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.

In addition to Bryars' many vocal laude there are a growing number of connected instrumental works. Tre Laude Dolce for solo cello is the second of these to be released as a Schott Edition publication and follows Bryars' Lauda (con sordino) originally for cello and piano. Based on the same principals as the composer's vocal laude and as always, attempting to retain the purity and austerity of the original form, Tre Laude Dolce is characterised by long phrases and open structures. a beautiful work perfect for any good cellist.

This solo sonata was written between 1948 and 1953. The two opposing movements Dialogo and Capriccio follow the generally accepted slow-fast principle, with the second movement being inspired, according to Ligeti's own statement, by Paganini's Capricci.

Gramata cellam besteht aus zwei sehr kontrastierenden Teilen. Der erste, sehr heftige Teil "Fortissimo" (Allegro, freie Sonatenform) bearbeitet raues, aggressives Musikmaterial in ununterbrochener emotionaler Hochspannung, die schliesslich einen tragischen, verzweifelten Hohepunkt erreicht. Der zweite Teil "Pianissimo" (zweiteilig) beginnt sehr frei, wie improvisierend, und geht uber in ein "Andante cantabile" mit einer weit gespannten Melodie uber einem Orgelpunkt. Mit einer Reprise der bisherigen musikalischen Ereignisse schliesst der Satz sehr leise mit einer Erinnerung an seinen Anfang.