Romanza senza parole : per violoncello con accompagnamento di pianoforte /

Score for violoncello or violin and piano; part for violoncello.

Concerto for violoncello and orchestra, op. 85 /

Mode of access: Internet.

Fuge, D dur, für 2 Violonen, 2 Violen, und Violoncell,

Mode of access: Internet.

Schelomo = (Solomon) : Hebraic rhapsody for violoncello solo and full orchestra /

Mode of access: Internet.

Pibroch: a Highland lament (cumha mhic an toisich).

Mode of access: Internet.

Kompositionen für Violoncell und Pianoforte /

Pl. no.: 6960.

Quartette,

Mode of access: Internet.

1er concerto pour violoncelle et orchestre, op. 33 /

Acc. originally for orchestra.

Trois quatuors concertans pour flûte, violon, alto et violoncell. Oeuvre 62me.

Mode of access: Internet.

Forty easy variations employing various styles of bowing : op. 3 /

Notes and abbreviations in English, German, French, Russian and Czech.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

Sonata I für Violoncell mit Begleitung eines 2ten Violoncells /

Caption title.

Evaluation and comparison of mammalian subcellular localization prediction methods

Background: Determination of the subcellular location of a protein is essential to understanding its biochemical function. This information can provide insight into the function of hypothetical or novel proteins. These data are difficult to obtain experimentally but have become especially important since many whole genome sequencing projects have been finished and many resulting protein sequences are still lacking detailed functional information. In order to address this paucity of data, many computational prediction methods have been developed. However, these methods have varying levels of accuracy and perform differently based on the sequences that are presented to the underlying algorithm. It is therefore useful to compare these methods and monitor their performance. Results: In order to perform a comprehensive survey of prediction methods, we selected only methods that accepted large batches of protein sequences, were publicly available, and were able to predict localization to at least nine of the major subcellular locations (nucleus, cytosol, mitochondrion, extracellular region, plasma membrane, Golgi apparatus, endoplasmic reticulum (ER), peroxisome, and lysosome). The selected methods were CELLO, MultiLoc, Proteome Analyst, pTarget and WoLF PSORT. These methods were evaluated using 3763 mouse proteins from SwissProt that represent the source of the training sets used in development of the individual methods. In addition, an independent evaluation set of 2145 mouse proteins from LOCATE with a bias towards the subcellular localization underrepresented in SwissProt was used. The sensitivity and specificity were calculated for each method and compared to a theoretical value based on what might be observed by random chance. Conclusion: No individual method had a sufficient level of sensitivity across both evaluation sets that would enable reliable application to hypothetical proteins. All methods showed lower performance on the LOCATE dataset and variable performance on individual subcellular localizations was observed. Proteins localized to the secretory pathway were the most difficult to predict, while nuclear and extracellular proteins were predicted with the highest sensitivity.

Violoncello recital

Program: Passacaglia for Violin and Cello ........... Johan Halvorsen (1864-1935) Cello Concerto in E minor Op. 85 .............. Edward Elgar (1857-1934) Sonata for Cello and Piano Op. 38 .......... Johannes Brahms (1833-1897)

Abordagens de estudo e performance da obra Responsório ao vento para violoncelo solo de Sílvio Ferraz

Recognized for his relevant writing for the cello, Silvio Ferraz wrote , in 2012, Segundo Responsório for cello solo and chamber group which followed Responsório ao Vento , a version of the same piece for solo cello . The work is characterized by the idea of continuity of sound moving through different textures , timbres , dynamics and musical gestures. The composer uses extended techniques, such as large sections in sul tasto playing three strings simultaneously, trills of natural harmonics , muffled trills with natural harmonics , col legno batuto , different types of glissando and simultaneous sounds of harmonic and non harmonic notes corroborate to a wealth of sounds and layers that create different textures. This article investigates the relationship of the composer with the cello, and relates Responsório ao Vento to his other works and studies the influences of the composer addressing technical and interpretive aspects of the piece drawn from performance experiences.