Hans Abrahamsen HYMNE for cello solo (1990) Edited by Morten Zeuthen or for viola solo Version 1994 Edited by Claus Myrup Programnote Hans Abrahamsen HYMN The work is written to Louise (Lerche) for the 25th anniversary of the Lerchenborg Music Days. The work is a variation for cello solo on a theme from Poul Rovsing Olsen's LUNA (from THE PLANETS). Hans Abrahamsen 1990

This is the Solo Part for Cello Concerto by Thomas Agerfeldt Olesen (2015). Written to Nicolas Altstaedt on commission from Ã…rhus Symfoniorkester and Die Duisburger Philharmoniker with support from The Danish Arts Foundation First perfomance in Ã…rhus Sept 24 2015.

for Solo Violoncello-For Solo Cello. Presented in five movements Bolcom's Suite No.1 in C Minor for solo violoncello is adapted from the score for the Arthur Miller play Broken Glass used in part in the Long Wharf (New Haven CT) and Booth (New York City) Theatres in the Spring of 1994. Duration ca: 17 minutes.

A Song without Words for Violoncello Solo-Manfred Trojahn on the origin and title of his impressive virtuoso solo work:'Admittedly I do not know if he had seagulls but since Mendelssohn was born in Hamburg he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when one or two years ago in the Villa Massimo I was not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for thebassoon solo is in turn the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions finally becoming a cabaletta. Now cabalettas are not very representative of Mendelssohn but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this especially since later justice is done to him in the rapid passages and of course in the tonal cadenza at the very end which is more indicative of his time than of mine ... isn't it?'