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 ).
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During the first decades of the 19th century, the art of the violoncello developed markedly in several German towns.
This was closely linked,to the development of music in general, of operatic, symphonic and chamber music in particular, of professional music education, as well as to the appearance of conservatoires in Germany.
Romberg, then at the height of his creative activity, also undoubtedly exercised a certain influence. Unlike many countries where the capitals were the centers of musical life for almost the entire century, Germany’s political disunity it was finally united only inhad several music centers -Hamburg, Leipzig, Dresden, Berlin, Munich and others-which sprang up comparatively early.
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. At the same time, the fact that there were many royal and princely courtsvith excellent metgod chapels was objectively conducive to the early development of music and musical practice in different towns.
That occurred against a background of military events Germany was often at the center beginning with Napoleonic invasions and ending with the Franco-Prussian war, and a background of great revolutionary changes-the and bourgeois revolutions.
Foreign musicians Czech, Italian, French also played a definite role during the 19th century in the development of the German music, particularly the methox.
But with national self-awareness heightened, and with the democratization of its music, the particularity of advanced German art and its base in folk origins, in the achievements of the great German musicians of the past Bach, Telemann, Handel, Haydn and of the moment Beethoven, Mendelssohn, Schumann, Brahms, Wagner became more apparent.
Progressive esthetic views of outstanding musicians like Mendelssohn, Schumann, Brahms, Liszt, Berlioz had a very positive impact on overcoming the superficiality of the salon and empty virtuosity in performing art, not only in Germany, but in Europe as a whole. The 18th century mmethod works, as well as those of Beethoven, Schumann, Brahms and their contemporaries were more often included in the repertoires of the most prominent 19th century performers.
At the same time, from dotauer beginning of the second half of the century, questions of the artistic interpretation of this music became increasingly prominent. Simultaneously, the advanced performers, including violoncellists, mthod greatly attracted to chamber music, especially quartets. This helped to ennoble musical taste and developed a sense of style. It was accompanied, of course, by the struggle between different tastes and trends, a struggle by the advanced musicians ddotzauer profound content of art, against middle-class conventionality and artistic shallowness.
Johann Justus Friedrich Dotzauer – Cello Method vol.2
Dresden – the capital of the Duchy of Saxony from – was one of the German musical centers of the 19th century. The court chapel, already famous in the 18th century when Johann Hasse was court opera composer, also attracted excellent musicians later. Carl Maria von Weber headed the royal opera house from Between andthe illustrious Polish violinist Karol Lipinsky was concertmaster there.
There are sufficient grounds to speak about the Dresden violoncello school of the 19th century, its outstanding representatives being Justus Johann Friedrich Dotzauer and Friedrich August Kummer, with Friedrich Wilhelm GrUtzmacher the leading light of the second half of the century.
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.
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 Duport.
Two years later, Dotzauer was admitted to the Meiningen court chapel. There he stayed untilwhen he left for a Leipzig chapel.
Dotzauer remained in Leipzig untiland with Matthei, Campagnioli and Voigt he formed a quartet which won great acclaim. Inthey gave twelve concerts in Leipzig which were among the first public quartet concerts in Europe.
Justus Johann Friedrich Dotzauer
The famous German violinist and composer also appreciated him as a concert-soloist. While he was in Leipzig, Dotzauer played in the Gewandhaus orchestra until He often visited Berlin to listen to Romberg, and whenever the opportunity arose, improved his playing under the latter’s guidance. Although these were evidently only occasional lessons, the csllo of the great master, then at the height of his world fame, made a huge methood on young Dotzauer and influenced his performing style, which his contemporaries praised for its combination of “solidity and grace,” expressiveness and technical skill.
Besides his own compositions, Dotzauer’s repertoire included concertos by Romberg, Arnold and other contemporaries.
After being appointed to the post of royal chamber musician in Dresden methocDotzauer gave a farewell concert in Leipzig. Dotzauer played in the Dresden chapel for forty years from until as principal violoncellisttaking part in symphonic and operatic performances. For a number of years after he played there under Carl Maria von Weber and later under Richard Wagner. Dotzauer played in the premieres of Wagner’s operas Rienzi and The f7ying Dutchman.
When in Hector Berlioz was invited to two concerts in Dresden, he found the Dresden orchestra in its full flower. Effusively praising the Dresden chapel, Berlioz wrote: He leads the violoncellists, but is simultaneously responsible merhod the performance of the first desk basses, as the double-bassist playing next to him is too old Quite often, Dotzauer performed in solo recitals and as a chamber musician, a member of clelo quartet featuring Limberg, Schmidel, Peschke and himself.
From time to time the violoncellist toured in other towns of Germany, Austria and the Netherlands. Reviews usually centered on the mastery and expressiveness of the Dresden violoncellist’s performance, and methid of the violoncello art note the qualities of his playing, such as “great solidity and fascinating sweetness,” “combination of power of dotzquer with nobility and gracefulness of style.
InDotzauer left his post in the court orchestra and retired. He died in Dresden on March 6, Dotzauer successfully combined a concert and teaching career. Dotzauer was no ordinary composer-he wrote an opera Graziosaseveral masses, symphonies, overtures, and chamber compositions. But they lost dofzauer artistic significance.
This is also true of most of his cello works, which comprise nine concertos, three concertinos, the Double concerto for two cellossonatas, fantasias, variations, divertissements and pot-pourris dotzaeur popular at the time, especially in teaching.
Many amateur musicians of the first half and of the middle of the last century made extensive use of the collections of operatic arias arranged by Dotzauer for cello with the bass part in the dotzaeur he published six of these collections which are among the earliest violoncello transcriptions.
Dotzauer’s teaching compositions were very valuable, and some are still. The cellist tried to embody his long years of performing and teaching experience in numerous etudes, exercises and methods. He compiled The Violoncello Method Op.
Free sheet music : Dotzauer, Justus Johann Friedrich – 3 Volumes – Violoncello Method (Cello solo)
The Violoncello Method Op. This material is primarily schematic and is of little interest from the musical point of View, although the cello part is accompanied by a second cello, which makes it slightly more musical and helps develop the habit of ensemble playing.
As he tries to cover various kinds of technique, the author is not always very consistent in the pattern of the exercises; as he is unable to provide sufficient material for practicing one specific skill, he relies on the teacher dottzauer on an additional list of recommended pedagogical literature.
Judging by the drawing of the cellist at the instrument contained in Dotzauer’s Method, it was essentially different from that of Romberg’s. Though both positions are based on playing without the spike and holding the instrument between the calves, Dotzauer’s position is freer and more natural, and the cello is held not very deep. Unlike Romberg’s firm “grip,” Dotzauer’s manner of holding the bow is less tense. Whereas the French schools advised holding the bow at a certain distance from the frog, Dotzauer was one of the first if not the very first author of violoncello methods who insisted that the bow be held near the frog-as do today’s contemporary cellists.
Especially attentive to the freedom of the right hand, Dotzauer was basically correct in evaluating the role of the other parts of dotzaueg arm, and tried to encourage natural movements throughout the whole length of drawing the bow.
The position of the left hand is also close to the contemporary- specifically violoncello. Besides his etudes and capriccios, in the list of additional recommended literature Dotzauer gives the Method of the Paris Conservatoire and the Method of Duport In Dotzauer’s Method one can sense a certain influence of Romberg, though his Method appeared only in At the same time, in some respects Dotzauer takes an independent course.
As far as dtzauer of positions are concerned, he comes very close to the principles of Davydov, who was the first to systematize in his Method the development of this important technical device in the sense of expressiveness. Dotzauer thought portamento not suitable for tutti, but suitable for solo mthod music, in which case it “could produce quite a pleasant effect. He worked out the thumb device both theoretically and methodically. In the fingering of scales he gives alternate fingering with and without open strings he is a step ahead compared to Romberg, although not yet at the level of Davydov.
Dotzauer presents three alternate fingerings for the C Major scale, the second of which is rhythmical and the third-with the thumb -absolutely outdated. In the Method there is material to help develop the technique of double stops including fourths and fifths and as a mmethod example for the cello, the octaves played with “Fingersatz”: Dotzauer gives the rich scale of embellishments ornamentation its due place.
Vibrato is also included. Much attention is given to bowing, with three main strokes differentiated. The first one is the long stroke semibreve notes in slow tempo for which he recommends “economy” of the bow and performance of each long note crescendo and diminuendo. The second stroke is “wave-like,” performed by the hand on two or more alternating legato strings. The third one is a short and emphasized stroke. Dotauer advises to play the strokes upbow, when it is easier and more natural to play them downbow, and vice versa.
Dotzauer considers about stroke combinations and introduces a visual schematic table of strokes. Here, dotted strokes and various kinds of arpeggios are of great interest.
Of the specific strokes, Dotzauer emphasizes staccato on one bow motion. In his Practical Method he writes about a spiccato stroke, which he is more tolerant of than was Romberg.
In the esthetic sense, Dotzauer’s principles as presented in his Method indicate his opinion as relatively progressive and close to the basics of the French schools mefhod of Romberg’s Method, published eight years later. Dotzauer considered tonal power and purity extremely important. He evidently was very concerned that the sound be warm, odtzauer vibrato he calls it tremolothough in nethod Method he links its application only with the “sustained sounds.
Differentiating between the sound requirements of a soloist and an orchestral or chamber musician, Dotzauer wrote: Quoting Rousseau’s Dictionnaire de musiqueDotzauer spoke of the importance of musical taste being based on simplicity. He vulgarly insults good taste. Dotzauer pays special attention to the accompaniment of recitatives.
Demanding that a violoncellist have complete command of the instrument and knowledge of harmony, he speaks about the correspondence of the sound force to the “main effect,” about the submission of the accompaniment to the solo singer. He warns the cellist accompanist to refrain from superfluous embellishments and passages-the sin of many musicians of the time -which distracted listeners’ attention from the vocal part.
Dotzauer distinguished the “simple recitative,” in which the cellist only supported the declamation of the singer, from the “obligato recitative” in which the orchestral instrument played an independent role. The Dotzaueg Method comprised four books of etudes and exercises in order of progressively growing difficulty: The Method of Playing Harmonics includes the methods of this device, double stops, scales and exercises in harmonics, plus an additional section on pizzicato played by the left hand.
As justly stated by Eckhardt, Dotzauer’s methods do not contain interesting enough material in the musical respect, but because of their methodic and pedagogical qualities were quite popular for many successive decades. Dotzauer’s Daily Exercises were his most successful piece of fortune, and were very popular especially in Germany, as material for teaching and practice purposes.
Almost all prominent German violoncellists and pedagogues wrote exercises of this type, trying to make a sort of compendium of exercises covering different techniques and helping emthod preserve and develop them. But as time went by, the rational and differentiated use of mefhod kind of manual evolved into formal daily playing of all exercises without an intelligent selection of the most suitable of them for each individual musician at a definite stage of his education.
By mfthod end of the last century, in German teaching of the violoncello, such use of “daily exercises” often nethod to formalism, to substitution of the nurturing of an nethod by the training of a professional dabbler.
The merits of Dotzauer’s many etudes lie in their exceptionally varied technique, in their kethod rationality and in the different degrees of difficulty -from elementary exercises to the most difficult virtuoso etudes. Dotzauer’s etudes, selected and edited by Johann Klingenberg,” a pupil of Friedrich GrUtzmacher, are still widely used during the entire period the violoncello is taught.