These 10 pieces are expertly crafted and they are intended for students. Well worth your time and effort to look into.
You can find many interesting arrangements and exercise books created by, me, Aaron.
https://www.patreon.com/c/travelingcello/shop
84. Forgotten Cello Music: Bréval's Six Sonatas of Op. 40
Have you played from Suzuki Vol. 4? The first two pieces are two movements by Bréval, Sonata in C major, Op. 40 I. Allegro; II. RONDO. Grazioso.
Well, wouldn't you know, he wrote five more in that set (very common for the period to write in sets of six). They are all great examples of prime learning material.
Visit me on Patreon to purchase my fair copy of all six sonatas:
83. Forgotten Cello Music "MODERN SUITE" Op. 122 by G. Goltermann
A rambling episode. Not very interesting. But some nuggets hidden in amidst all the gobbledy-gook.
Please support by visiting the following:
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I'm a struggling artist that is quite mediocre in every conceivable way. I press on because I love the music and playing cello.
I'm interested in finding a sponsor. If you know anyone interested in this sort of niche thing can you send me a message ?
travelingcellogroup@gmail.com
I do think that I am truly doing a service by presenting some of the lesser known pieces for cello. It is obvious when searching Youtube or listening to Apple Music/Spotify that many artists are searching for their own niche with occasional forays into "forgotten cello music".
Although my cello playing is not that good, I do have a way of helping students with get through tough technical issues and musical tutelage.
82. Forgotten Cello Music: Goltermann and Three Lyrical Pieces, Op. 117
1. Sehnsucht (Longing)
2. Freud und Leid (Joy and Sorrow)
3. Abendlied (Evening Song)
Explore these rather poignant three short pieces by the virtuoso cellist, teacher, and music director Georg Goltermann.
They are somewhat deeper in character than other short works .
Fun and stuff.
81. Forgotten Cello Music: France and Holland (and Belgium) in the 19th C. Daniel van Goens and Leon Boellmann.
You can go to my Youtube channel to answer some questions if you have the time and interest.
80. The Violoncello and Its History: Cello in the 19th Century, IV. ITALY
On to the fourth section of a new century four violoncello playing.
What does Italy have to offer? This is a short reading. That should give quite a hint.
One famous cellist I'll mention: Alfredo Piatti
Another is Guglielmo Quarenghi, already talked about at length when I did a study in his Counterpoint. Start here in Episode 51 . Continue through to Ep. 55 for all the info. used to explore his counterpoint lessons as well as a capriccio.
79. The Violoncello and Its History: Cello in the 18th C. III. France
78. France in the 19th Century: Auguste Franchomme and Felix Battanchon
In this episode, featured are the two cellists from France, Franchomme and Battanchon. Although Franchomme is fairly well-known for a set of etudes there is a twist of what was accepted in studios and "good" material for learning.
Besides that, the German cellist Romberg contributed to a modern notation marking for a particular fingering that was adopted even by the French early on.
77. 18th Century Cello in France: Cornelis Liegeois
This episode features only one cellist/composer from Belgium/France in the 1800's. He had a storied career that saw him rub shoulders and collaborate with what we now consider some of the best Romantic composers the world has seen.
Join me in support of this interesting work spreading information about Forgotten cello music by becoming a supporter in my Patreon.
76. History of Cello-VC in the 18th C. II. Germany - J. Wasielewski
“During the second half of the last century the art of violoncello playing had already very extensively spread throughout Germany and had many more noteworthy representatives than in Italy and France.” p73
“Germany called out more instrumental vigour in order to satisfy the need of good musicians for the numberless Courts. According to Gottlieb Friedrich Krebel’s European genealogical handbook of the year 1770, there were, including the Romaic-German Emperor and the King of Prussia, over two hundred secular and spiritual princes and sovereign counts, the greater number of whom supported Kapelle (bands) or at least chamber music.” p73
“…consequently more talented young men devoted themselves in Germany to instrumental music, and especially to violoncello playing, than elsewhere.” p73
71. Robert Fuchs: 7 Fantasy Pieces, Op. 78
Listen to this now.
https://www.youtube.com/channel/UCpWQ5BLhtXdyeJOlGJ8MyqQ
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https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
60. Cello in Germany in the 19th Century: Hugo Becker "Love Scenes" Op. 7
Here is yet another little gem of a piece. While it requires some attention to higher positions in places, the over all accessibility for the upper intermediate player is in your grasp. As you will hear in my own recording, the amount of practice I got in did not satisfy except to the level of moderately good. But in reality, my goal is more at showing you that such much exists and should be played by more competent cellists than myself. That being said, I greatly enjoy recording these works and will continue on regardless.
There are six movements or scenes that Becker has artfully reimagined as musical prose.
1. Begegnung ("First Sight" or "Meeting")
2. Zweifel ("Doubting")
3. Träumen ("Dreaming")
4. Tänderlei ("Flitting")
5. Frage ("Question")
6. Antwort ("Answer")
Please support me as I continue to present worthwhile music for cellists to play in addition to all the great standards we already are accustomed to.
Patreon: https://www.patreon.com/travelingcello
Purchase my arrangements, collections of annotated music for beginning cellists, and cleaned up early cello method:
https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
Go to me Youtube channel and watch me play mostly well with a number of teeth grinding missed shifts:
(Link coming soon once the video is fully edited.)
59. W. FITZENHAGEN: 19th Century Cello in Germany
I'd simply like to say; I like Fitzenhagen's compositions.
Not very convincing? Listen to this podcast.
Still not really sure? Look over the scores.
And you still need convincing? Play some of his music for yourself.
Even though he may best be known as the cellist who not only gave the premiere performance of Tchaikovsky's Variations on a Rococo Theme but also the cellist brazen enough to alter the score so much that it was nearly unrecognizable as one that the master composer originally penned.
Despite that negative reputation, he did compose a number of very charming pieces.
~Two sets of pieces for students, two cello quartets, numerous character pieces, and others.
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Listen ALL the way through each podcast episode.
Watch All the way through my videos on Youtube. TravelingCello
Episode 58 is set squarely in Germany in the 1800's.
There was an explosion of capable cellists in that country in this period. They wrote an enormous body of music for the concert stage as well as for the aspiring student. Come along and explore some forgotten Etudes by the likes of Schröder, Lee, Werner, Kummer, Büchler, and Heberlein. Although there are many more names that could be included there were already so many etudes to choose from just from these six that any more would have meant for an impossibly lengthy time commitment just for recording the music.
This episode aims to be informative and helpful in providing alternate (or perhaps in addition to) studies to the scores of "traditional" ones you are already familiar with, which were passed down to you from your teacher.
That's the point of this podcast. Discover Forgotten Cello Music and put it to good use. Assign it to a student, play it for yourself, and ultimately perform it in some capacity.
Can you find "The Happy Farmer" in this episode?
When you do, go look up the same music I used to play it. The version used in this ep. is simply a refreshing and practical rendering.
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Remember you can leave a voice message at the Anchor.fm/forgottencellomusic page.
Send me an email with thoughts and ideas: travelingcellogroup@gmail.com
Watch some videos of me playing forgotten cello music on my Youtube channel Traveling Cello
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Send a tip to PayPal.me/travelingcello (or use to pay for private, online lessons with me).
Join me on my journey into Forgotten Cello Music by subscribing to my Patreon: https://www.patreon.com/travelingcello
Maybe you would like an arrangement I've made: https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
--- (The Cello duet of "Lied Ohne Worte/Song Without Words" by Mendelssohn is one I am particularly fond of myself.)
Please, tell your friends and colleagues, acquaintances and family to listen all ALL of my episodes here at Forgotten Cello Music!
Thank you and remember to play more Forgotten Cello Music.
57. Overview: GERMANY in the 19th Century
Wasielewski says in the introduction to "Germany in the 19th C." that this country produced a good many cellists whose names are still well-known to this day. The Cellist on whom the title, Father of the German school of Cello Playing, was bestowed is Bernhard Romberg. As he straddled the 18th and 19th centuries and had such influence on cello technique and composition, he is a deserving candidate at the very least.
You will hear a basic overview of what cello playing looked like according to The Violoncello and Its History and the mention of several dozen names. There will also be some talk of my own experience in playing music from this group of cellist/composers.
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The music you hear in this episode is the following and mostly in this order:
James Hook -- Cello Duet Op. 58 No. 4, I. Un poco allegro
Aaron Sinnett, Cello 1 & 2
Georg Goltermann -- German Dances , Op. 42
Aaron Sinnett, Cello; Rio Li, Piano
Georg Golterman -- Nocturne, Op. 54
Aaron Sinnett, Cello; Dale Sinnett, Piano
Georg Golterman -- Grand Duo, Op. 15 in D minor, I. Allegro
Aaron Sinnett, Cello; MIDI, Piano (I entered all the notes into Musescore!) {Does that make me the pianist?}
Here's to a new year!
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Thank you to my Patrons over on Patreon! You're support is helping me get closer to my goal of producing more episodes every month.
Join me on Patreon
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It is the end of another year. It is nice to look back at what one has done and reflect for a moment before beginning again.
Listen in on:
- Listener's top 3 episodes
- My top 3
- The purpose of this project.
- What is on the docket for 2023
55. Quarenghi: "Capriccio" for Cello and Piano
I said I'd learn and play this piece for the podcast. Well, I learned the entire thing but it was challenging. It was fun. However, sometimes you are unable to make the fingers move properly due to inactivity as a performer. For that reason, you'll hear excerpts. If anybody else has ever heard or even played this number for yourself I would like to hear about. (If you have a recording wouldn't that be fun to hear?)
Join me on my Patreon so far I have three patrons who have been generously supporting me! Thanks to you!!
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Send support another way:
Look up this Capriccio for yourself: https://imslp.org/wiki/Capriccio_for_Cello_and_Piano_(Quarenghi,_Guglielmo)
Watch me on Youtube at TravelingCello. https://www.youtube.com/c/TravelingCello
Do you want to hear the entire "Capriccio"? (Or please, no don't do subject us to that torture!)
Episode 54 is Part 4 and the final installment in my exploration into Counterpoint.
It started simply due to an accident. Upon finding and perusing through Guglielmo Quarenghi's 600 page cello method, there in the middle was a complete study on counterpoint. Included were original compositions of his own exemplifying 5 Species of Counterpoint, Imitation, Canon, and Fugue.
I was hooked because of the singularity of the inclusion. This was also indicative of the lack of attention paid to counterpoint especially in relation to Bach's music and how central a role it plays in a cellists upbringing.
What are your own thoughts on learning Bach's suites for cello or any other composition? Is it necessary to learn counterpoint to be an informed player or is it more of an issue of adding to the palette? (Or would you phrase it differently?)
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I hope you are enjoying the podcast. It would be splendid to get some more feedback. Thanks to the few who have sent a message. It is very nice to hear from listeners.
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Episode 53 is part 3 of a four-part series on Counterpoint, taken from Guglielmo Quarenghi's massive, 600 page, Cello Method.
So far in this counterpoint series:
After counterpoint there will be an exhilarating Capriccio for cello and piano by Quarenghi.
Today, in this Episode:
Remember to leave a voice message, send an email, view my blog and Youtube channel, and tell your friends. (Whether you enjoy this podcast or want a good laugh at the playing, either way it'd be great to have your ears.)
Join me on Patreon to send your support: https://www.patreon.com/travelingcello
Episode 52 Counterpoint "Imitation": Second installment in a four-part series. ~ 1. Counterpoint: intro. and 5 Species; 2. Imitation; 3. Canon; 4. Fugue
*Thanks to the listener who responded to the Question in Episode 37: Cello in Germany in the 17th Century.
~~The Question in this Episode, #52: How many entries of the Antecedent/Consequent are there in Quarenghi's composition, Imitation?~~
Guglielmo Quarenghi was a 19th C. Italian cellist, composer, and historian, not to mention a writer of a 600 page Cello Method.
What you will encounter in this episode:
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You can respond to the Questions and Polls as well. Go to my podcast's link here on Spotify or alternatively on Anchor to do so.
You might also have a thought about the topic of the episode you are listening to. Use the button on this page https://anchor.fm/forgottencellomusic to record a voice message.
Or, if you prefer, write an email and share your thoughts about the music played on the episode: travelingcellogroup@gmail.com
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#episode52 #counterpoint #imitation #cellomethod #guglielmoquarenghi #forgottencellomusic