Trying to find unaccompanied cello suites that aren’t by J. S. Bach? Look no further.

This month, Postcards from Erica continues its journey through Suites Beyond Bach, exploring three works that show just how varied the unaccompanied cello suite can be.

Now in its 15th edition, this series highlights repertoire that extends, reimagines, and sometimes completely transforms the suite tradition. Bach’s Six Suites for Unaccompanied Cello remain the essential point of reference, but they are far from the end of the story.

In this June installment, I turn to Paul Colinet’s Suite de 6 pièces, Op. 40, a concise set of movements ranging from intermediate to advanced; André Jolivet’s Suite en concert pour violoncelle seul, a haunting and highly coloristic work full of modern techniques; and Walter Courvoisier’s Suite No. 2, Op. 32, a late-Romantic work with a grand, almost symphonic-feeling work.

Taken together, these three suites offer very different paths beyond Bach: compact character writing, modern French sonority, and expansive Germanic lyricism. For cellists looking to broaden their solo repertoire, this edition offers a fascinating mix of challenges, colors, and expressive possibilities.

Postcard #1: Suite de 6 pièces, Op. 40 for cello solo by Paul Colinet

• Title: Suite de 6 pièces, Op. 40 for cello solo
• Composer: Paul Colinet (b. 27 January 1954)
• Year Composed: 1989
• Instrumentation: unaccompanied cello
• Movements: 6
• Duration of Work: 2:40, 4:45, 2:10, 2:22, 2:29, 5:00
• Number of Measures: 41, 97, 28, 49, 42, 29
• Number of Pages: 7
• Tempo:
  • I. Andante: eighth note = 180
  • II. Allegro: half note = 76
  • III. Sicilienne: dotted quarter note = 45
  • IV. Moderato: quarter note = 96
  • V. Pizzicato: half note = 60
  • VI. Adagio: eighth note = 72
• Difficulty Level: varied, intermediate to advanced
• Highest Position Reached: I – 3rd, II – 5th, III – thumb, IV – 3rd, V – thumb, VI – 5th
• Techniques Employed: 6/8, 7/8, and 2/4 time signatures; bass, tenor, and treble clefs; triplets, many accidentals, harmonics, and pizzicato; double-, triple- and quadruple-stops
• Publisher: Boosey & Hawkes, out of print
• Where to Find Score: IMSLP
• Cost of Score: free

Recordings

II. Allegro

Cellist’s Guide

• I. This “Andante” is in 7/8 time and has numerous cross string slurs.
• II. The “Allegro” is in cut time, includes triple and quadruple stops and makes frequent use of a four-note, eighth-note figure in which the first two notes are slurred.
• III. The “Sicilienne” is in 6/8 time, and includes two bars of thumb position, double and triple stops. This is definitely an advanced level movement.
• IV. The “Moderato” is in 2/4 time and focuses mainly on easier double stops. That said, this movement isn’t easy, due to string crossings.
• V. “Pizzicato” is in cut time and, not surprisingly, is mostly pizzicato. The middle bit includes arco thumb position and tenor clef.
• VI. “Adagio” is in 6/8 time, has a number of large leaps and could benefit from being transferred from manuscript to print form.

Postcard # 2: Suite en concert pour violoncelle seul by André Jolivet

• Title: Suite en concert pour violoncelle seul
• Composer: André Jolivet (8 August 1905 — 20 December 1974)
• Year Composed: 1965
• Instrumentation: unaccompanied cello
• Movements: 5
• Duration of Work: c. 15:00
• Number of Measures: 36, 64, 33, 31, 70
• Number of Pages: 11
• Tempo: 
  • I: quarter note = 58
  • II: quarter note = 80 + 88
  • III: quarter note = 56
  • IV: quarter note = 56
  • V: quarter note = 100
• Difficulty Level: advanced/professional
• Highest Position Reached: thumb in all movements
• Techniques Employed: 3/16, 11/16, 12/16, 13/16, 15/16, 16/16, 1/8, 3/8, 9/8, 12/8, 1/4, 2/4, 3/4, 4/4, 5/4, 8/4, and3/2 time signatures; bass, tenor, and treble clefs; grace notes, trills, glissandos, harmonics, and pizzicato; double-, triple-, and quadruple-stops; saltando, col legno, ponticello, sul tasto, flautando, and tremolo
• Publisher: composer
• Where to Find Score: IMSLP (be sure to check the copyright status for your country)
• Cost of Score: free, but be sure to check the copyright status in your country

Recordings

I. Improvisation

Cellist’s Guide

This haunting and beautiful piece has many challenging elements: “Improvisation” has passages high in treble clef, “Ballade” has rapid changes between col legno and “regular” arco, “Sérénade” incorporates ricochet bowing and “Sonate” is quite tricky to count. That being said, good fingering, a solid sense of pitch, and patience will serve you well in this piece.

Postcard #3:  Suite No.2, Op. 32 für Violoncello allein by Walter Courvoisier

• Title: Suite No. 2, Op. 32 für Violoncello allein
• Composer: Walter Courvoisier (7 February 1875 – 27 December 1931)
• Instrumentation: unaccompanied cello
• Movements: 7
• Duration of Work: 22:09
• Number of Measures:
  • I: Introduction – 48
  • II: Allemande – 48
  • III: Courante – 50
  • IV: Sarabande – 35
  • V: Bourrée – 59
  • VI: Menuetto I – 32 and Menuetto II – 16
  • VII: Gigue – 77
• Number of Pages: 9
• Tempo:
  • I: quarter note = 58
  • II: quarter note = 84
  • III: dotted quarter note = 120
  • IV: half note = 54
  • V: half note = 88
  • VI: quarter note = 138 and 132
  • VII: dotted quarter note = 76
• Difficulty Level: a mix of high intermediate and advanced
• Highest Position Reached:
  • I: thumb
  • II: thumb
  • III: 7th
  • IV: thumb
  • V: 6th
  • VI: thumb
  • VII: thumb
• Techniques Employed: 6/8, 9/8, 3/4, 4/4, and 6/4 time signatures; bass, tenor, and treble clefs; trills, grace notes, and many accidentals including double sharps; double, triple, and quadruple stops
• Publisher: handwritten manuscript held by the University of Basel Library and subsequently typeset by Stefano Paparozzi in 2023
• Where to Find Score: IMSLP
• Cost of Score: free

Recording

Cellist’s Guide

What sets this suite apart from others, is the late romantic Germanic style in which it is written. This work feels more like a grand symphony than an intimate solo piece. For the professional cellist, this suite might pair nicely on a recital with Beethoven, Schubert or Brahms. Late intermediate and advanced players can gain familiarity with a bit of thumb position, treble clef, and low tenor clef. Many of the movements are heavily chordal and make use of numerous accidentals. The “Allemande,” in particular, incorporates double sharps and less familiar sharps, testing player’s familiarity with horizontal movement across the fingerboard. Cellists enamored with this suite will be pleased to learn that Courvoisier wrote another cello suite, which can be found in manuscript form, with the second suite.