Preface Note on the Edition

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Preface Note on the Edition David Popper (1843–1913) achieved international The aim of paladino music is to produce practical renown as a solo cellist, a status which brought his own modern editions that also provide historical insight. compositions to a wide and appreciative audience. He The cello part is based on Popper’s own, as printed in the became a student of Julius Goltermann (1825–1876) in frst edition by Peters, Leipzig. Prague at the age of 12, auditioning on the violin but In the interests of clarity, superfuous fngerings and switching instruments due to a shortage of cello students bowings have been removed. Popper’s use of letters at the conservatory. His studies were succeeded by a (e.g. ‘sul A’) to designate strings have been replaced number of prestigious orchestral posts, and in 1868 he was with the modern convention of Roman numerals. appointed principal cellist at the Vienna Hofoper and in the Inaccuracies in pitch and rhythm have been tacitly Vienna Philharmonic Orchestra, remaining to this day the youngest player ever to have held that post. He eventually amended on the basis of analogous passages. Modern notational conventions have been employed, resulting in resigned from his orchestral position in 1873 in order to pursue an accelerating solo career throughout Europe. the omission of unnecessary accidentals and redundant Popper was held in high esteem by his fellow musicians and slurs. Some dynamics and articulation markings have maintained close personal and artistic associations with been rendered consistent with parallel readings or with composers such as Bruckner, Brahms and Liszt, as well as the other instrument. Consecutive dynamic markings, with the leading performers of the day. often the result of printing limitations, have been combined where appropriate. The notation of natural Most of his compositions were for his own instrument and harmonics follows modern conventions in the cello part, testify to an intimate knowledge of how to marry virtuoso while the audible pitch is given in the score. technique with the rich sonorities and expressive capacities of the cello. Popper’s compositional output became highly Martin Rummel regarded, and many of his works would come to have pride Auckland, January 2017 of place among the concert repertoire of all cellists during his lifetime. They continue to do so to the present day. Popper took his niece Caroline Brandeis under his wings when she showed potential as a concert pianist. He put on a concert in Budapest on 21 November 1897 to present her to the public and at that occasion premiered the Suite Op. 69 with her. The piece is dedicated to Ferdinand von Liliencron (born in 1852), son of Rochus von Liliencron. Other than about his famous father, not much is known about him, other than that he published a song cycle as his Opus 1 and, in 1887 with Breitkopf & Härtel in Leipzig, a selection of four random movements from the Bach Solo Suites with his own piano accompaniment. Popper’s Suite in A Major, Op. 69, however, is not only the longest of his suites for cello and piano, but also the musically deepest of them all, maybe refecting his longstanding musical and personal friendship with Johannes Brahms..

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Techniques in David Popper's Hohe Schule Des Violoncello-Spiels, Op. 73
Conservatorium of Music Techniques in David Popper's Hohe Schule des Violoncello-Spiels, op. 73 by Felicity Allan-Eames Submitted in partial fulfilment of the requirements for the Degree of Bachelor of Music (Honours) University of Tasmania (June, 2013) DECLARATION I declare that all material in this exegesis is my own work except where there is clear acknowledgement or reference to the work of others and I have read the University statement on Academic misconduct (Plagia rism) on the University website at www.utas.edu.au/plagiarism or in the Student Information Handbook. I further declare that no part of this pa per has been submitted for assessment in any other unit at this university or any other institution. I consent the authority of access to copying this exegesis. This authority is subject to any agreement entered into by the University concerning access to the exegesis. Felicity Allan-Eames 6th June 2013 ABSTRACT Virtuoso cellist, pedagogue and composer, David Popper was an instru mental figure in the development of cello technique in the late nine teenth and early twentieth centuries. Popper's technical principles and innovations are laid down in his monumental work the Hohe Schule des Violoncello-Spiels. Certainly his greatest contribution, these forty im mensely challenging and musically-rewarding etudes are now studied all over the world. A thorough understanding of the many techniques re quired in these etudes, as well as effective practice methods, are cru cial for a cellist's development of technical skills. These techniques and practice methods have been somewhat overlooked in the available liter ature.
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