A piece with a good jazz feel, swung quavers and languid phrasing. There is lots of shifting, chromatic movement and some thumb position. There are pizzicato chords and double stops. It merits work with the piano for ensemble.
These dances contain various tempo changes and some unusual harmonies. The tunes appears in all the parts. The dances require some good smooth string crossing. The first part has parts in 4th to 7th position. The other parts are easier. Works well as a quartet and also with a viola orchestra.
The start is lyrical, abounding with portamenti. This is followed by a rhythmic duo with the piano before retiring to the opening lyrical feel.
A wonderful piece that will delight any audience and have them foot tapping along. The opening cadenza has a variety of more advanced techniques with long glissandi on single notes and even on double stopped chords. There is one fast and furious patch of semiquavers in the central section as well as a most beautiful melody. Beware that the cadenza appears to have bars printed out of order, certainly not in the order Piazzolla’s bassist, Kicho, plays it. Also watch out for the many wrong notes in the bass part. Requires a professional pianist.
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.
