Martin Muller-Runte – författare

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody''. He knew, in a unique way, how to implement the principle ''no music without technique, no technique without music'' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced étude or concert piece.Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martelé, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form. Those who prefer Dancla''s somewhat easier original preliminary exercises will find them in the appendix.

Charles Dancla (1817-1907) is considered to be the last great representative of the French Violin School. He was a composer, solo violinist at the Paris Opera and professor at the Paris Conservatoire and wrote numerous educational works for violin, including his well-known three-volume work Little School of Melody''. He knew, in a unique way, how to implement the principle ''no music without technique, no technique without music'' in his teaching material. This is the case in his easy melodic studies Op. 84 which are available here in an arrangement for viola for the first time. These studies are perfectly suited for young beginners after the second year, but also for adult players, false beginners or those switching instruments. Most of them can be effectively used as little performance pieces, providing an excellent foundation for every advanced étude or concert piece. Each study is preceded by new or revised exercises which either deal with specific problems relating to the playing technique, like change of string, spiccato, martelé, chromaticism, change of position, octaves, or double stops, or present the tonal material of the respective study in a condensed, playful form.Those who prefer Dancla''s somewhat easier original preliminary exercises will find them in the appendix.A little dictionary of the musical and technical terms in this volume shall make their meaning accessible to young players in particular.

The Violoncello Studies by Bernhard Cossmann (1822-1910) provide specific exercises for the development of the left hand such as double stop trill studies, finger dexterity exercises, chord, scale and thumb position studies which intensively include the use of the fourth finger in particular. This is what gives these studies their special value and make them indispensable to the training as a cellist. They are aimed at the advanced pupil and student, but also at the professionally trained cellist who wants to improve and maintain the dexterity and velocity of the left-hand fingers by means of short exercises.

The studies by Friedrich August Kummer are perfect for music lessons, particularly because of their accompaniment of a second violoncello. They are characterized by a very systematic arrangement, cleverly introduce the circle of fifths and offer exercises at all levels of difficulty.The studies originally come from the appendix to Kummer''s "Celloschule für den ersten Unterricht" Op. 60. In this new edition, they are for the first time published completely in two volumes as 92 progressive studies. The present edition is based on the first edition published in 1839 (Verlag Friedrich Hofmeister, Leipzig) and has essentially adopted the original fingerings and bowing indications. For better readability, the number of fingerings has been slightly reduced.Volume 1 (ED 22371) is intended for beginner and intermediate lessons. Volume 2 (ED 22372) focusses on the musical performance of the advanced pupil.Friedrich August Kummer (1797–1879) was a pupil of Friedrich Dotzauer and Bernhard Romberg and later trained famous cellists like Julius Goltermann or Bernhard Cossmann.

The studies by Friedrich August Kummer are perfect for music lessons, particularly because of their accompaniment of a second violoncello. They are characterized by a very systematic arrangement, cleverly introduce the circle of fifths and offer exercises at all levels of difficulty.The studies originally come from the appendix to Kummer''s "Celloschule für den ersten Unterricht" Op. 60. In this new edition, they are for the first time published completely in two volumes as 92 progressive studies. The present edition is based on the first edition published in 1839 (Verlag Friedrich Hofmeister, Leipzig) and has essentially adopted the original fingerings and bowing indications. For better readability, the number of fingerings has been slightly reduced.Volume 1 (ED 22371) is intended for beginner and intermediate lessons. Volume 2 (ED 22372) focusses on the musical performance of the advanced pupil.Friedrich August Kummer (1797–1879) was a pupil of Friedrich Dotzauer and Bernhard Romberg and later trained famous cellists like Julius Goltermann or Bernhard Cossmann.