A complete Violincello method that contains fingering charts, scales and bowing exercises for the pre-intermediate cellist. (GS) en-GB. Biography and work for Friedrich August Kummer, Listen to classical music and Kummerʼs Violoncello-Schule, Op. 60 , or Cello Method, is still in print. Method No 79 Kummer. Kevin Zhu. Loading Unsubscribe from Kevin Kummer Cello Duet No. 1, Op.
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KUMMER CELLO METHOD PDF
Kummer toured in the s and s, giving recitals in Dresden, Leipzig, Berlin, Weimar, and further afield in Vienna, Prague, Milan, and Copenhagen.
He was appointed a professor at the Dresden Conservatory at its founding in and counted many fine cellists as his students, including his two sons Ernst and Max, Bernhard Cossman, and Julius Goltermann. He has appeared as a soloist throughout the north of England, on modern, nineteenth-century and baroque cello - recent solo appearances have ranged from eighteenth-century concertos to contemporary Russian repertoire.
Grutzmacher The talented cellist soon attracted the attention of the celebrated violinist Ferdinand David, concertmaster at the Gewandhaus and Mendelssohn's associate in the development of Leipzig musical life.
David took the initiative kummer cello method nominating the year-old Grutzmacher principal cellist of the Gewandhaus violoncello section. Julius Ritz, the follower of Mendelssohn's traditions who held a very high opinion of Grutzmacher's talent, headed the glorious orchestra at kummer cello method time.
For several years the cellist played in the David Quartet. The young cellist's popularity grew rapidly, and when in soloist Bernhard Cossmann, professor of the conservatoire and the leading pupil of Kummer, left Leipzig for Weimar, Grutzmacher succeeded him.
Among his many appearances in the Gewandhaus deserving special mention is his part in the performance of Anton Rubinstein's Trio Op. During Karl Davydov's dazzling debut in Leipzig inhe played his B Minor Concerto with the Gewandhaus orchestra, Julius Ritz conducting Grutzmacher met the Kummer cello method cellist, whom he regarded with reverence and from whom he later frequently sought advice.
The following year, Ritz was appointed head of the Dresden court chapel and also invited Grutzmacher there at the Gewandhaus and the conservatoire, he was succeeded by Davydov.
From that time kummer cello method, Grutzmacher's musical career was totally linked with Dresden: For many years he headed the Dresden Musical Society.
Friedrich August Kummer: Violoncello Method | Presto Sheet Music
Grutzmacher appeared successfully in different towns of Germany, Austria, Italy, England, Holland, Scandinavia and Switzerland, as well as in Russia and Kummer cello method at the end of Januaryhe played the concerto by Raff A.
Rubinstein was conductingMendelssohn's Song without words, a romance by Schumann and a waltz by Schubert. In February, he repeated kummer cello method same program in Moscow. The outstanding features of the playing of the German violoncellist were his musicality, impeccable purity of tone, and perfect bow technique, although he was frequently rebuked for certain stiffness in his performance.
The reviews by Russian critics contained much in common with the opinions of European authors.
Friedrich August Kummer- Bio, Albums, Pictures – Naxos Classical Music.
They all described Grutzmacher as a performer with a fine command of the instrument's technique fingerboard technique in particulargood musical taste and excelling as a chamber musician. A not forceful enough sound and restrained emotions very moderate use of vibrato somewhat restricted his resources kummer cello method a soloist, but he still appeared, and always with success, on different European platforms.
Unlike some of the contemporary virtuosos, Grutzmacher included in his repertoire chamber sonatas by Beethoven, Mendelssohn, Chopin, Grieg, etc. Kummer cello method he retired, and on February 23 of the following year he died in Dresden.
Grutzmacher kummer cello method a gifted teacher from he was professor at the Dresden conservatoire. The fruitful activity of these and many other Grutzmacher pupils greatly helped spread the best principles of the Dresden school, which tried to combine perfect technique and musicality of playing, to free the concert repertoire of kummer cello method compositions, to unite solo, chamber and orchestral playing, to bring teaching and practical requirements as close together as possible, and to develop rational methods.
But not everything mentioned above did in fact materialize in the person of the Dresden school representatives; kummer cello method schools of the 19th century, the Russian Davydov and French particularly, continued its trends, making more consistent and progressive contributions to the development of the art of the violoncello.
Kummer Violoncello Method Op 60
This does not detract from the practical significance of the Dresden school and of its principal representatives- Dotzauer, Kummer and Grutzmacher.
Grutzmacher wrote several instrumental works, kummer cello method them a concert overture, a quartet and a trio; three kummer cello method for cello and orchestra A Minor, G Major, E Minor and some pieces Hungarian Fantasia, Variations on an original theme, and romances were popular in his time.
Today these works really do not have any value. Only his concertos E Minor Op. His Twenty-four etudes Op. The first book of the collection twelve etudes is the most widely used today, though the second one, which has become a bibliographical rarity, is equally interesting and as far as virtuoso technique is concerned ' kummer cello method more complicated and useful.
Here is an example from the cadenza to etude No. Among Grutzmacher's other teaching compositions are Twelve etudes Op. They are also used to some extent in teaching today.