Lee 40 Melodic and Progressive Etudes for Cello Op.31 Bk.1

5/17/2018 Lee 40 Melodic and Progressive Etudes for Cello Op.31 Bk.1 - slidepdf.com

http://slidepdf.com/reader/full/lee-40-melodic-and-progressive-etudes-for-cello-op31-bk1-55b07be2e368e 1/26

5CHI RMER'S LIB R A RY

OF' MUSICAL CLASSICS

Vol. 639

LEEOp. 31

FortyMelodic and Progressive

Etudes

For V io loncello

(LEO SCHU LZ)

Book I (Nos. 1·22)

$1.00



SCHI RMER'S LIB RA RYOF MUSICAL CLASSICS

SEBASTIAN L E EOp. 31

Melodic and

E tu des

Forty

Progressive

For Violoncello

Edited and Fingered by

LEO SCHULZ

Book I contains a Biographicol Sketch of the Composer by

RICHARD ALDRICH

IN TWO BOOKS

Book I ( 1 ' 0 1 0 1 . 1.22) - Librar, Vol. 639

Book II (Nos. 23.40) - Library Vol. 640

G. SCHIRMER, INC.New York

Copyright, 1902, by G. Schirmer, Inc.

Cooyriqht, renewed, 1930, by Leo Schulz

Copyright renewal assigned, 1931, to G. Schirmer, Inc.

PrInted I.. the U. S. A. .



s A s TB I N L E E

SEBASTIAN LEE was the eldest and most a" real phenomenon, who is inferior to no player

brilliant and distinguished of three musical on earth in style and execution;" Fetis, the

brothers, natives of Hamburg, though bearers of musical Brahmin, called him .. a prodigious

an English name. Like his brother Louis, he

devoted himself to the 'cello, and became one of

the most prominent of the solo performers upon

that instrument, known alike in Germany and

France. lie was born at Hamburg in 18oS, and

studied with J. N. Prell, who was himself a pupil

of the great Bernhard Romberg. His first appear-

ances as a solo cellist were made in 1830, in con-

certs that he gave at Hamburg and Leipzig. Then

he set out upon a tour, visiting Cassel and Frank-

fort, and arriving in Paris in 1832. There he

achieved a brilliant success at his concerts in the

talent," and wrote with equal enthusiasm of the

admirable instinct that taught him the means of

producing from his strange instrument the accents

of expression and passion. Lamartine and Michau~'

were among hts patrons, and he wasmuch encour-

aged by the violinist Lipinski.

Lee then betook himself to London; but soon

returned to Paris, wnere he made his home for the

next thirty years, being till 1868 solo violoncellist

at the Grand Opera. Retiring in that year, he

returned to his native Hamburg, where he spent

the remainder. of his days. He died there on

TMAtre Italien. In 1836 he gave several concerts January 4. 1887.

In Paris with Gusikow, that singular genius, who

excited the musical world of the 30's so greatly by

his performances upon the ., Strohfiede1,"-an

instrument something akin to what is now known

as the Xylophone, composed of strips of fir wood

resting on a framework of straw. It seems to-day

like a curious episode in the career of a dignified

virtuoso of the position to which Lee aspired; but

it is only necessary, to read the contemporary

comments upon Guslkow's performances to appre-

ciate the situation. The fastidious Mendelssohn

wrote enthusiastically of him as Ua true genius,"

Like most other virtuosos, Lee published

many pieces designed to exploit a virtuoso's pow-

ers upon his instrument-variations, fantasies upon

operatic themes, divertissements, etc. More

important are his numerous compositions intended

for purposes of instruction, many of which were

primarily 'written for the use of the Conservatoire

at Paris, including a number of duos for two

violoncellos entitled "Ecole du Violoncelliste."

His" Method " for the 'cello is one of the most

widely used of all such instruction books.

RICHARD ALDRICH.

eo".Iallt. 1 9QO I, ' " O. Sclllraer.



2

,., Down-bow.

V Up-bow.

Copyright, 1902,by G.Schirmer (Inc.) Oopyright renewed, 1990, by Leo Schulz

Oopyright renewal assigned, 1991, to G.Schirmer (Inc.) Printed in the U. S. A.

15659



11i61l9



1~6n9



11'61)9





.. . _ . . . . .

Allegro non troppo , 8. Exercise for the Right Wrist.

;H i c r @ f ' r 1 0 f f f U l J i J i j ' e t f r r f l t r m r l l P M i 19:It t f M I t l t l f I T , r l r t w v , l l f ' f i r ' [ r l r I n W } 1

9: I E r N e f~ J f D f if i f i f t @ i j J I ~ r f f t fI ~ t l r l ; r J D f I Y @ d Y;J.I;ir l ~ t l ~ t l r l t ( r t l ~ J I D P ~ r I T e ft f f f r f i j i @ t j I

2~ • ~ ~ ~ .~ •• ~ q ~ . . ~ .

9:I~ f & N r t & P h h f l t r r r r p t f t t f i F r f & r l r ~ r & V l r r t & r l"1 ? - ~ 3 .~.. • ~. .--... 4~.~·, ~.

t t 3 l~ .--.. • ~ .--.. •

· -·

· .





~ b~ -~ ;--~ #~~ ~I"'" 1 " " 1 3 ! : 4~

- 2 . 1"-.,~

. .-. .-

I j_ 'I 1 . . . . J . . 4i i ; :.•-

l'i61'i9



10

12. Exercise for the Right Wrist.

Allegro. I . ~ . . ..

~ .... ---..... (f~~----.. !' - tt t ! : . t ! : . . . 1 ! : . I

2 '. ~anffl Errrr tr~~~0rqFbtlr t l f f t i t t Ileggel'O

-r-, • • •• rtt*tt i" ri . . " 4t\

?Ir1t t tt I{ctttt I f e u e f I I T r E E r I rf t M t I , f r e f f I f e t t t t l

•• " 4 3

;JIt fm EI e c t t t t l m e e t I & Q t t t r l# ( W f f l r 7 1 U I T a l

;J J ~ f _ 1 d r t C t I fett tr I t U f t IN E U E I a t t t ! " w e r e I3

· '~ ~E ~ ) ·~~ttf' 3~~~~ ~, ~ •••

51_ f [ L t t I u k t t t r g a r r I t E e E t t l a E R V I E r r M r I a f ~ f r

11'i6fi~



11

~ I •••• 4 ••••

; ; . t J d t t r ' l e U r ' U H H , c r o r t t I r r t t t t l a n n 1 . 1

1 4 F 1

: ' ) : ' ! J J J J ~ l4fllJlI~lJllIJjJl#IJ 311111;I-I~ z I-I. . . . . ... ~ .... ~ ....

tlUS



12

13. Theme and Variations.

Ui6ri9



13

IIl6»!}



1414. Exercise in Dotted Notes.

Maestoso. .

~[i~)~O L Q U 1 d U C t C} 1 t ' n J J J . J B I f tciU[~F!1

;}II [: r " f r - ; C l l # G ~ r i [ ; r;; I"J r " i r - ; f ~ I # } # j ] rt lil;J 1 f t G : c J E ' ! r c t 1 8 1 C ': J : H . j I C J E " ~ r ~ r ~ 1 f f q u E i rj 1

!if .~~.. .1",- ~I .~~.~3 ~. t t Jl~~.~~.F~ ·~ ; .. .~~.~~. ,,_; } ~ a n i " j :kEt I Ftr : r j:kE"' I t ty iH---h---I t~mEfr; 1

~ •~~.. . I. i t . ~ ~ . ~ ~ . ~ I.~.lt- ~.F!·~I...~~.~~~ .•;} ~ 51 D r jLEt I f : r 5n; jJ::Et I t !yS f [-sLFI r~~tH'i I

~~~ .~ e: ·U~· - ~ a ~ · _ , ~ . E? r t r-t j1brIUE] IT;jjl J . J q J . , ~ t1 P i t I@ ; l1 ij~J.jI

; } 1 f t £ 0 J - = [1fr Ijd w i [jfr I#i)].~tt~r11IG ! ptYI4

9=.~ a · u ~ · j # 1 3 1dru J ' 3 # J J Ir~r~qf t r fI~r!/ 3 ' l n ~ I

; } 1 f t ~ ~ ' a 3j. j J . O ; : O Id fiEf c t I E J f t J . J J.j n I f t d f ! C f c t l

;J~ [: r ; r - r [ " 1 1 - 1 J a J ] r n J C J

Ic : t j} rICt

I # a ~ nE J ' Q! I

~ # r " . R f · !'.R ~ · · _ ! " · t ·c· f ~ r , _ t · , _ u c : -~ & L E J : !::~E.rIV Et±'~Etl-~-~Er~ ~ I t/fif;qJjjJ I

~ ~ q J .Z # H f i J J JJ I h r r ; r f O l # i 1 5 1 r : r C t [tIn r E ; H J # ~ I

1ft6li9



11;61)9



11161)9



'w & t B r e r T : ' I @ ! P i f c r f = w U r r ! a . ~ C ! - c , e r !

, ~ \ ' l u c e r n e r e E E ! r f m f F a r r a o ! c [ r r D r f r u r e r ' !

?~D rk f rc P F rcW !iit_c @ _ " " & J V 2 ! ) l ! _ I.3 t :.__.;

lli61'i9



18 18. Exercise in Detached Bowing.

Largo.~ 1. 2 1 ~ ~fJ (I j I f . , . I D t · F > · q P l f i J , . f f i t ~ F , . ~ I ~ ~ J L " i f . ~ ' · Q 9 f f & 1 1Allegro. m m

9:II i U m l l ; J J O j j l . m j 4 ) J J j j l ; u C W L r r n m Q d l j j lp

fJdm j4j a O W j; U J J i W 4 ) M j IC f i c c f R c W - r f [ j r r E i f j j c r J j W j I

f J c : e r J : O J d j W W J J j j l J J J Z J W J W J W W W W j W j l j j r r r r r r a o r r r r r r l j r r r r r r r J UI I .~ I I

f J r . r D m r r r r r r r l j j r r W r r r r E b b C F I € f ~ m t r u ~ m ; E I

9: , , : r r c c u o r E ( r r r r l ~ f ; f f q f f t t ' j f f C r r r 1 - , r f E W r s m b e e F I

fJ # g r r r _ e r E W r r I I , : r r m r r ~ t b ~ r F r E ~ j j G f( t t F r r t t O r c r C ~ t r I

9: k j j C r & r r j r t t B J J J J I d j J j J J j ] J J J J J J J J IdmJJjj J i i J J J J J J I.

t

fJ A g f f c c r r t r c r r r r L A c e c E r j j r r L r u I is" J W J J w j j j J U j ] It

9: t h c r J W J J J j J J J U ; ; It t c r J W J JJ j J J J U W WI J 8 J J J J J E E r r f f f f l

9: t m C W W f J J j j l M J J U J d r r t f l W W C b f E f j W j j l ~ I I

IA61l9



Ifi6'9



116"9





22

22. Exercise in Arpeggios.

Allegro. 4,

' ~ ~ bIW O P E f f f t r I d 1 E C r ( E 1 t :& I t t C U t J E ( j J

~. ., p & . b w r t f W = @ l p t b 1 Jfr1r1f r r e r ~ E E ; I . t i i Ifl

, ~ I . @ { g j@ I p 3 C c g r t f f t t l W T & j ® ' J i C t r f t t E & I

9 : , % W @ ; @ l p W @ j @ I W W P O l a a .,, P \ .'tol W £ f ® I i f r & § WW I ! r ~ 1

'p\

w r u _ t f i 1 £be t r r

W W g r t r I W t J E W, ~ & w r t r £ f i " @ f U @ f i " j i _ , J Q j r r r c n ,, P \ f t rm t r f n oI@ W ( [ } l p g t ® J ® li.-rl

' P ~ .f f ¥ m w n o 1 t& ® ' [ fP '® tr r@ I J $ i t f t r lD I

, p \ b t i b b & f r o f S w w E Y I q w @ j l j f t J t t r f tm I

'~ b ' @ # N ,q

j @ { U @ , ' ® . u 0 1 & M & ,IIUi"9



23

;I:~ QYt l ' f f f 6 ; Y E f i _ J J q 1 J J P 1 & f f tY I

~~ 'S·~· ·&\ '[d~&I+=_~\@~2 2,,-. b 4,-. 2-----.2

;I:~I;E ¥ t m f q F f l l f N . E t r t ~ l d j J 1 s = _4 E m 4

f) : ~&~ i t c t r ~ t i t IJ @ I = @ I & J w 6 @I r d = E r ! 1

;1:&\ d t r t E ~ u : t i t IJ®J®I~'- fG.I '®'®1

;I:~. W ® ~ th ? J 'w ® '® " .® " ® iE@ ';I:~ @ T & q # @ I ( l f ® q j@ It f l ( H w i I i ! E f f i J @ 1

9 . : ~ & w £ i f q j @ I i i U J l & 1 .W - 0 I r ~ .

;1:&\ f ® v 0 1 ~ ¢ r f f f t t l ' ® t r@ I ¥ f& tP i 1t

;I:& 1 \ f l U ¥ - f i j 1 i l & i C & I l l f f&. t f f f i t f tr r r 5 1

Y ~ & ~ . f i ~ j l lW 1 W M i i £ : I i l ~ 1 = I d2 .2 f

U,S"9



SCH IRMER 'S liBRARYo f M usica l C la ss ics

The Library Volume Number Ie given Inbrackets: [12781

VIOLA SOLO VIOLONCELLO SOLO

(Cont inued)BACH, ~. s.6 Suites. Originally for Violoncello, Adaptedfor Viola (Svecenski) [1278].....•.•........ 1.25

The same (Lifschey) [1564J................. 1.25

LEE, S.

Op.31. 40 Melodic and Progressive Etudes(Schulz). Bk. I [6391:Bk. II [640]....... ea. 1.00

MERK, J.

Op, 11. 20 Exercises (Schutz) [641]........... .75

DONT, J.

20Progresslve Exercises. With accompaniment

of a 2d Viola. Adapted from Dont, Op. 38, for2 Violins (Svecenski) [14931.. . . . . . . . . . • . • • •• 1.25VIOLONCELLO AND PIANO

BACH, J. S.

Concerto, Gm (Barjansky-Greissle) (16091•••• ,1.50

VIOLA AND PIANO

SCHUMANN, R.

Op, 113. Pictures from Fairyland (Schra-dieck) [415].. .. .. .. . . .. . . .. .. .. .. .. .. .. ... 1.00

BEETHOVEN, L. VAN

5Sonatas (Schulz) [810}....•••••••••••••••• 3.00

VIOLONCELLO SOLO

BACH, J. S.6 Suites (Gaillard) [1565] 1.25

BRAHMS, J.

Op.38. Sonata No. 1, Em (Van Vliet-Hughes)[1411}1.25

CHOPIN, F.

Op, 65. Sonata Gm, (Schulz) [64]. • • • • • • • • •• 1.25DOTZAUER, J. J. F.

Op. 120. 18 Progressive Exercises (Schulz)[631] .15

62 Exercises (Klingenberg).Bk. I[1273];Bk. II [1274] ea. ~.25

DVOi'UK, A.

Op. 104. Concerto, Bm (Willeke) [1539].•••• 2.50

DUPORT, J. L.

21 Etudes. Bk. I [637J:Bk. II [638]..•.•.. ea. 1.00

GOLTERMANN, G.

Op.65. Concerto No.4, G (Van Vliet) [1412]. 1.50

GROTZMACHER, F.

Op, 67•. Dally ExercIses [954) 1.25

MOZART, W. A.

Concerto, D (Szell-Feuerrnann) [1591).. •• •• . .• 2.50

KUMMER, F. A.

Violoncello Method (Schutz) [1169].....•.... 3.00

RUBINSTEIN, A.

Op, 18. Sonata, D (Schulz) [63]..••.•••••••• 1.75

A n y S ch ir me r L ib ra ry v olu me m ay b e o b ta in ed .in c lo lh b in din g. P ric e s w ill b e q u ot ed o n r eq ue st .P r ic e s Subjut to Chang e Wi lhoue No ti c e.

G . SCH IRMER, INC. NEW YORK

Documents

Lee 40 Melodic and Progressive Etudes for Cello Op.31 Bk.1