The renowned cosmopolitan composer Froberger remains an inspirational figure both for his contemporaries and for future generations, as in composing his Partite he is instrumental in the development of the Suite as a genre. In these Partite, his style rarely takes overtly the shape of counterpoint, but rather follows closely the “stil brisé” of baroque lutenists and the extension of a baroque lute. Froberger visits Paris, he is friend with Huygens, comes into contact with the great masters of the lute Denis and Ennemond Gaultier Le Vieux, Blancrocher, and with the violist-lutenist Nicolas Hotman. All the musical “entourage” of the court of Versailles affects deeply Froberger, who newly elaborates these influences into his own personal idioms. His Partite, rich with broken lines, are well suited to be adapted to an instrument such as the five-string cello. If this is more limited, compared to the harpsichord – with respect to the possible number of notes playable simultaneously - it certainly offers interesting opportunities in terms of articulation of sound, dynamics and resonance.