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Crosmer, Jeremy - 40 Crosmer-Popper Duets - for Cello - Jeremy Crosmer Publication
Item# 3306 057
- SHAR Price: $25.00
- Sale Price: $22.50
Availability: IN STOCK
About This Item
For cellists at the college level, the core module for practicing technical proficiency comes from the 40 High School Etudes by David Popper, much like Niccol Paganini's 24 Caprices for violin. Over the course of the past century, these etudes have been relied upon more and more for mastery of the instrument, and today it is not uncommon for students to be expected to know all forty by the time they graduate from college. As a living testament to this fact, I finished learning the etudes during my first semester as a graduate student.
I composed forty etudes in the style of Popper, each one meant to be played simultaneously by a second cellist along with the Popper etudes. Entitled the Crosmer-Popper Duets, the second cello part is of the same difficulty as the original etudes and emphasizes similar technical aspects while covering more ground. By performing these etudes as duets with the original Popper etudes, students must not only focus on combining technique with musicality, but must also learn to adjust to the dynamic of a second player. The purpose of this second set of etudes is to widen students' perception of technique to include ideas such as phrasing, listening, blending sound, feeling pulse and matching stroke and articulation with another player. Each of these concepts must be given due attention while the player is simultaneously combating the difficulty of his or her own part. By having students learn these etudes and then perform them together, cello professors can encourage students toward technical proficiency while avoiding the pitfall of robotic performance. I would like to encourage cellists not only to learn these new etudes for their technical advantage, but also to perform them in order to gain the most from this book.
- Jeremy Crosmer
Early cellists must have looked upon David Popper's High School of Cello Playing with a combination of wonder and confusion. His creative strategies for navigating freely about the instrument were far ahead of their time. While teaching his students to explore, he was also displaying his own fascination with the trendy chromaticism of the day. The resulting etudes perplexed many, none more so than the students whose teacher pushed them down that wonderful road before they were fully ready. For present day cellists they are recognized universally as essential steps in a player's development, training students to think in new ways toward fluidity and ease of movement. Jeremy Crosmer has now given us a new way to appreciate these etudes as a performance vehicle, by providing 40 additional etudes, designed to be played alongside the original etudes. These new etudes intertwine with the old, sometimes highlighting similar concepts, sometimes exposing new ones, with the goal becoming a cohesive musical whole. The etudes can be performed by student and teacher, or simply by two cellists. It encourages the student to explore the musicality of the original creation in a slightly more contemporary way. Just as David Popper's writings have aided the cellists of the past century, Jeremy Crosmer's new edition is certain to be a tremendous and valued gift to the next generation of cellists.
- from the Preface by Anthony Elliott, Professor of Cello, University of Michigan
I composed forty etudes in the style of Popper, each one meant to be played simultaneously by a second cellist along with the Popper etudes. Entitled the Crosmer-Popper Duets, the second cello part is of the same difficulty as the original etudes and emphasizes similar technical aspects while covering more ground. By performing these etudes as duets with the original Popper etudes, students must not only focus on combining technique with musicality, but must also learn to adjust to the dynamic of a second player. The purpose of this second set of etudes is to widen students' perception of technique to include ideas such as phrasing, listening, blending sound, feeling pulse and matching stroke and articulation with another player. Each of these concepts must be given due attention while the player is simultaneously combating the difficulty of his or her own part. By having students learn these etudes and then perform them together, cello professors can encourage students toward technical proficiency while avoiding the pitfall of robotic performance. I would like to encourage cellists not only to learn these new etudes for their technical advantage, but also to perform them in order to gain the most from this book.
- Jeremy Crosmer
Early cellists must have looked upon David Popper's High School of Cello Playing with a combination of wonder and confusion. His creative strategies for navigating freely about the instrument were far ahead of their time. While teaching his students to explore, he was also displaying his own fascination with the trendy chromaticism of the day. The resulting etudes perplexed many, none more so than the students whose teacher pushed them down that wonderful road before they were fully ready. For present day cellists they are recognized universally as essential steps in a player's development, training students to think in new ways toward fluidity and ease of movement. Jeremy Crosmer has now given us a new way to appreciate these etudes as a performance vehicle, by providing 40 additional etudes, designed to be played alongside the original etudes. These new etudes intertwine with the old, sometimes highlighting similar concepts, sometimes exposing new ones, with the goal becoming a cohesive musical whole. The etudes can be performed by student and teacher, or simply by two cellists. It encourages the student to explore the musicality of the original creation in a slightly more contemporary way. Just as David Popper's writings have aided the cellists of the past century, Jeremy Crosmer's new edition is certain to be a tremendous and valued gift to the next generation of cellists.
- from the Preface by Anthony Elliott, Professor of Cello, University of Michigan
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If you are not satisfied with this item for any reason, you may return it for a full refund within 30 days of purchase. Unless the music received is defective or has been shipped in error, all returned music will be subject to a restocking fee of $2.00 per title.
If you have any questions about this product's warranty or to make a return, please contact our Customer Service Department at 800.793.4334 or email us at [email protected]
For cellists at the college level, the core module for practicing technical proficiency comes from the 40 High School Etudes by David Popper, much like Niccol Paganini's 24 Caprices for violin. Over the course of the past century, these etudes have been relied upon more and more for mastery of the instrument, and today it is not uncommon for students to be expected to know all forty by the time they graduate from college. As a living testament to this fact, I finished learning the etudes during my first semester as a graduate student.
I composed forty etudes in the style of Popper, each one meant to be played simultaneously by a second cellist along with the Popper etudes. Entitled the Crosmer-Popper Duets, the second cello part is of the same difficulty as the original etudes and emphasizes similar technical aspects while covering more ground. By performing these etudes as duets with the original Popper etudes, students must not only focus on combining technique with musicality, but must also learn to adjust to the dynamic of a second player. The purpose of this second set of etudes is to widen students' perception of technique to include ideas such as phrasing, listening, blending sound, feeling pulse and matching stroke and articulation with another player. Each of these concepts must be given due attention while the player is simultaneously combating the difficulty of his or her own part. By having students learn these etudes and then perform them together, cello professors can encourage students toward technical proficiency while avoiding the pitfall of robotic performance. I would like to encourage cellists not only to learn these new etudes for their technical advantage, but also to perform them in order to gain the most from this book.
- Jeremy Crosmer
Early cellists must have looked upon David Popper's High School of Cello Playing with a combination of wonder and confusion. His creative strategies for navigating freely about the instrument were far ahead of their time. While teaching his students to explore, he was also displaying his own fascination with the trendy chromaticism of the day. The resulting etudes perplexed many, none more so than the students whose teacher pushed them down that wonderful road before they were fully ready. For present day cellists they are recognized universally as essential steps in a player's development, training students to think in new ways toward fluidity and ease of movement. Jeremy Crosmer has now given us a new way to appreciate these etudes as a performance vehicle, by providing 40 additional etudes, designed to be played alongside the original etudes. These new etudes intertwine with the old, sometimes highlighting similar concepts, sometimes exposing new ones, with the goal becoming a cohesive musical whole. The etudes can be performed by student and teacher, or simply by two cellists. It encourages the student to explore the musicality of the original creation in a slightly more contemporary way. Just as David Popper's writings have aided the cellists of the past century, Jeremy Crosmer's new edition is certain to be a tremendous and valued gift to the next generation of cellists.
- from the Preface by Anthony Elliott, Professor of Cello, University of Michigan
I composed forty etudes in the style of Popper, each one meant to be played simultaneously by a second cellist along with the Popper etudes. Entitled the Crosmer-Popper Duets, the second cello part is of the same difficulty as the original etudes and emphasizes similar technical aspects while covering more ground. By performing these etudes as duets with the original Popper etudes, students must not only focus on combining technique with musicality, but must also learn to adjust to the dynamic of a second player. The purpose of this second set of etudes is to widen students' perception of technique to include ideas such as phrasing, listening, blending sound, feeling pulse and matching stroke and articulation with another player. Each of these concepts must be given due attention while the player is simultaneously combating the difficulty of his or her own part. By having students learn these etudes and then perform them together, cello professors can encourage students toward technical proficiency while avoiding the pitfall of robotic performance. I would like to encourage cellists not only to learn these new etudes for their technical advantage, but also to perform them in order to gain the most from this book.
- Jeremy Crosmer
Early cellists must have looked upon David Popper's High School of Cello Playing with a combination of wonder and confusion. His creative strategies for navigating freely about the instrument were far ahead of their time. While teaching his students to explore, he was also displaying his own fascination with the trendy chromaticism of the day. The resulting etudes perplexed many, none more so than the students whose teacher pushed them down that wonderful road before they were fully ready. For present day cellists they are recognized universally as essential steps in a player's development, training students to think in new ways toward fluidity and ease of movement. Jeremy Crosmer has now given us a new way to appreciate these etudes as a performance vehicle, by providing 40 additional etudes, designed to be played alongside the original etudes. These new etudes intertwine with the old, sometimes highlighting similar concepts, sometimes exposing new ones, with the goal becoming a cohesive musical whole. The etudes can be performed by student and teacher, or simply by two cellists. It encourages the student to explore the musicality of the original creation in a slightly more contemporary way. Just as David Popper's writings have aided the cellists of the past century, Jeremy Crosmer's new edition is certain to be a tremendous and valued gift to the next generation of cellists.
- from the Preface by Anthony Elliott, Professor of Cello, University of Michigan
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Sun, Nov 04, 2012
Question By:
POPULAR SHAR STAFF QUESTION
From ANN ARBOR, MI
Asked On: 08/03/2016
I liked hearing the audio clip above. Where can I find a recording of these?
SHAR Answer:
The CD for the Crosmer-Popper duets was released in January 2016. You can listen for free on Spotify or CDBaby. You may also digitally dowload these on Jeremy Crosmer's website.
Was this question helpful? Yes
17 people found this question helpful.
Question By:
POPULAR SHAR STAFF QUESTION
From ANN ARBOR, MI
Asked On: 08/03/2016
This book doesn't come with the actual 40 Popper etudes, does it? Would I need to buy those separately, and then purchase these duets, and then the two would go together--right?
SHAR Answer:
Yes, that's correct. This book is intended to played with the originals, so you would have to purchase them separately. However, you can purchase any edition and it should still work with the Crosmer-Poppers.
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18 people found this question helpful.
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