Skip to content

Little Latin Suite

by Sylvia Rickard

Instrumentation
Cello, Piano
Composed
1990
Duration
7'
Publisher
Palliser Music Publishing (score and parts); also Canadian Music Centre (unpublished, printed by CMC), RSN 10558, call no. MI 3213 R539li
More by this composer

Purchase or download

About this piece

Sylvia Rickard wrote Little Latin Suite in 1990 for cellist Joyce Skaggs and pianist Robert Holliston, who premiered it at Camosun College in Victoria in March 1991. Each of its three movements is modelled on a Latin American dance: a bossa nova, a beguine and the 'Varsix Tango', which Rickard had first written as a separate piece in 1986. In her note to the score she traces her love of Latin music to hearing Astor Piazzolla in Paris in 1960 and Antonio Carlos Jobim in Palo Alto in 1962.

Technical overview

Three short dances, mostly in 4/4, in a chromatic, jazz-tinged harmonic language full of accidentals. The bossa nova opens with sustained double stops and the beguine places high double stops and glissandi above the bass staff, so both need secure thumb position; the tango adds pizzicato, triplets and chromatic spiccato runs in treble clef. The cello often plays syncopated, offbeat lines against the piano's dance rhythm.

Technical focus

  • Accidentals
  • Collaboration with Piano
  • Double Stops
  • Dynamics
  • Glissando
  • Pizzicato
  • Spiccato
  • Syncopation
  • Thumb Position
  • Treble Clef
  • Triplets

Level rubric

Early Advanced

Left Hand

  • Fully integrated thumb position; scales/arpeggios on A & D strings.
  • Smooth shifts into/out of thumb position for sustained high notes.
  • Frequent advanced double stops with rapid, coordinated shifts.
  • Accurate ornamentation (trills, turns, grace notes), even in double stops.
  • Expressively adjust intonation for chord balance.
  • Handle fast runs and large leaps precisely.
  • Introduction to false harmonics.

Right Hand

  • Virtuoso bow strokes: controlled up/down‑bow staccato, deliberate ricochet & well‑shaped sautillé.
  • Wide tone palette via precise bow adjustments.
  • Explore advanced effects (col legno, sul ponticello) as needed.
  • Capable of both powerful fortissimo and delicate soft notes.
  • Rapid switching among strokes in cadenzas/virtuosic passages.

Rhythm & Musicality

  • Apply rhythmic freedom & rubato to shape movements and cadenzas.
  • Personal interpretation with nuanced phrasing & subtle dynamics.
  • Mature tone and phrasing for solo and ensemble settings.
  • Demonstrate advanced ensemble leadership with visual cues.

Levels are approximate guides, not strict requirements.