Sonata in C major, op.102, no.1 / Ludwig van Beethoven -- Pezzo capriccioso, op.62 / Pyotr Ilyich Tchaikovsky -- Sonata no.2 in D major, op.58 / Felix Mendelssohn. / text

Variations on a theme from Mozart's Magic Flute aria, "Bei Mannern, welche Liebe fuhlen" Woo 46 / L. V. Beethoven -- Sonata for arpeggione and piano in A minor, D.821 / Franz Schubert -- Suite for solo cello in D major BWV J.S. Bach -- Sonata for cello and piano / William Bolcom. / text

12 variations on Ein Madchen oder Weibchen, op.66 / Ludwig van Beethoven -- Fantasiestucke, op.73 / Robert Schumann -- Theme from "Schindler's list" / John Williams -- Introduction and polonaise brillante, op.3 / Frederic Chopin -- Sonata in A major / Cesar Franck. / text

Sonata for violoncello and piano, opus 6 / Samuel Barber -- Abendlied, op.85, no.12 / Robert Schumann -- Sonata no.3 in A major, op.69 / Ludwig van Beethoven. / text

Suite for unaccompanied cello in C, BWV 1009 / J.S. Bach -- Quartet for the end of time / Olivier Messiaen -- Sonata for cello and piano in e minor, op.38 / Johannes Brahms. / text

"Synthesizing an adaptation of Simon Fischer's 'Basics' into a holistic approach to cello pedagogy" -- Kol Nidrei / Max Bruch. / text

Diss.--Karlsruhe. / Lebenslauf. "Literaturverzeichnis": p. 43.

Diss.--Karlsruhe. / Lebenslauf. "Literaturverzeichnis": p. 43.

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Lubomir Georgiev, Florida State University, School of Music. Title and description from treatise home page (viewed 11-18-03). Document formatted into pages; contains 161 pages. Includes biographical sketch. Includes bibliographical references.

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.