Bee Oe COnCROD OKO, a BIZET, DONIZETTI, MOZART, PUCCINI, FY TCHAIKOVSKY, VERDI and others OC EK OIE, DEK CELLO SOLOS FROM OPERA AND BALLET (DANIEL MORGANSTERN) 3 g Z 3 3 x = 3 §3415 in ADAM. BIZET 4 BIZET i DONIZETTI b DONIZETTI a GOUNOD a LEONCAVALLO ei MASSANET ie MASSANET 4 kus f MOZART i PONCHIELLI : PUCCINI : PUCCINI PUCCINI a PUCCINI be TCHAIKOVSKY H TCHAIKOVSKY at ‘TCHAIKOVSKY Bh Teuninovsxy id VERDI VERDI i VERDI VERDI VERDI a VERDI bi VERDI WEBER/BERLIOZ oe i USE RE RERE ESE Giselle Act I, No. 19. Carmen Act I, Chorus of Street Boys ---- ~~ Carmen Act Hil, Finale Don Pasquale Sinfonia Lucia di Lammermoor Finale of the Opera « - - « Roméo et Juliette Act I, Scene Land Act IV, Scene I Pagliacci Act I... . Don Quichotte Second Interlude... Werther Act Io... Bee Don Quixote Act J, No.6... Don Giovanni Aria: “Batti, batti, 0 bel Maserto” La Gioconda Preludio . . Manon Lescaut Act IJ, Intermezzo Tosca Act I, Tosca’s Entrance . . Tosca Act Hl, Aria: Vissi d'arte . Tosca Act II, Quarter . Ballet Imperial Piano Concerto No. 2 inG minor . Eugene Onegin Act J, No. 10... Sleeping Beauty No. 15a, Pas d'action . . ‘Swan Lake Act Il, Scene No. 13. Don Carlo Act Ill: Introduzione e scena . I Masnadieri Preludio La Traviata Act. J, Scene I. Otello Act 1: Duet . Rigoletto Act J, No. 3. Rigoletto Act 11, Rigoletto’s Aria Un ballo in maschera Act II, Amelia's Aria La spectre de la rose. BEERS. seme sprgmeememans LESSEE wrgnrcmsis ESSE SES xcs a Me td = a : I 4 ie ie i i : a eT a oy a ssorgrecrecna eeMis Preface It was my very good fortune to have been studying with Leonard Rose at the time I played my first orchestral solo. Eduard Lalo's Le roy d'Ys overture was scheduled by the All-City High School orchestra of New York for its Carnegie Hall concert. I, its 16 year old principal cellist, hardly gave its prominent solo a second thought. For that reason I was surprised when Mr, Rose demanded that I play it for him. After my rendition, which did not elicit much praise from him, he played it for me. His tonal opulence, emotional warmth and absolute rhythmic authority left me gasping in disbelief, as possibilities that 1 have never dreamed of became realities. It was obvious that to him, every note, shift, and phrase offered opportunities to create beauty and elegance, and that his understanding and application of the techniques involved was an organic process that combined physical movement with mental conception and emotional commitment. Mr. Rose explained and demonstrated, note by note and phrase by phrase, exactly what he had done, why he had chosen to do it and how he would practice. He ended the lesson by saying “although you can never absolutely guarantee success in any given performance, you can put the odds in your favor.’ This inspiring lesson made a profound and lasting impression on me and created powerful paradigm shift, Since then T have viewed technique as an exact physical manifestation of a given musical idea. During my 30 years as principal cellist for the Chicago Lyric Opera and American Ballet Theatre at the Metropolitan Opera House, the following techniques and insights have helped me to achieve consistency in the performance of the solos contained in this book Thave found that the best all-around method of practicing solos, once I have decided on fingerings, bowings, and other details is to play the solo through many times in a context that demands full expression. I have often created a context by recording a bass line, vocal line and then playing along with the resulting tape in order to simulate @ performing experience. This way of practicing makes a difficult solo feel familiar and friendly at the “moment of truth.” This volume contains many of those lines. One of the real difficulties involved in playing an orchestral solo is the sudden and shortlived conversion a musician must make from being an orchestra player to being a soloist. The way I practice ‘making this transition is to record the two minutes of music that come right before my solo, I then work out a way to use these two minutes to prepare myself for my entrance as a soloist. ‘This preparation builds confidence when it is most needed and protects one from the many distractions that occur during performances. Often I play along with the violins or other melodic instruments immediately before my solo comes up. Naturally I make sure that I can play this material respectably. I have done this with little oppsition from conductors and believe this kind of preparation helps my confidence. “The middle and end of long notes offer great opportunities for expression, especially in operatic solos where tempo rubato is a constant stylistic demand. In order to gain a clear understanding of how much of the subtle crescendos, diminuendos, accelerandos, and ritards are required, I practice melodic solos in separated 8a and 16m notes (played with separate bows) at the performance tempo and with full expression. Channing Robbins, Mr. Rose's distinguished associate at the Juilliard School for 25 years, offered three ways of practicing that I found particularly valuable. 1) Practice slower and louder than the tempo and dynamics demand in order to create a reserve of tone. 2) Practice one fifth lower (on the next lower string) to counteract the tendency to play too lightly when slightly nervous, 3) Practice with reverse bowings to make the original ones feel more comfortable. ‘These solos, written by some of our greatest composers, exploit the expressive possibilities of the cello and serve as excellent studies in cantabile playing and the projection of sound. Special thanks to Michael Grebanier, Robert Gardner and William Cernota for their help in preparing this volume and to my superb first stand associates Barbara Haffner in Chicago and Scott Ballantyne in New York. Daniel MorgansternDon Giovanni K. 527 (1787) No. 12, Aria: "Batti, batti, 0 bel Masetto" Compiled and edited by DANIEL MORGAAS SRN WOLFGANG a MOZART Andante grazioso (d = 88-92) (1950-179 Cello SSS =————— == 4 Se wee fetta ve NaS oer partsaaeseee , ee true ti SF ys a ig oF = Se Copyright © 1999 by Intemational Music Company, New York. sats "A igus Renevedncratonsl Copsren Screedache = te aeonstS 1 en eae prnePaPar 5 ; SS et ees ———— S=_==_- Se, oS oS OS ee se ee ie PERE i Eten aire iorteset aa: Lucia di Lammermoor (1835) Finale of the Opera GAETANO DONIZETTI Moderato (d = 69) (1797-1848) solo 5 7 col canto 2 1 0g 3 _— Tp epiacere cre fe ei? solo Soli wit ‘ Soli unit v asDon Pasquale . (1843) Andante mosso (d = 66), Sinfonia Giselle (1841) Act II, No. 19 ADOLPHE ADAM Andante (J = 63) (1803 - 1856) you yi. I Masnadieri (1847) Preludio ‘Andante piuttosto mosso (d = 56) y ne VERD) con expressione ¥ ow 3, oe i y ddolciss. allarg. (cadenza) (cadenza) m —s. L — 2 > ks a7 BE Se = fuga a a ——- = A ‘morendo fr misRigoletto - (1851) Act I, No. 3 Duetto : A Andante mosso (d = 69) i 3 con ordino “Quel vecchio maledivamil™ i, v v 12 VE come puei tanto sicuro 0 - allarg. ¢ morendo12 Rigoletto Act II, No. 9 Rigoletto’s Aria Andante mosso (/ = 46) SS nite gp Vocs! a ce ‘mon-do tal fi glia per 7 hyn saisa — La Traviata (1853) Act I, Scene I ‘Allegro brillantissimo e vivace (d = 168-180) aa * See aisa Un Ballo in maschera (1859) Act Ill, No. 7 Amelia's Aria Andante (d = 54, quasi cadenza) neta Vea aden on ‘oom v, D4 wis , cello ftacet) —3—" (p espress. ——_ 2 Tusti-co fi plo mio av.vince-real mio se no cc we 12 3 1 a = = 1 marcato £ 1 ——— + sul = tino fv, + 16 ° a 00 fe fut. oa pie te ae e a a —_— S— sais