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 have long been pillars of the cello repertoire, inspiring generations of composers. Many have responded by creating their own unaccompanied suites, exploring new ideas for the instrument.

In this seventh installment of my digital postcard series, I’m focusing on another three of these unaccompanied works. Each one brings something valuable to your playing, teaching, or listening experience.

If you’d like to explore even more solo cello music, you can revisit previous postcard 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 in C minor for Solo Violoncello by William Bolcom

William Bolcom (b. 1938) is one of America’s most versatile composers, known for weaving together classical, popular, and theatrical traditions with equal fluency. A Pulitzer Prize winner and National Medal of Arts recipient, he has written in nearly every genre, from opera and symphony to cabaret songs. His music often reflects both seriousness and wit, qualities that also shine through in his writing for solo cello.

• Title: Suite No. 1 in C minor for Solo Violoncello
• Composer: William Bolcom
• Year Composed: 1994, revised 1995
• Instrumentation: unaccompanied cello
• Duration: 15:45
• Movements: 5
• Number of Pages: 7
• Number of Measures: 32, 18 (though slightly free form), 24, 30, 70
• Tempo: eighth note = 92, quarter note = 92; slow, free in time; quarter note = 112; quarter note = 46; not indicated
• Difficulty Level: advanced
• Highest Position Reached: thumb, thumb, 7th, thumb, low thumb
• Technique: unmetered, 2/4, 4/4, and 5/4 time signatures; bass, tenor, and treble clefs; double, triple, and quadruple stops; pizzicato and left-hand pizzicato; grace notes, sextuplets, and septuplets;  harmonics and false harmonics; sordino, glissandos, staccato
• Publisher: Edward B. Marks Music Company and Bolcom Music
• Where to Purchase: Ficks Music
• Cost of Score: $10.95

Recording

Program Notes

Suite No. 1 in C minor for solo violoncello expands on stage music composed for Arthur Miller’s tragic 1995 Broadway play Broken Glass. The somber mood of the opening movements is both leavened and sent deeper underground by the final added Sarabande‘s variations, which recall in mood and tone the Bach C minor Solo Suite. Norman Fischer’s recording of the stage score was used both in the Long Wharf Theater and Booth Theater productions, and the première of the complete Suite was at Tanglewood by Norman Fischer in July 1996. — Bill Bolcom,  from notes for Norman’s Fischer’s recording of Bolcom’s cello works

Cellist’s Guide

The Prelude was finished on 1/29/1994, Arioso 1 on 1/30, 1994, and Badinerie on 2/7, 1994. The revisions of these three movements was completed on 4/6/1995. Arioso 2 was completed on 2/7, 1995 (presumably added when Bolcolm converted the Broken Glass score into a solo suite).  Alla Sarabanda; tranquillo was composed in January 1994.

I. Prelude – The Prelude is a march, consisting of solitary eighth notes, which repeatedly interrupt groups of sixteenth notes. Eventually, the piece migrates to a different rhythmic pattern, only to return to the opening motif.

II. Arioso 1 – This Aria, with its free time, provides a nice contrast to the relentless beat of the Prelude, Badinerie and Aria 2. Interestingly, a metered  section appears near the end of the Arioso, a segment of which reappears in the same tempo in Arioso 2.

III. Badinerie – The Badinerie includes quick and dramatic dynamic changes, wide intervals and rapid changes between arco and pizzicato. Two bars of open C left hand pizzicato foreshadow what is to come in the Arioso 2.

IV. Arioso 2 – This movement is an exercise in coordinating and alternating arco with left hand pizzicato of the open strings, while simultaneously incorporating arco glissandos. Like the Prelude, Arioso 2 opens with ominously repeating the open C string, although in this case the low C is plucked.

V. Alla sarabanda; tranquillo – This Sarabande is absolutely reminiscent of Bach’s 5th Suite. As with the Sarabande to the Bach C minor Suite, the cellist must be capable of playing slow, smooth, long bows.  Unlike the Bach movement, Bolcolm’s Sarabande transforms into phrases with two notes groupings and then into staccato triplets.

Postcard #2 – Baroque Suite for Unaccompanied Cello by Dorothy Rudd Moore

Updated from Postcard #3 from March 2022 

Trying to find an enjoyable piece for both the listener and player? Look no further. Dorothy Rudd Moore’s piece is a delightful blend of folk and traditional baroque elements that will make an upbeat and tonal addition to your repertoire.

• Title: Baroque Suite for Unaccompanied Cello
• Composer: Dorothy Rudd Moore (b.1940)
• Instrumentation: unaccompanied cello
• Year Composed: 1965
• Movements: 3 – I. Allegro, II. Molto Adagio, III. Allegro Vivace
• Duration of Work: 15’
• Number of Measures: I. 114 (original version), 113 (new edition); II. 51; III. 107
• Number of Pages: 6 pages of music, 8 including the two versions of the 1st movement (please see performance notes below), plus title page and notes (14 pages total)
• Difficulty Level: Advanced
• Highest Position Reached: thumb position
• Technique Employed:
  • I. Allegro – 5/8 time signature; tenor clef; double, triple, quadruple stops; thumb position
  • II. Molto Adagio – 5/4 time signature; bass and tenor clefs; grace notes; pizzicato; double, triple, and quadruple stops; thumb position
  • III. Allegro Vivace – 6/8 time signature; triple and quadruple stops; thumb position; bass, tenor, and treble clefs; grace notes
• Publisher: American Composers Alliance
• Where to Purchase: American Composers Alliance
• Cost of Sheet Music*: $36 or digital download for $12.50

Recording

Performance Notes: 

Dorothy Rudd Moore wrote this piece in 1965 for the composer’s husband, cellist Kermit Moore. I have the original manuscript version of the score.

In 2020, a second, printed edition was created, with notes from cellist Dr. Timothy W. Holley. This edition includes two versions of the first movement, the original, and the edited version by Dr. Holley.

Cellist’s Guide

While the harmonies employed in the suite are fairly traditional, the 6/8, 5/4, and 5/8 time signatures help to give each movement an interesting and effective rhythmic sophistication. In addition, Rudd Moore’s frequent and creative displacement of the beat makes this piece enjoyable for the listener and player.

This suite blends folk and traditional baroque dance elements in a fresh way. If you are looking for an upbeat, fun, and tonal work with a baroque feel, I highly recommend adding this piece to your repertoire.

Bonus

Here is a short interview with Dorothy Rudd Moore.

Postcard #3 –  Jingu Suite by Chen Yi

Originally published as Postcard #1 from April 2024

Chen Yi’s Jingu Suite draws its inspiration from the vibrant scenes and culture of Tianjin, China. It is an ode to friendship and the enduring beauty of the Ning Garden and the Haihe River. The suite features four movements, each offering its own unique challenge and character. Ideal for advanced players, it weaves complex rhythms and techniques into a rich tapestry of sound.

• Title: Jingu Suite
• Composer: Chen Yi
• Year Composed: 2020
• Instrumentation: unaccompanied cello
• Movements: 4
• Duration: 12:00
• Number of Pages: 8
• Number of Measures: 63, 124, 83, 94
• Tempo: quarter = 72, 76, 88, 92, 96
• Difficulty Level: advanced
• Highest Position Reached: high thumb position
• Technique Employed: bass, tenor, and treble clefs; 2/4, 3/4, 4/4, 5/4, and 6/4 time signatures; glissandos, trills, grace notes, false harmonics, tremolo, pizzicato, and Bartok pizzicato; double and quadruple stops
• Publisher: Presser
• Where to Purchase: Sheet Music Plus
• Cost of Score*: $14.99

Recording

Program Notes

“JINGU SUITE was commissioned by and written for my cellist friend, Prof. Siwen Wang of the Tianjin Conservatory, where I have been a visiting professor since 2012. The beautiful scenes in the Ning Garden and the Haihe River, as well as the lively and colorful folk culture in Tianjin, have made such a significant impression on me that I wanted to express deep appreciation to my friends in Tianjin through this work. Our friendship will be in my heart forever.

There are four movements: 1. The Ning Garden; 2. The Stilt-walking; 3. Dance with Flying Cymbals; 4. The Haihe River.” – Chen Yi

Cellist’s Guide

This lovely piece is such an interesting technical mix. Portions of  Jingu Suite are intermediate level,  while other sections are written in high thumb position.

In general, the rhythm is fairly straightforward, though heavily embellished with grace notes.

Each movement stands on its own, so the player may choose to perform one or two movements, or the entire work.

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