Cello as soloist
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Australian music for cello
The cello – voted Australia’s most popular instrument on ABC Classic’s top 100 instruments in 2023 is at home performing solo repertoire, as part of a chamber ensemble or within an orchestra. It is is featured in many contemporary Australian art music works and over the years there have been a number of virtuoso Australian cellists who have championed the work of Australian composers.
An important characteristic of cello composition is the use of extended techniques featuring artificial harmonics, microtones and differing bowing styles to name a few. There are works where the soloist is required to sing whilst playing the cello and the use of electronics and AI is ever evolving as technology continues to develop. There are so many fantastic compositions written for the instrument by composers for all different levels from shorter works highlighted in the HSC/VCE lists to more virtuosic works such as concertos and sonata form works.
A plethora of AMC composers have written significant works for the cello including Paul Dean, Liza Lim, Margaret Brandman, Sarah Hopkins, Deborah Cheetham Fraillon and Vincent Plush. Performers who have commissioned and performed new Australian works include David Pereira, Trish Dean, Blair Harris and James Morley.
Representative works
| Work | Notes | |
|---|---|---|
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| Cycle of love (1981) by Anne Boyd | Pseudo-Japanese sounds combine for gently romantic, 'spiritual' result. A distinctive and not very difficult piece of chamber music. |
| Slicked back tango (2007) by Elena Kats-Chernin | Cool and trendy, in a popular idiom. |
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| Maninya I (1981) by Ross Edwards | For voice and cello - stylistically conspicuous; technically exacting work, appealing to both listeners and players. |
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| Aftermath (2016) by Emily Sheppard | Written during time spent in Tasmania's takayna/Tarkine after the 2016 bushfires that burnt large areas of rainforest in the northwest coast. |
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| Blue upon blue (1991) by David Lumsdaine | A dreamy, lovely piece for solo cello, with gently extended techniques. |
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| Threnody (1992) by Peter Sculthorpe | For solo cello. This piece, in three, boldly contrasting sections, was written as an emotional relation to the tragic early death of Stuart Challender. |
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| Jungle fever (1998) by Matthew Hindson | Fresh and original writing of powerful and memorable effect. |
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| Whales, waves and the ocean (2008) by Rosalind Carlson | A pleasing piece that combines simplicity with modest technical demands. Suitable for intermediate-advanced players. |
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| The wind stirs gently (1992) by Nigel Butterley | Intimately entwined duo writing, with rhythmic challenge and attractive result. |
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| an ocean beyond earth (2016) by Liza Lim | Inspired by and dedicated in friendship to the cellist Séverine Ballon. |
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| Ariel's Dream (2022) by Margaret Brandman | This work is reflective and emotional, moving at a relaxed pace. |
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| Awakening Earth (1990) by Sarah Hopkins | For cello and cellist's voice. |
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| À la recherche d’Eden perdu (2021) by Jack Symonds | This sonata attempts a détente with the artistic world of Paris, circa WWI. |
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| Aspects of Return (2017) by Jakub Jankowski | Each of the three movements illustrates a different metaphor of return and is supplemented with a specific quotation. |
| Bellbirds (2024) by Troy Russell | Written in 2024. | |
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| Broken Rosary (2010) by Kate Moore | Instrumentation includes solo cello, violins or high strings, electric fan with sound mobile made from beads. |
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| Permit Me (2020) by Deborah Cheetham Fraillon | Commissioned by Canberra Symphony Orchestra and first performed by Patrick Suthers. |
