No description available.

There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, significant and pertinent information can be gained from this manuscript. Chords, intervals, differing sequence patterns, and differing pitches are all evident when comparing the lute version with the manuscript copies. Many of the added notes from the lute version are playable on the cello and add to the resulting harmony. These playable notes are included in the Appendix in the author's own edition of the Prelude to Suite V based upon the lute score. While a cellist may not choose to follow the lute score, many questions stemming from the variances found in the manuscript copies can be made clearer. The Prelude to Suite V was written in the French overture form. There is much controversy as to the manner in which a French overture should be performed. Thus, the performance practice of the French overture style is discussed and presented. Proponents of the style feel it pertained to music of the Baroque period, irregardless if it was written by a French composer, while others feel that no such style existed and there was no basis to include Bach's music in the use of the French overture style. Both sides of the French overture style are presented and related to the performance, specifically, to the Prelude of Suite V for cello solo.

This master thesis deal with the cellist Friedrich August Kummer a representative of the Dresden school and his works for two cellos. Parts of the thesis are: informations about cello music in Germany, representatives of the Dresden school, Kummer´s biography and Method, description of some works for two cellos and analysis of selected movements of his 3 cello duets op.22. The author colected information from websites, books and sheet music.

Thesis (D.M.A.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (p. 282-283) and index. Also available on the Internet.

Trio op. 114 for piano, clarinet and cello / J. Brahms -- Trio op. 66 for piano, violin and cello / F. Mendelssohn. / text

Spiegel im spiegel / Arvo Part -- Sonata in C major, no.4, op.102 / Ludwig van Beethoven -- Sonata for cello and piano in D minor, op.40 / Dmitri Shostakovich. / text

Cello and piano sonata, op.102, no.2 / Ludwig van Beethoven -- Clarinet and piano sonata, op.120, no.1 / Johannes Brahms. / text

No description available.

Treatise (DMA)--Florida State University, 2003. / Advisor: Lubomir Georgiev, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 91 pages. Includes biographical sketch. Includes bibliographical references.

D.M.A. final project--Department of Music, Stanford University, 2004. / For clarinet, cello and piano. Performer's instructions: p. 1-2.