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Quintet No.11 in E Minor
Классика/Камерная музыка • Альтернативное название: Dragonetti Quintet No.11
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Партитура
Название пользователя: Quintet No.11 in A Minor – Full Score
Инструменты |
Скрипка, Альт, Виолончель, Контрабас |
Состав исполнителей |
Квинтет |
Тип нот |
Партитура |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Уровень сложности |
Выше среднего |
Время звучания |
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
Название пользователя: Quintet No.11 in A Minor – Solo Double Bass Part
Инструменты |
Контрабас |
Состав исполнителей |
Квинтет |
Тип нот |
Сольная партия |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Уровень сложности |
Выше среднего |
Время звучания |
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.
Партия I альта
Название пользователя: Quintet No.11 in A Minor – Viola 1 Part
Инструменты |
Альт |
Состав исполнителей |
Квинтет |
Тип нот |
Партии |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Уровень сложности |
Выше среднего |
Время звучания |
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.
Партия I альта
Название пользователя: Quintet No.11 in A Minor – Viola 2 Part
Инструменты |
Альт |
Состав исполнителей |
Квинтет |
Тип нот |
Партии |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Уровень сложности |
Выше среднего |
Время звучания |
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.
Партия скрипки
Название пользователя: Quintet No.11 in A Minor – Violin Part
Инструменты |
Скрипка |
Состав исполнителей |
Квинтет |
Тип нот |
Партии |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Уровень сложности |
Выше среднего |
Время звучания |
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
Название пользователя: Quintet No.11 in A Minor – Basso Part
Инструменты |
Виолончель, Контрабас |
Состав исполнителей |
Квинтет |
Тип нот |
Партии |
Тональность |
Ми минор |
Части |
1 до 2 из 2 |
Издатель |
John Feeney |
Время звучания |
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 мар 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 мар 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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