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The first cello etudes appear to have been written in the eighteenth century by contemporaries of Mozart and Beethoven. Clearly, the cello etude has a long and distinguished history. With the recent success of the "Ten American Cello Etudes" of Aaron Minsky, this genre of music appears to enter into a new acceptance in the concert world. [3]
Étude Op. 25, No. 7 is alternatively known as the "Cello" due to the prominent melody played in the left hand. It is at a Lento tempo, 66 BPM according to the German first edition. [1] Excepting measures 26, 27, and 52, which contain a rapid passage for the left hand, the étude is very straightforward and elementary in rhythm, but not in harmony.
Henrique Oswald (1852–1931): Trois Etudes pour piano, plus three independent études; Rafael Joseffy (1852-1915): School of Advanced Piano Playing; Moritz Moszkowski (1854–1925): three concert studies (Op. 24), Ecole des doubles notes (Op. 64), 15 Études de Virtuositié (Op. 72), 12 studies for the left hand alone (Op. 92), and 20 technical studies (Op. 91).
The Studies for cello (Études pour violoncello) by Jean-Louis Duport (1749-1819) are a staple of cello pedagogical repertoire. Duport was a French cellist who, along with his brother Jean-Pierre Duport, revolutionized the performance of the cello. Only few of Duport's concert works are remembered today. [1]
It was his goal to write cello music that would teach other cellists how to bring the cello into all of the currents of modern popular music. Indeed, Minsky's etudes include the following genres: rock n' roll, blues, Latin, folk, country, hard rock, experimental, American waltz. They do provide a blueprint for a new style of cello playing.
The French text of 175 pages discusses in detail a wide range of aspects of cello technique, and is followed by 21 Etudes for two cellos, of various difficulty levels. The work has been translated into English and German, and is widely accepted as the most influential pedagogical work for the instrument.