These duos were originally published for two violins but have been arranged for two violas. All twelve of the duos help develop a sense of structure and phrasing in pieces from the Classical period. They help develop slurs and staccato patterns typical of that time. Some duos require third positions while others are slightly easier and suitable for grade 3 players.
All twelve of the duos help develop a sense of structure and phrasing in pieces from the Classical period. They help develop slurs and staccato patterns typical of that time. Some duos require third positions while others are slightly easier and suitable for grade 3 players.
When you hear the first movement of Pichl’s Concerto in C it is hard not to ask whether he was influenced by Haydn’s Concerto in C for cello or the other way round. The opening themes are remarkably similar and the harmonic journey through the movements also feels somewhat related. There is no published cadenza but something will be needed to bridge the pause into the final tutti.
The first movement of the Capuzzi Concerto marks a right of passage for upper intermediate bass players. It is in full sonata form and requires good characterisation of the two main subjects. The development section explores a range of keys concluding with a dramatic theme in F# minor. There is a brief moment in thumb position in tenor clef at the very end with a D major scale up to B above the octave G on the G-string. If the full opening orchestral tutti is included the movement is 8 mins.
A very effective piece for intermediate bass players. Some of the passage work is tricky and will require focused practice. The contrasting middle section is less virtuosic but still has moments of fast scales and arpeggio figures. Orchestral parts available.
