Format : Sheet music
SKU: FT.FM516
ISBN 9790570484157.
Whilst John Rutter is extremely well known for his religious choral music, he has also written a few orchestral pieces that are every bit the equal of his better known works. This Suite is indeed one of these. Originally written in 1973, and following the tradition of earlier English composers like Vaughn Williams and Percy Grainger, this suite explores various English folk tunes. The opening movement has a kind of hornpipe feeling to it that uses the jaunty tune 'A rovin' yet this is balanced with the more reflective counter melody 'I sowed the seed of love.' Of course the 'racy' tune wins the day! The second movement - 'I Have A Bonnet Trimmed In Blue' is a perfect evocation of an elegant young lady who is keen to display her new bonnet to the local swains! Yet perhaps she is a little shy and is apprehensive about possible comments. From the last section I believe she found her hearts desire… The slow movement is based on the folksong 'O Waly Waly', a tune that will forever be associated with the late Kathleen Ferrier. This version gives the tune a sense of regret and sometimes intensity that matches the words:- O love is handsome and love is fine, And love is charming when it is true; As it grows older it groweth colder And fades away like the morning dew. The mood is lifted for the last movement, with an almost Handelian rendition of 'Dashing Away With The Smoothing Iron'. However, this tune doesn't have everything it's own way, for the 'Bailiff's Daughter' makes an appearance as well for a triumphant ending:- O stay, O stay thou goodly youth! She's alive, she is not dead; Here she standeth by thy side, And is ready to be thy bride... (and hopefully they both do the ironing!).
SKU: CF.BF128
ISBN 9781491153413. UPC: 680160910915.
Wohlfahrt’s Foundation Studies have long been successful tools forviolinists and violists in mastering the technical difficulties of theirinstruments. Originally conceived for a complete comprehension offirst position on the violin and viola, Richard Hughey presents thisnew edition for cello students. Transcribing these etudes for the cellopresents new challenges for the performer. Particular passages, forexample, require the student to make use of the second and eventhird positions. The fingerings chosen for these passages reflectthese shifting positions in a coherent and logical way. Trainedcomprehensively in both cello and conducting, Hughey shares hiswealth of experience and knowledge in Wohlfahrt’s FoundationStudies for the Violoncello.The violin etudes and exercises of Franz Wohlfahrt havebeen and continue to be used by violin and recently violateachers the world over. Franz was the son of HeinrichWohlfahrt (1797, Kößnitz–1883, Leipzig), a noted pianoteacher who also published many studies for piano thatwere very successful with younger students. Heinrichdeveloped a keen sense for the pedagogical development ofchildren and composed excellent studies accordingly. Withthe education of his sons Robert (1826, Weimar–deathdate unknown) and Franz (1833, Frauenpriesnitz–1884,Leipzig), he passed these pedagogical abilities to the nextgeneration.In the preface to his Violin Studies Opus 45, FranzWohlfahrt wrote:The study of the violin presents certain difficultiesfor beginners which are frequently the cause of a suddendecrease in the pupil’s zeal and ambition, even before he hasmastered the first fundamentals.The blame for this is commonly laid on the teacher,who is called incapable or negligent; losing sight of thefact that the pupil began his studies without the slightestnotion, not merely of the difficulties to be encountered,but also of the regular and diligent effort indispensable forovercoming them.It is important, therefore, to smooth these first severitiesby showing their usefulness and making them agreeable; tothis end my Violin Method was published and the presentexercises have been written, which latter may be consideredas forming a supplement to the former.If practiced carefully and intelligently, they will serve asa solid foundation for the technique of any player ambitiousto become an artist.These studies have been successful tools for violinistsand violists to begin to master the technical difficulties oftheir instruments. Clearly conceived for a more completecomprehension of the use of the first position on the violinand similarly for the viola, presenting these etudes forthe cello presents a new challenge. As ongoing violinistsand violists can use the fourth finger to play the note ofthe next higher open string, this is not possible on thecello. To perform these exercises on the cello, particularlyreaching the “E†on the A-string, requires the studentto make use of the second and even third positions. Thefingerings chosen for these passages reflect the necessityof shifting to these positions. This is of great advantage,as a new set of studies now can be used by the studentto practice shifting to and from those positions and thusincreases technical proficiency in the second and thirdpositions of the cello.