Violoncello

This doctoral essay studies the Brazilian elements in Villa-Lobos's Cello Concerto No. 2.  It shows how these components infuse the finished score and how they appeared in the compositional process.  By understanding the composer's inspirational sources we might enlighten any performance of the concerto.  Although Villa-Lobos does not directly quote any folk themes, the music sounds definitively Brazilian: folk-like elements and dance rhythms permeate the score.  In order to understand Villa-Lobos's use of vernacular elements in the Concerto, this study traces his background, musical style in general, and his particular affection to the cello.  This latter aspect of the study might unveil what compelled him to write such a piece.  In terms of the finished score, we discuss Villa-Lobos's use of Brazilian folk materials, such as idiomatic themes, harmony, rhythm, texture, form, and instrumental color.  Some of these elements are obvious at the surface of the music but others are hidden in the texture.  We consider, in particular, the influence of the guitar in Villa-Lobos's writing as well as the use of rhythmic patterns derived from Brazilian folk instruments, such as the berimbau and pandeiro.  Moreover, we discuss some of the implications of trying to absorb vernacular material into the rarified genre of the concerto.
Concerning the genesis of the piece, we discuss Villa-Lobos's sketches and manuscripts, currently owned by the Villa-Lobos Museum in Rio de Janeiro.  These materials, which are available in facsimile, shed important light on Villa-Lobos's creative approach, as well as on the composition process of the work.  Finally, this doctoral essay does not intend to make an ethnomusicological study of the Brazilian culture, its ultimate purpose is to demonstrate how the understanding of the Brazilian sources might be helpful in shaping the interpretation of the piece.

Preface

Three centuries later, the debate still rages concerning which instrument –or instruments– Johann Sebastian Bach had in mind when he composed his 6ème Suitte a Violoncello Solo senza Basso, BWV 1012.
On the one hand, we know that the composer usually grouped his chamber works in homogeneous sets of six. On the other hand, we also know that Bach had a natural propensity to exploit the organological capabilities of the instruments for which he wrote.
But in the case of the Suites a Violoncello Solo BWV 1007-1012, the resulting ensemble seems to contravene one or other of these two tendencies. Not only have we the scordatura anomaly in the Quinta Suite, a modification that might be considered minor. In a further range of exploration, Bach –his copyists– specify that the Sesta Suite requires an instrument with five strings (à 5 cordes). If a different -and probably smaller- cello is required, this would imply that whoever wanted to play this volume of Suites would need two instruments. In this case, and following the reasoning of coherence, it would be more appropriate to say that Bach would have composed Six Suites a Violoncellist Solo.
If, on the other hand, we want to imagine that Bach composed these Six Suites for all of them to be played on a 5-stringed violoncello, this would clash with his penchant for using the full range of his instruments. Certainly, the first five suites contain some passages that are greatly favoured by the use of a smaller instrument, but in no case do they exploit this hypothetical high fifth string. In fact, this first five suites are works that systematically move in a medium-bass register –in contrast to his Sonatas & Partitas a Violino Solo BWV 1001-1006–.
The musical sources of other Bach works that feature violoncellos piccolos (arias from cantatas) divide this music alternately between the violinist's and cellist's particellas. This makes it equally acceptable for this Sesta Suite to be performed with a violoncello piccolo 'da gamba', i.e. between the legs, or with a violoncello piccolo 'da spalla', i.e. over the shoulder or chest.
In case the performer is not equipped with one of these violoncellos à 5 cordes, the possibilities are reduced to two:
The first option is to play it in the original key –D major–, which transforms it in an extraordinarily virtuosic piece. It would be the equivalent of playing the First Suite on a 3-stringed cello. Not at all impossible, but certainly far from the mood the composer seems to be looking for.
The other option, explored by several previous editions, consists of lowering the entire Sixth Suite by a descending fifth. This possibility is helped by the fact that –with the exception of the Prélude– it is reasonably easy to accomodate the low notes that we now have to give up.
The case of the Prélude is special, since its use of the lower register is more pronounced. The transposition to G major leaves many sections on the C string, something that Bach and other composers used to reserve for specific instances in their solo music. On the other hand, the original Prélude also explores the high register of the violoncello (to the extent that a sixth string would have been welcome), so the lowering of a fifth is still no assurance of ease and comfort in performance.
The present edition, therefore, has sought to homogenise the registers and the degree of difficulty so that this Prélude would be equivalent to the previous five. Some low passages have been raised by an octave –although they were feasible– and some bars have been lowered by another octave. In the same way, a chord has been added and notes not doubtful in any of the preserved sources have been modified. The aim has not been to respect the text but, in another divergent line, to recreate the hypothetical transcription by a 4-stringed cellist in Bach’s time.

Wir wollen alle drey in eine Brühe werffen: Denn alles dreyes sind kleine Bass-Geigen, auf welchen man mit leichtere Arbeit als auf dem grossen Violon allerhand geschwinde Sachen, Manieren, Variationes und dergleichen machen kan. 1 In this rarely-quoted excerpt, Johann Philipp Eisel obviously paraphrases Johann Mattheson's definition of the violoncello in Das Neu-eröffnete Orchestre. 2 It is yet another description that does not conform precisely to our early twenty-first century historical construct of the "baroque" cello. In the past not much attention has been given to such descriptions, considered to be too deviant from the general understanding of what a cello was supposed to be: five or six strings were not considered to represent the "normal" cello, and the viola da spalla was considered a different instrument altogether. However, recent research has finally taken such descriptions seriously, particularly in light of what iconographic sources are offering. In the past two decades, scholars have begun not only to entirely revise our understanding of what the violone might have been, but also to re-evaluate our notions about violoncello in the seventeenth 1 "About the violoncello, bassa viola and viola da spalla. We will throw all three of them in the same broth, since all three are small bass violins on which one can do all sorts of fast things, passages, and variations, etc. with much less effort than on the big violone."

(English version below)
Diese Arbeit befasst sich mit der Rolle des Violoncellos als Continuo-Instrument im 18. und 19. Jahrhundert. Im Zentrum steht dabei die ausführlich dokumentierte und im 19. Jahrhundert weit verbreitete Praxis der akkordischen Rezitativbegleitung am Violoncello. Diese verlangt vom Cellisten eine Aussetzung der Basso-Continuo-Stimme durch Doppelgriffe oder arpeggierte Akkorde. Zudem befasst sie sich mit der Frage, ob derartige Generalbass-Harmonisierungen auch außerhalb der Begleitung von Rezitativen genutzt wurden, beispielsweise im Accompagnement der Continuo-Kammermusik des späten 17. und 18. Jahrhunderts. Anhaltspunkte und Hintergründe zu dieser Hypothese werden im ersten Abschnitt dieser Arbeit behandelt: Berichte von Cellisten, die Violinisten auf Konzerten und Tourneen begleitet haben. Auskomponierte mehrstimmige Violoncello-Accompagnements, sowie Titelbezeichnungen und Instrumentationsangaben, die auf eine derartige Begleitung schließen lassen. Der zweite Abschnitt der Arbeit widmet sich der Quellen zur Rezitativbegleitung und behandelt entsprechende Lehrwerke und Berichte.
This thesis reviews the common role of the cello as a continuo-instrument in the 18th and 19th century. The well documented practice of chordal recitative-accompaniments on the cello in the 19th century is treated in the first part: cellists were expected to realize the Basso-Continuo figures in double-stops or arpeggiated chords to provide a full accompaniment. The second part of the thesis focuses on the hypothesis of general chordal Continuo-accompaniments on the cello, for example in the realization of Continuo-Sonatas in the late 17th and 18th century. Possible sources for this hypothesis, such as written accounts of accompanying cellists, treatises and musical prints are critically evaluated.

In the 18th century, the violoncello usurped the viol as the preferred solo bass instrument throughout Europe, but the lack of skilled cellists in the British Isles along with a preference for the Italian style resulted in high demand for Italian cellists and composers. Mainland musicians flocked to London, influencing the resident musical style and solidifying the violoncello’s place in the developing musical ensembles.

To further understand this crucial period in the history of the violoncello, this paper investigates the rationale for the violoncello’s triumph over the viol, the factors driving Italians to the Isles, the influence of Frederick, Prince of Wales as an important patron and cellist himself, and the interaction between the British and Italian compositional styles. As quantitative evidence, tables detailing the specific Italian composers found in the Isles, the pieces commissioned by Frederick, and the treatises published at the time have been compiled. This research aims to illuminate the impact of the Italian influence on the violoncello and its repertoire in the special circumstances that the Isles presented.

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O presente trabalho tem como objetivo discutir e definir o processo de reestruturação técnica no ensino e aprendizado do violoncelo. O objeto de estudo é abordado através de uma revisão bibliográfica e dos conceitos de dois violoncelistas/professores brasileiros, Alceu Reis e Márcio Carneiro. Para tanto foi elaborado um questionário que foi aplicado em ambos presencialmente, cujas respostas foram transcritas e embasadas com a bibliografia. Concluiu-se que, com base nas teorias de aprendizado motor, a aquisição da habilidade de reestruturação técnica é algo primordial no desenvolvimento instrumental em todos os níveis.

El siguiente artículo trata sobre la importancia que el violoncellista catalán Pau Casals (1876-1973) tuvo en la difusión de la obra de J.S. Bach, donde las Suites para violoncello Solo tuvieron un papel transcendental. Se explora el re- descubrimiento de la partitura de esta obra y el proceso de grabación. Casals registró la obra durante los años de la Guerra Civil en España y la Segunda Guerra Mundial cuando emprendió su exilio en Prades. La grabación de las Suites se ha convertido con el tiempo en su legado musical más importante.
This paper describes the contribution of catalan cellist Pablo Casals (1876-1973) in the spread of J.S. Bach’s (1965-1750) work. In this challenge, Bach’s Six Cello Suites were particularly important. This research narrates the re-discovery of Suites sheet music and the recording process. The recording was made in the context of the Spanish Civil War, the II. World War and the exile in Prades. Subsequently, this recording has become the most prestigious heritage of Casals.

Agli inizi del terzo millennio, Jean-Jacques Nattiez ha ben chiarito come, in un'epoca in cui l'uomo sulla terra ha accesso praticamente a tutte le musiche di ogni tempo e di ogni latitudine, sia necessario approfondirne criticamente le specificità storiche e culturali di volta in volta diverse, e ciò che è vero per la musica vale anche per il discorso sulla musica, ossia per la musicologia nelle sue tante applicazioni. Questa collana, recuperando nel titolo l'intuizione del viaggiatore Bruce Chatwin sulle infinite vie legate ai canti di un'umanità nata per muoversi sul nostro pianeta, intende promuovere quell'"unità della musicologia" oggi sempre più necessaria nella circolazione internazionale delle idee e delle ricerche. Un itinerario preferenziale, perché ancora poco frequentato dalle pubblicazioni musicologiche internazionali, sarà quello delle musiche delle diverse sponde del Mediterraneo, con uno sguardo all'Europa "dal Sud". Accanto a professionisti di solida reputazione internazionale saranno accolte proposte innovative di giovani ricercatori che potranno trovare la propria "via dei suoni" nella fase d'avvio della loro professione musicologica.

La prima parte del libro, «Intorno a Vivaldi», costituisce un'ampia indagine sul contesto in cui Vivaldi componeva per violoncello, contrabbasso e viola da gamba. Dopo un chiarimento terminologico che prende in esame i molteplici usi localmente diversificati, riunisce dati biografici sugli strumentisti che potrebbero essere entrati in contatto con Vivaldi e aver influenzato la sua immagine degli strumenti bassi ad arco. In particolare vengono rese pubbliche per la prima volta le biografie delle figlie della Pietà; ma anche su altri violoncellisti, contrabbassisti e violisti la ricerca ha portato alla luce molte informazioni biografiche finora sconosciute.
Segue una panoramica sul repertorio italiano per violoncello e per viola da gamba, utile a contestualizzare – talvolta relativizzare, talaltra esaltare – il contributo vivaldiano, e a portare alla luce non poche scoperte e novità su attribuzioni e destinazioni. Vengono poi discussi gli aspetti tecnico-strumentali di ognuno dei tre strumenti (posizione esecutiva, tecnica della mano sinistra e dell'arco etc), verranno offerte risposte ai molti dubbi sulle possibili accordature e infine raccolte informazioni sulla costruzione degli strumenti e i liutai che operavano in Italia.
Va evidenziato che questa ricerca è sempre circoscritta al contesto vivaldiano, evitando di appesantire la trattazione con excursus in campi cronologicamente e geograficamente distanti e cercando le risposte anche alle domande più difficili perché meno documentate quanto più possibile nelle testimonianze appartenenti ai luoghi e ai tempi di Vivaldi.

La seconda parte del libro è dedicata alle opere di Vivaldi: si esamina tutto il corpus della musica strumentale e vocale che preveda una parte solistica per violoncello o per viola da gamba. Ogni composizione e ogni fonte vien analizzata minutamente estraendo informazioni sulla genesi della partitura, la datazione, i possibili destinatari, le parentele con altre opere e mettendone in luce le particolarità tecnico-strumentali e altre caratteristiche salienti. Per attenersi anche in questa parte strettamente al tema preposto, l'indagine rinuncia a generiche analisi formali, armoniche e contrappuntistiche (e tanto più a una coloristica descrizione dei sentimenti che la musica suscita nella scrivente), nella convinzione che questi elementi siano non già specifici del repertorio per i bassi d'arco, ma anzi comuni a quello di altri strumenti solisti e quindi da affidare a una ricerca trasversale.

La terza parte è concepita in particolare per chi esegue la musica di Vivaldi perché dedicata ad alcune questioni di prassi esecutiva del registro grave. Un minuzioso spoglio di tutte le indicazioni di strumentazione con cui Vivaldi circostanzia le sue parti per i bassi, ha dato vita a un regesto che impone conclusioni in parte sorprendentemente difformi dalle esecuzioni pur storicamente informate dei nostri tempi. Nel secondo capitolo vengono invece riunite e contestualizzate tutte le indicazioni originali sugli organici e le formazioni orchestrali al tempo di Vivaldi per indagarne l'incidenza di violoncelli e contrabbassi: ne risulta un quadro sfaccettato e anch'esso talvolta ben diverso dalle nostre abitudini d'ascolto odierne.

Conclude il lavoro un inventario delle composizioni con parti solistiche per violoncello e per viola da gamba, seguito da un elenco dell composizioni che prevedono un accompagnamento a contrabbasso solo.

I tre brani pubblicati nel 1914 da Webern rispecchiano una mentalità e capacità musicale in grado di realizzare in un breve lasso di tempo delle immagini, dei timbri e dei gesti oltre la singola notazione, permettendo un sinuoso gioco dinamico e armonico. È qui brevemente analizzato il terzo brano dell'Op.11, tenendo conto del contesto(ovvero gli altri due brani) in cui è inserito.

This is an overview of the English division viol, assembling the information available from first hand sources. What are its roots? How and when does it appear in contemporary sources? Was it really a small size viol? Is the six-string violin-shaped division viol portrayed in Simpson’s book one and the same instrument as the six-string bass violin described in James Talbot’s manuscript?
The study of the early sources reveals a picture quite different from the one we are used to.

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In a long term research on cello tailpieces, we have first identified the vibrating modes of a cello tailpiece mounted on a Dead Rig , and have worked on the possible influence of the wood on these modes. Among musicians and violin makers, several empirical theories exist about an ideal "after-length", i.e. the distance of the tailpiece to the bridge which leaves a small length of vibrating string. Here we describe on the parameters involved when varying the "after-length", and explore the influence of the position of the tailpiece on the modes and on the sound. a b d Copyright: © 2013 First author et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License 3.0 Unported, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Traces the early history of the violoncello in Naples, discussing the presence of the instrument in the Royal Chapel and in the Conservatories. Includes an overview of the cello repertory and of the activity of Neapolitan cello virtuosi, such as Francesco Alborea, and new documents on F. P. Supriani's career and early cello method.

Este volumen, «Versos sueltos de Miserere mei, Deus a una y dos voces», incluye nueve obras de Ignacio Jerusalem basadas en versos del salmo penitencial homónimo. Exquisitas en detalles, estas atractivas piezas en forma de aria musicalizan el texto latino de manera pausada, ornamentando las palabras importantes e intercalando secciones vocales con pasajes instrumentales. Un punto culminante de la colección es el recientemente identificado Ecce enim veritatem de Jerusalem con partes de violín y violonchelo obligado, pieza que contiene la escritura a dúo para violín y violonchelo más avanzada del repertorio colonial. Cada una de estas piezas puede interpretarse de forma independiente, o agruparse según se desee. // This volume, "Stand-alone Verses of Miserere mei, Deus for One and Two Voices" includes nine works by Ignacio Jerusalem based upon verses of the eponymous penitential psalm. Exquisite in detail, these attractive, aria-like pieces take a leisurely approach to the Latin text, ornamenting important words and interspersing the vocal sections with instrumental passages. A highlight of the collection is Jerusalem’s recently identified Ecce enim veritatem with obbligato violin and cello parts, a piece that contains the most advanced duet writing for violin and cello known in the colonial repertoire. Each of these pieces can be performed independently, or grouped together as desired.

Anni di ricerca su questo grandissimo violoncellista hanno portato alla stesura di questa tesi di laurea.
Questo lavoro è costituito di una parte introduttiva sulla storia della Germania all'epoca di F. A. Kummer, un quadro generale della musica in quegli anni, un approfondimento sulla scuola violoncellistica di Dresda (Dresden) e su Kummer in particolare ed infine un'attenta analisi del suo Concerto op. 10 per violoncello ed orchestra.

Catalogue of the musical works composed by Juan María Solare (born in Buenos Aires, Argentina, 1966). Updated to 15 May 2024. Structure:

A) STAGE WORKS
B) ORCHESTRA
C) CHAMBER MUSIC
D) SOLO INSTRUMENT
D-1) Piano solo (except 4-hands: see "Chamber music")
D-2) Other instruments solo
D-3) Didactic pieces for piano solo
E) VOCAL WORKS / WITH VOICE
F) CHOIR
G) WITH IMPROVISATION ELEMENTS * ALEATORIC * GRAPHIC
H) CONCEPTUAL WORKS
I) ELECTRONIC / ELECTROACOUSTIC MUSIC & MIXED

Werkverzeichnis der Musikstücke vom Komponisten Juan María Solare (Buenos Aires, Argentinien, 1966), nach Besetzung sortiert. Stand: Dezember 2019.

Gliederung:

A) BÜHNENWERKE
B) ORCHESTER
C) KAMMERMUSIK
D) SOLOINSTRUMENT
D-1) Klavier Solo (außer 4-händig: siehe "Kammermusik")
D-2) andere Instrumente Solo
D-3) didaktische Werke für Klavier Solo
E) MIT GESANG / STIMME
F) CHOR
G) MIT IMPROVISATORISCHEN ELEMENTEN * ALEATORIK * GRAPHISCH
H) KONZEPTUELLE WERKE
I) ELEKTRONISCHE / ELEKTROAKUSTISCHE MUSIK & GEMISCHT

Resumo: Encontramos evidências do uso do Violoncelo da spalla e da collo ao longo de quase toda a época barroca. Estes termos representam técnicas de execução do instrumento grave da família viola da braccio. Será feita uma exposição das referências iconográficas e textuais à estas técnicas e dos diferentes modelos de violoncelo utilizados ao longo de várias épocas e diferentes regiões. Palavras chaves: Violoncelo barroco. Técnica executiva. Violoncelo da spalla. The Violoncello " da spalla " and " da collo " : an iconographic and textual analysis Abstract: We have found proofs of the use of the Violoncello " da spalla " and " da collo " along almost all the baroque era. These terms represents a performing technique of the bass instrument of the viola " da braccio " family. We will proceed to an exposition of the iconographical and textual references to these techniques and show the different models of the cello used toward different times and regions.

Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art.!

“Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock. Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play.

The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces”—are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.

In 1770 the English historian and musician Dr Charles Burney (1726-1814) embarked on a journey which would take him to France and Italy. The objective of this journey was to collect information for his book 'The History of Music'. During his visit he met many musicians, attended numerous concerts and made the acquaintance of several composers. He also encountered many other nowadays less recognized musicians, in particular, one Monsignor Reggio. Burney was introduced to Reggio through members of the English nobility residing in Rome. During his visit Burney kept a detailed journal of meetings and discussions. September 1770 sees Burney in Rome and we read in his journal: 'Wednesday 26 Sept: "... . to the prelate Monsignor Regio(sic) -who is likewise a pretty good composer and performer on the harpsichord and violoncello. He has got 2 or 3 delicate-toned harpsichords and a good library."' Later in his journal he speaks generally of Italian performers, discusses the state of Italian harpsichords, and admits being disappointed by the Italian harpsichord and harpsichord players. He again mentions Reggio. '.....The best Italian harpsichord which I met with …. for tone, that of Monsignor Reggio at Rome;...' In his final summing up of his visit to Rome he writes: … I am indebted for some curious compositions, and for the conversations of several persons in Rome, eminent for their skill in the art, and learning in the science of sound; among whom ….. Monsignor Reggio. No contemporary or modern musicological sources mention any Monsignor Reggio. He was obviously well-known to the English nobility residing in Rome during this period and it would appear that he left a lasting impression on Burney and worthy of note in the published, edited version of his journal. But who was this mysterious prelate? Have any of his works survived? Using clues

In a long term research on cello tailpieces, we have first identified the vibrating modes of a cello tailpiece mount-ed on a Dead Rig [1], and have worked on the possible influence of the wood on these modes. Among musicians and violin makers, several empirical theories exist about an ideal “after-length”, i.e. the distance of the tailpiece to the bridge which leaves a small length of vibrating  string. Here we describe on the parameters involved when varying the “after-length”, and explore the influ-ence of the position of the tailpiece on the modes and on the sound

El trabajo de investigación que se presenta gira en torno a la figura de Juan Antonio Ruiz-Casaux y López de Carvajal (1889-1972) , insigne violonchelista gaditano de ascendencia francesa , que merece un reconocimiento por su intensa y extensa labor realizada en España en favor de la música. Cabe destacar su aportación y evolución en la pedagogía del violonchelo y de la enseñanza musical, su implicación como concertista en el desarrollo de la música de cámara y sus composiciones. También su tenacidad en la recuperación del Patrimonio Nacional en lo referente a los Stradivarius del Palacio Real de Madrid, así como su contribución y participación en las actividades y costumbres socio-culturales españolas de la primera mitad del s. XX.

Histories of the viola da gamba and the violoncello share many points of intersection. This is perhaps nowhere more evident than during the late seventeenth and early eighteenth centuries, when, as a result of the declining popularity of the gamba, some gambists added the increasingly popular violoncello to their range of talents, and others even switched instruments outright. One testament to this transition lies within the remarkable collection of 378 portraits and 37 silhouettes of musicians and music-related figures amassed by Carl Philipp Emanuel Bach, in one of the earliest attempts to create a history of music through images. Bach compiled the collection during this transitional period in the history of bowed bass instruments, and among his images of cellists and gambists both instruments are almost equally represented. An examination of these images, as well as other portraits of the same musicians from outside the collection, reveals the development and evolution of a set of conventions for representing virtuosity in portraiture.

El violón de Domingo Román (Valladolid, 1724) viene a enriquecer la escasa nómina de instrumentos de arco españoles conservados del siglo XVIII. Este artículo pretende ser, básicamente, una presentación y descripción del violón. El análisis del contexto estilístico trata de poner en relación sus peculiares características constructivas con las de la escuela española de los violeros de los siglos XVI a XVIII y con otras europeas como la flamenca y alemana.

Johann Sebastian Bach's "Violoncello piccolo" was identified by his contemporaries and following generations as the "Viola pomposa" used in Central German court music as a viola-sized bass instrument played on the arm (da spalla). In this much discussed context, another little known piece of evidence is provided in the context of Johan Georg Pisendel's biography: The Dresden director of instrumental music and famous teacher of Quantz, Graun, Agricola etc. is reported to have played this instrument 1738 at a private concert with Sylvius Leopold Weiss (lute) and Franz Benda (violin). The identification of the Viola pomposa with Bach's invention is authored by Bach's friend Friedrich Wilhelm Marpurg, the anonymous author of this report.

Partimenti for keyboard instruments are widely recognized as an essential pedagogical tool to teach improvisation and composition. Recent research has brought to light sources that indicate that early cellists also practiced partimenti on their instruments. The partimenti of Rocco Greco (1615-c. 1717), are found in manuscripts from the library of the Naples Conservatory of San Pietro a Majella, and from the Montecassino Abbey (ca. 1699). The manuscripts also contain diminutions on thoroughbasses and antiphons, giving insight on the cello curriculum and expected performance practices for players of the time. Additionally, they show that partimenti were practiced for the purpose of composing cello sonatas, improvising an obbligato part, and realizing an inventive basso continuo. Implementing these skills on the cello or any other melodic instrument has differences from on a keyboard because the instrumentation is limited to partial realizations, and therefore requires its own unique set of techniques for a full harmonic realization. Therefore, we consider these Rocco Greco manuscripts as crucial documents revealing a historical context for the performance practice of basso continuo realizations on the cello. Rediscovering these traditions frees the bowed bass from its limited role of doubling the bass line, allowing modern-day historical performers to realize the continuo and gain fluency in improvising new parts as it was done in the past.

This study is intended for luthiers and musicians curious about a choice of tailpiece, it is an introduction to the contribution of the tailpiece in the overall tone of the instrument, here deliberately limited to the material.
It seeks to establish a link between the perceived sonority, an eminently subjective quality, and the acoustic and modal properties of this intermediate accessory, common to all the instruments of the quartet.

Structural and formal analysis of the First Movement of Kodály’s Solo Cello Sonata Op.8, focused on
the modal inflections, usage of the pentatonic scale as structural element and other aspects of the Hungarian folk
music that influenced the composer’s musical language. It aims at investigating how Kodály employs the sonata
form in a work rooted on folk material and how he deals with the listener’s expectations, departing from concepts
taken from Meyer’s theory of emotions, Epstein’s concept of structural downbeat and structural accent, and E. T.
Cone’s concept of frame. Regarding interpretation, it includes a discussion about the use of rubato and rhythmic
flexibility derived from the improvisatory character of Hungarian elements present in the piece.
Keywords: Kodály, sonata, cello, theory of emotions, structural downbeat.

Available at: http://www.musica.ufmg.br/permusi/port/numeros/10/index.htm

In a long term study of cello tailpieces, we have first identified the vibrating modes of a cello tailpiece mounted on a dead rig [1], and have worked on the possible influence of the wood on theses modes [2]. The influence of the position of the tailpiece on the modes and on the sound has also been explored, by varying the “after-length”, i.e. the distance of the tailpiece to the bridge which leaves a small length of vibrating string. Here, our study takes a more historical path to identify the trends and theories on this “after-length”, and the changes in the history of the cello. Then the few texts of the 19
th
century mentioning its role on the sound of the cello will be studied. A synthesis will be tempted on the effect of setting-up the tailpiece: modal analysis results on the acoustics of the tailpiece and historical research lead us to understand a change in production in the violin trade

Il lavoro si basa principalmente sull’analisi e confronto di alcune composizioni per violoncello di alcuni autori italiani del settecento, in particolare:
• “Lezioni per il violoncello con il suo basso” di Antonio Caldara (manoscritto: Österreische Nationalbibliothek, Musiksammlung, Vienna)
• “Principes ou l’application du violoncelle”di Salvatore Lanzetti (Amsterdam, prima del 1770)
• “Sonate” di Francesco Supriani (manoscritto: Biblioteca del Conservatorio “San Pietro a Majella”, Napoli, MS 9607)
e di come questi materiali possano rappresentare una serie di significativi esempi per la formazione del violoncellista, secondo la tradizione e le metodologie dei partimenti, in una possibile prospettiva di utilizzo per l’approfondimento delle prassi improvvisative nell’esecuzione del basso continuo e, in generale, del repertorio italiano settecentesco per violoncello. 
Il lavoro approfondisce la ricerca sul metodo didattico storico alla base delle competenze improvvisative dello strumentista ad arco barocco con funzione di continuo, iniziata con la relazione “Il n’exécute jamais la Basse telle qu’elle est écrite. L’improvvisazione nella didattica del basso d’arco” tenuta al Convegno “Musical Improvisation in the Baroque Era”, Lucca, maggio 2017.
L’ipotesi di una didattica storica analoga a quella del partimento, adattata alle specificità dello strumento ad arco, in particolare al violoncello e alla viola da gamba, era nata da una prima lettura e analisi delle opere di Francesco Supriani, Salvatore Lanzetti e Antonio Caldara.
Ma proprio una successiva e più approfondita osservazione di questi lavori, un loro più puntuale confronto con i contemporanei esercizi della scuola dei partimenti, unitamente ad una serie di riflessioni sulle caratteristiche e sulle funzioni specifiche degli strumenti bassi ad arco autorizzerebbero ad avanzare l’ipotesi che i materiali composti da Caldara, Supriani e Lanzetti possano rientrare nella categoria dei solfeggi o dei partimenti realizzati.
Tale ipotesi pare ulteriormente rafforzata anche sulla base di testimonianze storiche e dagli studi musicologici sulla prassi esecutiva e didattica,  ponendo dunque le condizioni per una ri-costruzione di un processo formativo basato su strumenti e metodologie derivate dall’esperienza dei partimenti; esperienza che aveva permesso l’efficace costruzione delle competenze necessarie allo svolgimento della professione del musicista in epoca barocca e che potrebbe dunque facilitare un migliore approccio didattico alle prassi improvvisative nell’esecuzione del basso continuo per i musicisti del secolo XXI.

El presente estudio tiene como objetivo conocer la metodología empleada en la especialidad de violonchelo en los conservatorios de enseñanzas profesionales de la provincia de Valencia. El instrumento de recogida de la información ha sido el cuestionario y la muestra ha estado formada por 34 profesores de 22 conservatorios. Se ha empleado una metodología de complementación, tanto cualitativa como cuantitativa. Los resultados muestran que a pesar de existir algunas coincidencias en la forma y herramientas de trabajo, cada profesor aplica su propia metodología adaptada a las necesidades y características de cada alumno. ABSTRACT This research has as its objective to know the methodology used in the specialty of violoncello at the conservatories of professional education of Valencia. The instrument of collection of information has been the questionnaire and the sample consisted of 34 teachers of 22 conservatories. Both a qualitative and quantitative methodology has been used to conduct this research. The results show that, although 1 Ana María Botella Nicolás: profesora contratada doctora

En el año 2023 se cumplirá el 50 aniversario de la muerte de Pau Casals i Defilló, nacido en 1876 en El Vendrell, y fallecido en 1973 en San Juan de Puerto Rico. Su figura ha generado numerosas publicaciones de distinto ámbito: desde las biografías escritas en formato de “vidas ejemplares”, hasta los trabajos académicos de distinta índole. Aunque se han realizado estudios sobre Casals músico, estos trabajos no son tan numerosos como sería propio de una figura de su envergadura. Puede que la parte artística de Casals se haya visto eclipsada por su imagen más popular como figura del catalanismo, defensor de la Segunda República Española, luchador contra el fascismo a nivel internacional y contra Franco en particular. En este artículo de revisión, se repasan las biografías publicadas sobre Pau Casals, así como las tesis doctorales y trabajos científicos que han aportado nueva información a tener en cuenta. Se hace especial hincapié en los trabajos académicos que estudian aspectos musicales de Casals relacionados con la interpretación musical, dirección orquestal y/o composición musical, además de estudios científicos que tratan su influencia en otros músicos. Para finalizar, se apuntan ciertas cuestiones a considerar sobre las biografías publicadas y el estado actual de la necesaria revisión de la figura de Casals, además de plantear algunas reflexiones sobre el trabajo pendiente acerca del violonchelista catalán. The year 2023 will mark the 50th anniversary of the death of Pablo Casals i Defilló, born in 1876 in El Vendrell and died in 1973 in San Juan, Puerto Rico. Several works have been published covering different fields on his figure, including biographies in the form of “exemplary lives”. Although some studies about Casals as musician have been undertaken, the number of this kind of works is not as large as on could possibly imagine taking into account his important social and musical roles. One hypothesis is that his artistic side has been historically overshadowed by his relevance as figure of the Catalanism, defender of the Spanish Second Republic, fighter against fascism at the international level and more specifically against Franco. This review article goes through the biographies devoted to Casals, as well as through the doctoral dissertations and scientific studies providing new information. The article specially highlights the academic papers that examine the musical aspects related to his performance, orchestral conducting and musical composition, as well as his influence on other musicians. Finally, several issues concerning the already published biographies and the need to review the figure of Casals are pointed out, along with some considerations about the existing gaps regarding the artistic life of the Catalan violoncellist.

The Metodo  by the Neapolitan cello player Antonio Guida is one of the rare 18th-century Italian sources dedicated to cello teaching. Employed at the Teatro San Carlo and at the Cappella Palatina at the turn of the 18th century, Guida was also cello teacher at the Neapolitan conservatories. His Metodo belongs, therefore, to the prestigious 18th-century Neapolitan pedagogical tradition, represented by legendary virtuosi such as Alborea, Supriani and Lanzetti. This source provides a precise sketch of the pedagogical approach, of the use of advanced techniques, and of the qualities at the time considered essential for the virtuoso cellist. We can derive from this Metodo a complete pedagogical path aimed at developing improvisational skills according to the historical practice, useful as well in the training of modern performers. Guida’s work thus appears as the only known holistic method to improvisation at the cello and opens new perspectives on the study of this instrument. The collection includes exercises, short pieces and duets, from the first to tumb positions, aiming at expanding the improvisational competence through the elaboration of patterns and formulas based on scales, arpeggios and the Rule of the Octave. The systematic approach presented in the Metodo—detailed by the editors in the Introduction to this first modern edition—gives rare and precious indications on the virtuosic technique according to the principles of the Neapolitan school, useful not only to specialists but to all those interested in instrumental virtuosic performance.