with an accompaniment of a second Violoncello-The new edition of these standard Cello etudes uses the first edition of the etudes as its point of origin; meaning this new edition is free from many elements added by various editors over the last 200 years.First of all Rummel has modernized the fingerings and bowings to reflect Cello playing today. He has also restored the order of the etudes as Duport originally had them and furthermore the ad libitum 2nd Cello has been brought back to life; the new edition offers the 2nd Cello in a separate score included in the edition.As with the already popular Popper Etudes (BA 6978 and BA 6979) the Duport edition also includes a brochure with comments onthe etudes and with references to their usage in the standard Cello literature.Fold out pages where you need them.Ad libitum Cello part included.With fingerings and bowings for today's cellists.German/English brochure with playing tips and references to where the techniques can be found in the standard Cello literature.New large format 24.1 x 31 cm.

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

Strictly Strings Pop-Style Solos provide a wonderful selection of very appealing material for the young instrumentalist. Although correlated to specific pages in Strictly Strings Book 1 these solos can be performed by any first-year student. Titles: 'TV' (Theme and Variations) * The Oasis * Along the Way * Candle Dance * Seb and Allie * Prime Time * Dawn of a New Day * Travelin' Music * The Encounter * Sweet Gretchen * The Quest * Brazil Nut * Mean Old George * The River * Danny Boy.

Par BACH. Source of the cello suites composed c. 1720 in Cöthen is the manuscript of Anna Magdalena Bach which, according to certain scholars, is supposed to be in Bach's own hand. The editorial additions to the present volume by Ede Banda, professor at the Academy of Music of Budapest, founding member of the Tátrai String Quartet are based on the editor's experiences as performing artist and teacher for nearly fifty years and on the development of the cello technique which took place in the field of fingering and ligatures in the meantime. The trilingual preface of the practical edition provides the performer with innumerable useful and concrete advice concerning bowing sings, fingering, dynamics, chords, trills, tempo, character and phrasing./ Répertoire / Violoncelle

Par BACH JOHANN SEBASTIAN. With his cello technique Pablo Casals set standards new at the time, and with his interpretation and warm, singing tone he helped even little, improbable compositions achieve great effectiveness. By means of his interpretative art he rescued Bach's Cello Suites from oblivion, and he occupied himself with them throughout his life, fascinating his public with his renditions of these suites over and over in new ways./ Répertoire / Violoncelle

Kaija Saariaho’s 1980 work for Cello and Piano was commissioned by the Finnish Broadcasting Cooperation. It attempts to create the sudden and dramatic changes of the dream world; with bursts of colour and a web of meaning; seeming to spiral out of control before everything is grounded. This is another fantastic composition by the hugely talented Finnish composer.

The most important source for Bach’s Cello Suites is a copy made by his wife Anna Magdalena because the autograph is no longer extant. As further copies show the actual musical text is scarcely problematic. However the slurs which are particularly important for string instruments are very inexact and compel the editor to make difficult decisions.Henle's practical edition HN666 is in two parts. It not only offers the Urtext edition withpreface and critical commentary but also a part for playing. The new study edition contains the Urtext part but in addition offers a reproduction of Anna Magdalena’s copy. This means that both cellists and music lovers alikeare able to form their own opinion about the much discussed problems.