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.

Sonate fur Violine und Klavier-Lubos Fiser (1935-1999).The work of Lubos Fiser (1935-99) one of the most prominent Czech composers of the second half of the twentieth century is a synthesis of various musical trends.He wrote music of great concision that does not overly elaborate either the chosen subject or the compositional procedures and often works with sharp contrasts and striking instrumental colours.All these attributes are present in his Sonata For Violin And Piano titled Ruce (Hands) from 1961. This work was published for the first time in 1964 and is now being printed for the third time without change. The Violin part isedited by Prof. Ivan Straus.

For Solo Violin-Gallery (Room 1) is a fantastic set of miniatures beautifully composed by Sadie Harrison. Sadie was inspired by Peter Sheppard Skaerved’s exceptional artwork. The pieces have been written so they can be performed in any order just as a viewer could choose their various paths through a gallery. Gallery (Room 1) has been written conveying expressions of imagined narratives personal responses to the art's kaleidoscopic references their vivacity drama and quiet beauty. Gallery has been dedicated to Peter Sheppard Skaerved’s in admiration and with thanks for so many wonderfulyears of collaboration.

Edizione critica di Italo Vescovo-Paganini’s Sonata a violino solo (M.S. 6) composed during his Lucca period (1805-1809) forms part of a series of music written for solo violin that has failed to attract the attention of both performers and scholars interested in Genoa’sfamous violinist. This work – published several times in the nineteenth century (especially outside Italy with various titles: Duetto per un violino solo Duo Merveille Meraviglia di Paganini word etc.) – is divided into twomovements (Adagio – Allegro molto). Paganini used a two-staff system of musical notation to produce two distinct levels of sound as well as graphically: pizzicato on the lower line arco on the upper. It is a short pleasing piece containing all the typical characteristics one expects from Paganini: melody and instrumental virtuosity.This critical edition based on the autograph kept at the Biblioteca Casanatense in Rome as part of a collection of the most important editions from the 1800s and 1900s is intended to provide scholars and performers a philologically reliable textthat revives the original version.

The Highland Fiddle Music Of Aonghas Grant Volume 2-This book with companion video is the second and final volume in the Glengarry Collection of Aonghas Grant's Highland Fiddle repertoire.The book contains 188 additional slow airs marches strathspeys reels jigs and hornpipes. Accompanying stories history and photographs provide additional background to the tunes. This collection focuses on the core of Grant's music - Highland Fiddling and its connections to pipe tunes andGaelic songs. Some of these tunes have never been published before while others are only available in out-of-print books and pipe settings. The collection also includes a number of tunes composed by Grant and onescomposed in his honor. The tunes are fully chorded in a style representative of Grant's band experience.Transcriptions of his bowings grace notes and stories provide insight into his playing style. Accompanyingphotos richly illustrate Grant's music including images of musicians family and scenes from his various careers. Includes access to online video containing recordings of Grant's impromptu and passionateperformances featuring 81 selections.

The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle

Scrape for Cello Solo with Metal Plate Playback Track (CD) and Diffusion. Programme Note Scrape was written for Kammerensemble Neue Musik (KNM)’s HouseMusik event at Siemens factory (Dynamowerk) Berlin 20th June 2009 and first performed by Ringela Riemke with sound diffusion by André Bartetzki and distortion by the composer. Scrape was written under the influence of Deleuze & Guattari’s reflections on sound territory and classical music and also in relation to the huge industrial territory of the Siemens turbinefactory in Berlin. The piece brings together various pre-recorded and live metal scraping sounds with the instrumental timbres of a cello. Sounds from these disparate sources sometimes merge and are sometimes presented as clearly contrasting. The piece seeks possible relations between musician instrument metal-plate industrial sound and the resonating industrial building and seeks these relations anew each time it is transferred to a new cellist or performance space. Juliana Hodkinson