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

Cello Suites Beyond Bach

Bach’s Six Suites for Unaccompanied Cello remain among the most beloved and frequently performed works in the cello repertoire. Their influence extends far beyond the 18th century, inspiring generations of composers to create their own unaccompanied suites. This month, I’m sending you the second set of my digital postcards about these fascinating works—some well-known, some newly written, all worth discovering.

If you’re eager to study unaccompanied cello suites in depth, I’m thrilled to announce that I’ll be teaching select suites this summer at the Bethany Beach Cellofest. Whether you’re a student, teacher, or dedicated amateur, this is a fantastic opportunity to work on these pieces in a supportive, immersive setting. Stay tuned for the full summer repertoire list coming soon!

In this month’s Postcards, I introduce another set of expressive unaccompanied cello works, sharing key details, links to sheet music, and resources to help you find the perfect suite for your repertoire. I hope you enjoy this journey into cello suites beyond Bach as much as I enjoy selecting them.

For more unaccompanied cello music, I invite you to explore my past series featuring Asian composers, Black composers, women composers, and Hispanic and Latino/Latina composers, or browse all of my postcards.

Postcard #1 – Suite No. 1 for Solo Cello by Ernest Bloch

An unaccompanied cello can create an entire world of sound, and Ernest Bloch’s Suite No. 1 is proof. This engaging piece speaks with a warm, expressive voice that draws you in from the very first note. We owe thanks to Bloch for writing it—and to cellist Zara Nelsova for inspiring him.

• Title: Suite No. 1 for Solo Cello
• Composer: Ernest Bloch
• Year Composed: 1956
• Instrumentation: unaccompanied cello
• Movements: 4
• Duration: 12:00
• Number of Pages: 6
• Number of Measures: 36, 47, 58, 127
• Tempo: quarter = 56, 104, 72, dotted quarter = 104-108
• Difficulty Level: advanced
• Highest Position Reached: thumb
• Technique: 6/8, 2/4, 3/4, and 4/4 time signatures; bass, tenor, and treble clefs; numerous accidentals, double, triple, and quadruple stops; harmonics, grace notes, and pizzicato
• Publisher: Peters
• Where to Purchase: Sheet Music Plus. Please note that in Canada and other countries where copyright is life+50 years, this piece is in the public domain and can be downloaded here. Please check the copyright laws of your country. This is still under copyright in the USA.
• Cost of Score: $7.50

Recording

Program Notes

Ernest Bloch composed his Suite No. 1 for Solo Cello in 1956, the first of three unaccompanied cello suites he wrote near the end of his life. The work owes its genesis to the celebrated cellist Zara Nelsova, who studied and performed with Bloch and encouraged him to write for solo cello. Bloch dedicated the first two suites to Nelsova, and she premiered Suite No. 1 in 1957.

Though the shortest of the three, Bloch’s First Suite was hailed by one critic as “a triumph of unrestrained ingenuity applied to simple materials in the service of a vital expressive intention.” Bach’s influence is evident in the opening “Prelude,” which features arpeggiated figurations reminiscent of Bach’s solo cello writing and begins on the cello’s lowest open C string. A vigorous “Allegro” follows, exploring the instrument’s upper register with bold energy. The introspective “Canzona” provides a moment of lyricism and quiet eloquence before the concluding “Allegro,” a dance-like movement in 6/8 time, evokes the spirit of a Bach gigue with Bloch’s characteristic modal harmonies.—Based on program notes by Nigel Simeone

Cellist’s Guide

How lucky we are that Nelsova asked Bloch to write for unaccompanied cello!

The first of these three suites begins, fittingly, with a “Prelude.”  This slow movement is expansive and requires good bow control.  Slurs are and seamless string crossings are present in every measure.

The “Prelude” is written attacca into the second. movement, an “Allegro.” This movement moves at a clip. Beware of the rapid 16th notes!

The “Allegro” is followed by a palette cleansing “Canzona,” which begins and ends in thumb position. The interior of the piece is center around double stops,  harmonics and left hand pizzicato of the open strings.

The final movement, an “Allegro” in 6/8,  makes frequent use of triple and quadruple stops.

Postcard #2 – Suite No. 2. for Solo Cello by Ernest Bloch

Unlike its predecessor, Bloch’s Suite No. 2 for Solo Cello unfolds in a continuous flow, demanding both stamina and precision. With chromaticism, intricate double stops, and shifting meters, it pushes technical and expressive boundaries. This through-composed work may be a challenge, but it rewards both the player and listeners with a deeply immersive journey.

• Title: Suite No. 2 for Solo Cello
• Composer: Ernest Bloch
• Year Composed: 1956
• Instrumentation: unaccompanied cello
• Movements: 4, but through-composed
• Duration: 17:37
• Number of Pages: 10
• Number of Measures: 408
• Tempo: quarter = circa 53, 58-60, circa 63, 69-72, 76, 80-84, 100, 104, 108, 112-116
• Difficulty Level: advanced
• Highest Position Reached: thumb
• Technique: 5/8, 7/8, 2/4, 3/4, 4/4, and 3/2 time signatures; bass, tenor, and treble clefs; numerous accidentals, double, triple, and quadruple stops; harmonics, grace notes
• Publisher: Peters
• Where to Purchase: Sheet Music Plus Please note that in Canada and other countries where copyright is life+50 years, this piece is in the public domain and can be downloaded here. Please check the copyright laws of your country. This is still under copyright in the USA.
• Cost of Score: $7.50

Recording

Program Notes

Composed in 1956, Bloch’s Suite No. 2 for Solo Cello is more expansive and rhapsodic than its predecessor. Loosely centered around g minor, its four movements unfold without pause, creating a seamless musical journey.

The suite opens with a freely flowing “Prelude,” whose improvisatory character gives the impression of spontaneous creation. This leads directly into a driving “Allegro,” full of rhythmic intensity and technical challenges, including intricate double stops. A moment of reflection follows in the “Andante tranquillo,” where deep, resonant tones gradually bloom into shimmering arpeggiated figures, reaching a quiet yet poignant peak. The suite closes with a bold and vigorous “Allegro,” brimming with march-like energy and rugged determination.—Based on program notes by Nigel Simeone

Cellist’s Guide

The second suite is through composed and much longer than the first and third suites. Though there are occasional fermatas and breath marks, this work lasts 16-17 minutes without a  pause. This piece is not for the faint of heart!

This work is more harmonically modern that the other Bloch suites. There are many accidentals throughout, making reading a bit challenging. The intervals between notes are quite close and are frequently chromatic. There is far less shifting in this work than in the other suites, but the patterns of the notes within the position are less familiar.

Fortunately, the rhythm is straightforward.

Postcard #3 – Suite No. 3 Solo Cello by Ernest Bloch

Bloch’s Suite No. 3 for Solo Cello may be the shortest of the three, but it is packed with rhythmic drive, expressive depth, and technical challenges. With its five tightly linked movements—some flowing directly into the next—it demands agility and precision while offering a compelling musical journey. From bold fanfare-like gestures to lyrical introspection and dance-like vitality, this suite showcases Bloch’s mastery of the cello’s full range and is a joy for both cellists and listeners.

• Title: Suite No. 3 for Solo Cello by Ernest Bloch
• Composer: Ernest Bloch
• Year Composed: 1957
• Instrumentation: unaccompanied cello
• Movements: 5 – however the first 3 movements are attacca, followed by 2 further movements which are also attacca
• Duration: 12:30
• Number of Pages: 6
• Number of Measures: 267
• Tempo: quarter = 104, 76, dotted quarter = 108, quarter = 69, 108
• Difficulty Level: advanced
• Highest Position Reached: thumb
• Technique: bass, tenor & treble clefs; 6/8, 9/8, 12/8, 2/4, 3/4, and 4/4 time signatures; double, triple, and quadruple stops; harmonics, numerous accidentals, grace notes
• Publisher: Peters
• Where to Purchase: Sheet Music Plus Please note that in Canada and other countries where copyright is life+50 years, this piece is in the public domain and can be downloaded here. Please check the copyright laws of your country. This is still under copyright in the USA.
• Cost of Score: $7.50

Recording

Program Notes

Bloch’s Suite No. 3 for Solo Cello, composed in 1957, unfolds in five brief yet interconnected movements, each with its own distinct character. The suite opens with an assertive “Allegro deciso,” driven by dotted rhythms that create a fanfare-like momentum. This energy soon gives way to a reflective “Andante,” where Bloch’s gift for crafting a beautifully unadorned yet deeply expressive melody shines through.

A lilting “Allegro,” largely in compound meter, introduces a rhythmic fluidity before another introspective “Andante” recalls the suite’s earlier lyrical qualities. The finale, “Allegro giocoso,” brims with spirited, dance-like energy, drawing on the rhythmic strength and distinctive melodic contours of Bloch’s earlier Jewish-inspired works. The suite concludes with a broad descending motif that firmly anchors the music in a minor, bringing this concise yet striking piece to a satisfying close.—Based on program notes by Nigel Simeone

Cellist’s Guide

The opening movement, “Allegro deciso,” centers around the rhythmic contrast between triplets, duplets and the figure of a dotted eighth followed by a sixteenth note. Great subdivision practice!

This “Allegro” continues attacca into an “Andante.” The defining feature of this movement is the wide leaps between most notes. Fortunately, most of these occur across the string within the same position. This section ends with a three bar Lento with a fermata on the final note.

The “Lento” leads into an “Allegro” which alternates between 6/8, 9/8 and 12/8 time signatures and changes key four times.  There are a few passages that require creative fingerings to make the phrasing flow nicely.

Finally a double bar! The last movement consists of an Andante which transitions into an “Allegro giocoso.” The “Allegro” reprises the rhythmic elements from the beginning of the suite.

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