However, as eager as they may be to learn and play in an atmosphere that is conducive to mastering their craft, there is one overriding problem that many young cellists share upon entering music school: a deficient bow arm that is incapable of expressive playing. Many young students are capable of performing works such as Kodaly’s Solo Sonata or Prokofiev’s Sinfonia Concertante. My position as a university cello teacher allows me to interact with many young cellists, and there seems to be no shortage of virtuoso cello playing.

The author will explore the benefits of encouraging cello students to study music of the Baroque during their freshman year at music school in order to build a foundation for technical skill that will help them achieve musical expression through the bow arm and learn explore the many resources on classical music available to them. However, in spite of these advances in cello mechanics, proper development of bow arm technique continues to be a challenge for many young cellists. The lighter, more durable materials, along with new styles of bridges, have helped improve sound projection and general ease of playing. Several other improvements in the mechanical structure of stringed instruments emerged during the 20th century, including the use of carbon fiber materials for bows and tailpieces. By the end of the 19th century, most cello teachers still required their students to play without an endpin during the first year of instruction (Kummer & Schulz, 1928). The endpin was a significant modification to the cello in the mid-1800s, but it was not widely adopted until after 1900. 40 - Strauss, Richard Verklaerte Nach1, op.Many structural features of the cello, such as neck angle, fingerboard length and width, string spacing, and bass-bar placement have remained the same since the 1800s. 20 - Strauss, Richard Ein Heldenleben, op. 47: I,II,III - Shostakovich, Dmitri Group 2: Matthäus-Passion, BWV: Komm, süsses Kreutz - Bach, Johann Sebastian Don Juan, op. 100: I,II,III,IV - Prokofiev, Sergei La mer: I,II - Debussy, Claude The Bartered Bride: Overture - Smetana, Bedřich Symphony No. 73: I,II,IV - Brahms, Johannes Associate: Group 1: Symphony No.

74: I,II - Tchaikovsky, Pyotr Il'yich Symphony No. 98: I,II,III,IV - Brahms, Johannes Symphony No. 67: I,II,III - Beethoven, Ludwig van Symphony No. 36: I,II,IV - Tchaikovsky, Pyotr Il'yich Symphony No. 36: Variation 12 - Elgar, Edvard Dichter und Bauer: Overture - Suppé, Franz von Messa da Requiem: III - Verdi, Giuseppe Guillame Tell: Overture - Rossini, Gioachino Group 2: Symphonie fantastique: II,III,V - Berlioz, Hector Symphony No. 35 ('Haffner'), K 385: I,IV - Mozart, Wolfgang Le nozze di Figaro, K 492: Overture - Mozart, Wolfgang Amadeus Level 10: Group 1: Variations on an Original Theme ('Enigma'), op. 90: III,IV - Brahms, Johannes Symphony No. 90: I,IV - Mendelssohn, Felix Symphony No. 48: I,II,III,IV - Tchaikovsky, Pyotr Il'yich Symphony No. 83: III - Brahms, Johannes Serenade for Strings, op. 22: III,IV,V - Dvořak, Antonín Piano Concerto No.

93: III - Beethoven, Ludwig van Serenade for Strings, op. 125: II,IV - Beethoven, Ludwig van Symphony No. 40, K 550: I,IV - Mozart, Wolfgang Amadeus Level 9: Symphony No. 8 ('Unfinished'), D 759: I,II - Schubert, Franz Die Zauberflöte, K 620: Overture - Mozart, Wolfgang Amadeus Symphony No. 71: Russian Dance, Waltz of the Flowers, Pas de deux - Tchaikovsky, Pyotr Il'yich Symphony No. 88: I,IV - Dvořak, Antonín The Nutcracker, op. 46: I,III,IV - Grieg, Edvard Level 8: Incidental Music to A Midsummer Night's Dream, op. I:94: I,IV - Haydn, Franz Joseph Ruslan and Ludmilla: Overture - Glinka, Mikhail Peer Gynt Suite No. Level 7: Il barbiere di Siviglia: Overture - Rossini, Gioachino Carmen: Prelude to act 1 - Bizet, Georges Coriolan Overture, op.

Cello repertoire and technique