| 1. |
|
Introduction To The Viola |
|
0:43 |
... |
| 2. |
|
TELEMANN. Viola Concerto - I. Largo |
|
2:46 |
... |
| 3. |
|
Khachaturian Gets A Very Different Sound From It, Fuller, Fruitier, More Exotic |
|
0:15 |
... |
| 4. |
|
KHACHATURIAN. Gayane Suite No. 1 - III. Armen's Solo |
|
1:16 |
... |
| 5. |
|
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola |
|
0:40 |
... |
| 6. |
|
BRITTEN. Passacaglia, Op. 33b (From Peter Grimes) |
|
1:01 |
... |
| 7. |
|
R. STRAUSS. Don Quixote |
|
1:04 |
... |
| 8. |
|
BERLIOZ. Harold In Italy - IV. Orgy Of Brigands |
|
2:00 |
... |
| 9. |
|
The Muted Viola, Intimate, Gentle, Poignant In Dvorak |
|
0:34 |
... |
| 10. |
|
DVORAK. Cypresses - IX. Thou Only Dear One |
|
3:00 |
... |
| 11. |
|
The Massed Violas Of The Modern Symphony Orchestra In Mahler |
|
0:40 |
... |
| 12. |
|
MAHLER. Symphony No. 4 - III. Ruhevoll, Poco Adagio |
|
1:14 |
... |
| 13. |
|
The Period Viola In Bach |
|
1:05 |
... |
| 14. |
|
BACH. Brandenburg Concerto No. 6 - III. Allegro |
|
5:19 |
... |
| 15. |
|
The Cello, A Voice Of Unique Nobility |
|
0:29 |
... |
| 16. |
|
BACH. Suite No. 1 For Unaccompanied Cello - I. Prelude |
|
2:31 |
... |
| 17. |
|
Brahms And The Soul Of The Cello |
|
0:19 |
... |
| 18. |
|
BRAHMS. Piano Concerto No. 2 In B Flat Major - III. Andante |
|
1:05 |
... |
| 19. |
|
Most Orchestral Composers Tend To Emphasise The Cello's Lower Register |
|
0:28 |
... |
| 20. |
|
BACH. Cantata Herz Und Mund Und Tat Und Leben, BWV 147 - Soprano Aria. Scahmen Dich, O Seele, Nicht |
|
3:04 |
... |
| 21. |
|
In The Time Of Beethoven The Cello Remained As Fundamental As Ever |
|
0:14 |
... |
| 22. |
|
BEETHOVEN. Symphony No. 3 Eroica - IV. Finale |
|
0:47 |
... |
| 23. |
|
But The Cello Is Not Condemned To Spend Its Life In The Basement |
|
0:33 |
... |
| 24. |
|
POPPER. Elfentanz, Op. 39 |
|
2:55 |
... |
| 25. |
|
Not Only In Recital Showpieces Like That Is The Cello Used In Its Highest Register |
|
0:11 |
... |
| 26. |
|
TAVENER. The Protecting Veil (Opening) |
|
2:54 |
... |
| 27. |
|
A Cello With An Identity-Crisis, The Pizzicato Flamencan |
|
0:16 |
... |
| 28. |
|
TAGELL. Flamenco |
|
2:49 |
... |
| 29. |
|
Double-Stopping In The Lower Reaches Of The Cello's Range |
|
0:31 |
... |
| 30. |
|
CASSADO. Solo Suite For Cello & Piano - Sardana |
|
1:08 |
... |
| 31. |
|
It's In Its Middle Register That The Cello Really Comes Into Its Own |
|
0:21 |
... |
| 32. |
|
RACHMANINOV. Oriental Dance, Op. 2 No. 2 |
|
1:33 |
... |
| 33. |
|
Two Famous Themes Given To The Cellos. BEETHOVEN. Symphony No. 5 - II. Andante Con Moto |
|
0:54 |
... |
| 34. |
|
BEETHOVEN. Symphony No. 9 - IV. Finale |
|
0:55 |
... |
| 35. |
|
Introduction To The Double-Bass |
|
0:43 |
... |
| 36. |
|
SAINT-SAENS. The Carnival Of The Animals - The Elephant |
|
1:33 |
... |
| 37. |
|
But The Double-Bass Can Be Intensely Expressive And Graceful |
|
0:11 |
... |
| 38. |
|
BOTTESINI. Elegy No. 1 In D Major |
|
2:37 |
... |
| 39. |
|
The Range Of The Double-Bass. BOTTESINI. Allegro Di Concerto, Alla Mendelssohn' |
|
0:48 |
... |
| 40. |
|
The Virtuosity Of The Double-Bass. BOTTESINI. Capriccio Di Bravura |
|
4:42 |
... |
| 41. |
|
Solos. MAHLER. Symphony No. 1 Titan, III. Feierlich Und Gemessen, Ohne Zu Schleppen - Symphony No. 3, I. Kraftig |
|
1:34 |
... |
| 42. |
|
Muted. PROKOFIEV. Lieutenant Kije Suite. II. Kije's Wedding - Tremolo. Romeo And Juliet. Act IIi' |
|
2:26 |
... |
| 43. |
|
Frightening The Double-Bass Players. BEETHOVEN. Symphony No. 5 - III. Allegro |
|
1:21 |
... |
