Yo-Yo Ma: Bach G-Major Prelude

Visit msnbc.com for Breaking News, World News, and News about the Economy

Bach: Suite No. 3 in C major, BWV 1009 - 3. Courante

Dragan Djordjevic plays Suite No. 3 in C major, BWV 1009.
Belgrade International Cello Fest
July 5, 2008.

Natalie Clein - Gala Concert in Support of Wahat al-Salam

22 Feb. 2009, 19.30
Wigmore Hall, London


Gala Concert with Mark Padmore (tenor), Tom Conti (narrator), Natalie Clein (cello), Wissam Boustany (flute) and Margaret Fingerhut (piano)

This unusual and exciting evening full of hope brings together a constellation of renowned talents in aid of the village, Wahat al-Salam ~ Neve Shalom (WAS-NS). Here Arabs and Jews live together, promoting peace through a unique educational system. The entire evening will be dedicated to raising funds for the primary school at Wahat al-Salam~ Neve Shalom, where children grow up bilingually in Hebrew and Arabic and with respect for both Jewish Israeli and Palestinian culture, and appreciation of the three main religions of the area - Muslim, Christian and Jewish. The diversity of the concert-programme reflects the harmony created when boundaries fall, as exemplified by the village. In this spirit all performers of this outstanding evening have agreed to wave their professional fees.

For Tom Conti his participation in the Gala Concert is part of a long-standing commitment to WAS-NS. Only a year ago he addressed an audience at a Walk for Peace in support of WAS-NS. Pianist Margaret Fingerhut stresses that WAS-NS is “a small community with a big message:” About Beyond Boundaries she says: "I wanted to put on this concert to help raise public awareness of the importance of what the village does; it shows how through education, understanding, tolerance and mutual respect different peoples CAN live together in harmony.” This belief is shared by tenor Mark Padmore who claims that “great music can cross any division.” He passionately elaborates that it “demands imagination and understanding and a willingness to be moved and affected in unexpected ways. Nobody can own or possess the works of the musical canon - they are freely available to anyone, regardless of race or belief. Here is an incredible opportunity for communication and exchange." Cellist Natalie Clein adds that she is happy “to be able to contribute to this wonderful ideal, which has become a reality, ” and she summarises “The world needs such places!" Flautist Wissam Boustany whose support of WAS-NS goes back many years writes about this and other initiatives: "music opens the doors of inspiration between people and nations and helps us reflect on our common humanity..."

With so much heart felt enthusiasm we are certain that the event will be a great evening out for anyone who shares their and our passion for great music, and a better world.

Programme:

Ernest Bloch: Three Scenes from Jewish Life

Liza Lehmann/Oscar Wilde: The Happy Prince

Astor Piazzolla: Two Tangos

Wissam Boustany: “…and the wind whispered….” (solo flute – world premiere)

Jules Mouquet: La Flûte de Pan

Franz Schubert: Vier Lieder

Tickets are available from 1st Dec 2008 with prices between £18 - £35 (concessions £10) from Wigmore Hall Box Office 020-79352141 or online at http://www.wigmore-hall.org.uk/

------


Attached: jpg and pdf format of booking form.

Related Links:

British Friends of Wahat al-Salam ~ Neve Shalom: http://www.oasisofpeaceuk.org

Mark Padmore: http://www.markpadmore.com/
Natalie Clein: http://www.natalieclein.com/

Margaret Fingerhut http://www.margaretfingerhut.co.uk/

Wissam Boustany: http://www.towardshumanity.org/
Tom Conti: http://www.tomconti.co.uk/

A full 30 minute documentary can be viewed online here: http://www.teachers.tv/video/13839 )

Classic Brahms Double: Ma and Stern

Part 2:

Young Jacqueline plays Intermezzo from Goyescas by Enrique Granados

Julian Lloyd Webber plays Faure 's Elegy

Andre Navarra - Paganini Variations

M. Marais - Variations sur les Folies d'Espagne - 1°

Kodaly Duo for Violin and Cello

Kurt Nikkanen and Daniel Gaisford performing at Tannery Pond

M.Rostropovich - Beethoven 12 Variations on a theme by Mozart

Lynn Harrell's 100th Birthday Tribute to Orlando Cole

Sorry for the delay

I just completed my move to Houston and will start posting in the next few days. Thanks for your patience and continue to spread the word to increase subscriptions. To any Houston cellist (area) drop me a line or email.

rodrichmba@gmail.com

Teaching Cello Vibrato to Beginning Cellists Part I

See CelloProfessor.com for additional information on cello pedagogy nd cello technique.

Slava playing Shostakovich in 1961

Santiago Cañon Valencia - Paganini 17

Mozart KV502 - Daniel Müller-Schott

Allegro



Larghetto



Allegretto



Julia Fischer : Violon / Violin
Daniel Müller-Schott : Violoncelle / Cello
Jonathan Gilad : Pianoforte

The Cello Geek: Making a Violin Part 4

Ophelie Gaillard - "Variations" - Documentary

This documentary entitled "Variations" features French cellist Ophelie Gaillard and gives us some insight into Ms. Gaillard's musical life and how this talented young cellist interprets cello music.

Making a Violin: Part 2 and 3

Part 2:



Part 3:

Young Performer Series: Pablo Ferrandez

At 16 this cellist offers a beautiful rendition of Dvorak's Concerto.

Mov 1





Mov 2





Mov 3

Slava and Ozawa - Haydn Concerto

The last two movements of Haydn's C-major Conerto

The Cello Geek : Making a Violin - Part 1

Jim Tengesdal and I after rehearsal

Are you having trouble viewing these videos?

Anyone having problems viewing YouTube videos with Fire Fox? If you are having problems like your videos freezing after 2 seconds with no audio - I have the solution for you.

Download this file

Extract it and place it in your C:/program files/ Mozilla firefox/ plugins folder and it should fix the problem.

Nathan's wonderful analysis of "The Swan"

Rostropovich / Richter - Beethoven Sonata No.3 in A major

1st Mov





2nd Mov



3rd Mov

Daniil Shafran - C.Debussy - Minstrels (from Préludes, Ier livre)

J.Brahms - Piano Trio No.1 in B major

Elena Baschkirova, piano
Maxim Vengerov, violin
Boris Pergamenschikow, cello

1st Mov





2nd Mov



3rd Mov



4th Mov

Interview Mischa Maisky : Verbier Festival 2008

Masterclass: Paul Tortelier

Dvorak Concerto:













Debussy:







Sonata Breve (Tortelier):

Paolo Pandolfo plays Diego Ortiz - Passemezzo moderno

Vengerov, Slava and Beethoven

Beethoven's Triple Concerto; Movement 2

Yo-Yo Ma - Bach Cello Suite No. 2 - Prelude

Zara Nelsova - Kabalevsky Concerto No.1

I.Allegretto



II.Moderato, Cadenza, Allegro con moto



III.Allegro

Han Na Chang-"Variations on a Theme by Rossini"

Randolph Fromme - Schroeder - 170 Foundation Studies - No. 1-5

This will be a great series:


Carl Schroeder - Op. 31 No. 1



Carl Schroeder - Op. 31, No. 2



Carl Schroeder - Op. 31, No. 3



Carl Schroeder- Op. 31 No. 4



Schroeder - Op. 31, No. 5

Sheet Music: Eugène Ysaÿe's Sérénade for Cello and Piano

Eugène Ysaÿe: Sérénade for Cello and Piano

Cello Part

Piano Part

Sheet Music: Mozart- Duo for 2 celli

Gaspar Queiroz was good enough to send me this work so that I might share it with you all - enjoy!

You can see the cello 2 part if you turn upside down the cello 1 part.

Brahms Double Concerto: Fisher - Schott

Allegro





Andante



Vivace

Ophélie Gaillard plays Bach using Baroque cello

Anner Bylsma play Bach on a Piccolo Violoncello

Soo Bae - Tchaikovsky Rococo Variations

Anner Bylsma on Boccherini

In Spain for the filming of a documentary on Boccherini called: El Secreto de Boccherini "The Secret of Boccherini"


Boccherini's La Musica Notturna Delle Strade Di Madrid No. 6

Yo-Yo Ma - Bach Cello Suite No. 1 IV. Sarabande

Händel- Halvorsen, Passacaglia

Julia Fischer, Violine
Daniel Müller-Schott, Cello

Abel - WKO 205 per viola da gamba - Nima Ben David

WKO 207

David Popper, Cello Etude # 9:

Documentary on Dmitri Shostakovich

Janos Starker: Bach Suite No. 3

Prelude



Allemande



Courante



Sarabande



Bourree



Gigue

Young Performer Series: Santiago Canon Valencia

SANTIAGO CAÑON VALENCIA

Born in Bogotá, Colombia in May 1995, Santiago Cañon Valencia has always been surrounded by music. His father, Ricardo Cañon, is a clarinetist with the Bogotá Philharmonic, and his mother, Roció Valencia, studied the cello. His older sister, Natalia, is a violinist, and several other relatives are musicians.

Santiago began studying cello at age four under the supervision of his mother and continued his formal studies for the next eight years with the Polish cellist Maestro Henryk Zarzycki. Under Maestro Zarzycki's instruction, Santiago began to perform and enter cello competitions in Colombia from the age of five. He entered his first international contest, the Carlos Prieto International Cello Competition in Morelia, Mexico, in August 2006, where, at the age of eleven, he was awarded the Elizabeth Parisot Prize for Promising Young Cellist.

As a result of his performance there and his participation in the competition's master classes, Maestro Prieto took a special interest in Santiago and recommended him to his friend, Yo-Yo Ma. Therefore, when Yo-Yo Ma visited Bogotá in June 2007, Santiago had the opportunity to meet privately with the great cellist, play for him, and even receive individual instruction from him.

Since Maestro Zarzycki left Bogotá to return to his native Poland in March 2007, Santiago has been without a permanent teacher. He studied in New Zealand with cellist James Tennant from September through December 2007, where he had the opportunity to give several recitals with the pianist Katherine Austin and to perform Haydn's Cello Concerto in D Major with the Chamber Orchestra of the University of Waikato. As a result of his success there, the University of Waikato has invited Santiago to return to New Zealand, where he will study again with James Tennant from July through December 2008.

Web sites: http://www.youtube.com/results?search_query=luisca2007

http://www.myspace.com/santiagocanon

Popper's Spinning Song (12 Years old)



Paganini 24



Haydn Excerpt:



Dvorák Excerpt:



With Yo-Yo Ma


















With Henryk Zarzycki and PieterWispelwey:


















With Carlos Prieto

Zhao Jing - Yasuji Ohagi - Bachianas Brasileiras No. 5, Aria

Rostropovich - Richard Strauss Don Quixote

Janos Starker - Kodály Cello Solo Sonata - complete

I. Mvt



II. Mvt



III. Mvt

DVD - Chicago Cello Society's Popper concert

The dvd of the Popper concert presented by the Chicago Cello Society in March is now available.
If you are interested in purchasing a copy, send a check for $25 payable to the Chicago Cello Society to:

Larry Block
1550 Ryders Lane
Highland Park, Ill 60035

Here is the list of pieces and performers:

1. Once Upon More Beautiful Days: In Memory Of My Parents - Larry Block
2. Gavotte (d minor) - Stanley Moore
3. Mazurka - Steve Balderston
4. Vito - Gilda Barston
5. Fantasie Uber Kleinrussische Themen - Paul Ghica
6. Begegnung - Emilio Colon
7. Papillon - Jon Pegis
8. Herbstblume - Tanya Carey
9. Gnomentanz - Amy Barston
10. Spanischer Carneval - Adriana La Rosa Ransom
11. Nocturne - Karen Schulz-Harmon
12. Gavotte (D Major) - Barbara Haffner
13. Chanson Villageoise - Gary Stucka
14. Weigenlied - Anne Patterson
15. Elfentanz - Ken Olsen
16. Serenade - Paula Kosower
17. Spinning Song - Brant Taylor
18. Feuillet D'Album - Judy Stone
19. Menuetto - Walter Prucil
20. Tarantella - David Sanders

Masterclass: Bernard Greenhouse - Haydn

Mischa Maisky - Bach Cello Suite No. 4

Prelude



Allemande



Courante



Sarabande



Bourree



Gigue

Masterclass: Rostropovich Dvorak

Rostropovich - Bloch Schelomo

Time Out for Bach - Lynn Harrell Interview

Lynn Harrell

Time Out for Bach

By Jason Victor Serinus

Lynn Harrell is one vital man. In the middle of an extended phone conversation about his forthcoming S.F. Jazz gig — he plays J.S. Bach’s complete Suites for Solo Cello this Thursday and Friday night in Grace Cathedral — the voice of a child punctuates the proceedings. Hannah, I learn, is going to be four.

“Honey, you have to go over and play with Mommy, because I can’t talk to Jason,” says the patient, ever-buoyant 64-year-old cellist.

“But I’m being quiet,” Hannah softly protests.

“No, you’re not being quiet,” Daddy lovingly replies, in tones that reflect the sweetness of his cello’s timbre.

“Having a daughter at age 60 is the greatest thing,” says Harrell. “I don’t know if it’s Grandfather Time clicking in, but I just love it. My other children — they’re twins, a boy and a girl — turned 28 yesterday and the day before. They were born across midnight, so that’s why they have two different birthdays. I never felt quite so close to them as I do this little girl and my son who is just 15 months. I had my knees replaced last December because I want to be able to run around with them. It is the greatest.”

You can hear the vitality in Harrell’s CDs of Bach’s six suites. Recorded in 1984, and released the following year to commemorate the 300th anniversary of Bach’s birth, his interpretations take Bach’s dance designations both seriously and lightly. Seriously, because even at his most profound, Harrell grants each section a sense of liquid movement sometimes absent from other renditions. And lightly, because when he plays the gigues that end each suite, he often skips and scampers like a young colt let out to pasture.

Lynn Harrell at a Carnegie Hall performance

It’s illustrative to compare Harrell’s renditions with two recent and well-received recordings of the suites — Jean-Guihen Queyras’ recording concludes Suite No. 4 in E-flat Major with a stately gigue (running two minutes and 23 seconds), and Steven Isserlis’ drier-toned musicianship knows not of fun (2’32). In marked contrast, Harrell’s warm, liquid-sounding cello kicks up its heels (2’09), and launches into an almost breathless, agile dance best left to the youngsters. As for the final finish, the concluding gigue to the Suite No. 6 in D major, neither Qyeyras (4’01), Isserlis (4’03), nor earlier recordings by Rostropovich (4’09) and Casals (3’59) come within miles of Harrell’s unabashedly exuberant, joyful romp (2’26).

Profundity and Excitement

“Bach is one of the most profound composers of all time,” Harrell explains. “The music can excite you. It can make you jump with joy, or start crying with tears through sadness. You slap your leg when an important new voice comes in a fugue because it’s so exciting.

“All the feelings that one can get from music, one gets in spades from J.S. Bach, perhaps with the excitement quotient being the greatest. When my doctor, who is an amateur music lover, first suggested this to me, I thought, well no, Stravinsky, Shostakovich, and Beethoven are exciting. But when I started listening to Bach to see if he is the most exciting, I came away thinking, absolutely he is.”

Surprisingly, Harrell declares this a new revelation, one that came to him in the last few years: How has his approach to Bach changed since he recorded the suites at the tender age of 40?

“While the basic tempos are about the same,” he explains, “I have much more patience with the unfolding of music. I realize we live such a computerized, quick life compared to the 18th century that you just have to take more time to let the music breathe and express itself.

“I love when great actors are aware of this. I just saw The Bucket List, and some of the conversations between Jack Nicholson and Morgan Freeman take a lot of time. That allows the mental and the communicative dialogue to express itself.”

To demonstrate how his Bach performance has evolved, Harrell half-sings examples over his cordless phone. His “Dadadida dadadida … Bum bah bah,” doesn’t translate very well into print. It could just as easily represent an Indian raga on tabla, but his “now” version is microseconds slower.

“The way I play now gives the music more time to make its storytelling points,” he says. “It allows it to breathe and live, rather than be kind of strict.

“I think of the specter of Bach, and his overall conception of structure. In musical terms, he was like a Newton. He was thought of in that way during his day because of his music’s complexity, and his rigorous sense of architecture and structure. But it doesn’t mean that his music shouldn’t be human and warm and effusive and fun and dynamic. Though he was sort of like an Einstein or a Newton of compositional technique, he has more heart than just about anyone you can think of, except Mozart and Schubert. He has a frightening, awesome kind of musical personality that you confront when you play his music.

“There are great architectural cathedrals, like the one in Cologne, that are so extraordinary. It probably has things about it that are slightly inexact in measurements and proportions, but the overall structure is so powerful that it speaks to us emotionally. All these wonderful intellectual, structural, and architectural aspects of J.S. Bach are there in the music. The overall effect is so much more than just wonderful puzzle music. It has great emotional impact.”

Easing His Way In

Even though Harrell began studying the first suite when he was 11 — much to the delight of his violinist mother — he indulged in only a few, scattered public performances of the first and third suites until well into his 30s. That may sound surprising for a Juilliard and Curtis Institute-trained cellist who made his professional debut with the New York Philharmonic at Carnegie Hall in 1961, began a solo career in 1971, and has since recorded core repertoire by Beethoven, Schubert, Tchaikovsky, Brahms, and others with the likes of Itzhak Perlman, Vladimir Ashkenazy, Stephen Kovacevich, Pinchas Zukerman, Nadja Salerno-Sonnenberg, and Kennedy.

The younger Lynn Harrell

“I can’t brag, as Pablo Casals did, that he practiced them daily for 10 years before performing them in public,” he confesses with wry humor.

The reason Harrell held back has to do with his father, baritone Mack Harrell. Although Mack Harrell sang 23 roles at the Met, and created the role of Nick Shadow in the American premiere of Stravinsky’s The Rake’s Progress, he is most remembered for his recordings of Bach’s oratorios. He sang the role of Jesus in the St. Matthew Passion many times, and recorded the part of Jesus in the St. John Passion.

His last record featured two Bach Cantatas (Ich habe genug, No. 82, and the “Kreuzstab” Cantata, No. 56) with the Cleveland Orchestra.

“I was 15 when my brother, sister, and mother got the test pressing,” he says. “It was about four months after my dad died in 1960 at age 50. It was very emotional listening to those two glorious performances. I recognized that when I played Bach, I felt the stigma of my dad’s last recording. Those two Bach cantatas have more raw emotional feeling than the cello suites, which are very instrumental and lack text. ‘I will with gladness carry the cross,’ ‘It is fulfilled,’ and ‘I’m ready to go to heaven’ — are texts that convey a sense of letting go and dying. But the cello suites, with the exception of perhaps one movement — the Sarabande of the fifth suite — don’t have that same kind of emotional impact.

Mack Harrell

“My dad’s last recording, and what people had said about his performance of the role of Jesus, hung me up. I felt that I couldn’t play the suites in a way that came alive. It was a little bit cold, a little bit dry; it wasn’t comfortable. I didn’t get the same feeling of artistic satisfaction from performing them. I also felt as though I couldn’t really manage to play them all that well, even technically. Although I played much more difficult music well, it was music that I was somehow more comfortable with.

“Somehow, over the years, the resistance diminished and fell away. I now feel good about playing Bach, and play with a great deal more passion, virtuosity, and tonal splendor. And I feel sort of entitled. I’m not so nervous as I used to be that I’m breaking Baroque and authentic early-instrument rules. It’s a transition that has taken about 20 years, at least since my mid ‘30s.”

Bach for Modern Ears

Our conversation shifted to changes in interpretation. Harrell decries the “over-romanticized, slow, turgid, heart-on-sleeve” performances of the 1920s and ‘30s, and contrasts them with the “clinical approaches” of the early authentic instrument movement that do not take into account changes in listeners and listening habits. He contends that it is not possible to re-create music as it was performed in 1725, because the change in listeners has resulted in a change in how music is perceived.

“We now have listeners who have experienced Stravinsky, Shostakovich, Schoenberg, electronic music, the loudness of a 747 taking off, and the quickness of a TV beer advertisement, which flashes 30 images in nine or 10 seconds. The 21st-century listener hears music, and assimilates it mentally and emotionally, extremely differently than an 18th-century gentleman. Certainly, when music was played in much smaller venues, the loudest thing that the urban man would ever hear was thunderclaps. Perhaps people’s hearing was less damaged than it is now.

“Today, time goes so much faster. If your watch gained four minutes in a week, that didn’t matter much in the 18th century. If your letter got there three weeks later, it wasn’t a big deal. It is now.

“I like to promote the idea that we take the emotional, dramatic, theatrical, or intellectual effect that the composer had in mind as the basis of our performance, and present J.S. Bach to modern listeners so it has the same kind of impact that it would have had in 1725. The feeling and depth of emotion in his music is very profound. It’s not only for the poignant and the sad and the lonely, but also for the energetic, athletic, and vibrant. Bach was one of the first really great virtuosos on a keyboard instrument. I think he loved hot fingers, and that should be portrayed in the string instrument as well.”

Heinrich Schiff- Lutoslawski Sacher Variations

Vytautas Sondeckis - Elgar Cello Concerto

Vytautas Sondeckis Cello
Saulius Sondeckis conductor
Lithuanian State smph orchestra

Borislav Strulev -Saint-Saens Concerto

Paganini - Caprice n. 11

Slava in his Youth

Anyone know where I can get the entire footage of this performance?

D.Shafran - Shostakovich Cello Sonata Op.40, 4th mov

Interview with Gautier Capuçon - Haydn Concerto

Masterclass: Frans Helmerson - Dvorak Concerto

D.Shafran - Shostakovich Cello Sonata Op.40, 3rd mov

P.Fournier - Kodály Sonata Op.8, 1st mov

Steven Isserlis - Schumann Masterclass - Excerpt

The Tortelier Family plays Handel

Handel Trio Sonata in G-minor HWV 387

Transcription by Louis Feuillard

Paul Tortelier - cello
Maude Tortelier - cello
Maria De la Pau Tortelier- piano

Niccolo Paganini, Caprice 24 on Cello: He's 12 !

Santiago Cañon Valencia (12yo)

Mark Summer's 'Julie-o' for solo cello

Here is a link to the sheet music!

Luminus Trio - Schubert's Trio in E-Flat: Andante

http://www.luminustrio.com/

Jon Rumney - Violin
Erik Anderson - Cello
Dianna Anderson - Piano

Dvorak's Silent Woods - Yo-Yo Ma

Wispelwey coming to London

My friend Erin from Fugue State has informed me about an upcoming Wispelwey concert:

Pieter Wispelwey’s upcoming concert at Royal Festival Hall

Budapest Festival Orchestra
Ivan Fischer conductor
Pieter Wispelwey cello

Pieter Wispelwey performs the beautiful Dvorak Cello Concerto in a programme including other Dvorak works such as Legend in B flat minor and Stravinsky’s magical Firebird Suite.

Here’s the link: http://www.southbankcentre.co.uk/music/productions/budapest-festival-orchestra-1383

Thanks To Erin for the heads up.

André Navarra Cello technique part2 (english subtitles)

Debussy: Cello Sonata - Maurice Gendron

A new hero for the cello

By Norman Lebrecht / April 23, 2008

A year after his death, the hole left by Mstislav Rostropovich at the heart of the cello shows no sign of healing. Two giants dominated the instrument throughout the 20th century and endowed it with moral purpose, to the point where the cello became the recognised voice of humanity.

The Catalan Pablo Casals resisted fascism to his last breath, refusing to revisit his homeland so long as General Franco was alive. The Russian, known to everyone as Slava, spoke out for human rights in the Soviet Union and, in exile, spoke out even louder. His death last April, mourned worldwide, left the cello leaderless.

Of the contenders Yo Yo Ma, famous for film scores and east-west fusions, is too busy being a record label cash register to take a stand on anything important. The exquisite French line of Fournier and Tortelier has dried up. None of a host of swaying blonde manes has revealed a new Jacqueline du Pre and none of Slava’s many pupils has spoken out on Darfur or climate change. The classical cello has gone into personality deficit. In a celebrity-driven culture, an art without a visible figurehead risks media oblivion.

I put this thought the other day to Steven Isserlis, the quirky, curly British cellist who countered that maybe the cello needs a different set of values these days, less lofty and heroic, more practical and domestic. Isserlis, 50 this year, is an engaging mix of English inhibition and artistic swagger, self-deprecation and acute self-awareness. The linchpin of a circle of soloists who work together wherever they can, he runs his own chamber music series at London’s Wigmore Hall and Frankfurt’s Alte Oper and is among the first five names out of the hat when an orchestra books the big cello concertos. Yet far from enjoying a jet-set lifestyle, he detests a system that keeps him in transit eight months of the year. At the same time, he can’t resist it. Unlike the giants, cellists nowadays have to do what they are told in a state of aggravated insecurity.

Isserlis, of Russian-Jewish descent, dropped out of one of London’s top fee-paying schools at 14, shuffled around on borrowed cellos in search of an identity and didn’t really get going until his 20s were almost gone, when a concerto he requested from John Tavener, languishing at the time in career doldrums, raised the rafters at the BBC Proms. ‘I never thought it would get a second performance,’ laughs the soloist.

The Protecting Veil relaunched Tavener as a post-religious guru and Isserlis as a mystic-looking interpreter in a head of ringlets that could have been recast from one of Bach’s wigs. Successful as he has become, the late-starter in him cannot turn down work. He carries his cello through nightmare airports onto flights, often late, where he pays two full economy fares and is treated like a quarantined animal. ‘British Airways are the worst,’ he mutters. ‘Never an apology, no matter how awful they are.’

He led a campaign two years ago against UK security rules that banned instruments, but not laptops, from aircraft cabins. He earned a plug in the conductor’s speech in the Last Night of the Proms and the restraints were eased, without obvious harm to public safety. But it seemed a petty matter to raise at the most public moment in the musical calendar, trivial beside the great freedom causes of Slava and Casals. ‘Isn’t the solution to fly less?’ I suggest to him. ‘Play at home more. Save some ozone.’

‘Can’t afford it,’ he shrugs, in a flurry of steel-coloured curls. The mortgage on his 1740 Montagnaga is merged with the one on his home in West Hampstead, and he is still years from paying them off. ‘I’ve promised Pauline to cut back flying,’ he sighs; from time to time he takes his wife on long-haul tours. His other cello is a Stradivarius on loan from the Nippon Music Foundation in Japan.

It is tougher to be a cellist these days – more grunge travel (Slava flew first-class), less respect, less opportunity for experiment: ‘I’m surprised when an orchestra asks what I’d like to play instead of saying Maestro X has put Schumann, Dvorak, Elgar or Shostakovich on the schedule,’ says Isserlis. He tries to keep the warhorses fresh – no more than three outings this year for the Elgar (which he plays next week at the Royal Festival Hall) – but he cannot suppress the greater excitement of taking the Walton concerto to Beijing and Shanghai in the autumn. ‘I love that work, never get to do it enough.’

A Slava tribute box just arrived from Warner Classics reminds me of extraordinary concertos by Penderecki, Landowski, Schchedrin and Knaifel that lie unheard since his death, along with most of the 270 works he commissioned. ‘Slava was superman,’ says Isserlis, but the giant is gone and lesser mortals need to look to the goals within their grasp. ‘It’s not just about playing the cello,’ he insists.

One of his favourite gigs is a children’s series that he runs at the 92nd Street Y in New York, a place where kids of all ages drop in to hear Isserlis and such chums as Joshua Bell and Jeremy Denk, teach, play and tell jokes. He has published two light-hearted lives of composers for children and his Wigmore Hall/Alte Oper series is a seasonal fulcrum of musical concentration. In Cornwall each summer, at Prussia Cove, he gives seminars on the values of friendship and conversation, the bedrock of chamber music.

‘Every time I go to a boring classical concert I feel so angry,’ he says. ‘It reinforces people’s clichéd and inaccurate view of what we do.’

So what’s the solution? ‘Play better. If you play better, people will listen better. If they listen, they will feel better.’

This is a different brand of idealism from the grand humanitarian gestures of Slava and Casals. It is an understanding that the world advances in small steps, by showing a child what a C major chord is made of and a young musician what it can express. Steven Isserlis may well be right: the age of giants is over. What lies ahead is something more educative, more intimate and, for our time, decidedly more appropriate.

Brahms Cello Sonata F major.Jian Wang & Emanuel Ax

!st Mov



2nd Mov



3rd Mov



4th Mov

Erik Anderson - Piatti Caprice No. 1

Anner Bylsma - Bach C maj - Gigue

Gigue from the C maj Suite with (the closest to the) original bowings, according to Anner Bylsma using the Anna Magdalena bowings

Jackie du Pré - Elgar Cello Concerto

1st Movement



2nd Movement



3rd Movement



4th Movement

Jian Wang - Dvorak Cello Concerto

1st Movement





2nd Movement





3rd Movement





Gustavo Dudamel conducting the Simon Bolivar Youth Symphony of Venezuela in Dvorák's Cello Concerto with Chinese Cellist Jian Wang

Free Cello Sheet Music

Cello Solo

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Argent, Mark

• Hymnus for Solo Cello part

Bach, Johann Sebastian

• J.S.Bach's Complete Works (6 Sonatas for Violin - 6 Suites for Cello) Volume 27
• Suite I for Cello Solo (Mutopia project) (A4 pdf zipped)
• Suite No.1 in G major
• Suite No.2 in d minor
• Suite No.3 in C major
• Suite No.4 in E-flat major
• Suite No.5 in c minor
• Suite No.6 in D major
• Suite No.1 Manuscript (Good) by A.M.B.
• Suite No.4 Manuscript (Good) by A.M.B
• Suites 1-6 BWV 1007-12 manuscript of Anna Magdelena Bach Very large file 198mb

• Partita No.1 BMV 1002 for violin transcribed for Cello

Belcastro, Luca

• Mari (1999) Studio for Cello solo solo part

Blumenthaler, Volker

• Canto (1983) for violoncello solo

Bresnahan, Christo

• Paranoic Rhapsody (a Sublimation of Liszt) for cello solo

Hans-Jürgen von Bose

• Music for Cello solo

Britten

• Suite for Solo Cello Op.72

Cossmann, Bernhard (1822-1910)

• 5 Concert-Etudes for Cello, Op.10

Danilevsky

• ''Revelation'' concerto for cello solo

Demoivre, Daniel

• Suite No.1 [Page1] - [Page 2] - [Page 3] - [Page 4] - [Page 5]
• Suite No.2 [Page 1] - [Page 2] - [Page 3] - [Page4]
• Suite No.3 [Page 1] - [Page 2] - [Page 3] - [Page 4]
• Suite No.4 [Page 1] - [Page 2] - [Page 3] - [Page 4]
• Suite No.5 [Page 1] - [Page 2] - [Page 3] - [Page 4]

Dotzauer, ,J. J. F.

• 113 Etudes for Cello Book I (No.1 - 34)
• 113 Etudes (No. 35-62) Vol 2.
• 113 Etudes (No.63-85) Vol. 3.
• Cello Method Book 1 (low resolution)

Eck, Hans van

• Prologue, Intermezzo and Epiloogue for Violoncello solo

Francesoni, Gino

• Scuola Pratica del Violoncello

Grutzmacher

• Daily Studies Op.67

Haldenberg, Franz

• Divertimento nostagico for violoncello solo

Hekking

• Excercises for Cello

Hunkins, Arthur B.

• Meditation (1995) on Ave Regina caelorum for solo cello (zip)

Janof, Tim

• 5 Pieces for Solo Cello (2007) - No.1 - No.2 - No.3 (with piano) - No.4 - No.5

Kauder, Hugo

• Kleine Suite for Unaccompanied Cello (1925) cello solo part
• Second Suite for Unaccompanied Cello (1924) score

Khachaturian A.

• Sonata-fantasy for solo violoncello

Kodaly, Zoltan

• Sonata Op.8 for Cello Solo cello solo part

Lee, Sebastian

• 40 Easy Etudes Op.70 for cello
• 40 Melodic Studies Op.31 Book I for cello

Ligeti, Gyorgy

• Sonata for Cello Solo cello part

Livon, Roberto

• Daily Excercises for the Cello

Münzer, Holger

• Concert Caprice No.2 "Vernetzung" for cello solo
• Concert Caprice No.4 "Capriccio Italiano" for solo cello
• Concert Caprice No.5 "Capriccio Polonaise for solo cello
• Concert Caprice No.6 "Capriccio Dramatico" for solo cello

Saleski, Gdal (1888- )

• Petite suite in ancient style for Cello Solo, Op.7 (1920) cello part

Sevcik

• Violoncello Technique (Feuillard)

Summer, Mark

• Julie-O (1988) for Solo Cello

Tartini

The Art of the Bow (for cello solo)

• [50 Variations on a theme by Corelli]

Telemann

• Fantasie No.4 for cello solo

Vactor, David Van

• Improvisation and Courante for solo Violoncello

Villanueva, Facundo

Tangos

• Adios Nonino Tango (Piazzolla, Astor) for cello solo
• Danzarin Tango (Plaza, Julian) for cello solo
• El dia que me quieras Tango (Gardel, Carlos) for solo cello
• Quedemonos Aqui Tango (Stamponi, Hector) for Cello Solo
• Sur Tango (Troilo, Anibal) for Solo Cello

Viola, Leo

• Verde Maja 4 Pieces for Solo Cello 1st movement, 2nd movement, 3rd movement, 4th movement

Wissing, Norbert

*Musica for violoncello solo

Wolfram, Mark E.

• Rhapsody for unaccompanied Violoncello

Cello and Piano

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Albeniz

• Puerta de Tierra

Arensky

• Dance Capriccioso, Op.12, No 2

Arzoumanov, Valery

• 3 Dances, Op.184 for cello and piano
• 6 Walzes, Op.170a for cello and piano

Bach, C.P.E.

• Lied

Bach, J.C.

• Schwabisch

Bach, Johann Sebastian

• Air on the G string (from Suite No.3) for cello and piano
• Jesu, Joy of Man's Desiring

3 Sonatas for Viola da Gamba (cello) and Harpsichord

• Sonata No.1 in G major - [Adagio] - [Allegro ma non troppo] - [Andante] - [Allegro moderato] - [Viola part]
• Sonata No.2 in D major - [Adagio] - [Allegro] - [Andante] - [Allegro] - [Viola part]
• Sonata No.3 in g minor - [Vivace] - [Adagio] - [Allegro] - [Viola part]

• J.S.Bach's Complete Works (includes: 3 Flute Sonatas, 6 Violin Sonatas, 3 Sonatas for Klavier and Viola da gamba, etc) Volume 9

Bach/Gounod

• Ave Maria

Ave Maria

Bachlund, Gary

• Elegy for Violoncello and Piano (2002) Piano score, - Cello part

Baklanova, N.

• ''Lullaby'' for cello and piano, 1p (Zipped JPG)

Beethoven, Ludwig V. (1770-1827)

• Ekosez for Cello and Piano (1 page) (zipped jpg)
• 12 Variations on themes of Mozart's opera ''The Magic Flute'' Op. 66
• 7 Variations on theme (Bei Männern, welche Liebe fühlen) from Mozart's opera ''The Magic Flute''
• 12 Variations on a theme ''Judas Maccabaus'' (Handel)
• Sonata No.1 in F Major, Op.5 piano part
• Sonata No.3 in A Major, Op.69 piano part (mutopia project)

Belcastro, Luca

• ''come rondine o nube'' (1997) for Cello and Piano

Benda, M

• Minuett

Bernstein

• Somewhere from ''West Side Story''

Besard

• Ballet

Bizet

• Habanera (from ''Carmen'') - [cello p1] - [celllo p2] - [piano p1] - [piano p2] - [piano p3] - [piano p4]
• Carmen for Cello and Piano

Bobrowicz, Johann Nepomuk von

• Grand Pot-pourri for Cello and Piano (or Guitar) Parts

Boccherini

• Cello Concerto in B flat (Grutzmacher) (Vc, Pno)
• Cello Concerto in G G480 cello and piano parts
• Cello Concerto in G G480 cello part, piano part
• Cello concerto in D Major Cello part, Piano reduction
• Minuet (from string quintet) arranged for Cello and Piano

Bolling, Claude

• Suite for Cello and Jazz Piano Trio Cello part
• Irlandaise (for Jazz Flute, Cello and Piano) score and parts

Borodin

• [Borodin - Prince Igor (piano part)] - [[Borodin - Prince Igor (cello part)]

Bregato, Jose

• Graciela y Buenos Aires, Tango for Cello and Piano cello part

Breval

• Sonata in C major (piano part) - Sonata in C major (cello part)
• 6 Sonatas For Cello (and 2nd Cello), Op.12 score

Britten

• Sonata in C Op.65
• Sonata for Cello and Piano in C, Op.65 Piano part, Cello part

Bruch, Max (1838-1920)

• Canzone cello and piano parts
• Adagio on Celtic Melodies, Op.56 (for cello and piano) [score 001] - [score 002] - [score 003] - [score 004] - [score 005] - [score 006] - [score 007] - [score 008] - [score 009] - cello part - [cello 001] - [cello 002]
• Adagio from Celtic Melodies, Op.56 cello and piano parts

Casals, Pablo

• Song of the Birds (Cant dell Ocells)

Cassado, G

• Lamento de Boabdil

Castro, Washington

• Tangos for Cello and Piano

Cazella

• Neapolitan song, for cello and piano

Chopin

• 2 Etudes for Cello and Piano - Op.10, No6 and Op.25, No7
• Etude Op.10, No.3 (for cello and piano)
• Waltz in a-minor, Op.34, No.2
• Waltz in C# minor, Op.64, No.2
• Polonaise Brillante for Cello and Piano, Op.3 - [cover] - [p1] - [p 2] - [p 3] - [p 4] - [p 5] - [p 6] - [p 7] - [p 8] - [p 9] - [p 10] - [p 11] - [p 12] - [p 13] - [p 14] - [p 15] - [p 16] - [p 17] - [p 18]

[vc 1] - [vc 2] - [vc 3] - [vc 4]

• Cello Sonata Op.65 [Cello part] - [Piano part]

Collections

• Solos for the Cello Player by Otto Deri - Cello and Piano Accompaniment
• Cello Player parts

Davidoff

• Ramance Without Words, Op.23
• At The Fountain, Op.20, No.2

Debussy

• Golliwog's Cake Walk (from Travels with my cello) (vc 3p - pno 6p)
• Clair de Lune
• Sonata for Cello and Piano (1915) part

Dukas, Paul

• Alla Gitana for cello and piano - [score p.1] - [score p.2] - [score p.3] - [score p.4] - [cello part p.1] - [cello part p.2]

Dvorak, Anton

• Cello Concerto in B minor, Op. 104 (cello part)
• Cello Concerto in B minor, Op. 104 (piano part)
• Melodia Aria

Eck, Hans van

• Sonata for Cello and Piano parts

Elgar, Edward

• Cello Concerto in E minor, Op.85 Mvt 1&2 Cell part (cut from score)

Fabricius, Jakob

• Ballade for Cello and Piano score

Faure, G.

• Elegie (Vc & Pno)
• Pavane Op.50 cello and piano - cello part
• Apres un Reve (After a Dream) Cello and Piano parts

Field, John (1782-1837)

• Nocturne for cello and piano [cello and piano parts]

Gershwin

• Bess, You is my Woman now

Giannetta, Domenico

• Elegia for Cello and Piano score

Ginastera, Alberto

• Pampeana No.2, Rhapsody for Cello and Piano Piano part

Glass, Louis

• Sonata for Piano and Cello Op.5 manuscript score
• Romance for Cello and Piano, Op.75 scores

Glazunov

• ''Chant du Ménestrel'' (Minstral's Song), Op.71

Glinka

• Nocturne Separation

Goltermann

• Cello Concerto No.4 in G Major Op. 65

Grieg

• Sonata for Piano and cello. Op. 36
• I Love Thee
• Solvejg's Song
• To Spring
• Lyric Pieces (Golterman) (No.7 - In der Heimath), (No.8 - Erotik), (No.9 Albumblatt), (No.10 - Melodie), (No.11 - Illusion), (No.12 - Elegie) Piano part

Gruber

• Silent Night or silent night

Haldenberg, Franz

• 2 Tangos (Tango Passado, Tango Romantico) for Violoncello and Piano

Handel

• Sonata in g minor [Piano part] - [cello solo part]
• Largo
• Minuette

Haydn, F.

• Allemand (Vc and Pno)

Heise, P.

• Fantasy Sieces for Cello and Piano. No. I-II scores

Honegger, Arthur (1892-1955)

• Soanta for Cello and Piano (1922) score and parts

Hummel,

• Sonata for Cello and Piano
• Romanze for cello and piano cello and piano parts

Irish Folk Song

• Believe Me If All Those Endearing Young Charms
• Londonerry Air

Janacek

• Presto for cello and piano

Kauder, Hugo

• Sonata for Cello and Piano (1950) score
• Sonata (1955) for Cello (or viola) and Harp score

Khachaturian (1903-1978)

• Saber Dance

Krasnovsky

• Elegy for Cello and Piano

Lalo, E.

• Chants Russes - Lento du Concerto Op.29 - [score]

Lehar(1870-1948)

• Vilja-from the Merry Widoe
• You are My Heart's Delight (from ''The Land of Smiles'')

Lemire, Jean Baptiste (1867-1945)

• Filon d'Or for cello and piano [score] - [cello part]

Lennon-McCartney

• When I'm Sixty-Four

Leonovich, Yury

• Cello Concerto No.23 in B minor, Op.43 II. Romance [cello part] - [piano reduction]
• Cello Concerto No.32 (2006) score

Leonovich-Tchaikovsky

• Cello Concerto in B minor (2006) [score] - [cello part]

Liszt

• Consolation No.3 for cello and piano

Lloyd Webber, W.S.

• Andante Affetuoso

Mascagni

• Intermezzo Sinfonica (from Cavalleria Rusicana)

Massenet

• Elegie
• Meditation from the opera Thais Cello and Piano parts

Mendelssohn

• Consolation
• On Wings of Song
• ''Spring Song'' (Song without words, No. 30)

Mittner, Jiri

• Sonata for Violoncello (2005) score, cello part

Mozart

• Rondo Alla Turca

Miaskovsky, Nikolai (1881-1950)

• Sonata for cello and piano, op.12, D major (piano and cello parts)
• Cello Sonata No.2, Op.81 (part 1) - Cello Sonata No.2, Op.81 (part 2) - Cello Sonata No.2, Op.81 (part 3) - Cello Sonata No.2, Op.81 (Cello part)
• Cello Concerto Op.66

Narita

• Song of the Seashore

Neruda, Franz

• Cello Concerto No.1 (in 1 movement), Op.57 in E major Cello - Piano manuscript
• Cello Concerto No.2, Op. 59 in D minor score, cello piano
• Cello Concerto No.3 Op.60 in A Major score
• Cello Concerto No.4, Op.61 in A Major score
• Cello Concerto No.5, Op.66 in G Major score, piano score
• Andante and Allegro de Concert for Cello, Op.40 Vc-Pno
• 3 Pieces for Cello and Piano, Op. 59 (1.Standchen, 2.Menuetto grazioso, 3.Polonaise) Cello and Piano parts
• 2 Fantasy Pieces, Op.4 cello and piano parts
• Humoreske, Op.52 cello and piano parts
• Berceuse slave d'apres un chant polonais, Op.11 cello and piano parts
• Serenade, Op.56 cello and piano
• Gavotte, Op.54 cello and piano
• Mazurek, Op.64 cello and piano
• Mazurka, Op.53 cello and piano
• Mazurka No.6, Op.70 for Cello and Piano
• Mazurka & Ungarisch (2 Concert pieces), Op.38, No.1-2 for cello and piano
• 3 Pieces, Op.39 for cello and piano
• More Scores here!!

Norton, Christopher

• The Microjazz cello collection Vol.2 (cello and piano), Piano part

Offenbach

• Barcarolle (from ''Tales of Hoffmann'')

Ornstein, Leo

• Cello Soanta No.1 score and part
• Cello Sonata No.2 score and part

Peters-Rey, Gregor

• Rondo for Cello and Piano [cello part] - [piano part]

Petric, Ivo

• All marcia for Cello and Piano score mov. 1

Piazzolla

• Le Grand Tango for cello (viola) and piano, piano part, cello part
• Libertango (cello-piano)
• Michelangelo 70 (cello and piano)
• Verano Porteno for cello and piano
• Escualo piano part, cello part

Pierne

• Serenade

Pieroni, Uberto

• Meditazione for Cello and Piano Cello part, Piano score

Pocs, Katalin

• Paths and strokes for cello and piano

Popper

• Spinning Song (Spinning Wheel) Piano part
• Spinning Song (Spinning Wheel) Cello part
• Tarantelle Op.33 - cello part, another cello and piano parts
• Dance of the Elves Cello part

Prokofiev

• Concertino for Cello and Orch Op.132 (Vc Pno)
• Ballad for cello and piano op. 15 (piano score) - Ballade (cello part)
• Cello Sonata Op.119 score

Rachmaninoff

• Sonata in G minor, Op.19 (cello and piano score)
• Cello Sonata Op.19
• Vocalise, Op.34, No14
• Oriental Dance

Raff, Joachim (1822-1882)

• Cavatina [Cello part] - [piano p1] - [piano p2] - [piano p3]
• Sonata for Cello and Piano Op.183 (1870) score and part

Rameau

• Country Dance
• Rigaudon for and Piano

Revutsky, L.

• Ballade for cello and piano, Op.20

Rimsky-Korsakov

• Chant Hindu
• Flight of the Bumble Bee(vc 2p, pn 4p)

Romberg, Bernard

• Introduction and Polonaise for Cello and Piano, Op. 76
• Divertimento from Austrian Folktunes for Violoncello accompanied by Guitar Guitar part - Cello part
• The Salon Violoncellist - Six Morceaux Élégants for Cello and Piano. Op. posth. No.1 La Réponse, Fantasy, No.2 Divertissement, No.3 Notturno, No.4 Sérénade, No.5 Bagatella, No.6 Introduction e Rondo giocoso

Rubinstein, Anton

• Melody in F
• Romance Op.44

Saint Saens

• My Heart at Thy Sweet Voice ( from ''Samson and Delilah'')
• The Swan
• El Cisne (The Swan) Cello and Piano parts
• Gavotte Op.post. for cello and piano
• Cello Concerto in A minor Cello and Piano parts
• Romanze in F Major, Op.36 Cello and Piano parts

Sapozhnikov

• Quiet, quiet flows Neman Lithuanian folk song transcriptions for cello and piano
• Hrestomatiya Cello school for cello, grades 1-2 DMSH

Satie, Erik (1866-1925)

• Gymnopedie No.1 arranged for Cello and Piano

Schnittke, A.

• Chamber Symphony for viola and orchestra (transposition Sonata for cello and piano by Tkanova Yu) (score)

Shtogarenko

• Sonata for cello and piano (score) - cello part

Schubert, Franz

• Ane Maria
• Moment Musical
• Serenade
• The Bee (L'Abeille-Die Biene), Op.13, No.9 Cello part, Piano part
• Arpeggione Sonata transcribed for Cello and Guitar

Schumann

• Traumerei
• Cello Concerto Op. 129 Cello part - piano part
• Violin Sonata No.2 in D minor arranged for cello by Grutzmacher (Cello Part only)
• Fünf Stücke im Volston (for cello and piano), Op.102 Piano Part [001] - [002] - [003] - [004] - [005] - [006] - [007] - [008] - [009] - [010] - [011] - [012] - [013] - [014] - [015] - [016] - [017] - [018] - [019] - [020] - [021] - [022] - [023] - [024] - [025] - [026] - Violin Part - [vln 01] - [vln 02] - [vln 03] - [vln 04] - [vln 05] - [vln 06] - [vln 07] - [vln 08] - Cello Part - [cello 01] - [cello 02] - [cello 03] - [cello 04] - [cello 05] - [cello 06] - [cello 07] - [cello 08]
• Fantasie-Stucke Op.73 Cello and Piano (also Violin) parts

Servais

• Souvenir de Spa, Op.2
• Fantasie and Variations Brillantes, Op.4
• Morceau de Concert, Op.14
• Fantasy and Variations from the motive de l'opera La Felle du Regiment de Donizetti, Op.16
• Fantasy e Variations from the Opera La Fille du Regiment (ed 1850)

Shostakovich

• Sonata for Cello and Piano, Op. 40 Piano part - Sonata for Cello and Piano, Op. 40 Cello part

Shtogarenko, A.

• Sonata for Cello and Piano - [Piano part] - [Cello part]

Shukh, Mikhail

• Ave Maria - for cello and organ

Sibelius

• Valse Triste
• Valse triste, Op.44 Cello and Piano parts

Sokolow, Nicolas

• Melodie, Op.16 for Cello and Piano

Stojowski,

• Sonata Op.18 for Cello and Piano

Strauss,

• Die Fledermaus for cello and piano

Suzuki

Cello School Vol. 7

Cello part Vol 7

Piano part Vol 7

Cello School Vol. 8

piano Vol 8 part 1

• Sammartini - Sopnata in G Major
• Faure - Elegie Op.24

piano Vol 8 part 2

• Faure - Elegie (continued)

Cello part Vol. 8

• Sammartini
• Bach - Suite No1
• Faure - Elegie

Stankovich, Ye

• Sonata No.3 for Cello and Piano - [Piano part] - [Cello part]

Taube

• Nocturne

Tchaikovsky

• Andante (from the 5th Symphony)
• Chanson Triste
• None but the Lonely Heart
• Song Without Words

Tesserini

• Sonata for Cello and Piano

Thome

• Simple Aveu

Tosti

• Good-Bye

Traditional

• Londonderry Air (from travels with my Cello) (vc 1p, pno 2p)
• Over the Sea to Skye

Tsintsadze,

• Five Pieces for Cello and Piano

Turk

• Scherzando

Vallejo, Gabriel

• Musica Viajera for Cello and Piano score

Varelas, Anatoly

• Sonata for Cello and Piano (org. for Vln & Pno) Cello part, Piano part

Villa-Lobos, H.

• Fantasy for Cello and Orchestra - [Solo cello part] - piano score - [I. Largo] - [II. Molto vivace] - [III. Allegro espressivo]

Villanueva, Facundo

• Mi Buenos Aires querido - Tango (Carlos Gardel) score, Cello part, Piano part
• La casita de mis viejos - Tango (Juan Carlos Cobian) score, Cello part, piano part
• Cuando tu no estas - Tango (Carlos Gardel-Marcel Lattes) score, cello, piano
• Alfonsina y el mar - Tango (Ariel Ramirez) score, Cello, piano
• Caseron de tejas - Tango (Sebastián Piana) score, cello, piano
• Lejana tierra mia - Tango (Carlos Gardel) score, cello, piano
• La loca de amor - Tango (Enrique Caviglia) score, cello, piano
• Palomita blanca - Tango (Anselmo Aieta) score, cello, piano
• Lo que vendra - Tango (Astor Piazzolla) score, cello, piano
• Libertango - Tango (Astor Piazzolla) score, cello, piano
• Paris 2001 - Tango (Facundo Villanueva) score, cello, piano
• El choclo - Tango (Angel Villoldo) score, cello, piano
• Silbando - Tango (Cátulo Castillo-Sebastián Piana) score, cello, piano
• Gricel - Tango (Mariano Mores) score, cello, piano
• Garua - Tango (Anibal Troilo) score, cello, piano
• Zum - Tango (Astor Piazzolla) score, cello, piano

Vivaldi, Antonio

• Sonata No.1 in g minor for Violin (or Cello) (solo part)
• Sonata No.2 in A major for Violin (or Cello) (solo part)
• Sonata No.4 in G major for Violin (or Cello) (solo part)
• Sonata No.6 in A major for Violin (or Cello) (solo part)
• Cello Concerto No.8 in C Major Cello and Piano reduction
• Sonata in A minor for Cello and Guitar

Volkmann, Robert

• 5 Stucke, Op.21 (1. Blumenstuck) (2.Minne) (3. Brautlied) (4. Der Page) (5. Soliman) for Cello and Piano

Wagner, Richard (1813-1883)

• Song to the Evening Star (from Tannhaeuser)
• Romanze (from Tannhauser) arr. for Cello and Piano

Webern, Anton von

• Cello Sonata (1914) for Cello and Piano

Wissing, Norbert

• Sonata for Cello and Piano parts

Yarovinsky, B.

• Concerto for Cello and Orchestra - [Cello part] - [Piano score]

Yefimov, Igor

• ''Pieta'' for cello and piano

Yradier

• La Paloma (the Dove)

Zhuravitsky, V.

• Sonata for Cello and Piano - [I. Febbrilmente Tristemento] - [II. Con veemenza] - [III. Misurato]

Zlatev-Tcherkin

• Sevdana for cello and piano

Cello Duets

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Barriere, Jean

• Sonata (Duet) in G major for Two Cellos (6 pages)

Boismortier, J. B. de

• Sonata for 2

Bresnahan, Christo

• Paranoic Rhapsody (a Sublimation of Liszt) for cello duet

Couperin, Francois

• Treizieme Concert score, cello1, cello2

Grieg, Edward

• Anitras Dance from Peer Gynt Suite I, Op. 46

Handel

• Sonata for 2 Cellos in g minor, Op.2, No.8

Haydn

• 4 Cello Duets parts

Hindemith, Paul

• Pieces for 2 Cellos (Fg & Vc)

Morley

• Cello Duets - [page1] - [page2] - [page3] - [page4] - [page5] - [page 6] - [page7] - [page8] - [page9] - [page10] - [page11] - [page12]

Mozart, W. A.

• Sonata for 2 celli (Fg. & Vc) K.V. 292

Offenbach

• Duet for 2 Cellos Op.54, No.2
• Duo, Op. 54 Lettre F, Second Suite score, cello 1, cello 2
• Duo in C Major Op.49, No.1 1st movement

Rachmaninoff, S.

• Paraphrase to the Italian Polka (2 celli & piano)

Revutsky, L.

• Ballade for cello and piano, Op. 20

Rossini, G.

• Six arias from The Barber of Seville (aria No. 1 Ecco ridente in cielo) (Arr. for duet by Gebauer)
• Duo for Cello and Bass score

Tsintsadze, S. (1925)

• Sachidao (Georgian Folk Tune) 2 cellos and piano

3 Celli

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Bellini, V.

• Cavatina of Norma from the opera Norma (3 celli & piano)

Birgisson, Snorri Sigfus

• Snorri Thorfinnsson's Lullaby for 3 cellos

Boismortier

• Cello Trio - [page1] - [page2] - [page3] - [page4] - [page5]

Callender, Clifton

• Metamorphoses Canon a 3 for solo cello and real-time computer delay or cello trio (2007) score

Derecskei

• A Tear in the Mirror for 3 Cellos

Derecskei

• A Tear in the Mirror for 3 Cellos score

Handel

• Pastoral Symphony from the Messiah for 3 Cellos (incomplete)

Tchaikovsky (Stubbs)

• Jazz Tchaikovsky - 1. Sugar Plum Swing Out, 2. Dance of the Knock Kneed Fairy

Unknown Composer

• 3 Spirituals for 3 Cellos

4 Celli

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Bach, Johann Sebastian

• Air for cello quartet

Beethoven

• Adagio from the Sonata "Pathetique" Op.13 for 4 cellos

Birgisson, Snorri Sigfus

*Lilja for 4 cellos

Chopin, F.

• Mazurka Op.7, No.1 (for 4 Fg)

Gardel, Carlos

• Por una Cabeza (Tango Camcion) for 4 Cellos

Grieg

• Anitras Dance (from Peer Gynt Suite No.1, Op.46) for 4 Cellos

Handel,

• Air from Water Music for cellos (incomplete)
• La Rejouissance for 4 Cellos (incomplete)
• Largo incomplete

Hetfield

• The Unforgiven for Cello Quartet

Metallica - Apocalyptica

• ''Nothing Else Matters'' transcribed for cello quartet
• ''Pray'' transcribed for cello quartet
• ''Beyond Time'' transcribed for cello quartet
• ''Until It Sleeps'' for 4 celli

Mozart, Wolfgang Amadeus

• Adagio KV 580a for 4 celli score and parts

Nazareth, Ernesto

• Garoto for 4 Cellos

Petric, Ivo

• Masurian Impressions for 4 Cellos 1st movement, 2nd Movement

Rossini, Giocchino

• Sonata VI Andante assai for 4 celli score and parts

Verdi, Giuseppe

• La Traviata Prelude to Act I (for 4 Fg)

Werner, Josef (1837-1922)

• Elegie for 4 Cellos, Op.21

6 Celli

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Rossini, Giocchino

• Willliam Tell (Introduction) score and parts

8 Celli

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Giannetta, Domenico

• Cellos for 8 cellos

Rubtsov

• Octet for 8 Cellos

12 Celli

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Klengel

• Hymnus for 12 Celli, Op.57

Cello and Orchestra

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Beethoven

• Triple Concerto for Violin, Cello, Piano and Orchestra (score) - 1st movement - 2nd movement - 3rd movement
• Triple Concerto in C Major Op.56 - Violin, Cello, Piano and 2nd Piano

Brahms

• Double Concerto for Violin and Cello and Orchestra (score) - 1st movement - 2nd movement - 3rd movement

Goncharenko, V.

• Post Scriptum for Cello and chamber orchestra (manuscript)

Haydn

• Cello Concerto in C Major 2nd movement (cello and piano)
• Cello Concerto in C Major cello part
• Cadenza (Carter Brey) to the Cello Concerto in D 1st movement

Hervelois

• Plainte from the 2nd Suite for Cello and orchestra

Kireiko, V.

• [Concerto for Cello and orchestra (score)] - [(cello solo part)]

Kovach

• Concertino for Cello and Chamber orchestra (piano score)

Lutz, Henri

• Reverie, for Cello and orchestra

Marcello, B.

• Adagio for Cello and String Trio (2Vln Vla) (from Concerto in C minor for Oboe) Score

Piazzolla, Astor

• Tango Cafe 1930 for cello and string orchestra

Rubtsov, A.

• Andante Dolente for two cellos and string orchestra (score) - All Parts

Shtogarenko, A.

• Cello Concerto - [Piano part] - [Cello part]

Spring, Rudi

• Szene II for Violoncello and Orchestra score and cello part}

Tchaikovsky

• Variations on a Rococo Theme Op.33 Rococo Variations, Op.33 (cello part) - (russian score) - Score

• Pezzo Capriccioso Op.62 Cello and Orchestra score - score

Vivaldi

• Concerto for 2 violins, 2 cellos and string orchestra, score
• Cello Concerto Op.26, No.9(link)

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Orchestral Cello Parts

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Ginastera

• Bomarzo solo cello exerpt

Puccini

• Tosca 4 Cellos Solo

Suppe, Fr. v.

• Poet and Peasent Overture Cello Solo part

Test Pieces for Orchestral Auditions

• Excerpts from Concert Repertoire

Verdi

• Rigoletto Cello Solos