![]() He recommends avoiding (for us Spalla players) Neapolitan repertoire because that was the cradle of the “modern” standard cello. Bach, Reichenauer, Policarpo, Dömming, Tartini… Mark Vanscheeuwijck concludes that the five-string cello (the big one) was an option for the 17th-century bass or bassetto part that goes in a higher register, as well as for simple early 18th-century sonatas, a few concertos and some compositions by Graun, Abel, C. ![]() Giovanni Battista Sammartini, concerto in Do maggiore per violoncello piccolo o violino (JC69) They may have all referred to a violoncello piccolo with four (GDAE) or five strings. The terms violotto, viola, violetta were used by Antonio Vandini, Emmanuele Nappi, Evaristo Felice Dall’abaco, Tartini ( viola, concertos written for Vandini), Johann Martin Dömming. I would add that an instrument considerably bigger than the violin cannot be tuned like a violin, with the same E at the same pitch.) ![]() Vanscheeuwijck these pieces may be written for a five strings violin, or something tuned like a viola, but he also says that when the violin clef is used, it is octavised, played one octave below. The violoncello piccolo or viola pomposa has a very strict specific repertoire, which may refer to four (tuned GDAE) or five strings: Telemann, Graun, Herrando and Lidarti. Most probably a big one, not the violoncello piccolo used in the cantatas, as Bach himself specifies “a cinque cordes” in the suite, “violoncello piccolo” in the cantatas. questions:) could the fact that the tuning is so specifically indicated mean that it was unusual? This is the only piece of repertoire we know we are sure is for a five strings cello. So, back to our list of repertoire written specifically for five strings cello: (How about Mattheson? But as I said, I will get back to all this later). This means (I add) that the small five strings da Spalla was part of a continuo group on top of being an obbligato instrument. Vanscheeuwijck, only from the beginning of the stile galante do we see the cello as a part of the continuo group. Bach’s time and area, and we have this small cello, played either on the shoulder, horizontally, or vertically on the knees, much smaller than the previous “Italian” one, which could have four on five strings (when it had four, it was tuned GDAE.)Īnd, according to M. Then we move to Saxony and surrounding regions, in J. The big five strings violoncello was never part of the continuo group but played in the ripieno group or as an obbligato instrument. Vanscheeuwijck, at the beginning of the 18th century, in Italy, the violoncello was standardised on his “modern” big size, four strings, vertical playing position, and upper hand grip. ![]() The big one is an instrument played in Italy in the early baroque, when cellists hadn’t yet developed the thumb-capo technique, and so they needed the fifth string to reach the highest notes of their repertoire. It should be distinguished between the big and the small five strings cello. The two five strings cellos belonging to Christophe Coin: a big Rombouts and a small Castagneri.įirst, we should clarify what a five strings cello is. ![]()
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