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Vollpartitur
Titel nach Uploader: Quintet No.11 in A Minor – Full Score
Instrumentierung |
Geige, Bratsche, Cello, Kontrabass |
Partitur für |
Quintett |
Art der Partitur |
Partitur |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
Solo double bass part
Titel nach Uploader: Quintet No.11 in A Minor – Solo Double Bass Part
Instrumentierung |
Kontrabass |
Partitur für |
Quintett |
Art der Partitur |
Solo Stimme |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
Violastimme I
Titel nach Uploader: Quintet No.11 in A Minor – Viola 1 Part
Instrumentierung |
Bratsche |
Partitur für |
Quintett |
Art der Partitur |
Stimmen |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
Violastimme II
Titel nach Uploader: Quintet No.11 in A Minor – Viola 2 Part
Instrumentierung |
Bratsche |
Partitur für |
Quintett |
Art der Partitur |
Stimmen |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
Violinstimme
Titel nach Uploader: Quintet No.11 in A Minor – Violin Part
Instrumentierung |
Geige |
Partitur für |
Quintett |
Art der Partitur |
Stimmen |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Schwierigkeitsgrad |
Fortgeschritten |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
Cello (or double bass) part
Titel nach Uploader: Quintet No.11 in A Minor – Basso Part
Instrumentierung |
Cello, Kontrabass |
Partitur für |
Quintett |
Art der Partitur |
Stimmen |
Tonart |
e-Moll |
Satz, Nr. |
1 bis 2 von 2 |
Verleger |
John Feeney |
Länge |
12'0 |
Quintet No. 11, like Quintet No. 26, is cast in a two-movement framework. The opening movement of Quintet No. 11 is built around a lyrical triple-meter theme; the contrast between the sections of the movement is derived mainly from the A major / A minor dichotomy. This heartfelt theme is then modified to serve as the basic motivic material for the refrains of the rondo form in the C major Vivace (2 / 4). It is in this movement that the double bass has an opportunity to demonstrate its virtuosic side; the couplets of the rondo serve as vehicles through which Dragonetti would have been able to demonstrate his considerable technical prowess on the instrument. Further, in the Classical style, returns of the refrain are occasionally introduced by improvisatory Eingänge in the solo double-bass part (indicated in the score by a fermata), providing the performer with opportunities for spontaneously generated virtuosic embellishments.
John Feeney 23 Mrz 2013 15:15
Anyone downloading the complete set of parts will later receive an email from me containing a PDF of the solo Bass part in 11 by 17 format which alleviates page turning issues for performance. Cheers! John
John Feeney 23 Mrz 2013 15:05
sound sample from the CD Dragonetti's New Academy, Vol. ll- available through iTunes, Amazon, CDBaby, Digstation and many others-
http://www.cdbaby.com/cd/johnfeeney
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