Twenty-four Etudes for Violoncello Solo-Technology Of Violoncello Playing Op.38 - Twenty-four Etudes for Violoncello Solo. Edited by Martin Rummel.The German cellist Friedrich Grützmacher (1832-1903) an influential teacher and composer wrote two important works containing studies: ? Tägliche Übungen ? (Daily Exercises) Op.67 and ?Twenty-four Etudes? Op.38.Grützmacher was greatly admired during the 19th century for his brilliant playing technique and this forms the central part of his studies Op.38. To this day the twenty-four studies form an integral part of cellist's study repertoire and the development of a well-grounded cello technique.As with MartinRummel's editions of Popper's studies and the Duport Etudes the new Grützmacher publication contains a booklet with valuable tips and references to other works in the Cello repertoire requiring similiar solutions to technical problems.- Fold-out pages for ease of playing.- Large format.- Additional modern fingering and bowing.- Valuable comments in English and German on the technical goals of the etudes.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Now available as Book and CD Kit. Titles: Sonata in G Major (Allegro, Grave, Vivace) (Sammartini) * Allegro Appassionato, Op. 43 (Saint-Saëns) * Elegié (Fauré) * Scherzo (van Goens). / Violoncelle

Written on the occasion of Paul Sacher’s birthday this 3 Strophes Sur Le Nom De Sacher features three Cello pieces composed by Henri Dutilleux and reviewed by Mstislav Rostropovitch. It was first performed in an audition by the latter in 1982. Henri Dutilleux composed the first part of this volume for the celebration and added the final two pieces later in 1976. The whole set requires the lowest strings of the Cello to be turned lower: G string to F sharp and C string to B flat. A quotation from Bartok’s piece 'Music for Strings Percussion and Celesta' can be noticed atthe end of the first verse. For upper-advanced / experienced players. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers among many others. His work also includes a Piano sonata two symphonies the Cello concerto 'Tout un monde lointain' (A whole distant world) the Violin concerto 'L'arbre des songes' (The tree of dreams) and the string quartet 'Ainsi la nuit' (Thus the night).

part II of the cycle Profiles of Light. Par PINTSCHER MATTHIAS. 'Now II” is the second part of a triptych of chamber pieces entitled 'Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013). All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities. This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'. / Niveau : 5 / Répertoire / Violoncelle

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

For a 70th birthday tribute to the distinguished Swiss conductor Paul Sacher Mstislav Rostropovich hit on the idea of inviting twelve of Sacher's friends to collaborate in writing a set a variations based on his name. This piece is Benjamin Britten's contibution to the work.

Par GRUTZMACHER FRIEDRICH. / Etudes et exercices / Date parution : 1905-06-06/ Etude / Violoncelle

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

The Suzuki Method of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability and that people are the product of their environment. According to Dr. Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Now available as a Book & CD kit.Titles: Berceuse Wiegenlied or Lullaby Op. 98 No. 2 (F. Schubert) * Tonalization: The Moon over the Ruined Castle (Taki) * Gavotte (Lully) * Minuet from Sei Quintetti for Archi No. 11 Op. 11 No. 5 in EMajor (Boccherini) * Tonalization: The Moon over the Ruined Castle (Taki) * Scherzo (Webster) * Minuet in G Wo0 10 No. 7 for Piano (Beethoven) * Gavotte in C Minor Gavotte en Rondeau from Suite in G Minor for Klavier BWV 822 (Bach) * Minuet No. 3 BWV Anh. II 114/Anh. III 183/Anh. II 115 (Bach) * Humoresque Op. 101 No. 7 for Piano (Dvorák) * La Cinquantaine (Gabriel-Marie) * Allegro Moderato from Sonata I in G BWV 1027 for Viola da Gamba (Bach).

Opus 101-German cellist Sebastian Lée (1805-1887) was prominent as a performer and pedagogue in both Germany and France. His methods have been published many times in various countries and continue to be used to this day The First Step of the Young Cellist being no exception. Lée enjoyed a successful career as a soloist with the Paris Opéra and as a Cello teacher at the Paris Conservatoire. His teaching styles displayed a variety of German and French influences. The First Step of the Young Cellist contains fifty short easy and progressive pieces with the accompaniment of a second Cello (theteacher). Beginning with semibreve studies Lée's study book progresses to triplet exercises. The First Step of the Young Cellist is essential to the progression of all aspiring beginners of the instrument.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Now available as a Book

Cello Globetrotters brings together toe-tapping original tunes in styles from around the world - from Arabic to Chinese and from klezmer to the Argentinian tango - for the budding cellist. This unique book presents a kaleidoscope of musical traditions with supporting background information and backing tracks that capture each sound-world.To help with technique and interpretation every piece includes tailored warm-ups and stylistic tips from the author. With options for cello or piano accompaniment and an inspirational CD  Cello Globetrotters is the ultimate resource for aspiring cellists looking to go travellin'... 12 fun pieces in styles from around the world Suitable for young cellists everywhere (3+ years' playing experience/grades 2-4) Range of styles including bossa nova klezmer blues Cajun Greek and West African Fascinating background information and tailored warm-ups for every piece Includes cello accompaniments for a teacher or more experienced pupil and piano accompaniments with guitar chords CD with performances and backings for every piece recorded by renowned world-music performers Ros StephenRos Stephen is a violinist and composer based in Bristol. She is a founder member of the UK's leading tango ensemble  Tango Siempre with whom she has toured internationally and recorded several albums and she leads the Sigamos String Quartet. Ros is also a committed string teacher and enjoys working with students of all ages and experience. Her first book in the Globetrotters series  Violin Globetrotters was published in 2010 to popular and critical acclaim.