Playing the Cello, 1780–1930This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike. |
Contents
the left arm and hand and Scale Fingerings | 37 |
The Bow in Motion | 63 |
Playing with expression Portamento | 99 |
Playing with expression Vibrato | 123 |
Vibrato and Portamento in early Cello recordings | 143 |
The Manly Cello? | 171 |
gender in action Performing the Cello | 207 |
Conclusions and Speculations | 235 |
267 | |
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Common terms and phrases
Alexanian anon appears Baillot bars Baudiot Beethoven Bernhard Romberg Bohrer bow-stroke Carl Fuchs Casals cellists Cello Concerto cello methods chromatic scale Conservatoire context Corrette Crome Crouch David Popper Davidoff détaché discussion doigt Dotzauer Duport edition effect Example exercises expression Fantaisie feminine Friedrich grützmacher gender Grützmacher gunn harmonic Harmonicon Heinrich Grünfeld historically informed performance Hugo Becker ibid instrument John gunn Kummer l’archet left hand Leipzig lindley Mainz marked masculine melody Méthode de violoncelle modern movement nineteenth century notation notes octave open string orchestra Paris Conservatoire passage performance practice piano Piatti player playing Popper portamento position pupil recordings scale fingerings Schott Schumann Servais Servais’s slurred solo sonata spiccato Squire Squire’s staccato Straeten style suggest Swert tail-pin technique theme thumb tone trans Treatise tutors un-named pianist up-bow staccato variation Vaslin vibrato violin violinists violoncelle Paris Violoncello london Violoncellschule W.H. Squire wrist