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2 Waltzes for Cello and Piano

by Liana Alexandra

Instrumentation
Cello, Piano
Composed
1997
Duration
6'
Publisher
Nuova musica consonante / Liana Alexandra Estate (free on IMSLP)
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About this piece

Two waltzes for cello and piano, arranged by Alexandra in 1997 from her own music: one comes from her score The Little Mermaid and the other from her Alto Saxophone Concerto. The set lasts about six minutes and is dedicated to her husband, the cellist Serban Nichifor, who gave the first performance with the composer at the piano in Pescara, Italy, in 1997. The score and cello part are free on IMSLP from her estate.

Technical overview

Two contrasting waltzes in 3/4. Waltz I (F major, bass clef) stays within the lower positions up to the fourth, with dotted rhythms, staccato and frequent chromatic accidentals. Waltz II (B-flat minor, five flats) is harder: an 'Andantino, dolce' written mostly in treble clef in the upper positions, then an Allegro section of slurred, chromatic eighth-note runs in bass clef, before a da capo.

Technical focus

  • Treble Clef
  • Shifting
  • Accidentals
  • Dotted Rhythms
  • Articulation
  • Slurs
  • Hairpin Dynamics
  • Tempo Changes
  • Collaboration with Piano

Level rubric

Late Intermediate

Left Hand

  • Master positions up to 7th.
  • Use 5th–7th positions for high notes; early thumb position basics.
  • Learn treble clef for 4th, 5th, 6th positions.
  • Practice complex shifting with guide‑finger techniques.
  • Manage upper extensions; play double stops (thirds, fourths, sixths) with consistency.
  • Use continuous, selectively applied vibrato.

Right Hand

  • Develop advanced bow strokes: deliberate ricochet & controlled up‑bow staccato.
  • Execute quick string crossings & precise chord articulations.
  • Achieve wide dynamic range while maintaining tone.
  • Seamless transitions between spiccato and legato.
  • Execute multiple stops/chord rolls rapidly.

Rhythm & Musicality

  • Increased complexity: fast passages, intricate syncopation.
  • Detailed phrasing & structure; shape long phrases with rubato.
  • Combine expressive dynamics, vibrato & precise bowing techniques.
  • Further refine ensemble sensitivity & leadership.

Levels are approximate guides, not strict requirements.