An absolute must for modern cello lessons: Hot Cello is a varied mixture of pieces from pop, rock, blues and jazz music. Volume 1 is very easy and limited to the first position. Students are gradually introduced to technical and musical problems. The second part is intended for the teacher or advanced students. The pieces in Volume 2 are musically and technically more demanding and assume an ability to play in 1st-4th position

An absolute must for modern cello lessons: Hot Cello is a varied mixture of pieces from pop, rock, blues and jazz music. Volume 1 is very easy and limited to the first position. Students are gradually introduced to technical and musical problems. The second part is intended for the teacher or advanced students. The pieces in Volume 2 are musically and technically more demanding and assume an ability to play in 1st-4th position.

Studies play an important role in musical instrument training. Gerhard Mantel's new edition 'Etuden uben' [Practising studies] (3 volumes) complements his previous successful book 'Cello uben' (ED 8714). The basics of cello technique are worked on in selected studies, with the focus being not only on the ability to learn a technically and musically oriented text within a reasonable time but also on the solution of certain problems typical of the cello. Vol. 1 covers aspects ranging from the orientation on the fingerboard via changes of position, vibrato and trills to changes of strings and double stops. Vol. 2 deals with fingerings, whole-bow stroke, dynamics, articulation and types of bowing, among others. The final volume contains studies on legato, arpeggios, chords, martellato, staccato, spiccato and changes of rhythm. The accompanying volume of commentaries (for all three volumes) describes in detail the methodological practising processes.

ISBN 9781619118775.

Wedding Music for Violin and Viola includes 14 favorites for weddings, recitals, parties and receptions. New adaptations of these arrangements allow each musician to share melodic, harmonic and accompanying elements. These duets are well suited for intermediate to advanced musicians and include bowings, fingerings, articulations and dynamics. Includes two separate 28-page pull-out parts for violin and viola.

Dotzauer etudes have been part of the standard repertoire in cello lessons for generations. Johann Friedrich Dotzauer (1783-1860) was among the major cellists and cello pedagogues of the 19th century and knew what makes a good etude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. Our new edition of the 18 progressive etudes Op. 120 follows the original sources and contains the original text. While the Dotzauer etudes are usually only available in selected editions today, opus 120 is edited here in its entirety, as conceived by the composer himself. Notes on studying and on the performance practice (dynamics, vibrato, change of position, ornamentation, bowings) make the new edition an ideal reference edition for music lessons.

Dotzauer etudes have been part of the standard cello repertoire for generations. Friedrich Dotzauer (1783-1860) was one of the most important cellists and cello padagogues in the 19th century and knew what constitutes a good etude: it should deal with a specific technical task in a targeted manner and at the same time be not monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden court orchestra succeeded in doing this in an exemplary manner. Our new edition of the 12 Etudes Op. 107 follows the original sources and offers the original text. While the Dotzauer Etudes are mostly only available in selected editions today, Opus 107 is here completely edited, just as the composer himself conceived it. Notes on rehearsing and performing (dynamics, vibrato, position changes, decorations,

Fit in 15 Minutes is aimed at musicians who do not play much, who never have enough time and wish to maintain and improve their cello technique in a concentrated and efficient quarter-hour, as well as at musicians who play much as beginning of a lengthy practice or rehearsal phase. The exercises contained in this volume range from very easy exercises - some even on open strings only - to short extreme exercises which can be combined to form an individual programme at various levels of difficulty.

Ramifications represents a further development of my method of composition with complex musical net-formations. it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing. in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result. apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.
- Gyorgy Ligeti.

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 fur 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.

My father made the first sketches for this work, a commission marking the retirement of his colleague (in the Guardini Foundation) Hermann Schuster, in early summer, 2002. The event took place on the 9th September, 2002 in Berlin and there the first performance was given by Julius Berger. Those letters from his colleague's name corresponding to notes of the scale provided the musical material for the composition.
Only a few days before his death (9th August, 2002), he gave me the last instructions regarding the sketches, to which I gave the name Farewell.
A work which in its brevity touches deeply with animated, simple and saving strength. (Stefan D. Hummel).

The combination of musical melancholy and instrumental virtuosity captivates both players and audience alike. 'Flamenco' comes from the Suite espagnole No. 1 by the rather unknown Spanish composer Rogelio Huguet y Tagell. Originally intended as a piano trio, the suite was eventually composed for violoncello solo. This fact certainly explains the numerous double stops and chord structures running through the entire piece, thus giving it a sonorous sound. Entire pizzicato passages are reminiscent of flamenco guitar sounds and lyrically lamenting passages in the middle section emphasize the typical flamenco character.

Sebastian Lee was born in Hamburg in 1805 and trained by the Romberg pupil Johann Nikolaus Prell. A soloist and teacher, he published his Cello Method Op. 30 in 1845 which is still available at Schott (ED 965).
His barely known anthology 'First Steps in Violoncello Playing' opus 101 contains 50 easy duets in the first position. The first cello part is easy to play while the second part is somewhat more demanding, yet still playable by pupils. A beautiful collection for beginner's lessons, with very melodious pieces covering all technical and musical aspects of cello playing.

English.

This collection features a wide selection of original works from the Renaissance, Baroque and Modern eras arranged for two cellos.

Focusing on easy repertoire Duets for Fun will provide hours of enjoyment for aspiring musicians wishing to discover new material as well as develop their playing.

This collection is ideal for use as teaching material, or for playing at home or in a concert with a friend.
This title was previously published as 'Duo-Schatzkiste' (A Treasure Chest of Duos).