Music through the Ages-Twenty-two pieces for Cello with Piano accompaniment. Time Pieces For Cello contains a selection of terrific works that span almost three and a half centuries.

The 'Team' series is suitable for use with both individuals or as a group tutor encouraging students to try ensemble playing from the early stages. All of the books in the series are fully integrated allowing students using 'Team Strings' to play in ensembles with students using 'Team Woodwind', 'Team Percussion', 'Team Recorder' and 'Team Brass'. Team Strings 2 follows directly on from the original 'Team Strings' series and similarly is a flexible and adaptable course designed for beginner cello players. The tutor can be tailored to suit the specific needs of each student. Each piece is carefully graded to ensure a logical progression at a sensible pace and students are introduced to a wide variety of musical styles throughout the book. 'Team Strings 2' has been specially written to support almost any combination of string instruments the teacher may encounter. This second series is further enhanced by titles from the world of jazz and blues and offers opportunities to develop playing, compositional and improvisational techniques. Imaginative Piano Accompaniments have been provided as well as helpful notes and clear ensemble scores to aid the teacher. 'Team Strings 2' also includes all of the scales for the relevant Grades set by the major examination boards.

for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle

Suites 1-3-Bach’s six suites for violoncello were composed in a relatively short period (1717-23) along with other great string works. The development of musical and technical demands increases almost exponentially throughout.Thisfirst volume with accompanying CD contains the first three suites BWV 1007-1009 as edited by Tim Hugh.