Saturday, December 27, 2008

Yo-Yo Ma: Bach G-Major Prelude

Thursday, December 11, 2008

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.

Friday, December 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.


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


Attached: jpg and pdf format of booking form.

Related Links:

British Friends of Wahat al-Salam ~ Neve Shalom:

Mark Padmore:
Natalie Clein:

Margaret Fingerhut

Wissam Boustany:
Tom Conti:

A full 30 minute documentary can be viewed online here: )

Tuesday, October 14, 2008

Kodaly Duo for Violin and Cello

Kurt Nikkanen and Daniel Gaisford performing at Tannery Pond

Tuesday, September 30, 2008

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.

Thursday, September 4, 2008

Teaching Cello Vibrato to Beginning Cellists Part I

See for additional information on cello pedagogy nd cello technique.

Monday, August 25, 2008

Mozart KV502 - Daniel Müller-Schott




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

Sunday, August 17, 2008

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.

Saturday, August 16, 2008

Wednesday, August 13, 2008

Young Performer Series: Pablo Ferrandez

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

Mov 1

Mov 2

Mov 3

Sunday, August 10, 2008

Slava and Ozawa - Haydn Concerto

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

Wednesday, August 6, 2008

Wednesday, July 30, 2008

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"

Saturday, July 26, 2008

Friday, July 18, 2008

Masterclass: Paul Tortelier

Dvorak Concerto:


Sonata Breve (Tortelier):

Monday, July 7, 2008

Zara Nelsova - Kabalevsky Concerto No.1


II.Moderato, Cadenza, Allegro con moto


Wednesday, July 2, 2008

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

Saturday, June 28, 2008

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.

Monday, June 16, 2008

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

Saturday, June 14, 2008

Händel- Halvorsen, Passacaglia

Julia Fischer, Violine
Daniel Müller-Schott, Cello

Friday, June 6, 2008

Tuesday, June 3, 2008

Young Performer Series: Santiago Canon 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:

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

Thursday, May 29, 2008

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

Monday, May 26, 2008

Mischa Maisky - Bach Cello Suite No. 4







Wednesday, May 21, 2008

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

Tuesday, May 20, 2008

Vytautas Sondeckis - Elgar Cello Concerto

Vytautas Sondeckis Cello
Saulius Sondeckis conductor
Lithuanian State smph orchestra

Saturday, May 10, 2008

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

Wednesday, April 30, 2008

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:

Thanks To Erin for the heads up.

Wednesday, April 23, 2008

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.

Tuesday, April 22, 2008

Saturday, April 19, 2008

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

Saturday, April 12, 2008

Thursday, April 10, 2008

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

Tuesday, April 8, 2008

Free Cello Sheet Music

Cello Solo

Argent, Mark

  • Hymnus for Solo Cello part

Bach, Johann Sebastian

Belcastro, Luca

Blumenthaler, Volker

Bresnahan, Christo

Hans-Jürgen von Bose


Cossmann, Bernhard (1822-1910)


Demoivre, Daniel

Dotzauer, ,J. J. F.

Eck, Hans van

Francesoni, Gino


Haldenberg, Franz


Hunkins, Arthur B.

Janof, Tim

Kauder, Hugo

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

Khachaturian A.

Kodaly, Zoltan

Lee, Sebastian

Ligeti, Gyorgy

Livon, Roberto

Münzer, Holger

Saleski, Gdal (1888- )

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


Summer, Mark


The Art of the Bow (for cello solo)


Vactor, David Van

Villanueva, Facundo


Viola, Leo

Wissing, Norbert

*Musica for violoncello solo

Wolfram, Mark E.

Cello and Piano



Arzoumanov, Valery

Bach, C.P.E.

Bach, J.C.

Bach, Johann Sebastian

3 Sonatas for Viola da Gamba (cello) and Harpsichord

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


Ave Maria

Bachlund, Gary

Baklanova, N.

Beethoven, Ludwig V. (1770-1827)

Belcastro, Luca

Benda, M




Bobrowicz, Johann Nepomuk von

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


Bolling, Claude


Bregato, Jose

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



Bruch, Max (1838-1920)

Casals, Pablo

Cassado, G

Castro, Washington



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




Dukas, Paul

Dvorak, Anton

Eck, Hans van

  • Sonata for Cello and Piano parts

Elgar, Edward

Fabricius, Jakob

  • Ballade for Cello and Piano score

Faure, G.

Field, John (1782-1837)


Giannetta, Domenico

  • Elegia for Cello and Piano score

Ginastera, Alberto

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

Glass, Louis






Haldenberg, Franz


Haydn, F.

Heise, P.

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

Honegger, Arthur (1892-1955)


Irish Folk Song


Kauder, Hugo

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

Khachaturian (1903-1978)


Lalo, E.

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


Lemire, Jean Baptiste (1867-1945)


Leonovich, Yury



Lloyd Webber, W.S.




Mittner, Jiri


Miaskovsky, Nikolai (1881-1950)


Neruda, Franz

Norton, Christopher


Ornstein, Leo

Peters-Rey, Gregor

Petric, Ivo



Pieroni, Uberto

Pocs, Katalin




Raff, Joachim (1822-1882)


Revutsky, L.


Romberg, Bernard

Rubinstein, Anton

Saint Saens


Satie, Erik (1866-1925)

Schnittke, A.


Schubert, Franz




Shtogarenko, A.

Shukh, Mikhail


Sokolow, Nicolas




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









Vallejo, Gabriel

  • Musica Viajera for Cello and Piano score

Varelas, Anatoly

Villa-Lobos, H.

Villanueva, Facundo

Vivaldi, Antonio

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)

Webern, Anton von

Wissing, Norbert

  • Sonata for Cello and Piano parts

Yarovinsky, B.

Yefimov, Igor


Zhuravitsky, V.


Cello Duets

Barriere, Jean

Boismortier, J. B. de

Bresnahan, Christo

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

Couperin, Francois

Grieg, Edward



Hindemith, Paul


Mozart, W. A.


Rachmaninoff, S.

Revutsky, L.

Rossini, G.

Tsintsadze, S. (1925)

3 Celli

Bellini, V.

Birgisson, Snorri Sigfus

  • Snorri Thorfinnsson's Lullaby for 3 cellos


Callender, Clifton

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



  • A Tear in the Mirror for 3 Cellos score


Tchaikovsky (Stubbs)

Unknown Composer

4 Celli

Bach, Johann Sebastian


Birgisson, Snorri Sigfus

*Lilja for 4 cellos

Chopin, F.

Gardel, Carlos


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



Metallica - Apocalyptica

Mozart, Wolfgang Amadeus

Nazareth, Ernesto

Petric, Ivo

Rossini, Giocchino

Verdi, Giuseppe

Werner, Josef (1837-1922)

6 Celli

Rossini, Giocchino

8 Celli

Giannetta, Domenico


12 Celli


Cello and Orchestra



Goncharenko, V.



Kireiko, V.


Lutz, Henri

Marcello, B.

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

Piazzolla, Astor

Rubtsov, A.

Shtogarenko, A.

Spring, Rudi



Orchestral Cello Parts



Suppe, Fr. v.

Test Pieces for Orchestral Auditions