Dotzauer Method for Cello Solo Volume 1, Edited by Nathan Stutch Published by International Music Company, No 46 pages, Unused old store stock in. Dotzauer – Cello Method Vol. 1 – Free download as PDF File .pdf) or read online for free. Dotzauer, J Friedrich – Method for Cello, Volume 1 – Cello solo – edited by Johnannes Dotzauer, J Friedrich – Studies for Solo Cello, Volume 1 (Nos 1 ).

Author: Moogular Meztizshura
Country: Belgium
Language: English (Spanish)
Genre: Environment
Published (Last): 14 July 2011
Pages: 203
PDF File Size: 19.78 Mb
ePub File Size: 8.61 Mb
ISBN: 538-5-43735-179-9
Downloads: 52337
Price: Free* [*Free Regsitration Required]
Uploader: Vora

After being appointed to the post of royal chamber musician in Dresden inDotzauer gave a farewell concert in Leipzig. He seems somewhat hesitant about the definition of their musical and instructive character.

Among Grutzmacher’s other teaching methid are Twelve etudes Op. A Dresden reviewer highly praised the Lipinsky ensemble’s performance of quartets by Haydn, Mozart and Beethoven in It was accompanied, of course, by the struggle between different tastes and trends, a struggle by the advanced musicians for profound content of art, against middle-class conventionality and artistic shallowness.

The music material of Kummer’s Method is more interesting musically than that contained in Dotzauer’s Method and is presented with the accompaniment of a second cello. He gives the distribution of cel,o bow needed due attention.

Karl Schroder was very close in significance and creative style to Friedrich Grutzmacher. To send to metyod than one person, separate addresses with a comma. Though Haussmann was far better known as an excellent chamber musician and teacher, he appeared with remarkable success in solo recitals, playing works from the cotzauer and romantic repertoire.

Annotate this sheet music. The feudal disunity of the country had a negative impact not only on its economic, social and political life, but also on its national cultural development.

Rate this product’s difficulty level: Nice diagrams of how to place the instrument and hands. The famous German violinist and composer also appreciated him as a concert-soloist. In the Method there is material to help develop the technique of double stops including fourths and fifths and as a rare example for the cello, the octaves played with “Fingersatz”: Create a quick account: Kummer wrote a number of pieces on Russian, Czech, Hungarian and Scotch folk song themes, thus undoubtedly following Romberg’s example.


His father, a member of the Ducal band, was his first teacher; then he took lessons from Karl Drechsler, the first violoncellist at the same chapel and one of the best pupils of Dotzauer, whose playing was acclaimed far and wide for its purity of sound, perfection of the finishing graces, and excellent musical taste.

Be respectful of artists, readers, and your fellow reviewers. Here he rejected any changes of the original text. Carl Maria von Weber headed the royal opera house from Your request to send this item has been completed.

He taught Eduard Georg Goltermann who later took advanced studies under the Munich cellist Joseph Menter, father of the famous pianist Sophie Menter. Remember me on this computer.

All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. Of the specific strokes, Dotzauer emphasizes staccato on one bow motion. InKummer played in an ensemble with the Russian violinist Aleksey Lvov, to whom he dedicated the tables on instrumentation that he edited in Dresden. The Gimo Music Collection. Carl Fischer Be the first! Kummer gives the fingering of all scales, going through five octaves; the double stopping division is quite subdued.

In his Practical Method he writes about a spiccato stroke, which he is more tolerant of than was Romberg. When in a conservatoire opened in Dresden, Kummer was invited as professor of the cello class, and held the post almost until the end of his life. Because of these masters and their pupils, as well as their pedagogical works which-were used so extensively then, the significance of this school goes far beyond Germany.

Close X Learn about Digital Video. Grutzmacher’s work as an editor was of special significance, for it initiated the rebirth of many violoncello classical works that had already been forgotten and were preserved only in manuscripts.

Old Town Music Company – Dotzauer – Cello Method, Volume 1

Privacy Policy Terms and Conditions. But the main thing about him is his elegiac playing; how wonderfully Kummer can reveal it, and how often he brings the listener to vello mood His father was a local pastor and an ardent music-lover.


After choosing the cello as his prime focus, Dotzauer left for Meiningen in and continued his studies there under the then famous German violoncellist and concertmaster of the ducal chapel Krigck-a pupil of Jean Odtzauer. In in Leipzig, a vast series of classical works for the cello, entitled Hoche Schule des Violoncellspiels appeared.

We do not use or store email addresses from this form for any other purpose than sending your share email. Dotzauer, Justus Johann Friedrich – It was first performed by Haussmann and the composer himself from manuscript on November 14 of that same year in Berlin. In the chromatic scale, Kummer’s fingering, like that of Dotzauer, is more advanced than the Romberg fingering.

Dotzauer violoncello method

But aside from the court concerts in Dresden, he, common to the period, often performed as a soloist in the intermissions during opera performances.

He often visited Berlin to listen to Romberg, and whenever the opportunity arose, improved his playing under the latter’s guidance. Your rating has been recorded. For a number of years after he played there under Carl Maria von Weber and later under Richard Wagner. In Vienna during the s and 30s, he even competed with Romberg and Borer. Judging by the Method of the Violoncello published inthe main aim of one learning the cello, according to Kummer, was to achieve a full and powerful, but not stiff tone.

Today these works really do not have any value. Dotzauer considered tonal power and purity extremely important.

Kummer’s point of view, both as a cellist and an interpreter, on the aims of a virtuoso is very characteristic: Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. Leave it blank if you wish to appear as “Anonymous”. If you have any suggestions or comments on the guidelines, please email us.