Forgotten Cello Music
By AARON S.
This podcast was born out of the desire to have a podcast. I have wanted to make a podcast for years. My passion is Classical music.
Forgotten Cello MusicSep 08, 2023
83. Forgotten Cello Music "MODERN SUITE" Op. 122 by G. Goltermann
83. Forgotten Cello Music "MODERN SUITE" Op. 122 by G. Goltermann
- Prelude
- Romance
- Funeral March
- Gavotte
- Tarantella
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
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.
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
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
79. The Violoncello and Its History: Cello in the 18th C. III. France
78. France in the 19th Century: Franchomme and Battanchon
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
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
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
75. 13aa. Heberlein Self instructor op.7 Installment 13 p24 "Kreuz Tonarten" und 2./3. Positionen
75. Heberlein Self instructor op.7 Installment 13 p24 "Kreuz Tonarten" und 2./3. Positionen
74. SPECIAL EPISODE: No.11: A Journey in German-Learning, Musik auf Deutsch. "Bezeichnungen: Bogenführung, Tempo, und Dynamik"
74. SPECIAL EPISODE: No.11: A Journey in German-Learning, Musik auf Deutsch. "Bezeichnungen: Bogenführung, Tempo, und Dynamik"
73. SPECIAL EPISODE: No.11: A Journey in German-Learning, Musik auf Deutsch. "Position"
73. SPECIAL EPISODE: No.11: A Journey in German-Learning, Musik auf Deutsch. "Position"
This is the last of the introductory pages of musical instruction in writing from Heberlein's Self Instructor for Cello, Op. 7. (There are still more pages of writing instruction sprinkled throughout the 60 page method. More to come.)
In this episode, I learn more about the cello in the First Position and the notes that go along with it--in C major. There are some exercises as well.
72. SPECIAL EPISODE: No.9: A Journey in German-Learning, Musik auf Deutsch. "Der kurze Strich "
72. SPECIAL EPISODE: No.9: A Journey in German-Learning, Musik auf Deutsch. "Der kurze Strich "
This is using Hermann Heberlein's Self-Instructor for Cello, op. 7.
This tangent has turned into quite a substantial undertaking. When I first thought of it, I imagined it would be several longer episodes. But as I am prone to go loooong periods without uploads a thought occurred to me, "Why not make lots of shorter ones?" That's just what I have done. They are much more manageable for me to record and edit. I've never been so on top of my output!
This side project is entirely driven by my desire and my need to speak German somewhat better than I do now. My native German speaking students of the cello are not so fond of speaking English so I decided (for once) to dive headlong out of my comfort zone and into a the deep end where I can barely form a grammatically correct sentence, yet somehow, the lessons progress. Perhaps the angels are helping me speak.
Give me a LIKE, a follow, and a comment.
Find my youtube channel Traveling Cello here.. (Like, subscribe, and watch several videos while visiting.)
{Can I reach 500 subscribers on my youtube channel by August 2023?}
Support my financially: Patreon
Purchase my arrangements: https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
Take cello lessons: travelingcellogroup@gmail.com
Thanks
71. Robert Fuchs: 7 Fantasy Pieces, Op. 78
71. Robert Fuchs: 7 Fantasy Pieces, Op. 78
Listen to this now.
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70. SPECIAL EPISODE: No.9: A Journey in German-Learning, Musik auf Deutsch. "Die Verschiedene Taktarten "
70. SPECIAL EPISODE: No.9: A Journey in German-Learning, Musik auf Deutsch. "Die Verschiedene Taktarten und Der Punkt neben einer Note"
This episode comprises two short sections about "The Meters" and "Dotted Notes".
It comes form Heberlein's Self-Instructor, Op. 7
Why this method book and why read through the instruction parts solely in German?
- Practice German, specifically to learn musical terminology in German
- Listen to the episode to find out why I started this special series in the first place.
Go support this podcast and my Youtube channel by visiting my Patreon and becoming a member.
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Purchase some useful Cello duets and a Collection of Helpful, systematically arranged studies for the Beginning Cello student:
https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
For completely FREE to you, subscribe to my Youtube Channel Traveling Cello
LIKE and SUBSCRIBE. Help my reach my goal of 500 subs by year's End!
69. SPECIAL EPISODE: No. 8: A Journey in German-Learning, Musik auf Deutsch. Installment 8: "Uebungen und verschiedene Intervallen "
69. SPECIAL EPISODE: No. 8: A Journey in German-Learning, Musik auf Deutsch. Installment 8: "Uebungen und verschiedene Intervallen "
I've almost come to the end of the study of musical terminology in German using Hermann Heberlein's Self-Instructor, Op. 7.
Thanks for supporting this and anyone who is reading this or listening to the podcast, please go to my Youtube channel TravelingCello and subscribe, click LIKE, and watch ALL my videos. Your support is invaluable, in fact, it doesn't work without you. If you are feeling particularly generous towards me start watching every video but just mute it and go do something else.
Now, when you start feeling sorry for me go to my Patreon and join me there. There isn't much of value there so think of it like a tip jar instead.
https://www.patreon.com/travelingcello
68. SPECIAL EPISODE: No. 7: A Journey in German-Learning, Musik auf Deutsch "C Dur Tonleiter und Intervalle"
68. SPECIAL EPISODE: No. 7: A Journey in German-Learning, Musik auf Deutsch "C Dur Tonleiter und Intervalle"
Just another episode in which I am struggling to come to grips with German and its confounding grammar. On the up side, I seem to have learned and incorporated a few more musical terms into my vocabulary.
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67. SPECIAL EPISODE: No. 6: A Journey in German-Learning, Musik auf Deutsch "Tonleitern oder Skala"
67. SPECIAL EPISODE: No. 6: A Journey in German-Learning, Musik auf Deutsch "Tonleitern oder Skala"
It seems that this consistent practice is helping my German skills. There are some improvements.
This episode will help greatly with vocabulary as it deals with several fundamental musical concepts: Scales and the steps between notes.
Since there is no way to comment on podcasts as of yet, hop on over to my Youtube channel and leave me something to think about. Traveling Cello
Show some support for all the content by becoming a member at my Patreon.
Thanks for bearing with me while I flesh out a sorely needed skill in German speaking especially surrounding musical language.
I plan on inserting a regular episode about Robert Fuchs and his 7 Fantasy Pieces next week.
66. SPECIAL EPISODE: No. 5: A Journey in German-Learning, Musik auf Deutsch "Das rechte Handgelenk"
66. SPECIAL EPISODE: No. 5: A Journey in German-Learning, Musik auf Deutsch "Das rechte Handgelenk"
Thanks for joining me in my journey to improve my German abilities specifically while teaching cello. Therefore, this is not a learning how to get fluent (although that would be a nice side effect) but more about how to communicate more effectively to my native German speaking student. Basically, I need more vocabulary in the musical jargon but also how to instruct using those terms.
When you do find this interesting or even instructive please jump over to my Patreon and lend some support and get a sticker, a shirt, or a mug in the process.
https://www.patreon.com/travelingcello
You will also find some interesting and useful arrangements for cello duet and cello quartet along with a compilation of beginner etudes that I have annotated with short, instructive tidbits.
https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
I am also taking students. If you are interested fill out this google form: https://docs.google.com/forms/d/1rqaYGwE6VSKwh5yvzeghCNMWOnsH_5OrDkCsos20id8/prefill
65. SPECIAL EPISODE: No. 4: A Journey in German-Learning, Musik auf Deutsch "Die Töne der vier Saiten"
65. SPECIAL EPISODE: No. 4: A Journey in German-Learning, Musik auf Deutsch "Die Töne der vier Saiten"
This episode will cover all the pitches of the four strings in First Position.
I begin by introducing the purpose of this special series as well as asking if this is doing any good for learning musical terminology in German.
Perhaps you would like to weigh in on that thought question and give your comments to me.
This section in Heberlein's Self Instructor, Op. 7 is the lengthiest yet with lots of musical examples to accompany the reading. Each time the text gives some notes I inject them into the episode so that the reading stays as true to the text as possible. (Occasionally I explain or make a comment about the music or figure, testing my German abilities).
If you find this interesting or entertaining or would like to take cello lessons or put more musicality into your playing (regardless of instrument), contact me about lessons/coachings.
travelingcellogroup@gmail.com
Visit my Patreon to explore the tiers of membership where you can choose merch at the appropriate tier.
https://www.patreon.com/travelingcello
Buy a cello arrangement of mine directly from me (inquire via email)
or go to
https://www.sheetmusicplus.com/publishers/aaron-sinnett-sheet-music/3022778
64. SPECIAL EPISODE: No. 3 A Journey in German-Learning, Musik auf Deutsch "Die vier Saiten" und "Der lange Strich"
64. SPECIAL EPISODE: No. 3 A Journey in German-Learning, Musik auf Deutsch "Die vier Saiten" und "Der lange Strich"
Source text:
Hermann Heberlein, Op. 7 Schule für Cello; für Selbst Unterricht (Self Instructor for Cello)
The special series of episodes (#61-64) are all about my desire to learn more words about me teaching ONE native german speaker.
Of course, I'd like to teach this student in German but I am not adequately equipped with the musical vocabulary to do so very effectively. So, the real purpose of this special series is about learning that musical terminology and also being able to speak just a little bit better.
The idea came from the fact that I don't have any opportunity to just talk with native speakers much less to native german speakers who also play the cello. So, I thought, why not make myself twice as uncomfortable as I am right now (I'm very nervous about speaking German in lessons) and put up my learnings online for everyone to tune if they should discover my podcast.
This particular episode is not too long and contains only one short musical example; four notes to be precise (although I play them several times).
There are musical selections throughout the episode. They are exclusively duets from Heberlein's "Self Instructor" from which all readings are taken.
63. SPECIAL EPISODE: No. 2 A Journey in German-Learning, Musik auf Deutsch "Das Violoncello und Die Haltung des Violoncells"
This is a Bonus, or what I call a special Episode.
63. SPECIAL EPISODE: No. 2 A Journey in German-Learning, Musik auf Deutsch "Das Violoncello und Die Haltung des Violoncells"
(Nota bene: There is an alternate version of nearly the same episode after the ad. I added musical selections from Heberlein's Instructor as well as an ad libbed section auf Deutsch.)
Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.
Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.
In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)
Get your Forgotten Cello Music merch by subscribing to my Patreon:
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or be a Tipper and send a few dollars to
62. SPECIAL EPISODE: No. 1 A Journey in German-Learning, Musik auf Deutsch "Das Notensystem"
This is a Bonus, or what I call a special Episode.
Here is Episode No.1 "Das Notensystem"
Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.
Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.
In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)
He wrote a great method for learning music and cello and I'm taking full advantage of that for my own edification.
So, here's to all the anxiety and self-effacing I'll likely do to myself but never the less, progress must be achieved at nearly any cost.
If you wish to support and join me on this journey let me know.
61. SPECIAL EPISODE: INTRO -- A Journey in German-Learning, Musik auf Deutsch
This is a Bonus, or what I call a special Episode.
This is the INTRO. to what will be a series.
Recently, I have begun teaching a student completely in German, or auf Deutsch. The why's and wherefore's to your ensuing questions (I'm totally fantasizing imagining any questions from listeners) is for another day. Now, I really want to learn more of the musical terminology in German.
Although I learned how to speak at a decent level, I never have studied formally in German for music. I've read a lot and taken lessons in German but have, up til 4 months ago, never taught or had to use any technical language for anything.
In this series, I'll be using Hermann Heberlein's Selbstunterricht, Op. 7 Teil I. ("Self-Instructor" Part I.)
He wrote a great method for learning music and cello and I'm taking full advantage of that for my own edification.
So, here's to all the anxiety and self-effacing I'll likely do to myself but never the less, progress must be achieved at nearly any cost.
If you wish to support and join me on this journey let me know.
60. Cello in Germany in the 19th Century: Hugo Becker "Love Scenes" Op. 7
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
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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Support me:
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Listen ALL the way through each podcast episode.
Watch All the way through my videos on Youtube. TravelingCello
58. Etudes from Cellists in Germany: 19th Century
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
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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56. End of the Year: 2022 -- A Look Back.
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
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!)
54. Quarenghi and Counterpoint: FUGUE
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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53. Quarenghi and Counterpont: CANON
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:
- Intro. to Counterpoint and the 5 Species; Bio about Quarenghi
- Imitation and naming the parts
- CANON: naming the parts
- (in Episode 54: Fugue)
After counterpoint there will be an exhilarating Capriccio for cello and piano by Quarenghi.
Today, in this Episode:
- Definition of a canon
- Two examples from Grove's
- pointing out all entries of the subject
- Performing the canon by Quarenghi
- Conclusion: Why the seeming obsession with Counterpoint?
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
52. COUNTERPOINT "Imitation" from Quarenghi's Cello Method
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:
- A thank you to a listener response to a Q&A.
- Recap of Quarenghi's bio.
- Imitation: definition
- Samples of Imitation from Grove's Dictionary of Music...
- Excerpts of Antecedent/Consequent entries in Quarenghi's composition: Imitation
- Playback of complete Contrapuntal composition Imitation, by Quarenghi
- Thanks for Listening
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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
You can join in the support and get some merch in the process if you sign up to eligible levels at my https://www.patreon.com/travelingcello
#episode52 #counterpoint #imitation #cellomethod #guglielmoquarenghi #forgottencellomusic
51. Guglielmo Quarenghi: Introduction and COUNTERPOINT installment #1 The Five Species
Quarenghi was a cellist, composer, and pedagogue (an author, too) from Italy in the 19th C.
This episode features a biographical sketch about him from The Violoncello and Its History and Counterpoint. I introduce him and the Five Species of Counterpoint. All together I am planning 5 episodes (shorter in scope) that cover Quarenghi and his dealing with Counterpoint in the cello method.
They are:
- Counterpoint: the Five Species
- Counterpoint: Imitation
- Counterpoint: Canon
- Counterpoint: Fugue
- Capriccio for cello and piano
Quarenghi seems to have been an interesting character at least in so far as he wrote an enormous Cello Method--about 500 pages--and provided ALL musical examples from his own creative output, i.e, he composed them. But what's more is that he included an entire section on counterpoint, which I never recall seeing in a cello method before. This inclusion is certainly no after thought, signifying the importance of the old form that masters such as Palestrina, Gabrieli, and Bach cultivated to the highest degree.
If you wish to read more my blog post focuses on this topic of counterpoint giving an overview of the forms Quarenghi showcases in Part the Third, Section 2 of his cello method. http://travelingcellojourney.com/2022/09/08/counterpoint-canon/
To watch me perform several of the forms including the 5 Species click her for my youtube channel.
Thanks for listening. If you have any thoughts on this topic leave a voice message or send an email to travelingcellogroup@gmail.com
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50. A Milestone Episode! "LIED OHNE WORTE" or Song Without Words for Cello Duet
EPISODE 50
This is great! I am so happy that I have made all the way to 50 episodes. It has been 2 ½ years of episodic regularity with periods of uploading drought. Thanks for joining me on this journey of Forgotten Cello Music, where I have forged ahead with a unique project of featuring unknown cello music, or at the very least, neglected music.
This milestone of 50 episodes is reason to for the excuse to feature a piece music which I would consider neglected, although, the composer is far from neglected. I mean, Felix Mendelssohn. He wrote the piece featured in this episode, which he entitled Lied Ohne Worte, op. 109. It is an original composition for Cello and Piano, along with three other originals.
From time to time, I arrange certain works that are particularly interesting to me or that lend themselves well to arrangement for cello duet. I have done just that for "Song Without Words", op. 109. I am quite happy with the result and I am confident you will find some enjoyment in it.
Please join me for this episode. Thanks for listening and send messages or emails if you have any comments.
49. ITALY in the 19th Century: Ferdinando RONCHINI, from "The Violoncello and Its History"
Episode 49. ITALY in the 19th Century: Ferdinando RONCHINI, from "The Violoncello and Its History"
First, apologies for the lengthy introduction to this episode. I felt it was necessary to explain why I have been largely absent from podcasting for the past few months--not the least of which is during summer time when family takes a more prominent position. Also, to shamelessly plug my social media (also very sparse uploads during the summer months) and invite you to take part in supporting AND getting excellent Forgotten Cello Music merch in return for your donations!
This installment sees a turning back to earlier formats (minus the long introduction). The focus is mainly on one composer/cellist named Ferdinando Ronchini. He is not a known cellist/composer to me, however, after looking at his list of arrangements, I noticed that I actually own a published copy of some Debussy transcriptions of his. So, I have seen his name but not conscientiously.
There is a bit of an intro to the Italian section to lay the ground work for the world in which Ronchini was living. Now, he was apparently a pretty decent composer and arranger. The music I chose for this episode is an original work "Mazurka" and one splendid arrangement--Suite Anglaise by Henry Purcell, arr. by Ronchini for cello and piano.
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48. France in the 18th Century: from "The Violoncello and Its History" by Joseph Wasielewski
France in the 18th Century: from "The Violoncello and Its History" by Joseph Wasielewski
Section III.
"A substantial hindrance existed from the circumstance that the method of violin playing,...had been in a measure used as a model without taking into consideration the important difference in the dimensions of the fingerboard in the two instruments." p104
____________________
This marks the end of the Unit on The Violoncello in the 18th Century. It covered three countries to a fairly comprehensive degree and inserted a great many anecdotes about the cellists who cultivated the emergence of this amazing instrument. It is regrettable that there was apparently not enough information, or Wasielewski did not think it necessary, to include separate sections on other countries such as England or Russia, for example. While there are some references to cellists either moving to England or Russia there is hardly a whisper of any native cellists from those countries.
But it is an extremely fortunate occurrence that the author put down so much information about the cello and its progenitors at all! This book is packed with compositions mentioned and can be used as a database as such. Once your read this important book, you will also be privy to the vast numbers of cello compositions that are at our disposal, that is, now that we have the internet.
When I was a college student, this was hardly the case, even though the internet was already in quite a robust and useful position, I still had to go into various college libraries and spend hours sifting through the stacks just to find "new and interesting" works. This was pleasurable work, since I naturally like quiet spaces filled with books, but I would not have found any of the works by Nölck or Goltermann without visiting specific libraries in Europe.
I spread the contents of this book to help make more people aware of the music available to cellists.
Send your support to:
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47. II. GERMANY in the 18th Century from "The Violoncello and Its History"
Now for the fourth installment from The Violoncello and Its History, by Joseph Wasielewski.
If you were wondering how Germany stacked up against Italy at the beginning of the cello's rise to prominence, here is your episode.
46. The Violoncello and Its History, in the 18th Century: ITALY
Continuation...
This episode picks up from the previous one, Ep. 45, The Introduction to the 18th C. from The Violoncello and Its History, by Joseph Wasielewski. (Although dated as far as writing style is concerned, it is an incredible source for anyone interesting in expanding their knowledge about cello history and getting to know more cello music. It is a well-written book and I recommend it to all.)
ITALY is the country in question. With it come some interesting characters, including Gabrieli, Cervetto, one cellist named Ferrari, and of course Boccherini. We also hear about the introducing of Thumb Position into cello playing as well as what instrument Bach wrote his famous Six Suites for solo violoncello for.
Please join in on the nearly hour long journey of the first unambiguous look at cello playing.
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45. The violoncello and Its History 18th Century--the Intro. to
This short segment is simply the intro to the 18th Century of the cello. It gives an overview of the the position of the cello at that time and some interesting perspective to what many in the Gamba world thought about their positions and whether the cello would usurp their role in music.
44. Reading The Violoncello and Its History. - - 1. The Introduction: History of the Viola da gamba
This is the official first chapter in The Violoncello and Its History. It begins with the Introduction entitled: The History of the viola da gamba. This is a bit confusing when reading headings and titles out of context in a podcast player. So, I am sure to repeatedly insert the title of the book. Hopefully, anyone searching for Cello History will not mistakenly take this as the introduction to the history of the viola da gamba as a whole (that history would begin several hundred years earlier, perhaps in the 1400's. The end of the intro. chapter does begin to tell the early developments of the cello and who made it and the perfection of the form.
The Violoncello and Its History, by Joseph Wasielewski is seminal work for the cello's history. He collected story after story regarding and relating to the cello, piecing it together, and finally writing it down in genealogical form for our edification.
After this episode, the chapters will deal exclusively and in detail, with the cello and its proponents.
Here is the the Table of Contents in case you are itching to know the next portion in the sequence of this book.
CONTENTS.
Introduction.
HISTORY OF THE VIOLA DA GAMBA (Basso di Viola) 1 THE TRANSITION TO THE VIOLONCELLO 36
The Art of Violoncello Playing in the Eighteenth Century.
I. ITALY 48
II. GERMANY 67
III. FRANCE 87
The Art of Violoncello Playing in the Nineteenth Century.
IV. ITALY 109
V. GERMANY 113
VI. FRANCE, BELGIUM, AND HOLLAND 169
VII. ENGLAND AND SCANDINAVIA 189
VIII. THE SLAV STATES AND HUNGARY 198
CONCLUSION 210
APPENDIX 215
METHODS AND SCHOOLS 217
VIOLA DA GAMBA 217
VIOLONCELLO SCHOOLS FROM THE MIDDLE OF THE EIGHTEENTH CENTURY UNTIL THE PRESENT TIME
217 LIST OF NAMES AND INDEX 221
43. A New PLAN: Into to Reading through "The Violoncello and Its History"
So, to be honest (I didn't mention this in this introductory episode to my new plan) I had already recorded four chapters of The Violoncello and Its History some time ago. I did it thinking that I will be able to utilize clips from it. A secondary purpose has always been in the back of my mind. That is, I would like to upload the entire book someday. That day has come. However, it won't be the whole thing in one episode--a 20 hour episode, anyone? I'll break up the book into the respective chapters--still very long episodes--and post those while I am preparing new Forgotten Cello Music pieces.
This episode gives you the purpose for the reading and uploading as well as the Prefaces: the author's and the translator's. I have also included the first page of the first chapter: Introduction: The History of the Viola da gamba. That should whet your whistle. So once you are finished here continue straight away to Episode 44. That will provide you with 43 pages and around 1 hour 30 minutes of densely packed information all having to do with the time right before the cello made its appearance.
If you are finding this a bit over the top, too full of mundane detail, be sure to take advantage of that speed dial in your podcast player. Crank it up to 1.25 or 1.50 times faster than normal. It is funny to listen to my voice and you still get the benefit of learning tons of great history. (And don't forget that you are helping my stats out a lot as well.)
For all the people especially keen on knowing how the book is generally laid out, the TOC:
CONTENTS.
Introduction.
HISTORY OF THE VIOLA DA GAMBA (Basso di Viola) 1 THE TRANSITION TO THE VIOLONCELLO 36
The Art of Violoncello Playing in the Eighteenth Century.
I. ITALY 48
II. GERMANY 67
III. FRANCE 87
The Art of Violoncello Playing in the Nineteenth Century.
IV. ITALY 109
V. GERMANY 113
VI. FRANCE, BELGIUM, AND HOLLAND 169
VII. ENGLAND AND SCANDINAVIA 189
VIII. THE SLAV STATES AND HUNGARY 198
CONCLUSION 210
APPENDIX 215
METHODS AND SCHOOLS 217
VIOLA DA GAMBA 217
VIOLONCELLO SCHOOLS FROM THE MIDDLE OF THE EIGHTEENTH CENTURY UNTIL THE PRESENT TIME
217 LIST OF NAMES AND INDEX 221
Hey, what question would you find compelling to answer? I'll try a trite one in this episode?
42. Grand Duo: A Compelling Melody
Georg Goltermann wrote two Grand Duos, opp.15 and 25. This episode features Op.15 in D minor. All three movements are presented and talked about. This is a long talk about why I feel that Goltermann's music is worth your time. The melody is well constructed, the harmony is more interesting. It speaks to me on a deeper level.
Goltermann's influence on my affinity to Forgotten Cello Music when I was still a young student. When I started learning his Concerto No. 4 in G major it left a mark on my memory. Then his Nocturnes and Sechs Tonbilder later on confirmed what I had always felt. That this was convincingly worthy of the studio where students could learn the art of structure and harmony on a smaller scale before being introduced to the "Greats".
This is my take on this music. My apologies for the rather bad playing, particularly of the Grand Duo. My cello has been suffering and is slowly being reduced to box of worthless junk. Hopefully, one day, it will return to the environment that it was created in, thus revitalizing its voice and character. Crossing my fingers and planning for that glorious day.
- And, remember that there is a question viewable on my channel only on Spotify! “Would you play this Grand Duo?”
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41. A Grand Duo by Goltermann
Goltermann had a higher capacity for elevated composition than we think. Based on the one or two student works we learn one would never suspect that he was worth performing on the concert stage. But his two Grand Duos, op. 15 in D minor featured here, are evidence that he had a mastery over composition and could write great music.
Please listen on Spotify as it is the only platform that you are able to answer any questions or polls I pose. They are external from the episode content but are visible once your click on the episode itself. If you are in Spotify, the question will be above the description. Take a moment to enter your response. I love to hear from you.
Here's the question: "Is the music of the Grand Duo of higher quality than his student-type oriented compositions?"
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40. Forgotten Cello Music France 18th Century--Summary
Joseph Wasielewski wrote an historically important and informative book all about the cello and its history. Already over 100 years has passed since its publication. Yet, it still remains one of the few books written in a comprehensive manner. This episode features the concluding pages, summing up the state of cello playing and composition at the close of the 18th Century, not only in France but in the main centers of cello development: Italy, Germany, and France. (Despite a good deal of information being written about England, there is no section dedicated to that country's contribution.)
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Get my arrangement of "The Swan" for cello here
39. France in the 18th C. Jean Baptiste Bréval
6 Sonatas for the intermediate level.
Cello Treatise
38. Johann SCHETKY 12 Cello Duets: Great Music!
Johann Schetky was a well-known and celebrated Cellist in his day, i.e. the 1700's. When he moved to Edinburgh, Scotland he was already a sought after musician and found employment in the North because of his acquaintance with J.C. Bach. He apparently liked the Capitol of Scotland enough to fall in love and settle there permanently.
Whether you are into details about individuals or history in general, you'll want to listen to Schetky's own preface to his Op. 7 Cello Duets. He is a straight talker that does not give a student any false sense of ease when it comes to perfecting the art of music. This is a document that sheds light onto the business of educating students in a broad sense.
You might like to see me in action in several of these Duets. I have recorded videos of the first three and uploaded them to my YouTube channel: Traveling Cello
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37. The Violoncello in Germany: 18th Century Popular Instrument
This is Episode 37 and is again based on the great historical work by Joseph Wasielewski, The Violoncello and Its History.
It come from the Chapter titled The Art of Violoncello Playing in the 18th Century. This is the second section in that chapter: Germany.
The Cello was gaining in popularity quickly in Germany. It soon found its place in the Orchestra and then as a solid solo instrument. However, the proponents of the instrument were still working out many of the technical issues that are different to the Viola da Gamba.
In this episode, I explore the introduction of Cello in the German speaking countries and a handful of cellists who wrote works extensively for their instrument.
Solos, duets, and fugues feature by: Triemer, Schetky, Arnold, Uber, Baumgärtner, and even Duport.
{Take time to answer the question associated with the episode.}
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I play all of the music you hear in the background. If you are interested in Cello Lessons be sure to leave a comment or send me an email at travelingcellogroup@gmail.com
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36. End of Year 2021
Looking back over the year. I actually played lots of music. There were many great discoveries as well.
Georg Goltermann, J. Klengel, J. Hollman, Cervetto.
Thank you for listening. I hope you enjoy my presentations. Happy New Year Everyone!
35. Country Dances, Traditional Tunes in an Early Cello Treatise
Broderip and Wilkinson wrote a cello treatise in the late 1700's. They put many traditional tunes in there. A little searching and I dug up at least some of the sources for those tunes. I'd be honored for you to join me while I look into and play those tunes.
But it is Xmas season as well. So, I'll include some Xmas Carols. Think of it as busking out on the street, or the on the square of the social media gathering point.
Consider giving a TIP this Xmas to a Cellist who loves to play but hasn't played in public for almost three years. Thanks for taking the time to read this and listen to my podcast about Forgotten Cello Music.
Merry Christmaas!
34. Beethoven's MINUET--Finding Connections and Appreciation
This is episode 34. Beethoven wrote a little Minuet. It has been learned by children the world over and is played quite a lot. (Maybe not as much as Für Elise however.)
Recently, a student surprised me with a performance of this little dittie. I responded by arranging it for two cellos and subsequently recording it. After which the inspiration hit me. Playing only the solo and bass line of the piano accompaniment, seemed to me, to be a startling similarity between the Baroque music I have been playing recently. Not only that, but, Beethoven did not write anything less than artistically and creatively of the highest quality.
Come along and discover with me and find appreciation for this "annoying" Minuet that we learned as children and quite possibly disliked, at least, until now. :)
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Cello Students:
Are you looking for a teacher with lots of experience? I have 20 years plus. It ranges from the traditional one on one to small groups in middle- and high school ensembles and even to leading out in sectionals for University orchestras. I began teaching online well before there was any hint of a global pandemic, and so have plenty of experience with a video chat style lesson as well.
Lessons are based on the traditional method, but over the years I have been working out how to mentor students into a natural way of playing so as to give good-sounding results early on. In just the past year alone I have brought three total beginners up to late-beginner/early-intermediate territory in ease of playing and learning music on their own. (While also recognizing their own diligent practice!)
I am quite proud of this fact since, for so many students (I am included in this group) starting to learn an instrument is unnatural, difficult, and almost a fearful type of "work". My aim has been to help students acquire tools so that practice at home continues what was learned during the lesson. As a private teacher, because there is generalIy only one HOUR per week together, I strive to guide my students into healthy, productive habits that last throughout their time alone with the Cello.
If you are interested, you can send a message, an email, or even fill out this form I created for lessons.
eMail: travelingcellogroup@gmail.com