Classical literature and fairytale composition
for violoncello solo /Volume 1
fue 10114

The compositions are very well suited for musical accompaniment at private viewings, weddings
and baptisms, for example, also suited to concert and competition repertoire. The pieces demand a high degree of musical expressiveness and confident solo ability on the part of the cellist. In terms of technical difficulty, they are more or less equivalent to the first three
Bach suites.

The three solo cycles for cello printed in this volume belong to the genre of classical literature
and fairytale composition, a genre to which Regine Brunke has particularly devoted herself with her compositions. Taking the content of literary works as her source material, she has since 1998 composed highly expressive, meditative pieces of programme music
which have established themselves in the classical concert repertoire and have been performed
hundreds of times.

The Sonata for Solo Cello in G major, “Die schlafende Schöne” (The Sleeping Beauty), was commissioned by Günther Koseck for the Dornröschenschloss (Sleeping Beauty castle) of Sababurg in the Reinhardswald in 2004 and first performed there in the late summer
of that year in conjunction with the opening of the “Sleeping Beauty Fairytale Tour”.
The Sonata for Solo Cello in G major is a composition based on the fairy tale Sleeping Beauty. The source for the piece is the definitive edition of the text by the Brothers Grimm from 1857.
The Suite for Solo Cello in G major, “Märchensuite” (The Fairytale Suite), was composed in 2007, also for the Dornröschenschloss of Sababurg and with the same theme – but based on a completely different text.
The Four Folk Song Scenes for Solo Cello (2004) were composed originally as musical accompaniments to texts by Theodor Fontane.
However, the solo cycles could, of course, be included completely separately in concert
programmes as stand-alone compositions without readings of the texts. Individual movements
are also very well suited for musical accompaniment at private viewings, weddings
and baptisms, for example. The pieces demand a high degree of musical expressiveness and
confident solo ability on the part of the cellist.
In terms of technical difficulty, they are more or less equivalent to the first three Bach suites.
The works are therefore also suitable for study in classes for advanced students of music
or for students of cello in their first semesters, as well as for auditions and competitions.