Scan 66
Musical Courier 1893-05-17: Vol 26 Iss 689, 1893
34 lines. Read by computer on 25 September 2026. Printed page 67. See the scan on archive.org.
1The Violoncello.
2A SHORT HISTORY OF ITS RISE IN EUROPE, THE MUSIC WRITTEN FOR IT AND THE MEN WHO HAVE MADE IT FAMOUS.
3BY HANS METTKE.
5THIS noble instrument is, according to its name, a little bass "violone," being the Italian name for the double or contra bass. It is commonly called "cello" for short, though according to Mr. Edward Howell "it is idiotic to speak of the 'cello,' because 'cello' means little." He claims it ought to be called the "bass," if in these days of hurry a short name is necessary. But throughout all Germany the name "cello" is commonly adopted. Though the manufacture of the bass violin or violoncello followed closely on the invention of the tenor and treble violins, nearly a century elapsed before the 'cello took its proper rank in the family of stringed instruments. This is due to the fact that the six stringed viola da gamba (knee or leg viola), the established chamber and orchestral bass of the seventeenth century, was a very popular instrument, and more easily handled than the 'cello, though inferior to it in power and quality of tone. The viola da gamba had a flat back, the sound holes form a crescent, the strings numbered from five to seven and the fingerboard was fretted like the guitar. The tone of this instrument being too small, the violoncello was evolved as a baritone or light bass instrument about 1650. The longer and more thickly strung 'cello was at first employed to strengthen the bass part in vocal music, particularly in music of the Church. The 'cello became very fashionable; George III. and George IV. both played on it. It was in Italy that this instrument first took a higher position. The stepping stone appears to have been the continuous basses, which formed the usual accompaniment to solos for the violin. The ringing tones of the violin demand a more powerful accompaniment than the viola da gamba could give, and with many violin solos of the latter part of the century we find bass parts of some difficulty which were played on the 'cello by accompanists who made this department of music a special study.
7Corelli is said to have had a 'cello accompaniment to his solo performances, though his "basso continuo" is obviously written for the viola da gamba, but it is not until after the death of Corelli that we hear of the first solo 'cello player. This was one Franciscello (1713-1740), of whom little is known, except that he played solos in the principal European capitals. The name of Vandini has also come down to us as the 'cello accompanist of the solos of Tartini. These two players rank as the fathers of the 'cello, and it may be assumed that it was from its association with the violin as a bass that the 'cello itself became a model instrument, and the methods of violin playing came to be applied to it.
9Among the earliest compositions for the 'cello may be mentioned the sonatas of Antonietti of Milan, an Amsterdam edition of which is dated 1736, and of Lazetti, 'cellist to the King of Sardinia (1730-1750). The finest classical solos for the 'cello are Sebastian Bach's six sonatas. Dupont's instruction book, written a hundred years ago, is still (with very slight alterations as to methods of fingering) quite up to date. Canavasso and Ferrari, two other Italian 'cello players, appeared in Paris between 1750 and 1760. There already lived in Paris a 'cello player whose name stands by tradition at the head of the French school. This was the famous Berteau, who died in 1756. Merk, Franckhomme, Kummer and Dotzauer ranked among the best bravura players of their times, but the greatest master of all the effects possible on the 'cello was undoubtedly the late Mr. Servais, a Belgian violoncellist and composer, who died 1866. His compositions will remain as one of the most marvelous monuments of the instrumental art of our time. Servais may be well called the Paganini of the 'cello; he possessed an instrument worth about $10,000.
11The English players who have left the greatest names are Crosdill and Lindley. The English hold their fingers stretched out over the finger board in the first position, with every finger over its proper note in the scale of C. This keeps the fingers and hand always in readiness. The French hold the fingers sloping back as in playing the violin. This necessitates bringing the fingers forward for each note, causes a loss of grip and a perpetual glisando. The Germans use the fingers in the same manner as the English are accustomed to practice, and Mr. Piatti, in London, is considered a great authority in 'cello teaching and technic. The violoncello school of Kummer refers quite often to remarks and teachings of Mr. Piatti, who is a master of all styles, equally admirable in the severest classical music and in the brilliant technical effects which are embodied in some of his compositions.
13The instrument is not now held by the legs, but rests upon a peg of wood, brass or steel, which touches the floor. The ladies introduced this fashion, which is best of all, as the vibration would be hindered more or less by the legs embracing the sides too closely. Piatti, however, holds his instrument in the old way. Grutzmacher, Davidoff, a Russian 'cellist, and Bockmuhl must also be mentioned. At present players use thinner strings than formerly. The principal methods of the 'cello are by M. Romberg, Kummer, Dotzauer, Lee and Piatti. The studies of Stiastny, Grutzmacher and Lee are usually recommended. Perhaps the best known writer for the 'cello is Goltermann, who wrote many sonatas, concertos, "Salon Stücke," &c. One of the living 'cellists, David Popper, has become very popular through the second gavot in D, introducing an imitation of the bagpipe. The "Butterfly," "Vito," one of the Spanish dances, his concerto and romance are very popular and can be found on programs of celebrated 'cellists. Dunkler has written some brilliant pieces for 'cello, also Lübeck, Haussmann and Klengel. The principal classical combinations for the 'cello and piano are Beethoven's four sonatas, of which the one in A major is the grandest and most difficult.
15Beethoven knew the strong points of the 'cello well, as he was quite a good performer on that instrument. Hummel, Rubinstein, Sterndale Bennett and Edward Grieg have each written a sonata, of which Rubinstein's is the grandest, according to the taste of the writer. Schumann wrote a concerto and "Stücke in Volkston." Molique gave us a fine concerto, op. 45, Mendelssohn's predilection for the 'cello is well known. His orchestral works abound in melodic and effective solos for the instrument; allegro of the Italian and Scotch symphonies, Meresstille, &c., and in addition his sonatas in B flat and D. major, and his air and variations in D, all for 'cello and piano, are among the finest works in the répertoire of the 'cellist.
17The obligato part to the air "Be thou faithful," from the oratorio "St. Paul," is a masterpiece of its kind that will never be surpassed. It is a pity that his intention of writing a concerto for 'cello and orchestra was frustrated by his death, as it would undoubtedly have been a fine and effective composition, which with all its merits Schumann's concerto fails to be.
19It is greatly to be desired that young gentlemen should take up the study of the violoncello, for a more respectable possession than a violoncello for a single man can hardly be conceived. It is the very antithesis of all that is light and frivolous. It neither inclines its owner to quadrille parties, like the cornet-a-pistons, nor to cold gin and water, like the flute. The 'cello students will learn very soon to play the open strings, accompanying the songs of their lady friends; after they have mastered some of the difficulties, join amateur orchestras, form string quartets quintets, 'cello duos, quartets, sextets and octets, play in trios for violin, and trios for violin, 'cello and piano, and in quartets for viola, 'cello, contra bass and piano, play obliga-
21DEALERS WHO VISIT THE WORLDS' FAIR WILL HAVE AN OPPORTUNITY OF INSPECTING THE OLD RELIABLE
23THEY WILL BE EXHIBITED IN LIBERAL ARTS BUILDING, SECTION I, NORTH END.
25BOARDMAN & GRAY PIANOS ESTABLISHED 1837
27THEIR EXHIBIT WILL CONSIST OF Concert Grands, Parlor Grands AND A VARIETY OF NEW STYLES IN THE Upright Piano.
29A "Square" made by them over fifty years ago can be seen and tried.
31FOR CATALOGUE ADDRESS
32BOARDMAN & GRAY,
33ALBANY N. Y.
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