Beautiful piece that works really well on two cellos. Great for tenor clef work and rhythm (which looks much harder than it is). Also good for ensemble work, tonal control, period style and ornamentation. The sonata was originally written for two violins and keyboard.
This Suite is in three short movements. The first has a slow introduction followed by a melody with pizzicato accompaniment. The second movement also has a slow introduction but this time to a rhythmic motif passing between the instruments. The last movement is slow and tranquil.
The parts are equal rhythmically while the range of notes is higher in the first two parts where there is some use of tenor clef.
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.
Suite for String Orchestra (Basse-Danse, Pavane, Tordion, Bransles, Pieds-en-l’air, Mattachins) based on dance tunes from Arbeau’s Orchésographie (1588).
Basse-Danse suitable for Intermediate String Orchestra. Other movements more difficult.
Pavane has important bass part and both cello and bass parts use tenor clef.
No bass part in Pieds-en-l’air.
The Jewish character of this highly expressive piece derives both from its modal tonality, which incorporates many augmented seconds, and from its quasi-improvisatory rhythmic gestures. It requires confidence in shifting to high positions and good bow control to achieve a clear tone high on the A string.
It is recommended for ‘A’ level recitals.
