12 Caprices Op. 7 for Cello Cover Image

12 Caprices Op. 7 for Cello: Cello (Solo)

$18.95 USD
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12 Caprices Op. 7 for Cello Cover Image
12 Caprices Op. 7 for Cello: Cello (Solo)

12 Caprices Op. 7 for Cello: Cello (Solo)

By Auguste Franchomme / ed. Julius Klengel

Item: 98-EP3469
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Auguste Franchomme was the leading cellist of his time, close friends with both Felix Mendelssohn and Fryderyck Chopin. His 12 Caprices Op. 7 are essential repertoire for cellists.

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 28
ISBN10: 0-01-401628-1
ISBN13: 979-0-0140-1628-9
SKU: 98-EP3469

More about this title

About the Composer: Auguste Franchomme

Auguste Franchomme (1808, 1884) was the cellist who defined the instrument's voice during the Romantic era. His position as principal cellist at the Paris Opéra and his chamber collaborations with Mendelssohn and Chopin placed him at the heart of European musical life, and he used that platform to expand the cello's technical and expressive vocabulary.

Franchomme composed primarily for his own instrument, creating works that balanced virtuosity with genuine lyricism. His caprices remain touchstones for understanding how nineteenth-century cellists thought about technique: not as showmanship for its own sake, but as a means to musical depth.

Why we love this

These caprices sit at a crucial inflection point in cello pedagogy: demanding enough to challenge advanced students, yet written by someone who understood the cello's physical realities rather than its romantic myth. Each caprice isolates genuine musical problems (double stops, left-hand agility, bow control) without sacrificing the melodic grace that makes practicing them genuinely rewarding.

What to expect

Franchomme's writing captures the essence of nineteenth-century salon music: elegant, conversational, with sudden moments of passion or playfulness. The caprices breathe like character pieces rather than studies; they make you care about the journey from beginning to end.

Who it's for

These caprices belong in the hands of cellists who have solid command of Bach and are ready to explore Romantic-era technical demands with musical substance. They work equally well as concert material for advanced students and as preparation for the larger Romantic cello repertoire.

How to get the most out of it

  • Treat each caprice as a miniature character study rather than a technical etude. Franchomme's phrasing marks and dynamic range deserve the same attention you'd give a Bach suite movement.
  • Investigate the harmonic language beneath the figuration. Many passages contain unexpected chromatic shifts that reward subtle tone color changes.
  • Scale your vibrato intentionally across the set. Lighter vibratos suit the more delicate caprices; fuller vibratos anchor the stormy ones.

How to use it

Feature individual caprices on student or faculty recitals to showcase technical achievement without resorting to show-off transcriptions. The set's range of moods makes it easy to pair contrasting pieces on the same program, or to select one caprice as a concert closer that lands with both refinement and impact.

Skills your students will build

  • Double-stop intonation and independence across string pairs
  • Rapid scalar passages and figure-work in thumb position
  • Sustained vibrato control and tone color variation
  • Baroque-to-Romantic phrasing and dynamic nuance
  • Left-hand dexterity in extended ranges

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