Favourtie French Melodies-In creating these dozen arrangements I am unashamedly cherry-picking from a long and rich seam of French music. I feel confident that younger players and those relatively new to the cello will enjoy my selection. Forgive my tongue-in-cheek title for the book French Baguettelles (I'm half French so I don't feel too guilty!) for the music herein has more than a hint of garlic about it. Although there are certainly serious overtones to one or two pieces there is a healthy dollop of silliness to lighten the mood. Apart from Sur la Pont d'Avignon which was reportedly written in the 15th century Frère Jacques which was a popular 18th century song and Tambourin which wasin all probability also written in the 18th century (Gossec did however live well into the 19th century) all of the pieces come from composers who lived in the Romantic period. Ravel and Debussy were of course known for their impressionistic colours though for the most part it is the accompaniments which reveal this characteristic most fully. I have endeavoured to keep the piano parts playable by mere mortals conscious of the fact that cello teachers may not possess a virtuosic piano facility but may nevertheless wish to turn their hand to accompanying pupils for concerts festivals exams etc. Many of the pieces were originally written for the piano either in its solo capacity (Ravel's Pavane Pour une Infante Défunte Chabrier's Idylle Satie's Gymnopedie 1 Debussy's La Fille aux Cheveux de Lin) or in duet form (Fauré's Berceuse from 'Dolly Suite'). Three orchestral pieces Bizet's L'Arlésienne Offenbach's Can-Can and Saint-Saëns's Danse Macabre lend a welcome dramatic overtone to the book while Franck's exquisite Panis Angelicus originally conceived as a choral piece rounds off the selection admirably. In the main it is the cello's capacity for lyricism that has steered my choice of music so really open up your sound and enjoy yourself with these ageless melodies.I wish you bonne chance!Baguette: a thin loaf of

As a prestigious composer of the late 18th century Luigi Boccherini's (1743-1805) Rondo transcribed for the Cello by Paul Bazelaire contains many features which continue to make the composer's music popular and loved to this day. Known for his courtly gallant style Rondo originally composed for Violin and Harpsichord clearly exemplifies these qualities through the 2/4 time signature flourishing Cello lines and evocative chordal and rhythmic Piano accompaniment. Moreover syncopation rhythms and ornamentation heard throughout the piece create further excitement. All of these musical elementscombine to create a highly enjoyable piece for the Cello repertoire. In addition the clear print of separate Cello and Piano parts in this edition of Rondo add to this irresistable purchase for budding cellists.

A practice guide for the modern cellist-A Grand Tour of Cello Technique is a thought-provoking practice guide enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing but also promotes an understanding of musical art through nine stimulating chapters.With a particular emphasis on music of the 20th and 21st centuries and its connections with earlier music Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique informed by music ranging from Bach all the way through to Berio.Fred Sherry has introduced audiences on fivecontinents and all fifty United States to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen Lukas Foss Oliver Knussen Elliott Carter Milton Babbitt Toru Takemitsu Chick Corea Pierre Boulez Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and ?sideman? on hundreds of commercial and esoteric recordings; his discography ranges from Schütz Bach Mozart Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School the Mannes College of Music and the Manhattan School of Music.

The first part of the comprehensive and renowned Method For Cello by nineteenth century composer educator and celebrated cellist Alfredo Piatti. An extremely popular tutor Piatti takes the student through the early stages of playing technique ? such as the open strings first position and bowings ? up to exercises in the fifth sixth and seventh positions (in the Tenor Clef). Arpeggios and scales are also included throughout to train the hands fingers and wrists in order for the right technique to become ingrained. Whenever a new concept or technique is introduced Piatti provides a detailed explanation of it sothat no prior Cello experience is required. However a basic knowledge of music theory is assumed the student is expected to be familiar with the notes of the bass clef note lengths key and time signatures etc.

Nos 1-13-The modern method of 'cello playing dates only from about the last third of the eighteenth century. While the great Italian masters had developed the art of the violin before the end of the seventeenth it remained for the Frenchman Jean-Louis Duport to bring order and system into the method of the 'cello. These etudes are written to improve finger agility and bowing technique for the intermediate to advanced cellist.This edition of Duport’s Etudes has been edited and fingered by Leo Schulz.

Nos 14-21-The modern method of 'cello playing dates only from about the last third of the eighteenth century. While the great Italian masters had developed the art of the violin before the end of the seventeenth it remained for the Frenchman Jean-Louis Duport to bring order and system into the method of the 'cello. As a continuation of Book 1 these etudes are written to improve finger agility and bowing technique for the intermediate to advanced cellist.This edition of Duport’s Etudes has been edited and fingered by Leo Schulz.

Robert Schumann’s Violoncello Concerto Op. 129 can be regarded as the first great concerto for this instrument’s repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset. Schumann wrote the score in 1850 during his Düsseldorf years but there was neither a concrete occasion nor a soloist for a world premiere. After its publication more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann’s Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on theoriginal print of the parts and the Piano reduction which had still been supervised by Schumann. In addition the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for Violoncello and Piano. His experiences have been incorporated into his arrangement of the solo part. With his comments Schiff also provides valuable tips on the interpretation of the work.

The second part of a comprehensive and renowned Cello method by nineteenth century composer educator and musican Alfredo Piatti. Book Two of this in-depth classic method contains exercises arpeggios and scales as well as the techniques for vibrato pizzicato varied bowing and syncopation.

Scored for solo Cello Dreaming is Kaija Saariaho's contribution to the set of thirty-two works by various composers written for the collection Mystery Variations in 2011.The piece is precededby a statement of the famous Chiacona by 17th century composer Giuseppe Colombi upon which it is based.

Duet for Two Cellos in Bb-Beethoven's sonata for violoncello is a staple of the chamber repertoire Telemann's duet sonata is a feast of 18th-century music at its finest: Includes accompaniments for both primo and secondo parts. Includes complete printed music score on high-quality ivory paper including both primo and secondo parts for the Telemann Duet and a compact disc containing a complete performance with soloist then performed again minus the soloist. An additional version minus first 'cello is provided so you can play either primo or secondo part in the Telemann Duet. Performed by Steven Thomas violoncello Accompaniment: Steve Isaacson piano

Volume 2. This meticulous collection of 56 études constitutes the second book of a three-volume set curated by Alwin Schroeder, a former cellist with the Boston Symphony Orchestra and accomplished instructor from the Royal Conservatory of Music in Leipzig, Germany. A compilation of 56 exercises presents a progressively challenging sequence of studies, created by Schroeder and effectively interwoven with several others by his esteemed 19th-century European colleagues Karl Schröder, Ferdinand Büchler, Friedrich Dotzauer, Auguste Franchomme, Friedrich Grützmacher, and Sebastian Lee. The result is a well-rounded selection of exercises carefully arranged to enhance your cello-playing proficiency.

This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added. / Violoncelle

Arrangeur: Martin Tourish. Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic? presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal?, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic? is available in six formats, each with complete recordings and backing tracks on CD: as solo versions for violin, violoncello, flute, clarinet or saxophone (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán./ Recueil / Violoncelle et Piano

Boccherini one of the greatest violoncellists of the 18th century left numerous concertos for his favourite instrument. In the very first of these works the personal style of the composer is unmistakable. Transparency and classical sense of form easily remembered melody in which the tendency of Boccherini towards brilliant form is at once recognizable as well as the masterly perfect compositional technique are some of the most important features of his art.The edition is part of the ABRSM syllabus (grade 8)