Musically, it's important to attend to a number of details: warming up repeated notes with some vibrato, dynamics, episodes that should get louder and peak at a certain note, repeated phrases that echo the second time, etc. After taking a passage through many rhythmic permutations, it will start to flow surprisingly well. This will test the brain and take persistence to truly achieve each rhythm. Once you can slowly play the entire passage without any mistakes, play the passage in rhythms, including dotted rhythms and groupings of fast-slow. Sounds simple enough, but this takes tremendous patience and honesty - no glossing over anything. Play the difficult passages slowly, until all the notes are learned. The first hurdle is obvious: the passagework. It's better to take the "win" of playing the original and playing it well.īut for the student who hits the wall and then wants to climb it, I do have some ideas. If that "new level" is not happening at this juncture for a student, then it can happen later. That said, I do see the musical argument for using Vivaldi's original - and it's a good alternative for students who are not ready for the big push of Nachez. Of course, this doesn't happen if the student bumbles through and leaves the piece after simply "getting the notes." And frankly, the challenge of the Nachez version is all part of it - it's a lot harder than Vivaldi's original, which has easier passagework. So when mastered well and played up to tempo, Vivaldi's Concerto in A minor can be a "gateway piece" that pushes a student's technique to a new level. Aunt Rhody's goose clearly has left the barnyard! It's pretty exciting - a student can find recordings of Itzhak Perlman playing this piece, or the wild-fast Baroque masters of Tafelmusik. It's one of those early "real pieces" - something that the pros play. Generally, the student is going from being a beginner to being more of a solidly intermediate student. Concerto per due celli in G Minor, RV 531: I.A little bit about this piece: when studied as part of a progression, whether as part of the Suzuki method or a traditional method, the piece occurs at an interesting juncture for students.Concerto for 2 Cellos in G minor, RV 531 (Vivaldi, Antonio): Scores at the International Music Score Library Project.The Baroque Cello Revival: An Oral History. Antonio Vivaldi: The Red Priest of Venice. Philharmonia Baroque Orchestra & Chorale. ^ a b c d e Lamott, Bruce (7 November 2018)."Concerto for two cellos in G minor, RV531". ^ "Vivaldi, Antonio / Concerto for two Violoncellos, Strings and Basso continuo in G minor RV 531".^ a b c d "Vivaldi: Cello Concertos, Vol.New Grove Dictionary of Music and Musicians (2nd ed.). Yo Yo Ma and Jonathan Manson recorded the concerto in November 2003. He found the "frenetic" finale "see-sawing in rhythm and tonality alike", and summarized: "This is a concerto to single out among the hundreds that Vivaldi wrote." Recordings The musicologist Michael Talbot noted the concerto's "highly charged emotional content" showing right at the beginning, and read "an almost autobiographical sadness" in the slow movement. The movement contains a fugal section begun by the second cello. The final movement, Allegro, begins with "catchy offbeat syncopations" in the orchestra, before the soloists enter for "musical acrobatics". In the second movement, marked Adagio, the two soloists and the continuo cellist form a trio, for even greater low-range sonority. The two cellos imitate each other at a distance of one bar they then play for the rest of the movement at an interval of a third, and play eight bars of figuration over the continuo's G minor harmony." The most striking aspect of the first movement (Allegro) is the wholly individual organizational approach that Vivaldi took in the opening. Karl Heller noted that "the dark color of the two deep-toned instruments perfectly matches the serious expression, which is devoid of all virtuosity". Both soloists are equals, first competing without upper strings. The first movement begins not with the usual instrumental ritornello, but with the two soloists alone, imitating each other in fast succession, with virtuoso passages. The concerto is structured in three movements: A manuscript was found in the Renzo Giordano Collection at the National Library in Turin, which holds much of Vivaldi's personal collection. Vivaldi composed it possibly in the 1720s in Venice. Among these cello concertos, RV 531 is the only one for two cellos. He composed 27 concertos for cello, string orchestra and basso continuo. Vivaldi used the cello as a solo instrument in several compositions, which was a new trend during the period.
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