Chamber Music Solo Cello
SKU: CF.BF128
60 Studies (from Opp.
45, 54, 74). Composed
by Franz Wohlfahrt.
Edited by Richard Hughey.
Arranged by K Aiqouni.
Score and part(s). With
Standard notation. 56
pages. Carl Fischer Music
#BF128. Published by Carl
Fischer Music (CF.BF128).
ISBN 9781491153413.
UPC:
680160910915.
Wohlf
ahrt’s Foundation
Studies have long been
successful tools
forviolinists and
violists in mastering the
technical difficulties of
theirinstruments.
Originally conceived for
a complete comprehension
offirst position on the
violin and viola, Richard
Hughey presents thisnew
edition for cello
students. Transcribing
these etudes for the
cellopresents new
challenges for the
performer. Particular
passages, forexample,
require the student to
make use of the second
and eventhird positions.
The fingerings chosen for
these passages
reflectthese shifting
positions in a coherent
and logical way.
Trainedcomprehensively in
both cello and
conducting, Hughey shares
hiswealth of experience
and knowledge in
Wohlfahrt’s
FoundationStudies for the
Violoncello.
The
violin etudes and
exercises of Franz
Wohlfahrt havebeen and
continue to be used by
violin and recently
violateachers the world
over. Franz was the son
of HeinrichWohlfahrt
(1797,
Kößnitz–1883
, Leipzig), a noted
pianoteacher who also
published many studies
for piano thatwere very
successful with younger
students.
Heinrichdeveloped a keen
sense for the pedagogical
development ofchildren
and composed excellent
studies accordingly.
Withthe education of his
sons Robert (1826,
Weimar–deathdate
unknown) and Franz (1833,
Frauenpriesnitz–18
84,Leipzig), he passed
these pedagogical
abilities to the
nextgeneration.In the
preface to his Violin
Studies Opus 45,
FranzWohlfahrt wrote:The
study of the violin
presents certain
difficultiesfor beginners
which are frequently the
cause of a suddendecrease
in the pupil’s
zeal and ambition, even
before he hasmastered the
first fundamentals.The
blame for this is
commonly laid on the
teacher,who is called
incapable or negligent;
losing sight of thefact
that the pupil began his
studies without the
slightestnotion, not
merely of the
difficulties to be
encountered,but also of
the regular and diligent
effort indispensable
forovercoming them.It is
important, therefore, to
smooth these first
severitiesby showing
their usefulness and
making them agreeable;
tothis end my Violin
Method was published and
the presentexercises have
been written, which
latter may be
consideredas forming a
supplement to the
former.If practiced
carefully and
intelligently, they will
serve asa solid
foundation for the
technique of any player
ambitiousto become an
artist.These studies have
been successful tools for
violinistsand violists to
begin to master the
technical difficulties
oftheir instruments.
Clearly conceived for a
more
completecomprehension of
the use of the first
position on the violinand
similarly for the viola,
presenting these etudes
forthe cello presents a
new challenge. As ongoing
violinistsand violists
can use the fourth finger
to play the note ofthe
next higher open string,
this is not possible on
thecello. To perform
these exercises on the
cello,
particularlyreaching the
“E†on the
A-string, requires the
studentto make use of the
second and even third
positions. Thefingerings
chosen for these passages
reflect the necessityof
shifting to these
positions. This is of
great advantage,as a new
set of studies now can be
used by the studentto
practice shifting to and
from those positions and
thusincreases technical
proficiency in the second
and thirdpositions of the
cello.