncello player Lemare. Returning to Paris, he established concerts for chamber music, which proved successful, and built up for him a reputation as a quartet player. He frequently performed together with the Polish pianist and composer Maria Agata Szymanowska. Baillot travelled again, visiting the Netherlands, Belgium, and England, and then he became leader of the opera band in Paris and of the royal band.

Kong Lin grew up in a family of artists; her father was in western-style opera/theatrical works as singer and actor. She, in turn, was mentored by him in singing, dancing, acting, and also playing violoncello. In 1987, Lin's father sent her to study acting at the Beijing Film Academy. During her teenage years, she often participated in opera/theatre performances and also took part in the school band when she was in high school, playing instruments (guitar, cello, or piano), singing, and dancing.

Cedric Sharpe c. 1930s – picture taken from The Violoncello by Jules de Swert, edited by Cedric Sharpe. Cedric Sharpe, ARCM, Hon RAM (13 April 1891 – 1978) was a British cellist, composer and music professor of the early to mid-20th century. He studied cello at the Royal College of Music later becoming professor of cello at the Royal Academy of Music – the start of a teaching career that was to span almost four decades before he retired in 1966 at the age of 75.

However, this was not without some controversy among the congregation, many of whom still held the puritan belief that organs were tools of the devil and had no place in a church building. Up until that time, the congregation was traditionally accompanied by a trio of musicians playing bass viol, violoncello and flute. The new organ was built by Garrett House of Buffalo, New York, at the price of $2,500 that was raised entirely by subscriptions from the members. The new organ was dedicated August 26, 1860.

Schelomo was the final work completed by Bloch before coming to America in 1916. Initially conceived as a vocal work set the text from the Book of Ecclesiastes, the composer ran into trouble deciding what language to use. A serendipitous meeting occurred between Bloch and cellist Alexandre Barjansky, who impressed Bloch with his mastery of the instrument, which had the brooding vocal quality that he envisioned for Schelomo. The word Schelomo, being the Hebrew form of Solomon, uses the violoncello to represent the voice of King Solomon.

Vesperae solennes de confessore (Solemn Vespers for a Confessor), K. 339, is a sacred choral composition, written by Wolfgang Amadeus Mozart in 1780. It is scored for SATB choir and soloists, violin I, violin II, 2 trumpets, 3 trombones colla parte, 2 timpani, and basso continuo (violoncello, double bass, and organ, with optional bassoon obbligato). The setting was composed for liturgical use in the Salzburg Cathedral. The title "de confessore" was not Mozart's own, and was added by a later hand to his manuscript.

Apparently at some point he lived and worked in England, where in London he met Czech singer and composer Josef Theodor Krov, who called Šťastný, the "Beethoven of the violoncello". Traces of Šťastný disappear after 1826. Šťastný's cello and basso continuo composition is regarded, in the opinion of violinist, conductor, and cello music historian Wilhelm Joseph von Wasielewski, as one of the best examples of antique cello compositions. He composed cello pieces (11 opus numbers), duets, variations, sonatas, divertimento, instructive pieces, concertino, Grand Trio.

5 (1939–1953) Orah no. 2, for violin and pianoforte (1940) Shelosh Esrei Midot (The Thirteen Attributes), for baritone solo and organ (1940) String Quartet no. 1 (1941) Tel-Aviv, for violin and pianoforte (1941) The Five Points, for orchestra (1942) Concerto, for clarinet and strings (1943) Hymn, Aria, Dance, for clarinet and pianoforte (1943) Palestinian, Suite for violoncello and microtonal organ (1943) Sonata, for pianoforte (1943–1946) Symphony no. 4 (1944–1959) Ezekiel 34, for violin and quarter-tone organ (1945) Orah no.

The work is scored for a large orchestra consisting of the following forces: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B (2nd doubling E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 6 horns in F, 3 trumpets in D and F, 3 trombones, tenor tuba in B (often performed on euphonium), tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, wind machine, and strings: harp, violins i, ii, violas (including an extensive solo viola part), violoncellos (including an extensive solo violoncello part), double basses.

Title on autograph score: Concerto 4to à Violino Principale, due Fiauti d'Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo. Concertino: violin and two recorders (described in the original score as "fiauti d'echo"). Ripieno: two violins, viola, violone, cello and basso continuo (harpsichord and/or viola da gamba) Duration: about 16 minutes The violin part in this concerto is extremely virtuosic in the first and third movements. In the second movement, the violin provides a bass when the concertino group plays unaccompanied.

Acting on medical advice, he abandoned the wind instruments, and studied the violoncello under Schetky (who married his sister), and the violin under Aragoni. He succeeded so well that he was appointed leader of the Edinburgh Theatre band. After appearing as a cellist in London, he went in 1784 to Dublin, where he remained for two years. Returning to London, he took a prominent position in the chief orchestras, and was principal cello at the Salomon concerts under Haydn, who showed him much kindness.

"Essai sur le doigté du violoncelle et sur la conduite de l'archet" ("Essay on the fingering of the violoncello and on the conduct of the bow") is a seminal work of cello technique, by Duport, published by Imbault in Paris in 1806. The French text of 175 pages discusses in detail a wide range of aspects of cello technique, and is followed by 21 Etudes for two cellos, of various difficulty levels. The work has been translated into English and German, and is widely accepted as the most influential pedagogical work for the instrument.

The cantata is opened by a sinfonia for concertante organ and orchestra, probably the final movement of a lost concerto composed in Köthen, the model for the Concerto II in E major, BWV 1053, for harpsichord. Two weeks before, Bach had used the two other movements of that concerto in his cantata . The bass as the sings the words of Jesus. In the soprano aria "" (I am glorious, I am beautiful) the bride reflects her beauty as dressed in "" (The justice of His salvation), accompanied by oboe d'amore and violoncello piccolo.

In 1925, Jenkins was awarded 1st place in the Holstein Prizes donated by Casper Holstein via Opportunity magazine for his piece, African War Dance and also 2nd place for his Sonata in A minor for violoncello. In 1925 in Belgium, his work Carlestonia, a rhapsody for orchestra--noted for its "Negro" themes--was performed. In London, Charlestonia: Negro Symphony was performed in 1919. His career which included jazz/dance band recordings (London: 1921) and in Europe was ended by an early death in Paris where he had settled in 1924.

To write and compose the musical style of the Golden Silence, the band took influences from folk artists such as Counting Crows, Arcade Fire, Bon Iver, Bruce Springsteen, Regina Spektor, Modest Mouse and Jimmy Eat World. They used of different instruments, such as Koto, orchestral arrangements, horns and bass clarinet, ambient elements, violoncello, ukuleles, autoharps and accordions as well the band explored the synthpop and the contemporary pop, utilizing mixing synthesizers and electronic drums. “It’s more explorative,” Gabriel affirmed to NewsDay, "The release keep the same mix of female-male vocals", Zeldin added.

Simon Wallfisch was born in London to a family of professional musicians: his father is acclaimed British cellist Raphael Wallfisch, his mother the Australian born baroque violinist Elizabeth Wallfisch. His grandparents are cellist Anita Lasker- Wallfisch and pianist Peter Wallfisch, his great-grandfather was Albert Coates, music director of St. Petersburg's Mariinsky Theatre during the time of the Russian revolution. His older brother is composer Benjamin Wallfisch, his younger sister is singer-songwriter Joanna Wallfisch. Between 2000 and 2006, Simon Wallfisch studied at the London Royal College of Music singing, violoncello and conducting.

Pärt himself endorsed a recording on the ECM New Series album entitled Alina, recorded in July 1995 and released in 1999. It includes two variations of Für Alina by pianist Alexander Malter, and three versions of Pärt’s Spiegel im Spiegel (for piano and violin, violoncello, and violin, respectively). According to the liner notes, the two versions, somewhat like “mood improvisations”, were handpicked by Pärt from a recording that was originally several hours long. The two versions most strikingly differ in the use of rubato and that of the use of the low octave b.

Nola Reed Knouse, The Music of the Moravian Church in America (Rochester: University of Rochester Press, 2008), 280. All of Peter's known compositions are sacred concerted vocal works or anthems composed for worship services with the exception of the string quintets. His six string quintets for two violins, two violas, and a violoncello are among the earliest examples of chamber music known by a North American composer. The six string quintets, performed by the American Moravian Chamber Ensemble, were recorded and published in 1997 on New World Records 80507-2.

Bach first performed the cantata on 12 August 1714. When he performed it again in Leipzig on the eleventh Sunday after Trinity in 1723 (8 August) it was the first solo cantata and the most operatic work which he had presented to the congregation up to that point. He made revisions for that performance, such as transposing it from C minor to D minor and changing the obbligato viola to violoncello piccolo. In the same service, he also performed a new work, : one before and one after the sermon.

Utilizing the technique of Sprechstimme, or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. The ensemble, which is now commonly referred to as the Pierrot ensemble, consists of flute (doubling on piccolo), clarinet (doubling on bass clarinet), violin (doubling on viola), violoncello, speaker, and piano. Wilhelm Bopp, director of the Vienna Conservatory from 1907, wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Graedener. Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912.

The Wallinger Quartet played concerts all over central, western and south-western Europe and performed regularly in the USA. The Wallinger Quartet concerts apart, Jan Škrdlík also performed in violoncello recitals and later became a soloist with various orchestras. The recitals included concerts with the piano played by Renata Ardaševová, among other leading pianists, and concerts with the cembalo played by Barbara Maria Willi. Jan Škrdlík also collaborated with other chamber music ensembles and helped establish, among others, Ardor musicus, the Czech Baroque Trio, the Gideon Trio and Ensemble Messiaen.

By the time he was 20, Pace had composed suites for piano, violin and violoncello, followed by numerous cantatas, orchestral and chamber music, sacred hymns, two ballets, band marches, concertos, and an oratorio. His 1931 composition, Maltesina, a musical fantasy based largely on traditional Maltese folk tunes and għana, was premiered by the Highland Fusiliers' Band in Palace Square. It remains a popular choice among marching bands during Malta's village festa season. Among his most notable works are four operas, all of which are based on Maltese history, legend and folklore.

Kaufmann was born in Vienna and grew up in Carinthia. He studied music, German philology, art history, violoncello, composition (with Karl Schiske, Gottfried von Einem, Olivier Messiaen and René Leibowitz) and electro-acoustic music (with Pierre Schaeffer and François Bayle at the Groupe de Recherches Musicales of the French Radio) in Vienna and Paris. From 1970, Dieter Kaufmann taught electro-acoustic music at the University of Music and Dramatic Arts in Vienna. He is currently head of two master-classes, one for composition (since 1990) and the other for electro-acoustic composition (since 1997).

Léon Reynier (11 August 1833, in Saint-Cloud – 5 May 1895, in Paris) was a well known and greatly appreciated French virtuoso violinist. He is said to have been presented by Napoleon III with a richly varnished 1681 orange- reddish Stradivarius. A pupil of Lambert Massart, he was awarded first prize in 1848 at the Conservatoire de Paris. From 1875-1879 he became one of the musicians in the French chamber music society La Trompette founded in 1860, along with Léon Hollander (2nd violin), Benjamin Godard (viola) and Jules Delsart (violoncello).

Georg Philipp Telemann's setting of the Brockes Passion, Mich vom Stricke meiner Sünden (TWV 5:1), is set for SSSAATTBBB voices with 3 transverse flutes, recorder (Flauto dolce), 2 oboes, bassoon, 2 violins, viola, violetta, violoncello and continuo. It was first performed in the Barfüßerkirche in Frankfurt/Main on 10 April 1716. According to Telemann's 1718 autobiography, its performance was repeated during Lent in 1717 or 1718 in Hamburg or Augsburg. Further, on 26 March 1717 at the Neukirche Leipzig, which was the first documented performance of a Passion Oratorio in Leipzig.

Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra was the final work of composer Ernest Bloch's Jewish Cycle. Schelomo, which was written in 1915 to 1916, premiered on May 3, 1917, played by cellist Hans Kindler."Schelomo, Hebraic Rhapsody for Cello and Orchestra." by Richard Freed, John F. Kennedy Center for the Performing Arts, accessed October 10, 2013 Artur Bodanzky conducted the concert, which took place in Carnegie Hall. This concert included other works from Bloch's Jewish Cycle, including the premier of Bloch's work the Israel Symphony, which Bloch himself conducted.

He has also recorded Ernest Chausson's Double Concerto for violin, piano and string quartet together with Pavel Berman, his teacher's Lazar Berman son, all Bach - Busoni piano works edited by Tudor, and Beethoven - Liszt Symphony n. 9 op. 125 published by Decca - Italy in 2009, following Liszt 2011 by Decca, and in Duo with Silvia Chiesa, Violoncello several other cds by Decca, since he has a permanent duo with the most famous Italian cellist Silvia Chiesa. 2005 M. B. founded the Amiata-piano-festival in Cinigiano/Grosseto, where he is the artistic director.

The orchestration used in Symphony No. 8 is very similar to the concerto grosso style of the Baroque period, where a small group of solo instruments was set against a larger ensemble. In Symphony No. 8, the small group consists of a solo violoncello and two solo violins, solo violone and the large ensemble contains two oboes, one flute, two horns, strings, bassoon and harpsichord. Haydn's use of the bassoon and harpsichord is reminiscent of the basso continuo used extensively throughout the Baroque period; however it is not as constantly driving.

Berthe Marx, born at Paris, July 28, 1859. Her father may have been Charles Lamoureux. She began to study the pianoforte at the age of four, receiving her first instruction from her father, who for 40 years was a violoncello-player in the Conservatoire de Paris and Grand Opera orchestras. In 1868, she was accepted by Auber as a student at the Conservatoire without any preliminary examination. At this institution, she gained the first prize for piano playing under Henri Herz’s guidance, and afterwards studied with Stephen Heller.

Concerts of this decade are recorded on the album Dark Star-Tour '92 as well as on the video cassettes First Decade and Forest Enter Exit. After the breakup with their live musicians, Ernst Horn and Alexander Veljanov found a new lineup in 2002 with Tobias „B. Deutung“ Unterberg on the violoncello, Robert Wilcocks with electric guitar, as well as the violinists Yvonne „Ivee Leon“ Fechner and „Sharifa“, who are also vocalists. The first "Acoustic"-concert, where Alexander Veljanov was accompanied by Ernst Horn on the grand piano alone, happened in 1992.

Samuel Barber's Concerto for Violoncello and Orchestra, Op. 22, completed on 27 November 1945 , was the second of his three concertos (the first being his Violin Concerto and the third his Piano Concerto). Barber was commissioned to write his cello concerto for Raya Garbousova, an expatriate Russian cellist, by Serge Koussevitzky on behalf of Garbusova and the Boston Symphony Orchestra. Funds for the commission were supplied, however, by John Nicholas Brown, an amateur cellist and a trustee of the Boston Symphony Orchestra . The score is dedicated to John and Anne Brown .

As a recitalist and member of the Copenhagen Trio and the Menuhin Festival Piano Quartet, Svane played concerts all over Europe, Australia, Asia, South America and the United States. He performed with Yuri Bashmet, Thomas Brandis, Zakhar Bron, Ulf Hoelscher, Karl Leister and the Zehetmair Quartet. He has recorded more than 40 CDs including the complete works for cello and piano by Beethoven, Rachmaninov and Reger. Svane was the assistant to David Geringas for 11 years before he was appointed professor for violoncello at the Lübeck Academy of Music in 2004.

This is followed by a sequence aria–recitative–aria, and the cantata is concluded by a four-part chorale. Bach scored the work for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the closing chorale, and a Baroque instrumental ensemble in an unusual combination of instruments, two oboes d'amore (Oa), two oboes da caccia (Oc), two violins (Vl), viola (Va), a violoncello piccolo (Vp) and basso continuo. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The continuo, playing throughout, is not shown.

He also advertised offering to provide dance music for events on violin or violins, cornet and violoncello. In 1881, he acquired from a Mr. Fish, of Angerton, near Hartburn, a manuscript written by one John Smith, dated 1753. Twenty tunes from this were copied by John Stokoe for the Newcastle Society of Antiquaries; these include the earliest known version of "The Keel Row", an elaborate fiddle variation set, as well as some fiddle settings of what seem to be Border pipe tunes. Unfortunately, the manuscript itself now seems to be lost.

Hirschfeld's compositional oeuvre includes incidental music, ballets, symphonies, choral music, chamber music, solo works and songs as well as tango and jazz cycles. In 1991 his chamber opera Bianca was premiered at the Salzburg Festival. In 2005 his work Wandlungen V - Doppelkonzert für Violine, Violoncello und Orchester was premiered at the Magdeburg Cathedral for the award of the to former Federal President of Germany Richard von Weizsäcker. His musical language can be attributed to New Music, but cannot be assigned to a particular school, since his personal style combines a wide variety of influences.

His third piano trio Se solen sjunker on a Swedish song which Schubert also used was premiered on 29 June 2008 as part of the Piano Festival Ruhr at the Zeche Nordstern in Gelsenkirchen, performed by Siegfried Mauser (piano), Gottfried Schneider (violin) and Sebastian Hess (violoncello).Jan Müller- Wieland: Premiere of “Se solen sjunker” in Gelsenkirchen Sikorski 2008 His composition for chamber ensemble Traumbilder was commissioned by RUHR.2010, the project of the European Culture Capital, and first performed on 19 May 2010 in the Reinoldikirche Dortmund.Ein Projekt der Europäischen Kulturhauptstadt Ruhr2010 / Babel sanktreinoldi.

The playing ranges of the instruments in the violin family overlap each other, but the tone quality and physical size of each distinguishes them from one another. The ranges are as follows: violin: G3 to E7; viola: C3 to A6 (conservative); violoncello: C2 to A5 (conservative); and double-bass: E1 to C5 (slightly expanded from conservative estimate). The double bass is often equipped with a mechanical extension or a fifth string that increases its lower range to either C1 or B0, respectively. Both the violin and viola are played under the jaw.

Aurelio Giorni (15 September 1895 – 23 September 1938) was an accomplished and well known American pianist and composer of Italian birth, who immigrated to the United States in 1914. In addition to composing music and mastering piano, he toured throughout the United States both as a soloist and with the Elshuco Trio. He composed a good deal of chamber music, orchestral music, études, as well as a sonata for piano and violoncello that won a prize from the Society for the Publication of American Music in 1924.Howard, John Tasker.

She immediately won the Juilliard Schumann Concerto competition and was featured in a Lincoln Center concert. Her career began when she won the bronze medal at the 1986 International Tchaikovsky Violoncello Competition in Moscow and was invited to play at Carnegie Hall. This recital aired nationally on CBS. Since then she has appeared as a soloist with the Atlanta, Boston Pops, Chicago, Dallas, Moscow State Philharmonic, Century Orchestra Osaka, St. Louis, San Francisco,Vienna Symphony, Royal Philharmonic and Seattle orchestras, in addition to touring and recording 9 CDs with the Eroica Trio on EMI and 4 solo CDs for Sebastian Records.

Marked Adagio, the oboe d'amore plays a solo in siciliano rhythm, leading to a "long, peaceful, quasi-'sleeping' note". The text's admonition to be vigilant ("Punishment might suddenly awaken you and, if you were not alert, conceal you in the sleep of eternal death") appears in the contrasting middle section, marked Allegro. In the soprano aria "" (But you should also pray), flute and violoncello piccolo play chamber music, to which the solo adds a "noble cantilena". The closing chorale is a four-part setting of the final call: "Therefore let us forever be alert, entreat and pray".

The score is written for a small orchestra of eighteen instrumentalists: 2 flutes, (1 also plays piccolo), oboe, 2 clarinets, bassoon, alto saxophone, french horn, 2 trumpets, trombone, piano, 3 timpani + 2 small timpani, 1 percussionist (snare drum, tenor drum, tambourin, pedal bass drum + cymbal attachment, cymbals, tambourine, wood-block and cowbell), 2 violins, violoncello, double bass. The alto saxophone part appears in the score where a viola part would generally be. Milhaud also made a version for piano and string quartet (Op. 81b). "Saint Paul Chamber Orchestra" (program notes), Saint Paul Chamber Orchestra, 1999, TheSPCO.

Johann Heermann, the hymn writer The only chorale stanza of the work is "" ("I, Your troubled child"), the third stanza of Johann Heermann's "" ("Where should I flee"), published in 1630. Its term "troubled child" is a good summary of the position of the human being in relation to God. The wording of its conclusion, "In deine tiefen Wunden, da ich stets Heil gefunden" ("into Your deep wounds, where I have always found salvation") leads to the following recitative. The voice is accompanied by an obbligato viola (violoncello piccolo in the Leipzig version) in a lively figuration.

One was the guitarist and arranger Nacho Sáenz de Tejada (ex-member of Nuestro Pequeño Mundo), who left aside previous orchestral embellishments and used Spanish acoustic guitars and electric guitar on two tracks. Juan Alberto Arteche, another member of Nuestro Pequeño Mundo played percussion, and Pablo Guerrero played guitars and percussions. The album was completed with the musicians José González on the organ and piano, José Maria Panizo on bass, Alex Kirschner on flute with Sáenz de Tejada, Quintanilla on violoncello and Carmen Sarabia's choirs. Both José Maria Panizo and Carmen Sarabia belonged to the mythical group, Aguaviva.

The first Maček chamber composition, Trio for Violin, Violoncello and Pianoforte, is an example of his re-interpretation of the Romantic heritage, while the last five compositions are marked by the style of neo-Classicism. Sonata for Cello and Piano is alone between these two periods of his work (the first from 1935 to 1940 and the second from 1977 to 1997). In it one can feel on the one hand a connection with the Romantic orientation of the earlier compositions and on the other an inkling of the neo-Classicist features of his later compositions.

Born probably in Bologna, in the title page of his published works he is qualified as abate (Abbot) and had a musical formation probably under the Accademia Filarmonica di Bologna, of which he was later member. Since 1711 he was in Rome with Arcangelo Corelli and stayed there until 1720 at least. He published in Rome three books of sonatas, the first one for violoncello and cembalo (1717). In 1719 his cantata Cantata per la notte di Natale was performed in Perugia and on January 8 1720 his opera Tito Manlio at Teatro della Pace in Rome, with libretto by Matteo Noris.

His father, who was also a poet believed that a pure tradition of Arab music had devolved in Baghdad.Colors of Enchantment: Theater, Music and the Visual Arts of the Middle East By SHERIFA ZUHUR, ED. He first learned to play the violoncello, a European instrument that had become a popular bass- instrument in Arabian music during the end of the 19th century. He simultaneously was taught playing the oud. The lute plays a similar role in Arabian music as the piano does in European music: it is the instrument used to impart the most important theoretical aspects in music.

He also unearthed two previously unknown pieces by Ludwig van Beethoven: the Sonata for Violoncello and Piano, Opus 64, and the Kreutzer Sonata, transcribed for cello by Czerny. He contributed to editions of pieces by Mussorgsky, De Falla, Stravinsky, and Shostakovitch and wrote Cello Story, a book on the history and repertoire of the cello. He was one of the first people to champion "authentic" instrumental techniques and played a baroque cello for pieces composed before the 19th century. He specialised in works for the solo cello and his book The Solo Cello is a comprehensive guide to the subject.

Hans Ulrich Lehmann studied violoncello at the Biel Conservatory in his hometown and music theory with Paul Müller- Zürich at the Zurich University of the Arts. From 1960 to 1963 he attended master classes in composition with Pierre Boulez and Karlheinz Stockhausen at the City of Basel Music Academy. He also studied musicology with Kurt von Fischer at the University of Zurich. From 1961 to 1972 he was a lecturer at the City of Basel Music Academy and from 1969 to 1990 lecturer for Neue Musik and music theory at the University of Zurich and from 1990 at the University of Bern.

Brahms performed the sonata in Mannheim in July 1865 and then offered it to Breitkopf & Härtel, who turned it down. He had however also sent the sonata to Simrock describing it, in one of the most mendacious statements made by a major composer about his own work, as "a violoncello sonata which, as far as both instruments are concerned, is certainly not difficult to play", and they published it in 1866.Wiener Urtext Edition, 1973, Preface by Hans-Christian Müller The work was championed in Europe and London by Robert Hausmann. In gratitude, Brahms dedicated his Second Sonata to Hausmann.

He was the last representative of the Wittelsbach family to occupy the bishopric of Liège. In March 1761, shortly after the death of his elder brother Clemens August, Pope Clement XIII rejected his succession as Archbishop and Elector of Cologne because the pope entertained some doubt as to Johann Theodor's moral conduct. Johann Theodor was known as a great hunter, patron of music (he played the violoncello) and theatre, and held a splendid court at Liège. He was said to have had affairs with several women despite his clerical status and was liked by the inhabitants of the bishopric.

In 1890 Perry helped to organize the first public exhibition at St. Botolph of Breck landscapes. Perry won a silver medal in 1892 exhibition of the Massachusetts Charitable Mechanic Association. In 1893 Perry was chosen to represent Massachusetts at the World's Columbian Exposition in Chicago, Illinois. Perry had seven works displayed at the exhibition, of which four of the compositions were worked in the en plein air style (Petite Angèle, I, An Open Air Concert, Reflections, Child in a Window) and three were more formal studio portraits (Portrait of a Child, Child with a Violoncello, Portrait Study of a Child).

Bloch had composed six pieces, known as the Jewish Cycle, between 1911 and 1916, and last of these was Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra. When he immigrated to the United States in 1916 and settled in New York City, Bloch renewed his study of Jewish music. In 1950 the Chicago Federation of the Union of American Hebrew Congregations organized a weeklong celebration of Bloch's music to mark the composer's 70th birthday. Violist Milton Preves, who had performed Bloch's Suite for Viola and Orchestra (1919) at the celebration, asked the composer to write pieces for viola similar to Baal Shem.

Around 1936,It is impossible to know the recording date because it is not indicated in any edition of the recording. 1936 is the date of the first publication, cfr. page of the 78 rpm disc of the first edition on Internet Culturale the Quartet of Rome (Francesco Montelli and Oscar Zuccarini, violins; Aldo Perini, viola; Luigi Silva, violoncello), recorded Quartetto in Re maggiore by Cambini adapted by Fausto Torrefranca. The 78 rpm disc of the first publication are preserved at the Istituto centrale per i beni sonori e audiovisivi di Roma, and are digitalized on Internet Culturale.

Ordonez also performed regularly in the houses of the nobility. Dr Charles Burney heard him play at a musical dinner party in 1772 held in the residence of the British Ambassador in Vienna, Lord Stormont: > Between the vocal parts of this delightful concert, we had some exquisite > quartets, by Haydn, executed in the utmost perfection; the first violin by > M. Startzler (J. Starzer), who played the Adagios with uncommon feeling and > expression; the second violin by M. Ordonetz; Count Bruehl played the tenor, > and M. Weigel (F.J. Weigl), an excellent performer on the violoncello, the > base.

He went on to teach at the Royal Academy of Music in London, the Aspen Music Festival, the Cleveland Institute of Music, and the Juilliard School. He served as the Music Director of the Los Angeles Philharmonic Institute from 1988 to 1992. From 1986 to 1993, he held the post of "Gregor Piatigorsky Endowed Chair in Violoncello" at the USC Thornton School of Music in Los Angeles; he was only the second person to hold the title, following Piatigorsky himself. He was on the faculty of the Shepherd School of Music at Rice University from 2002 to 2009.

He was also the leading viola of the Royal Philharmonic Orchestra, of the Goossens Orchestra, of the London Symphony Orchestra from its inception in 1904 until 1930, and of the orchestras of the chief festivals. He soloed with orchestras on a few occasions, most notably in several performances of Hector Berlioz's Harold in Italy. Hobday premiered several works including Frank Bridge's Phantasy for Piano Quartet, Vaughan Williams' Four Hymns for Tenor, and String Orchestra and Vaughan Williams's Quintet in C Minor for Pianoforte, Violin, Viola, Violoncello, and Double Bass. The English composer Ernest Walker also composed works specifically for Hobday.

Louis Rosoor was born in Tourcoing (in northern France), 1 September 1883. He studied cello first with Émile Dienne at the conservatory of Lille and then with Jules Loeb at the conservatory of Paris.pp. 168–169. He started being solo violoncello at the Concerts HasselmansLouis, Alphonse Hasselmans' son, who conducted and organized concerts in Paris before making a conductor's career in the US. then, in 1909, succeeded to the famous cellist André Hekking as cello professor in the conservatory of Bordeaux, position that he kept until 1953.p. 299. He was also teaching Chamber music.p. 203.

Brian Field was raised in Minneapolis, Minnesota and Toledo, Ohio beginning his musical training at age eight; his first serious compositional efforts at age sixteen. He received his undergraduate degree from Connecticut College, where he was a student of Noel Zahler. He earned a M.M. in composition at the Juilliard School in New York, where he was a student of Milton Babbitt, subsequently earning his doctorate in composition as a President's Fellow at Columbia University as a student of Mario Davidovsky and George Edwards. His doctoral composition and analysis was a work for violoncello quartet, Metamorphoses Messianiques.

The opening eight bars of the Meneutt can be easily divided into antecedent and consequence respectively, ending on a half-cadence and an authentic cadence in tonic. The two phrases contrast sharply “in dynamics, in orchestration, in the rhythm of the accompaniment, and in the register of the upmost voice.”Haimo (1995), p. 59 These eight bars, the Menuett’s A section, appear slightly altered at the very end of the menuett as its A′ section; the viola and violoncello e basso parts descend in the first two measures instead of coming in on the second measure and ascending.

Capitol Records headquarters building Classical music was brought to the United States during the colonial era. Many American composers of this period worked exclusively with European models, while others, such as William Billings, Supply Belcher, and Justin Morgan, also known as the First New England School, developed a style almost entirely independent of European models.Struble, p. 2. Of these composers, Billings is the most well-remembered; he was also influential "as the founder of the American church choir, as the first musician to use a pitch pipe, and as the first to introduce a violoncello into church service".

After returning in 1910, he married Rose Schramm in 1911, with whom he later had three daughters. He returned to Germany and served in various conducting positions until the United States entered World War I in 1917, after which he moved back to America. From 1918 to 1922, he taught music theory and violoncello at Drake University.Iowa Center for the Arts During the greater part of the time from 1930 to 1956, he continued to compose and publish while he taught at various colleges in New York State, notably the Institute of Musical Art and Ithaca College.

Paul Buckmaster was born in London on 13 June 1946. His father, John Caravoglia Buckmaster, was an English actor and his mother, Ermenegilda ("Gilda") Maltese, was an Italian concert pianist and graduate of the Naples Conservatory of Music. At age four, Buckmaster started attending a small private school in London called the London Violoncello School, and continued studying cello under several private teachers until he was ten. In 1957, his mother took him and his two siblings to Naples, where he auditioned with cello professor Willy La Volpe, to be assessed as eligible for a scholarship.

Title on autograph score: Concerto 5to à une Traversiere, une Violino principale, une Violino è una Viola in ripieno, Violoncello, Violone è Cembalo concertato. Concertino: harpsichord, violin, flute Ripieno: violin, viola, cello and violone Duration: about 23 minutes The harpsichord is both a concertino and a ripieno instrument. In the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on its own for the middle movement.

In the later Leipzig version, Bach structured the cantata in eight movements. He scored it for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir (SATB), and a Baroque chamber ensemble of three oboes (Ob), two oboes d'amore (Oa), oboes da caccia or taille (Ta), two violins (Vl), viola (Va), violoncello (Vc), and various instruments playing the basso continuo line. The duration is given as 30 minutes by Dürr. In the following table of the movements, the first column shows the movement number in BWV 80, with the corresponding number in BWV 80a shown in brackets.

After Kong graduated with her BFA degree in 1994, she produced a movie with some classmates, '頭髮亂了 (English Title: Dirt)'. Not only did she have a leading role in the film, Kong also served as producer of the film, directed by Guan Hu. In 1996, in Guan Hu's movie, Violoncello of the Street, Kong appeared again in a leading role, displaying one of her many talents by playing cello. The most recent of Kong's film roles was in 2009, in the Wong Jing movie I Corrupt All Cops. She appeared as a special guest star, in the role of Tony Leung Ka-fai's character's wife.

Piano trios that are set in the Sonata tradition share the general concerns of such works for their era, and often are reflective directly of symphonic practice with individual movements laid out according to the composer's understanding of the sonata form. In the Classical period, home music-making made the piano trio a very popular genre for arrangements of other works. For example, Beethoven transcribed his first two symphonies for piano trio. Thus a large number of works exist for the arrangement of piano, violin and violoncello which are not generally titled or numbered as piano trios, but which are nonetheless part of the overall genre.

In 1997, the International Festival Italian Mozart Association (IFIMA) in Rovereto commissioned him, under the aegis of the Internationale Stiftung Mozarteum Salzburg, the work Don Giovanni, the redeemed rake (1998). In 2000, the National Research Institute for Material Physics (INFM) commissioned Messieri, for the INFMeeting 2000, to write the work Leonids’ Play (composition for 5 magnetic tapes based on the real sound of the Leonids provided by NASA). In 2002, the Kunstverein of Aschersleben commissioned Messieri for the work Sojour in Leipzig (12 music portraits for violoncello and piano). In 2004, Messieri was commissioned to compose the opera Gretchens Traum, performed at the Ettersburg Castle in Weimar, Germany.

Beginning in 1993, Coin conducted and played Bach's ten cantatas with violoncello piccolo within three years at the church of Ponitz, Thuringia, using its 1737 Gottfried Silbermann organ. Some cantatas feature the Leipziger Concerto Vocale, some the Chœur de Chambre Accentus, all the Ensemble Baroque de Limoges and soloists Barbara Schlick, Andreas Scholl, Christoph Prégardien and Gotthold Schwarz, including Jesu, nun sei gepreiset, BWV 41 for New Year's Day. A review notes: "As the piccolo cello soloist the supremely talented Christophe Coin plays with authority displaying exceptional control of phrasing and dynamics". In 2004, he recorded with the Quatuor Mosaiques Haydn's six string quartets Op. 64.

Suzanne, Ivan and Lucienne The Cycle refers to a series of compositions by Bloch in which he was trying to find his musical identity. This was Bloch's way of expressing his personal conception and interpretation of what he thought Jewish music should be, since the Jewish national state was yet to be formed, in the strictest sense, at the time these biblically inspired works were written. These works include: Three Jewish Tone Poems (1913); Prelude and Psalms 114 and 137 for soprano and orchestra (1912–1914); Psalm 22 for baritone and orchestra (1914); Israel: Symphony with voices (1912–1916); and Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra (1916).

Prince George is represented with a firelock on his shoulder, teaching a dog his drill, while his little brother and sister are equally occupied in a scene that is aptly used to point a patriotic moral embodied in some verses subjoined to the plate, of which the concluding couplet is as follows: Faber also engraved six plates of "Rural Life" after Mercier, and several other subjects of his have survived him. In 1733, Mercier painted a Portrait of 'Frederick, Prince of Wales, playing a violoncello, and his Sisters'. National Portrait Gallery, London. There is an alternative version of the painting in the Royal Collection.

The first two discs, Warsaw and Alhambra, bear a similar sound and were meant to pay homage to Jacques Brel, Léo Ferré, Barbara, Georges Brassens and other classic French songwriters. The third disc, Paris, has a richer and more diverse sound and, despite little advertising, was certified gold. In June and July 2008, accompanied for the first time by a string trio (violin, viola and violoncello), Saez launched, as part of various festivals, a new acoustic tour which was very short-lived: emotionally exhausted by the intimate nature of his songs, Saez decided to cancel his big summer tour and dedicated himself to writing new material.

In this school Hajibeyov learned to play the violin, the violoncello and the brass instrument. After his graduation from the Pedagogical Seminary, Uzeyir Hajibeyov was appointed a teacher to the village of Hadrut in Upper Karabakh. Having worked there for a year, Hajibeyov permanently settled in Baku, where he carried on his career in teaching mathematics, geography, history, Azeri and Russian languages, and music. He wrote the Turkic-Russian and Russian-Turkic Dictionary of Political, Legal, Economic and Military Terms, Used in Press in 1907 and the textbook Arithmetic Problems in 1908, and had them published by the Orujov Brothers Publishing House in Baku.

The Munich Fanny Mendelssohn String Quartet, Renate Eggebrecht 1st violin, Mario Korunic 2nd violin, Stefan Berg viola, Friedemann Kupsa violoncello, was founded in 1989 in the occasion of the performance and publication of Fanny Mendelssohn-Hensel's String Quartet in E-flat major and Piano Quartet in A-flat major at the Gasteig/Munich. The String Quartet made a strong effort for music by women composers and played many first performances a.o. works of Violeta Dinescu, Gloria Coates, Fukuo Yamagushi, Renate Birnstein and Mayako Kubo (Reinbert Evers, guitar). The four musicians recorded the chamber music of Fanny Mendelssohn Hensel (Stefan Mickisch, piano) and Ethel Smyth as CD world premiere recordings.

In addition in January 1736 Handel composed a short and lightweight concerto grosso for strings in C major, HWV 318, traditionally referred to as the "Concerto in Alexander's Feast", to be played between the two acts of the ode. Scored for string orchestra with solo parts for two violins and violoncello, it had four movements and was later published in Walsh's collection Select Harmony of 1740. Its first three movements (allegro, largo, allegro) have the form of a contemporary Italian concerto, with alternation between solo and tutti passages. The less conventional fourth movement, marked andante, non presto, is a charming and stately gavotte with elegant variations for the two violins.

During the time Vitali was at the San Petronio Basilica, the size of the orchestra changed relatively little: typically the records state that the orchestra consisted of three violins, two or three violas, two violoni (Vitali himself and Domenico Vincenzo Colonna) and one to two theorbos Gambassi, op. cit., pp. 132-42. Vitali does not appear in the records for 1674, having resigned that year and left for Modena. There seems not to have been an immediate replacement for him that year, but in 1675 Petronio Franceschini (1651–1680) was appointed and listed separately as ‘Violoncello’ – the first documented use of this term in Bologna.

Marek Štryncl was raised in the small village of Skuhrov, Czech Republic. He studied violoncello at the Teplice conservatory and graduated from the Academy of Performing Arts in Prague (AMU) in 2002 in the field of conducting. He has also studied cello at the Dresdner Akademie für alte Musik, and completed a course of studies in Baroque cello performance in France, Germany and Switzerland. He was still a student when he established the ensemble Musica Florea in 1992. In 1994 he conducted a recording of Jan Dismas Zelenka’s "Missa Sanctissimae Trinitatis" for Studio Matouš and conducted this work at Prague's Spring Music Festival a year later.

For this label he recorded hundreds of songs over the course of the next 15 years. The basic cast of the orchestra included: five violins, viola, violoncello, double bass, flute, two trumpets, trombone, harp, piano and harmonium, however, the recordings marked as "jazz", "jazz-symphonic" or "dance" usually used different instrumentation: violin, double bass, banjo, two trumpets, three saxophones, trombone, accordion, euphonium and drums. The repertoire of Dauber's orchestra was remarkably wide-ranging, stretching from compositions of Karel Hašler, Jaroslav Ježek, R. A. Dvorský or Kurt Weill, to the arrangements of parts of Janáček's and Smetana's operas. The mid-1930s were the most successful time in Dauber's career.

The violone is also not always a contrabass instrument. In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on the tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin" or "violoncello" or "bass viol"). The term violone may be used correctly to describe many different instruments, yet distinguishing among these types can be difficult, especially for those not familiar with the historical instruments of the viol and violin families and their respective variations in tuning.

This was the invention of wound ("overspun" or "overwound") strings. For bass instruments, this was important, because it meant one could now obtain good sounding low strings (that were not thick and rope-like in diameter) without having an excessively long string length. This was also when the term "violoncello" came into use, and the 'standard' cello tuning (C2–G2–D3–A3) became the norm. As well, a solo repertoire for the 'cello started to appear, and the 'cello started to replace the G violone or A violone as the preferred bowed basso continuo instrument (see articles by Stephen Bonta for more detailed information).

Her recording of the complete works of Claude Debussy, which she also performed cyclically in New York and in Frankfurt. Works for piano and violoncello with the cellist Maria Kliegel and Beethoven's Piano Trio with the Xyrion Trio.Nina Tichman on Music from Salem She has also made further recordings with works by Bartók, Copland (complete work), Chopin, Corigliano, Fauré, Mendelssohn, Penderecki, Reger.Nina Tichman on All Music Since 1993, Tichman has been professor for piano at the Hochschule für Musik und Tanz Köln and gives master classes in the USA (Princeton, Amherst, IKIF), in Europe (European Academy Palazzo Ricci, Mozarteum Salzburg, Seelscheider Musiktage), Japan (Aichi University of the Arts) and China.

As a student at the Ignatius Gymnasium in Amsterdam, Meertens designed a computer with Kees Koster, a classmate. In the 1960s, Meertens applied affix grammars to the description and composition of music, and obtained a special prize from the jury at the 1968 International Federation for Information Processing (IFIP) Congress in Edinburgh for his computer-generated string quartet, "Quartet No. 1 in C Major for 2 Violins, Viola and Violoncello", based on the first non-context-free affix grammar. The string quartet was published in 1968, as Mathematical Centre Report MR 96. Meertens was one of the editors of the Revised ALGOL 68 Report.

The conservatory offers the bachelor of music degree with majors in music education, music performance, and music theory & composition (music theory and composition are combined into a single major rather than being two separate majors). Although the Lawrence Conservatory does not offer a major in jazz, it does offer a BM in Performance or Composition with a Jazz Emphasis. The Lawrence Jazz Department has won over 25 Down Beat awards since 1985. Students may play the following instruments as their primary applied instruments: piano, organ, harpsichord, voice, violin, viola, violoncello, double bass, guitar, flute, oboe, clarinet, saxophone, bassoon, horn, trumpet, trombone, euphonium, tuba, and percussion.

He was invited for solo recitals and master classes to international music festivals as Academie Internationale de Musique de Montpellier or the Kronberg Academy (1993 in memory of Pablo Casals, 1995 in memory of Emanuel Feuermann and Jacqueline du Pré, 1997 celebrating the 70th birthday of Rostropovitch).Uta Süße-Krause picture gallery of musicians, #7, Cello Festival Kronberg 2005 He was a juror there for the first International Pablo Casals Cello Competition in 2000 and the second in 2004.Music & Vision Preview of the Competition, Tess Crebbin, 2004Music & Vision Tess Crebbin, 2004, picture on p. 3 Since 1987 he has been teaching violoncello at the Folkwang Hochschule, since 2010 Folkwang University.

At Paris, presumably as the result of a duel, he suffered an injury to his hand with a sword. As a consequence of this injury, he gave up the violin in favor of the violoncello. Antoniotto is credited with negotiating for the Queen of Spain, Elisabeth of Parma, the arrangement by which Farinelli (Carlo Maria Broschi), a famed castrato, moved from London in 1737 to sing for the rest of his performing career at the Spanish court. Antoniotto traveled frequently to England and it was there that in 1760 he published his book L’arte armonica, written in Italian but translated and published in English.

The Double Concerto for Violin, Violoncello, and Orchestra is a 2014 composition by the German-American composer André Previn. The work was co- commissioned by the Cincinnati Symphony Orchestra and Linton Music with financial support from Ann and Harry Santen. It was additionally commissioned by the Austin Symphony Orchestra, the Detroit Symphony Orchestra, the Deutsche Kammerphilharmonie Bremen, the Kansas City Symphony, the Pacific Symphony, the Swedish Chamber Orchestra, and the Toronto Symphony Orchestra. The world premiere was given by the husband/wife duo of the violinist Jaime Laredo and the cellist Sharon Robinson with the Cincinnati Symphony Orchestra under the direction of Louis Langrée in Cincinnati on November 21, 2014.

The quartets were enthusiastically received. For instance the Wiener Zeitung announced the publication of the quartets as follows: :From Artaria Comp., art dealers in the Kohlmarkt are to be had: Three entirely new concertante quartets for two violins, viola and violoncello by Hr. Kapellmeister Mozart Op 18. These quartets are one of the estimable works of the composer Mozart, who was torn untimely from this world; they flowed from the pen of this so great musical genius not long before his death, and they display all that musical interest in respect of Art, Beauty, and Taste, which must awaken pleasure and admiration not only in the amateur but the true connoisseur also.

Born in Baden-Baden, Krasselt grew up as son of the concertmaster of the Baden-Baden Symphony Orchestra Georg Krasselt. His brother was the violin virtuoso, concert master and conductor Alfred Krasselt (1872-1908). Rudolf Krasselt played the violoncello since he was 9 years old. He was principal cellist of the Vienna Court Opera Orchestra (and the Vienna Philharmonic) under Gustav Mahler, principal cellist of the Berlin Philharmonic under Arthur Nikisch and from 1903 to 1904 principal cellist of the Boston Symphony Orchestra. From 1911 to 1913 he was 1st Kapellmeister of the opera house in Kiel and in 1913 he took over the direction of the Deutsches Opernhaus in Berlin-Charlottenburg as 1st Kapellmeister.

The name cello is derived from the ending of the Italian violoncello, which means "little violone". Violone ("big viola") was a large-sized member of viol (viola da gamba) family or the violin (viola da braccio) family. The term "violone" today usually refers to the lowest-pitched instrument of the viols, a family of stringed instruments that went out of fashion around the end of the 17th century in most countries except England and, especially, France, where they survived another half- century before the louder violin family came into greater favour in that country as well. In modern symphony orchestras, it is the second largest stringed instrument (the double bass is the largest).

Thus when Alessandro Scarlatti wrote a set of six works entitled "Sonata à Quattro per due Violini, Violetta [viola], e Violoncello senza Cembalo" (Sonata for four instruments: two violins, viola, and cello without harpsichord), this was a natural evolution from the existing tradition. Haydn is responsible for the string quartet in its now accepted form. Although he did not invent the combination of two violins, viola and cello, previous occurrences in chamber music were more likely due to circumstance rather than conscious design. The string quartet enjoyed no recognized status as an ensemble in the way that two violins with basso continuo – the so-called 'trio sonata' – had for more than a hundred years.

Ali Rıfat Çağatay, 1910s Ali Rıfat Çağatay (1867-1935) was a Turkish composer, oud virtuoso and academic, who served as the founding president of the Türk Musikisi Ocağı (The Institute for Turkish Music) and the long-term president of the Şark Musiki Cemiyeti (The Society for Eastern Music). He was noted for his efforts to harmonize Classical Turkish Music with elements of western musical heritage, his vocal abilities, as well as his talents on the oud, the violoncello, the tanbur, and the kemenche. Notable works include the original musical arrangement for the Turkish National Anthem, used between 1924-1930 until the acceptance of the new composition by Osman Zeki Üngör, as well as other national favorites.

A clarinet-viola-piano trio, often titled "Trio for Clarinet, Viola and Piano" is a work of chamber music that is scored for three musicians: one clarinet, one viola, and one piano; or is the designation for a musical ensemble of such a group. This combination of instruments differs from the traditional piano trio instrumentation, i.e. piano, violin and violoncello, and from the clarinet-violin-piano trio and the clarinet-cello-piano trio by the fact that the viola and the clarinet share roughly the same range. The combination of viola and clarinet is thus distinguished by the timbre (tone quality or colour) of the instruments rather than register (high versus low ranges, like violin compared with cello).

In 1799 he became attached to the theatre at Frankfurt as first cellist, where he occupied himself much with composition, and enjoyed a great reputation both as executant and teacher. The career however of this young and talented artist was speedily cut short, for he died of an affection of the lungs in 1806 at the early age of thirty-four. Besides compositions and 'transcriptions' for his own particular instrument, he wrote original pieces for the flute and piano, and made quartet arrangements of various operas, etc. Fétis ('Biographie') gives a list of his compositions, including five concertos for the violoncello; a symphonic concertante for two flutes and orchestra; airs with variations, op.

Urs Günther Rechn was born on January 18, 1978 in Halle an der Saale, then German Democratic Republic, now Saxony-Anhalt, Germany, to Günther Rechn (a renowned painter and graphic artist from East Germany) and his wife Beate Rechn, the second of their three children. From 1987 onwards, Rechn attended the Special Grammar School for Music "Felix Mendelssohn Bartholdy" in Halle, where he excelled in violoncello, French horn, and singing. After the Fall of the Berlin Wall, the family relocated to Cottbus, Brandenburg, where Rechn attended the 1. Heinrich Heine Academic High School for Music and Fine Arts and the Konservatorium Cottbus, where he gained an outstanding reputation as junior conductor of the youth symphony orchestra and brass band.

Borromeo began his career with a part in the Italian film Lezioni di violoncello con toccata e fuga in 1976. Then he went on to star as 'Germano' in the 1979 erotic comedy Ups and Downs of a Super Stud (Pensione Amore Servizio Completo) directed by Luigi Russo. In 1980, he starred in Ruggero Deodato's ensemble-thriller The House on the Edge of the Park, and in 1982 he also played a brief, but major supporting part in Dario Argento's giallo-slasher Tenebrae, and the same year also managed to play the part of 'Lotario' in Ehrengard by director Emidio Greco. He effectively ended his acting career in 1997, with his last movie-appearance in the TV-movie Inquietudine.

After 1870, when he had failed to secure work with the "Faïencerie HB-Henriot Quimper" pottery, because Beau insisted on signing his work, he was backed by the widow of Adolphe Porquier and became the artistic director of the Porquier pottery and in time this became Porquier-Beau and their pieces were marked "PB". Beau exhibited his work both at the Salons and the large "Expositions universelles", in particular at the Universal Exhibition of 1878 where he earned a silver medal for his ceramic violoncello. As his work began to revitalize the ceramic industry in Quimper and other potteries began to copy his style. 1880 saw Beau made "conservateur" at Quimper's musée des beaux- arts.

From 1909 the official name of Edison-Bell was J. E. Hough Ltd. Winner Records were designed to offer well-recorded and pressed gramophone records at a budget price. Winner records, with black or red labels, were mostly of a popular music type, although they included some items of musical distinction, such as early recordings by John Barbirolli, then a child-prodigy performer on the violoncello, and nearly all of the discography of Marie Novello, one of the last students of Theodor Leschetizky. In the early 1920s the company introduced a higher-quality series, Velvet Face Records, so called because the material of which they were made was allegedly smoother than that used by other manufacturers.

Jens Peter Larsen suggests that "quartet playing was central to the contact between Haydn and Mozart", although the documentation of the occasions in which the two composers played or heard quartets or other chamber music together is slim. One report of such an occasion comes from the Reminiscences (1826) of the Irish tenor Michael Kelly, who premiered Mozart's most important operatic lyric tenor roles. > Storace gave a quartet party to his friends. The players were tolerable; not > one of them [except for Dittersdorf] excelled on the instrument he played, > but there was a little science among them, which I dare say will be > acknowledged when I name them: First Violin: Haydn > Second Violin: Baron Dittersdorf > Violoncello: Vanhal > Viola: Mozart.

Eckert, born in Nuremberg, studied Mathematics at the University of Erlangen, violoncello and conducting at the conservatory of Nürnberg. Then he studied of composition with Nicolaus A. Huber and Walter Zimmermann and electroacoustic composition at the Folkwang-Hochschule Essen. Composition courses with James Dillon, Brian Ferneyhough and Jonathan Harvey. 1995 he received a scholarship of the Fondation Royaumont/ France. 1996/97 work as visiting scholar at the CCRMA of the Stanford University/ USA. 1998 he was guest professor at Darmstadt and at Akiyoshidai/ Japan. 1999 he received a scholarship of the "Heinrich-Strobel- Fondation", 2000/ 02 he was lecturer at the TU Darmstadt. 2000 he realized a dance project with Dyane Neiman.

The world premiere of "The Song & the Slogan" took place on November 14, 2000, at the Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign. The production featured opera tenor Jerry Hadley, a four- time Grammy Award-winning University of Illinois alumnus. The premiere also featured readings of selected Sandburg poems by David Hartman, a former host of ABC television's "Good Morning America." The music, composed by Daniel Steven Crafts was conducted by Paul Vermel and featured Eric Dalheim (piano), Barbara Hedlund (violoncello & associate producer), James Scott (flute), Alison Robuck (oboe), Solomon Baer (clarinet), Kazimierz Machala (French horn), Jordan Kaye (banjo), and Ricardo Flores (percussion). The song “Illinois Farmer” was sung as an encore.

Byron Fidetzis was born in Thessaloniki, He studied violoncello under Manolis Kazabakas and advanced theory under Solon Michaelides at the State Conservatory of Thessaloniki. Upon a scholarship granted by the Hellenic Foundation for State Bursaries, he moved to Vienna, where he continued with his cello studies at the Hochschule für Musik under the expert guidance of Vladimir Orloff, André Navarra and S. Benes, receiving his diploma in 1975. Alongside his cello studies, he attended the class of Hans Swarowski in orchestra conduction from 1973 to 1977, in which year he gained his diploma at chef d’ orchestre. He has also attended seminars held by conductors Miltiades Caridis (Vienna) and Otmar Suitner (Weimar).

He completed his post-graduate studies with Catharina Meints Caldwell Oberlin Conservatory of Music, Oberlin, Ohio, USA and August Wenzinger at the Oberlin Baroque Performance Institute BPI). Sergei Istomin has performed solo and chamber music recitals in many European and North American Festivals. His repertoire includes baroque, classical, romantic and contemporary music on both period and modern instruments. Currently, he holds a research associate position (doctoral thesis title: “K. F. W. Fitzenhagen and P. Tchaikovsky’s Variations on a rococo theme – a creative collaboration”) at the Royal Academy of Fine Arts and the Royal Conservatory of Ghent (HoGent / Ghent University, Belgium) where he also teaches viola da gamba and violoncello (the 19th century performance practice).

Among the many students that studied with him were: Professor Bernd Ahlert, Katja Bergström, Ulrich Busch, Reed Desrosiers, Duo Stoyanova, Oliver Eidam, Boyan Karandjuloff, Ulf Kröger, Dušan Oravec, Ki-Bum Park, Uwe Raschen, Leandro Riva and Ralf Winkelmann. He is one of the founding members of the Zevener Guitar Week (Zevener Gitarrenwoche) and a jury member at international guitar festivals, where he also gives master classes. He compliments his pedagogical activities by giving recitals, which have taken him to the USA, Australia and many other countries, including the European continent. Hebb has concertized as a soloist and has also performed, for example, in chamber music combinations with guitar, harpsichord, flute and violoncello.

The first movement is a sonata-form movement in C minor in triple meter. It begins with the piano playing bare octaves on C. The violin, viola, and violoncello then play the first theme, consisting of two sighing gestures of a descending minor second, followed by a descending theme. Some have speculated that the sighing motive is a musical utterance of the name "Clara", in reference to Clara Schumann, the composer, pianist, and lifelong friend and love interest of Brahms. More clear is Brahms's transposed version of Robert Schumann's "Clara theme", found in various pieces such as his Bunte Blätter, Op. 99 (1841), on which both Clara and Brahms wrote sets of piano variations.

1861 Yankee Bass Viol in the Metropolitan Museum of Art The American bass viol, also called a church bass or Yankee bass viol, is a type of bowed string instrument which enjoyed popularity in early 19th century New England for use in aiding Puritan congregational singers. In its time of common use, the instrument was referred to as a bass viol, despite the fact that it more closely resembles a large violoncello than a bass viola da gamba (also known as a bass viol). The size and form of these instruments varies; many are uniquely proportioned folk instruments. The earliest dated example of a church bass is from the maker Benjamin Crehore, made in Massachusetts in 1788.

Title on autograph score: Concerto 6to à due Viole da Braccio, due Viole da Gamba, Violoncello, Violone e Cembalo. Instrumentation: two viole da braccio, two viole da gamba, cello, violone, and harpsichord Duration: about 16 minutes The absence of violins is unusual. Viola da braccio means the normal viola, and is used here to distinguish it from the viola da gamba. When the work was written in 1721, the viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopold, also points to a likely reason for the concerto's composition—Leopold wished to join his Kapellmeister playing music.

At the age of four du Pré is said to have heard the sound of the cello on the radio and asked her mother for "one of those". She began with lessons from her mother, who composed little pieces accompanied by illustrations, before enrolling at the London Violoncello School at age five, studying with Alison Dalrymple. For her general education, du Pré was enrolled first at Commonweal Lodge, a former independent school for girls in Purley, and then at the age of eight, transferred to Croydon High School, an independent day school for girls in South Croydon. In 1956, at the age of 11, she won the Guilhermina Suggia Award, and was granted renewal of the award each year until 1961.

The three viola concertos, one of which is actually a double concerto for viola and violoncello, were once offered for sale by the German firm of Breitkopf, but recent research has determined that these were actually composed by Kraus, not Hoffstetter, as the autograph of one of them in the Deutsche Staatsbibliothek clearly shows. Hoffstetter is best known for his friendship with Kraus, who was born in nearby Miltenberg-am-Main. Their friendship began as early as 1774 and continued through Kraus's appointment as court composer to Swedish King Gustav III, and on through to Kraus's death. Hoffstetter corresponded with both Kraus, and his early biographer, Swedish diplomat Fredrik Samuel Silverstolpe, who put him in touch with his idol, Haydn.

Percussion instruments with identifiable pitches do not use the neutral clef, and timpani (notated in bass clef) and mallet percussion (noted in treble clef or on a grand stave) are usually notated on different staves than unpitched percussion. Staves with a neutral clef do not always have five lines. Commonly, percussion staves only have one line, although other configurations can be used. The neutral clef is sometimes used where non-percussion instruments play non-pitched extended techniques, such as hitting the body of a violin, violoncello or acoustic guitar, or where a vocal choir is instructed to clap, stomp, or snap, but more often the rhythms are written with X marks in the instrument's normal stave with a comment placed above as to the appropriate rhythmic action.

The composition takes only one minute to perform and is in one movement. It is scored for a small ensemble consisting of flute or oboe, clarinet in B-flat, drum, viola, violoncello, and harpsichord. The composition is an arrangement of a popular piece by Purcell, which was used by Purcell in at least two occasions: it was used as a hornpipe in the first music of The Fairy-Queen, Z 629, prior to the first act, in 1692, and in the incidental music for Rule a Wife and Have a Wife, Z 587, in a song entitled "There is not a swain", in 1693. Even though the melody is closer to the former, this piece is generally attributed to be an arrangement of the latter.

Adolph Brodsky, Hans Becker, Julius Klengel and Ottokar Nováček The Brodsky Quartet was a string quartet led by Adolph Brodsky. It was established on 1884, while Brodsky was professor at the Leipzig Conservatoire. The founding members, aside from Brodsky (1st violin) were Ottokar Nováček (2nd violin), Hans Sitt (viola) and Leopold Grützmacher (violoncello).Kohut 1900, pp.84-85 In 1885, Hans Becker replaced Nováček (2nd violin) and Julius Klengel replaced Grützmacher. In 1888, Sitt was replaced by Nováček (viola), a former student of Brodsky. In 1891, Sitt replaced Nováček (viola) again and Arno Hilf replaced Brodsky,Ehrlich 1897, p.17 as the latter moved to the United States, accepting the invitation by Walter Damrosch to become concertmaster of the New York Symphony Orchestra.

The combination of instruments chosen by Telemann allows a great deal of flexibility in grouping, since the obbligato gamba part (which is entirely independent of the continuo bass) can function in bass, tenor, or alto register. Although he supplied separate versions for viola da gamba and cello, it appears from the indication "Violoncello, in luogo della Viola" on Telemann's title page and on the separate part for the cello that his first choice was the viola da gamba. The three obbligato instruments participate equally in the thematic working out of the quartets, frequently exhibiting kaleidoscopic textures with rapidly shifting pairings of instruments. Although there is an emphasis on technical virtuosity, Telemann's progressive approach to form applies the emerging galant style that contributed to the quartets' popularity .

The Sextet is scored for flute, bass clarinet, percussion (tubular bells and vibraphone), viola, violoncello, and piano, and may be described as a synthesis of closed and open formal development . The work consists of 26 periodic phases, each lasting eight seconds, for a total duration of 3 minutes and 36 seconds . Its formal process sets out from an eight-note cluster chord in the middle register, from A3 up to E4, first struck very loudly, then repeated eight seconds later at a very soft dynamic. At subsequent eight-second intervals, the instruments gradually gain independence of attack points while at the same time add more notes, both higher and lower, until a maximum dispersal of attack points is reached in the middle of the piece.

The Septet stands at a stylistic turning point in Stravinsky's œuvre, between the neoclassical period ending with his opera, The Rake's Progress, and the final, serial phase. All of the Septet is characterized by highly contrapuntal textures, but the first movement remains close to Stravinsky's earlier manner, whereas the remaining two exhibit his emerging new style.Erwin Stein, "Strawinsky's Septet (1953) for Clarinet, Horn, Bassoon, Piano, Violin, Viola & Violoncello: An Analysis'", Tempo new series 31 (Spring 1954): 7–11. Citation on p. 7. Stravinsky's adoption of serial techniques, here and in the Ricercar II of the Cantata (1952), caught nearly everyone by surprise at that time.Pieter C. Van den Toorn, The Music of Igor Stravinsky, Composers of the Twentieth Century (New Haven: Yale University Press, 1983): p. 378\.

Additional training came from international masterclasses with Nikita Magaloff, Yara Bernette, Jeremy Menuhin, Paul Badura-Skoda and Edith Picht-Axenfeld and from the Polish pedagogue Malgorzata Botor-Schreiber. Fumiko Shiraga has performed as a solo artist and with orchestras, as well as with chamber music ensembles. She has been instrumental in the revival of the transcriptions (for flute, violin, violoncello and piano), by Johann Nepomuk Hummel, of some of the Mozart piano concertos. She recorded the two Piano Concertos by Chopin in a piano and string quintet transcription (1997) and then, in 2001 and in a similar arrangement, she recorded Beethoven's First and Second piano concertos, as well as piano music by Bruckner, including a piano arrangement of his seventh symphony.

The album received outstanding reviews in print and at on-line sources, including Fanfare Magazine, Gramophone Magazine, and MusicWeb-International. Fuchs's recent orchestral commissions include Piano Concerto 'Spiritualist' (After Three Paintings by Helen Frankenthaler, Poems of Life (After Twelve Poems by Judith G. Wolf for Countertenor, violoncello, and Orchestra), Glacier (Concerto for Electric Guitar), Bass Trombone Concerto (scored for both orchestra and band), and Rush (Concerto for Alto Saxophone (scored for both orchestra and band). In 2013, the Wheeling Symphony Orchestra invited Fuchs to compose a fanfare-overture, Forever Free, to celebrate the Sesquicentennial of the State of West Virginia. Fuchs created a version of the work for band, which was performed by ensembles throughout the State to celebrate the occasion.

They were at that time "... entirely vocal, for neither overture nor concerto was played, and the whole instrumental band was limited to two violins, a tenor [viola], and a violoncello, with a pianoforte for the accompaniment of songs and glees. Mr and Mrs Harrison, and Mr Bartleman were the solo singers, and the rest of the entertainment consisted of glees and a few catches sung by the most celebrated English vocalists of the day.... Mr Knyvett presided at the pianoforte. The subscription was three guineas for eight concerts...." The concerts were influenced by the founders' background with the Concerts of Antient Music; but recent vocal works were also performed, by composers including John Wall Callcott, William Crotch and Reginald Spofforth. In the second year there were ten concerts.

The last high-profile victim of the climate of suspicion was Oliver Plunkett, Archbishop of Armagh, whose unjust slaughter is retold by Scott with no small dose of bitterness. Sir Geoffrey, his son and the dwarf are, at length, all acquitted. In order, however, to avoid the mob, they take refuge in a room, where they encounter Bridgenorth, who convinces Julian that they are in his power, and allows Christian to propose to the Duke of Buckingham that several hundred Fifth-Monarchy men, led by Colonel Blood, should seize the king, and proclaim his Grace Lord-Lieutenant of the kingdom. The same afternoon Charles has just granted an audience to the Countess of Derby, when the dwarf emerges from a violoncello case and reveals the conspiracy which Fenella had enabled him to overhear.

At Michaelmas (29 September) 1737, Telemann finally left Hamburg for a long-delayed journey to Paris, where he had been invited at least seven years earlier by four prominent French musicians: flautist Michel Blavet, violinist Jean-Pierre Guignon, gambist Jean-Baptiste Forqueray, and a cellist/harpsichordist called Prince Édouard, whose precise identity is not known (; ; ). By 1730 Telemann's fame had spread across Europe, thanks in large part to dissemination of his music in printed form, which had been the main source of appreciation by his French hosts. It was in preparation for this visit (and for these four musicians) that Telemann composed the first set of six Paris quartets, which he published in Hamburg under the (Italian) title Quadri a violino, flauto traversiere, viola da gamba o violoncello, e fondamento: ripartiti in 2. concerti, 2.

The use of a larger choir is partly a question of balance with the relatively large instrumental forces, but there is also supporting evidence for the use of more than four singers in the score, where a marking implies that Bach envisaged the option of a vocal ensemble that is separate from the four soloists. This was Bach's first cantata for festive orchestra, including trumpets and timpani. The instruments are divided into four spatially separated "choirs", placing the work in the polychoral tradition associated with composers such as Heinrich Schütz. The instruments required for the Baroque instrumental ensemble are three trumpets (Tr), timpani (Ti), two recorders (Fl), two oboes (Ob), bassoon (Fg), organ obbligato (Org), two violins (Vl), viola (Va), violoncello (Vc), viola da gamba (Vg) and basso continuo.

The characteristic long, sustained, and singing sound produced by the violin, viola, violoncello, and double bass is due to the drawing of the bow against their strings. This sustaining of musical sound with a bow is comparable to a singer using breath to sustain sounds and sing long, smooth, or legato melodies. In modern practice, the bow is almost always held in the right hand while the left is used for fingering. When the player pulls the bow across the strings (such that the frog moves away from the instrument), it is called a down-bow; pushing the bow so the frog moves toward the instrument is an up-bow (the directions "down" and "up" are literally descriptive for violins and violas and are employed in analogous fashion for the cello and double bass).

From 1799 to 1806 Lovy was employed in Fürth, where he continued his secular and musical education, becoming accomplished in violin, violoncello, and piano, and becoming proficient in French, Italian, and Hebrew. At the request of Duke of Bavaria Maximilian Joseph, Lovy sang the tenor part in a performance of Haydn's The Creation and was allowed to give public concerts in Nuremberg, which at the time was officially off limits to Jews. After having served for short terms at congregations in Mayence, Strasbourg, and London, he went to Paris in 1818, where he became the ḥazzan of the now-defunct Temple rue Saint-Avoie. In May 1822 he became ḥazzan of the newly-founded Temple rue Notre-Dame-de-Nazareth, which dedicated a new synagogue building and introduced the use of an organ and boys' chorus.

One late-19th- century, slightly non-standard example is Samuel Coleridge-Taylor's 1894 Nonet in F minor, for an ensemble in which a piano replaced the flute. The non- standard instrumentation used by Hanns Eisler was different in each of his two nonets: his 1939 Nonet No. 1 is composed for flute, clarinet, bassoon, horn, two violins, viola, violoncello, and double bass, while his 1941 Nonet No. 2 is for flute, clarinet, bassoon, trumpet, percussion, three violins, and double bass (; ; ). Many nine-instrument works for other combinations than the standard Spohr ensemble have been composed since 1900, but often depart from chamber-music textures and mostly are given titles suggesting small orchestral forces. Examples include Darius Milhaud's chamber symphony Le printemps, op. 43 (1917), Egon Kornauth's Kammermusik, op. 31 (1924), Ernst Krenek's Sinfonische Musik for nine solo instruments, op.

28 Preludi per Flauto Dolce solo in forma di progressione musicale 8 Preludi (Studi) in forma di progressione melodica dalle «Sonate a Flauto solo» di Paolo Benedetto Bellinzani (Venezia 1720) per Flauto Dolce Contralto 9 Preludi (Studi) in forma di progressione melodica dai «XII Solos» di Francesco Mancini (London 1724) per Flauto Dolce Contralto Baroquefantasy n. 1 (1996) per Clarinetto e Pianoforte Baroquefantasy n. 2 (1996) per Viola e Pianoforte Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol. I: per 2 Flauti Dolci S[A]-T (Violino e Violoncello) Duo didattici in forma di progressione musicale estrapolati da diversi autori e atti a superare velocemente e con sicurezza le difficoltà della letteratura musicale Rinascimentale e Barocca. Vol.

He continued his music education at the Hochschule für Musik Carl Maria von Weber, studying composition with Johannes Paul Thilman and also voice and conducting. The works composed during these years include Dramatische Impression für Violoncello und Klavier auf den Tod von J. F. Kennedy (Dramatic impression for cello and piano on the death of John F. Kennedy), composed in 1963, Fünf Gesänge für Bariton und Kammerorchester (Wolfgang Borchert) (Five chants for baritone and chamber orchestra after Wolfgang Borchert), written in 1964, and the opera Weiße Rose based on a libretto by his brother and composed in 1967/68. The theme of the opera, which he composed as a student, is the White Rose resistance movement of the siblings Hans and Sophie Scholl. From 1968, he studied in Berlin at the Akademie der Künste with Günter Kochan.

Early 18C engraving of musicians with their baroque instruments, including recorder, flute, oboe, violin, harpsichord, bassoon and violoncello Composer directing cantata from gallery in a church, engraving from Musicalisches Lexicon, Johann Gottfried Walther, 1732 The baroque alto recorder (blockflöte in German) enjoyed a period of popularity in Europe as an orchestral instrument in the seventeenth century, starting with Monteverdi in his opera L'Orfeo. By the middle of the eighteenth century it had been displaced by the transverse flute. In France the transition was more marked, since cultural life centred on Paris; it was more gradual in Germany, made up of many separate principalities, all with their own court or municipal musicians. The baroque recorder was used in orchestral music in association with death and the supernatural; to express tenderness; in pastoral scenes (as the shepherd's pipe); and to imitate bird song.

Autograph manuscript of first movement of BWV 596 Autograph manuscript of third movement and beginning of fourth movement of BWV 596 # [Allegro] # Pieno. Grave – Fuge # Largo e spiccato # [Allegro] This transcription of Vivaldi's Concerto in D minor for two violins and obbligato violoncello, Op.3, No.11 (RV 565), had the heading on the autograph manuscript altered by Bach's son Wilhelm Friedemann Bach who added "di W. F. Bach manu mei Patris descript" sixty or more years later. The result was that up until 1911 the transcription was misattributed to Wilhelm Friedemann. Despite the fact that Carl Friedrich Zelter, director of the Sing- Akademie zu Berlin where many Bach manuscripts were held, had suggested Johann Sebastian as the author, the transcription was first published as a work by Wilhelm Friedemann in 1844 in the edition prepared for C.F. Peters by Friedrich Griepenkerl.

Judging by artistic representations of the period, this may have been a somewhat gradual development. For example, there are depictions of instruments that appear to be bass violins (such as the one in Gaudenzio Ferrari's Glory of Angels, 1535), but that clearly show the presence of frets. Once the distinction became clear, and the form of the bass violin had crystallized, theorists and composers began to refer to the new instrument as the "basso da viola da braccio", or the first true bass violin. Innovations in the design of the bass violin that ultimately resulted in the modern violoncello were made in northern Italy in the late 17th century. They involved a shift to a slightly smaller type and the higher tuning in C2–G2–D3–A3 (although Michael Praetorius already had reported this tuning for the bass violin in his Syntagma Musicum (c. 1619)).

Starting as a Sinfonietta, the symphonic orchestra now has the identity of an ensemble of orchestras, comprising the Bilkent Chamber Orchestra an Ensemble of Wind Instruments and various other orchestral formations. With Turkish and foreign guest conductors, soloists and choirs, the ensemble of orchestras has distinguished itself through its season events of over 80 concerts per year and the television and radio broadcasts of these performances. The national label Bilkent Music Production has released over 50 CD’s of the orchestras concerts. Amongst the orchestra's recordings are the Ahmet Adnan Saygun concertos with Gülsin Onay under the baton of Howard Griffiths; Kamran Ince symphonies and concertos with Kamran Ince as soloist as well for Naxos and CPO and the productions released in 2007 including Ahmet Adnan Saygun’s piano, violin, viola and violoncello concertos by CPO in collaboration with Peermusic and the Tabakov concertos by Naxos Records.

In 1946, he was commissioned by the Julius Hartt Foundation to write an opera, The Princess and the Vagabond which was premiered at the Hartt School two years later. In 1944 he received prizes for two works: Triptych for violin, viola, violoncello and piano, and Postscripts, a choral work which won the Eurydice Choral Prize. His Rhapsody for Trombone and Orchestra, received a radio broadcast premiere in New York in 1951. After the composer's death, the National Jewish Music Council published a brief biography of Freed, A Jewish Composer by Choice: Isadore Freed, His Life and Work, which contains reminiscences of Freed's life and works by such luminaries as Pierre Monteux, who programmed Freed's Jeux de Timbres for concerts in San Francisco and Amsterdam in 1937, the same year in which Freed became the first American composer to be guest conductor for the NBC Symphony Orchestra.

Assigning specific names and classifying violoni as different types, as we are doing here, is a modern attempt to clarify things. Loosely described, bowed string instruments are made in families so that different sized members can play in different ranges, with treble instruments corresponding to the soprano and bass instruments corresponding to the lowest vocal range (or even lower, down to the "contrabass" register). Members of the violin family are the easiest to identify in this way: with the violin corresponding to the soprano, the viola to the alto singer, violoncello to the tenor, and bass to the bass ranges of the human voice (historically, the violin family was made in more than just these four sizes: there were originally several sizes of violas, as well as instruments smaller than the modern violin, for example). The viol family also comprises instruments in a multitude of sizes.

In Europe he formed different groups to perform his compositions and arrangements in various styles: contemporary, world, folk music, jazz and classical. Attempting to expand the chamber music and classical guitar repertoires, Gui Mallon has written extensively for a trio formed by his guitar, a bass instrument (usually violoncello or bass) and a solo instrument (flute, violin, sax, oboe, etc.). His Gui Mallon Ensemble, a band formed of a string quintet, 3 percussionists, sax, flute and guitar, performed two concerts at Montreux Jazz Festival. These concerts were recorded live and released in the US and Canada by the American record company Adventure Music (Live at Montreux - 2004) receiving expressive reviews from the specialized American press In 2004 he wrote the music for the exhibition and poetry concerts during Timmarna & Tingen, a celebration of the centenary of Rainer Maria Rilke's journey to Jonsered in Sweden. .

Wilhelm Joseph von Wasielewski, The Violoncello and its History: Cello Playing in 19th Century Germany, Part Two In 1815 the guitarist Mauro Giuliani appeared with Joseph Merk, Johann Nepomuk Hummel and the violinist Joseph Mayseder in a series of chamber concerts in the botanical gardens of Schönbrunn Palace (dubbed the "Dukaten Concerte", after the price of the ticket, which was a ducat). He frequently performed with Mayseder throughout his career, and was even dubbed "the Mayseder of the cello". After touring the Austrian provinces, in 1816 or 1818 Merk was appointed to his teacher Schindlöker's old post of principal cellist at the Vienna Court Opera.Paladino, Joseph Merk: 20 Etudes for cello op 11 (Martin Rummel) In 1822 Franz Schubert wrote a quartet for male voices, Geist der Liebe (D.747; Op. 11, No. 3), especially for a Joseph Merk concert. Merk dedicated his 20 Études, Op. 11, to Schubert. In 1823 Merk became professor at the Vienna Conservatory, remaining in that position until 1848.

Historically Sunday service was 10am and dress code adopted by the congregation was formal, it is now smart casual. Until the 20th century females would attend carrying poseys of lad's-love, Thyme, Pink's, and roses, the Preacher arrived directly into Chapel, in plain clothing, no gown and prior to arrival of the organ in 1843 music was by way of a Bassoon and violoncello, hymn numbers were given to the congregation by writing them on a slate with chalk, there is now a hymn board. The chapel remains an active place of worship: services are held at 2.15pm on the first and third Sunday of each month, and the bell is rung to call worshippers to the service and a candle lit at the commencement. The congregation is a member of the Manchester District Association of Unitarian and Free Christian Churches, part of the umbrella organisation for British Unitarians, the General Assembly of Unitarian and Free Christian Churches.

George Frideric Handel, engraving by John Faber after a painting by Thomas Hudson The Concerti Grossi, Op. 6, or Twelve Grand Concertos, HWV 319–330, are 12 concerti grossi by George Frideric Handel for a concertino trio of two violins and violoncello and a ripieno four-part string orchestra with harpsichord continuo. First published by subscription in London by John Walsh in 1739, in the second edition of 1741 they became Handel's Opus 6. Taking the older concerto da chiesa and concerto da camera of Arcangelo Corelli as models, rather than the later three-movement Venetian concerto of Antonio Vivaldi favoured by Johann Sebastian Bach, they were written to be played during performances of Handel's oratorios and odes. Despite the conventional model, Handel incorporated in the movements the full range of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, airs, fugues, themes and variations and a variety of dances.

Despite these modifications to the conventional Romantic style, Bruch was often considered a conservative composer. The two other works of Bruch which are still widely played were also written for solo string instrument with orchestra: the Scottish Fantasy for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha Hae" by Robert Burns; and the Kol Nidrei, Op. 47, for cello and orchestra (subtitled "Adagio on Hebrew Melodies for Violoncello and Orchestra"), which starts and ends with the solo cello's setting of the Kol Nidre ("All Vows ... ") incantation which begins the Jewish (Ashkenazic) Yom Kippur service. This work may well have inspired Ernest Bloch's Schelomo (subtitled "Hebrew Rhapsody") of 1916, an even more passionate and extended one-movement composition, also with a Jewish subject and also for solo cello and orchestra. The success of Kol Nidrei led to the assumption by many that Bruch was of Jewish ancestry, although the composer refuted this.

Vienna Prayner Conservatory for Music and Dramatic Arts Ehrbar-Saal-Podium Ehrbar-Saal-Galerie The Prayner Conservatory of Music and Dramatic Arts in Vienna licensed by the Austrian authorities founded in 1905, and has developed into one of the most well-known and historical conservatories in the city of Vienna. Currently the conservatory offers undergraduate, graduate, and post- graduate degrees as well as offering adult education and pre-college education. Students of all levels can take voice or instrumental lessons, and have the opportunity to perform in the orchestra or choir. At the end of the study at Prayner Conservatory the students graduate an internationally recognized Austrian "Artistic Diploma" in the following by the Austrian authorities licensed fields of study: Piano, Singing, Violin, Violoncello, Viola, Double-Bass, Flute, Clarinet, Oboe, Bassoon, Trumped, Trombone, Horn, Tuba, Guitar, Harp, Accordion, Percussion Instruments as well as for Composition, Conducting, Accompanying classes, Chamber Music, Opera, and Orchestra Repertoire.

After World War I, at the Tonkünstler-Fest of 1919 in Berlin, the ADMV restarted with a concert program consisting of Karl Prohaska's Oratorio Frühlingsfeier, Friedrich Klose's Oratorio Der Sonne Geist, Julius Weismann's Lieder auf indische Dichtungen with Trio accompaniment, Siegmund von Hausegger's Aufklänge, Symphonic variations on the nursery-rhyme "Schlaf, Kindchen, schlaf", Georg Schumann's Variationen über ein Thema von Bach, Op. 59, and his scene David und Absalom, Op.70, songs with orchestral accompaniment by Paul Stuiber, the String Quartet, Op.31, by August Reuß, a violin sonata by Julius Kopsch, Richard Strauss' 'Sechs Lieder, Op. 68, on poems by Clemens Brentano, a string trio by Erwin Lendvai, Paul Juon's tone poem Litania for piano, violin and violoncello, and songs by Heinz Tiessen.Walter (2000)', . The ADMV was attacked by critics from different sides. According to Bruno Schrader, an ultranationalist of an anti-Semitic inclination, most of the productions as performed at the Tonkünstler-Fest were hyper modern.

Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. Concertino: natural trumpet in F, recorder, oboe, violin Ripieno: two violins, viola, violone, cello and harpsichord (as basso continuo) Duration: about 13 minutes The trumpet part is still considered one of the most difficult in the entire repertoire, and was originally written for a clarino specialist, almost certainly the court trumpeter in Köthen, Johann Ludwig Schreiber. After clarino skills were lost in the eighteenth century and before the rise of the historically informed performance movement of the late twentieth century, the part was usually played on the valved trumpet sometimes on a modern F trumpet, a French Horn, or even a Bb Piccolo Trumpet. The clarino does not play in the second movement, as is common practice in baroque era concerti.

Following his graduation, Tree made a successful debut at Carnegie Hall and toured internationally as a violin soloist, playing with a number of orchestras. In 1959 he began spending summers at Marlboro, where he met David Soyer and played with him and pianist Anton Kuerti in a group known as the Marlboro Trio.Ruttencutter 29–30 :Tree was described by Steinhardt as an efficient problem solver, and as "one part musician, one part cutup",Steinhardt 7, 72 always ready to relieve an overly- intense moment with a joke or some kind of buffoonery. He was the most high- strung member of the quartet, particularly prone to nervousness before performances.Ruttencutter 30–32 An avid tennis player, he liked to play with local experts or with friends while on tour.Ruttencutter 73, 78 Violoncello (1964–2001) :David Soyer (b. Philadelphia, 24 Feb 1923; d. New York, 25 Feb 2010) Soyer was, by about 12 years, the oldest of the original members of the quartet, and his pre-Guarneri experience was more extensive.

"A 'punctual' ensemble style using ten soloists divided into six sound groups ((1) flute-bassoon, (2) clarinet–bass clarinet, (3) trumpet-trombone, (4) piano, (5) harp, (6) violin- violoncello) is transformed irregularly but steadily into a soloistic style articulated by 'groups', gradually focussing on the piano part" . This version adds progressively longer insertions of denser note groups, often in single instruments, while at the same time gradually replacing more and more long notes with groups of rapid, shorter ones in a technique called Ausmultiplikation . This gradual erosion of the originally sparse texture, reflected in the hyphenated title (meaning "Against Points"), complements three parallel processes already present in the first version: (1) the heterogeneous timbres of the full ensemble are gradually reduced to the "monochrome" of the solo piano; (2) widely fluctuating durations reduce to similar values; (3) wide-ranging dynamics reduce to a generally soft level. This unidirectional process has been compared on the one hand to that of Maurice Ravel's Boléro , and on the other to Haydn's "Farewell" Symphony .

Marching band (Act I, scene iii): ;Woodwinds: : 1 piccolo : 2 flutes : 2 oboes : 2 clarinets in E : 2 bassoons ;Brass: : 2 horns in F : 2 trumpets in F : 3 trombones : 1 tuba ;Percussion: : bass drum with cymbals : snare drum : triangle Berg notes that marching band members may be taken from the pit orchestra, indicating exactly where the players can leave with a footnote near the end of Act I, scene ii. Tavern band (Act II, scene iv): ;Woodwinds: : 1 clarinet in C ;Brass: : 1 bombardon in F (or tuba, if it can be muted) ;Keyboard: : accordion ;Strings: : guitar : 2 fiddles (violins with steel strings) In addition, for the Tavern scene in Act III, scene iii, Berg calls for an out-of-tune upright piano. Chamber orchestra (Act II, scene iii): ;Woodwinds: : 1 flute (doubling piccolo) : 1 oboe, : 1 English horn : 1 clarinet in E : 1 clarinet in A : 1 bass clarinet in B : 1 bassoon : 1 contrabassoon ;Brass: : 2 horns ;Strings: : 2 violins : 1 viola : 1 violoncello : 1 double bass The instrumentation matches that of Schoenberg's Chamber Symphony No. 1.

Brodsky was the dedicatee of the concerto, after Tchaikovsky decided to withdraw the dedication from Leopold Auer, offended that the latter would not to play it unless the composer made certain changes incorporating his unsolicited suggestions. Brodsky had also premiered Tchaikovsky's Sérénade mélancolique in Moscow in 1876. It, too, had been initially dedicated to Leopold Auer, and it, too, had had its dedication withdrawn by the composer (although not reassigned to Brodsky in this case). This was not because of any criticism Auer had made of the Sérénade mélancolique, but was part of Tchaikovsky's reaction to Auer's issues with the Violin Concerto. Later on, in 1883, after Henry Schradieck moved to the College of Music of Cincinnati, Brodsky was called to fill his position at the Leipzig Conservatoire. He remained in Leipzig until 1891. He formed there his own string quartet, the Brodsky QuartetThe namesake Brodsky Quartet founded in 1973 was an unrelated later group of players, who chose the name in honour of Adolph Brodsky because the members all came from the Manchester area. initially with Ottokar Nováček (2nd violin), Hans Sitt (viola) and Leopold Grützmacher (violoncello).

From 1954-55 she toured India and Japan as a solo artist, the first dancer to do so since World War II. The report she filed with U.S. State Department helped initiate cultural exchange programs with India and many countries in the Far East.Moritz, Charles, Editor, Current Biography, September 1971, Volume 32 Number 8, (New York: H. W. Wilson Company 1971): pp. 14-17. From 1955-60, she toured extensively as a solo artist throughout the U.S. Notable works from her repertory of that period include Portrait of a Lady created to jazz recordings that were layered by John Cage into his eight-track commissioned score, Dawn Song, a lyrical solo with commissioned score by Alan Hovhaness, Fearful Symmetry (1956; an allegory in six visions inspired by William Blake's poem, "The Tyger") to Ezra Laderman's Sonata for Violoncello, in which Erdman emerged from and interacted with a metal sculpture by Carlus Dyer, and Four Portraits from Duke Ellington's "Shakespeare Album" (1958), a suite of comic portrayals of Shakespearean heroines. In 1960, Erdman reorganized and renamed her dance company to reflect her explorations of the inter-relationship of movement, music, visual arts and spoken text.

Still life with baroque instruments, Elias van Nijmegen, first half of eighteenth century Bach scored the cantata for three vocal soloists (soprano (S), alto (A) and bass (B)), a four-part choir SATB, and a Baroque instrumental ensemble of two alto recorders (Fl), two oboes (Ob), first and second violins (Vl), violas (Va) and basso continuo (Bc). There are two sets of continuo parts from 1726: one is a score transposed for positive organ with figuration added by Bach in the first three movements; the other has annotations by the copyist for violoncello and double bass., The Meiningen cantatas of Johann Ludwig Bach were scored for the four vocal parts and a small group of instrumentalists, consisting of two oboes, violins, violas and continuo: at Meiningen, as with many of the smaller courts in Germany, resources were limited; it appears that continuo instruments like bassoons were available only when these works were performed elsewhere. When Bach performed his cousin's cantatas in Leipzig in 1726, he used the same orchestral forces as Meiningen for all but two, adding trumpets with drums in one and piccolo trumpets in another.

Symphony No. 1: Program Note by the Composer. 1986. Retrieved March 4, 2015. Rouse's oldest extant works are two brief pieces for percussion ensemble, both inspired by mythological subjects: Ogoun Badagris (1976, Haitian) and Ku-Ka-Ilimoku (1978, Polynesian); a later percussion score inspired by rock drumming, Bonham was composed in 1988. The death of Leonard Bernstein in 1990 was the first in a series of deaths that made a profound impression on Rouse, and his Trombone Concerto (1991) became the first score of his so-called "Death Cycle," a group of pieces that all served as reactions to these deaths. These scores memorialized William Schuman (Violoncello Concerto—1992), the James Bulger murder (Flute Concerto—1993), the composer Stephen Albert (Symphony No. 2—1994), and Rouse's mother (Envoi—1995). After Envoi he purposely set out to compose scores that were more "light infused", works intended to take on a less dark cast; pieces from this second half of the 1990s include Compline (1996), Kabir Padavali (1997), the Concert de Gaudí (1999), Seeing (1998), and Rapture (2000). Beginning in 2000, Rouse created works of varying moods, from his thorny Clarinet Concerto (2001) to his rock-infused The Nevill Feast (2003) to his romantic Oboe Concerto (2004). The most significant piece from these years was his ninety-minute Requiem, composed over 2001 and 2002.