Partita für Violine und Cello, Op. 27, Nr. 3 /

Mode of access: Internet.

The Artistic cellist; a collection of standard cello solos with piano accompaniment.

Mode of access: Internet.

Phantasie : for violin, cello and piano ; trio no. 1 /

Mode of access: Internet.

Five piano concertos. [music].

No. 1, in C, op. 15 -- No. 2, in B-flat, op. 19 -- No. 3, in C, op. 37 -- No. 4, in G, op. 58 -- No. 5, in E-flat, op. 73.

Collecção de tratados e concertos de pazes que o estado da India portugueza fez com os reis e senhores com quem teve relações nas partes da Asia e Africa Oriental desde o principio da conquista até ao fim do seculo XVIII,

Mode of access: Internet.

Trio no. 1 for piano, violin and cello (both versions) in B minor, op.8.

Contains both the 1854 and the 1891 versions.

Quintet for piano, 2 violins, viola and cello.

Mode of access: Internet.

Quartet no. 3, for piano, violin, viola and cello in C minor.

Mode of access: Internet.

Two quartets for piano, violin, viola and cello: Op.1 in C minor; Op.2 in F minor.

Op.1, C minor.--Op.2, F minor.

Two quintets for 2 violins, 2 violas and cello, op.18, 87.

Mode of access: Internet.

Teaching Australian cello music to Intermediate students: An exploratory study of motivation through repertoire

This paper explores the motivational aspects of repertoire for intermediate student cellists. Research into interest and intrinsic motivation related to the learning of instrumental music has been limited to date. As a cello teacher interested in including contemporary and Australian music in my students' studies I started to research availability of Australian repertoire for intermediate cellists and found that there was limited accessibility to such pedagogical material at this level. This study emerged as a way of providing useful information to composers. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. This paper presents the findings of the purpose-designed questionnaire distributed to cello teachers in Queensland. A similar set of questions has been prepared for student cellists and information gathering from students is still underway. Musical aspects investigated include technique and its development, style, harmony, tempo (speed), and rhythm. The questionnaire gathered information on the most frequently used teaching repertoire and teachers' experiences in teaching contemporary and Australian repertoire. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students as well as other motivational aspects. It is hoped that information collated from this research will be of benefit in the selection of motivational repertoire for intermediate student cellists and especially in promoting the composition of Australian pieces for intermediate cellists.

Older woman with cello in senior citizens band

General note: Title and date provided by Bettye Lane.

Selected Violin Concertos: In Search of a Missing Link

My dissertation presented seven violin concertos in three recital programs. Three of these concertos are acknowledged masterpieces performed in established concert venues throughout the world. They are the concertos of Mozart, Beethoven and Tchaikovsky. The other four are less standard and are composed by Viotti, Kreutzer, Rode and Spohr. These less standard concertos were popular during their time yet they seem not to have stood the test of time. A curriculum devoted exclusively to the standard concertos creates problems for the young violinist. The Mozart violin concertos are often the first standard concertos that the young violin student encounters. They are considered to be the least technically demanding of the standard concertos. The next most advanced standard concertos that the student will usually encounter are Bruch’s G minor concerto, Wieniawski’s D minor concerto and Barber’s concerto. The trouble is that the work on Mozart concertos does not adequately prepare a student for the next most advanced standard concerto. There is a discontinuous leap in the progression of technical difficulty between the Mozart concertos and the next most advanced concertos. Likewise the standard concerto repertoire provides no smooth historical or stylistic progression between the Mozart concertos and the next most advanced concertos. If the young violinist is limited to the standard repertoire then she has no smooth progression either technical, historical or stylistic. I seek to demonstrate that, by adding concertos of Spohr, Viotti, Kreutzer, and Rode to the standard violin curriculum, one could remedy this problem. The first and third recitals were performed in the Gildenhorn Recital Hall and the second recital in the School of Music’s Smith Lecture Hall, both at the University of Maryland. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).