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.

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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:

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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.

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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 ?

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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.

https://www.youtube.com/@TravelingCello/community

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