Cello History

In 1848, Fryderyk Chopin gave a series of concerts throughout the United Kingdom, which constituted a characteristic phase of his artistic output during the final years of his life. These performances were significant not only for the British musical scene but also for the reception of his late works beyond France's borders. The purpose of this paper is an analysis of the Cello Sonata in G minor, Op. 65, for cello and piano-one of Chopin's rare works written for a bowed instrument-as an example of the extension of his musical language. It illustrates how the techniques implemented in the Sonata serve as a link influencing the development of Romantic-era chamber music. The author focuses on the dialogue between cello and piano in the Sonata, Op. 65, which represents a mindful attempt to explore new forms of musical expression. This analysis is based on detailed score interpretation, with a focus on thematic relationships, chromaticism, and textural balance. Furthermore, the study reflects on the historical and performative context-in particular, the plausible performance of this composition during Chopin's 1848 tour in the United Kingdom-to demonstrate the atypical role of the Sonata as an example of Romantic chamber music expressiveness. The results indicate that this work transcends the typical boundaries of Chopin's style, and it had a considerable influence on the development of the Romantic sonata-not only in terms of virtuosity but also as a testament to the partnership in musical dialogue between the two instruments.

In the light of the archival and, above all, the iconographic data, one must conclude that the share of "archaic", non Cremonese violin making must have been significant and widespread throughout Western Europe. This is a first attempt to give an overview of this relatively unknown but important episode in the history of violin making, concentrating on what the instruments looked like. The focus so far has always been on Brescia and, above all, on Cremona. The mythologizing that has accompanied this narrow approach has led to an inability to see the broader picture, in which both Italian classical violin making and "archaic" lutherie would be given their rightful places.

Repertorium iconographicum morphologiae violini. Iconographic repertoire of the morphology of the violin. 1550-1650. by Wim RAYMAEKERS, Louvain 2024. This alphabetic repertoire is composed of details from visual sources-works of art-etcetera, containing information about the early history of the violin family, specifically its constructional and stylistic aspects. It is intended as a reference tool for anyone studying the early history of the violin family or any other related subject. You are free to use it. However, if you refer to this repertoire in a publication, be it printed or online, please mention the title and the author (Wim RAYMAEKERS, Repertorium iconographicum morphologiae violini. Iconographic repertoire of the morphology of the violin. 1550-1650, https://www.academia.edu/144218291/Repertorium_iconographicum_morphologiae_violini_1550_1650). This overview is extensive, and some items contain information beyound the century between 1550 and 1650, but it doesn’t pretend to be complete. There are still many works of art hidden in private, maybe even in public collections that contain relevant information about the topic. Anyone who has information in that sense is invited to contact me through email: wimray@telenet.be. Compiling this repertory was a lengthy and laborious process, with the sole purpose of supporting and stimulating scholarly research. The intention was therefore not commercial in any way, and copyright claims will therefore be rejected. The use of images as intended here actually benefits the "owner" of this material, especially because they provide details that illuminate the works in question and may encourage viewing or consulting the complete work.

In 1997 a non-profit foundation was established at Naples to revive the distinguished tradition of music and theater of the 16 th through 18 th centuries. This was a tradition particularly well developed when this region was known as the Regno di Napoli (Kingdom of Naples). In 2010 the foundation took the name Fondazione Pietà de' Turchini-Centro di Musica Antica after the most famous of the four historic conservatories, Santa Maria della Pietà de' Turchini. In 2003 the foundation gave birth to a publishing house, the Turchini Edizioni, already responsible for a number of distinguished contributions, including this two-volume set of twenty essays in 2019 edited by Francesco Cotticelli and Paologiovanni Maione. These studies, dedicated to various aspects of music at Naples, reveal, if many only partially, the great wealth of information available concerning the Kingdom in the Seicento. Paologiovanni Maione's essay, La scena sfuggente (pp. 1-18), recalls the poetic wonder and pleasure of those who have worked in the vast archives of Naples. Maione, who in other publications has made pioneering discoveries concerning the many musical confraternities or congregations of 17 th century Naples (see his «Esquisita e scelta musica» nelle confraternite e congregazioni napoletane fra Sei e Settecento, in La musica dei semplici. L'altra Controriforma, ed. by Stefania Nanni, Roma, Viella, 2012, pp. 155-172), as well as the names and salaries of musicians of the royal chapel under Alessandro Scarlatti (see F. Cotticelli-P. Maione, Le istituzioni musicali a Napoli durante il Viceregno Austriaco (1707-1734). Materiali inediti sulla Real Cappella ed il Teatro di San Bartolomeo, Napoli, Luciano, 1993), evokes the beautiful and sensual eyes of Giulia de Caro, perhaps the most memorable and sensual singer of the 17 th century (see P. Maione, Giulia de Caro «famosissima armonica» e "Il bordello sostenuto" del signor don Antonio Muscettola, Napoli, Luciano, 1997). As she makes fun of her lovers, imagined by the painter Luca Giordano as Cleopatra,

Este artigo trata sobre o duo viola e violoncelo sob o viés da produção do som, especificamente sobre as técnicas concernentes à mão direita, e divulga uma lista com 25 peças dos séculos XX e XXI. São apresentadas variáveis interdependentes que modificadas afetam umas às outras, como aderência do arco na corda, o ponto de contato do arco entre o cavalete e o espelho e a velocidade do arco. Quando combinadas e exploradas, essas técnicas são capazes de valorizar características próprias de cada instrumento, possibilitar ao intérprete um maior domínio do som e timbres para melhor combiná-los no conjunto. Palavras-chave: Produção de som. Duo viola e violoncelo. Timbre. Controle da sonoridade.

La Sonata para flauta, viola y arpa de Debussy, también denominada por su autor como Segunda Sonata, ha sido inspiración para numerosos compositores, unas veces con obras instrumentalmente literales, y otras, semejantes. Durante los últimos años de su vida, Debussy emprendió una frenética composición de obras, entre las que se encontraban tres sonatas que alcanzó a concluir. Formando parte de un gran proyecto de seis sonatas, fueron concebidas como reconocimiento a los conjuntos de sonatas mixtas del siglo XVIII. En esta etapa experimentó un cambio de actitud respecto a sus nuevas creaciones, fundamentada en la convicción de que la música francesa estaba necesitada de encontrar en su propio pasado glorioso el impulso necesario hacia la superación. En la Sonata para flauta, viola y arpa, escrita entre mediados de septiembre y primeros de octubre de 1915, aun conteniendo aquéllos aspectos tradicionales de la técnica de composición del maestro, se observa una acusada simplificación de medios. Es una señal que no pocos estudiosos de la música de Debussy han mencionado como el inicio de una tendencia hacia el neoclasicismo, un nuevo punto de partida de su peculiar lenguaje y planteamiento estético que nunca llegó a su destino. El libro contiene la historia de la obra, un estudio sobre el lenguaje que emplea el compositor y un extenso análisis con abundantes esquemas, tablas y la partitura completa de la primera edición de 1916.

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 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.

The following is a list of suggested modifications made in this edition of the Sixth Suite:
- Changes in note pitches, for example 9th note, c. 40 of the Courante.
- Additions of alterations not reflected in the sources, but harmonically plausible and perhaps more convincing, for example the D-sharp in c. 33 of the Courante; or the F-natural in c. 37 of the same Courante.
- Additions of subjacent chords. Among them, two recurrent types stand out: chords in third inversion, for example c. 83 of the Prélude, or c. 70 of the Courante; and additions of major sevenths, for example c. 59 of the Gigue. Both harmonies already used by Bach in several places of the Suite.
- Additions of non-existent basses, for example the second beat of c. 4 of the Allemande.
- In some cases the musical information has not been expanded but reduced. This would be the case of the abandonment of chords that are clearly included in the sources, for example c. 16 of the Gavotte I.
- The trills, slurs and rhythm changes have been treated with relative freedom. In the case of the Allemande, the pattern demisemiquaver-semidemisemiquaver-semidemisemiquaver has been transformed into semidemisemiquaver-semidemisemiquaver-demisemiquaver on several occasions. Slurs represent musical intentions rather than bow directions.

Three specific points deserve special mention:
The first minim of c. 31 of the Sarabande presents multiple readings in its harmony in the various 18th-century sources. The usual one in current editions is a major seventh between the two lowest voices. But the Kellner Manuscript presents a sharp on the lowest note; the Schober Manuscript raises it up another semitone, to a major sixth; and the Traeg Manuscript lowers it to an octave. The standard option nowadays is the one that is included in the text by Anna Magdalena: to renounce the sharp, considering it an errata. But there is also another possibility -the one offered in the present edition-: adding a flat to the central note and constructing a diminished seventh chord. An option that Bach himself uses in the last moments of the Prélude, in the second chord of c. 99.
Another point to mention is the first chord of c. 7 of the Gavotte I. Bach's own autograph was probably unclear. The Kellner Ms. presents intelligibility problems and the AMB Ms. offers an equally unconvincing reading, adding a sharp to the bass note. In the present edition we have chosen to modify it substantially, and present a second inversion of the A7 chord: in this way we imitate the already used bass pattern between the anacrusa and c. 1, and between the other anacrusa and c. 9: the descent of a fifth.
The petite reprise –the concluding repetition of the last bars of a dance– was an option widely used by most French composers of suites. Johann Sebastian Bach does not make reference to it, although the formal context for applying it seems to underlie his music. Just as the preceding five suites for cello are plenty in dances in which to employ the resource of petites reprises, in the case of the Sixth Suite only the end of the Gigue seems appropriate; and so it is reflected with one of the usual signs.

The aim of this new edition of the Suite BWV 1012 has not been to respect the original sources but to recreate the hypothetical transcription by a 4-stringed cellist in Bach’s time.

The complete Suite has also been arranged for both violin and viola. The files can be found in the arrangements tab on the BWV 1012 dedicated web page at IMSLP.


Joseba Berrocal      Bilbao, January 2025

por Joan Borràs E lucevan le stelle, del Acto III de Tosca (1900) Es importante conocer el contenido dramático general de una ópera, y más se trata de una ópera verista como es Tosca. El verismo busca representar musicalmente la realidad de las situaciones y los sentimientos de los protagonistas de manera cruda y emotiva.

por Joan Borràs E lucevan le stelle, del Acto III de Tosca (1900) Es importante conocer el contenido dramático general de una ópera, y más se trata de una ópera verista como es Tosca. El verismo busca representar musicalmente la realidad de las situaciones y los sentimientos de los protagonistas de manera cruda y emotiva.

Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grützmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy.

Behold Prometheus unbound! Reject that 'head-cold' simile... A Primrose brings no allergy. Eat out thy heart, O Cello proud, And Violin, go don thy shroud. Pray Saint Cecilia's mercy mild Forgive thy up-and downbows wild, For she in sacred restitution, Bless'd VIOLA'S contribution, Paying IT the compliment Of genius' favoured instrument.

A viola da gamba foi um instrumento protagonista no cenário musical da Renascença e do Barroco europeu, adentrando no período Clássico com alguns gambistas de renome. Por décadas, músicos e musicólogos afirmaram que a viola e seu repertório morreram com o último gambista Carl Friederich Abel, quando faleceu em 1787. De uma perspectiva moderna é difícil compreender como um instrumento que teve tão grande aceitação nas cortes e longa atuação nos palcos e salões europeus possa ter sido totalmente esquecido e abandonado no século XIX. O artigo apresenta reflexões e traça um possível caminho histórico que a viola da gamba percorreu ao longo do século XIX na cena musical europeia.

Edition critique et pratique
avec une étude du style et des ornements de Lorraine Brosse  et Shiho Nishimura
A Critical and Practical Edition including information on style and ornamentation
Lorraine Brosse - Shiho Nishimura
Mémoire de Master - Master’s Thesis (2020) Professeur référent - Master Thesis Advisor Alain Gervreau
Koninklijk Conservatorium Brussel

Gervreau, Alain: Les ensembles de six violons de la basse au soprano au XVIe siècle en Italie du nord : Re-création d’une pratique musicale (16th century north italian Violin bands, from bass to falsetto : re-creation of a musical performance practice).
Promotors: Bruno Forment : Prof. Vrije Universiteit Brussel. Marc Vanscheeuwijck : Prof. University of Oregon. Academic year 2013-2014
The research carried out by Peter Holman and Rodolfo Baroncini in the 1990s has made it possible to recover from the oblivion of history the Compagnie di violini – ensembles of three to six instruments from the violin family. In the Sixteenth Century, these groups of violini were comprised of professional instrumentalists assembled into guilds and took part in many festive, secular and religious activities.
From the 1530s, and up to the 1580-90s, every town in Northern Italy had at least one violin ensemble, which was invited to play at nobles’ receptions, princes’ balls, meetings and political negotiations between influential figures.
The term Sonadori, which I have chosen for the ensemble I created for my artistic doctoral performance, finds its origins in Venice where the confraternities ran and provided for groups of singers and instrumentalists on a permanent basis.
In order to re-create the dulcet tones described in accounts of festivities, which were nevertheless sufficiently powerful to be heard at the other end of a ballroom, the musician of the ensemble and I have worked with several stringed-instrument makers on reconstructing new Renaissance instruments.
Concert videos can be viewed on the following webpage: https://vimeo.com/sonadori (visited on 4/01/2025).

In contrast to the violin, which began to be played by more women in the last third of the nineteenth century, the cello was not widely played by women musicians. This difference in the 'feminisation' of the two instruments can be explained in particular by the cultural perception of the cello as a particularly masculine instrument: its size, range and seriousness associate it with 'a half-grown man', as opposed to the 'ill-bred child' represented by the light violin (Kennaway 2010, Timmermann 2010). The playing position represented yet another obstacle to women's playing, as it is so opposed to the ideal of elegance of bourgeois propriety. Loose dresses, the endpin and new feminised but impractical postures were in turn adopted by the first female cellists in an attempt to legitimise their playing. The romanticisation of the cello as an emotional, sensual and even erotic instrument from the middle of the century onwards acted as a double-edged sword for women's playing, reducing it to both positive and negative feminine characteristics.
Research on women cellists in the nineteenth century has so far focused primarily on the study of famous virtuosos (Mercier 2008, Vries 2014) and their representation (Deserno 2018, Timmermann 2010), leaving aside the question of ordinary cellists, who are often poorly documented. Some more general studies on the history of the instrument and its technique have also devoted part of their discourse to highlighting the contribution and place of women in these fields particularly through the question of posture, mostly limited to the same exceptional figures (Kennaway 2010, Russel 1987, Braun 2015). In this paper, we wish to move away from the history of the 'great figures' by offering a more general study of cello playing through the female students of two French-speaking conservatoires (Paris and Brussels), a linguistic area that has as yet been little studied.
Initially, we will look at the process of integration and the experience of the first female students in the cello classes of these conservatoires (1847 in Paris, 1860 in Brussels). Drawing on the institutions' administrative archives, we will look at the way in which they took up the instrument, their integration into the conservatoires, the repertoire they played and the careers to which they were entitled. This approach will shed light on the role of musical institutions in giving these women access to the public stage, particularly through the formation of chamber music ensembles, some of which were entirely female. Finally, we will look at how the displacement of the gendered imaginary associated with the cello opened up women's practice, both domestic and professional, at the turn of the twentieth century.

In this presentation the two authors compare results of recent studies on music Conservatory libraries in Italy and in Spain taking into account history and number of institutions in each country; users students, services (loan reprography) , staff, collections, networking , cataloguing, software, websites. Ideas for the future are proposed in the end. Comments (30) can be read only after the .ppt has been dowloaded.

The heroes of the present story belonged to those few famous people in
the history of humanity, who were able to discuss in their autobiographies the
meaning of their nonagenarian activities. The great musicians, Pablo Casals and Lionel Tertis, independently published the stories of their extremely long and productive lives after their joint 90th birthday.  They were born in different countries (Spain and England), to different customs, religions and upbringings (Catalonian combined with Spanish, and Jewish combined with British), but they shared the same universal language – the language of music. The music they played together was a genuine demonstration of the unlimited possibilities of celestial twins working together.

This article discusses Francesco Florimo, one of the most important representatives of the nineteenth century Neapolitan music school, and it explores his impact on singing vocal pedagogy history. Florimo notably contributed to the development of the library of the "San Pietro a Majella" Conservatory of Naples, and he is also known for his commitment to teaching generations of singers. Nevertheless, he is less recognized for his contributions to vocal pedagogy history. Completed in 1825 and published several times during the nineteenth century, Breve metodo di canto is his treatise on vocal pedagogy, and it summarizes his teaching method. This text was an innovative contribution to voice education; the book not only explored the art of singing, but it also advanced specific elements of voice training that are important to modern singing techniques such as breathing, sound emission, and articulation. The text also provides additional information on the history of human voice and underlines the importance of a progressive approach to the practice of singing, making Florimo an unrecognized forerunner of modern voice education. KEYWORDS Breve metodo di canto; Francesco Florimo; Neapolitan music school; singing method; vocal education; vocal health Introduction: Francesco Florimo and the Neapolitan Musical School Francesco Florimo: Biographical Notes Francesco Florimo was one of the most relevant representatives of the Neapolitan music school of the nineteenth century. Born in 1800 in San Giorgio Morgeto in the Calabria region, he discovered a talent for music in his early childhood; his uncle played the harpsichord, and Florimo followed (Megali Del Giudice 1901). His talent developed during his formal training, starting at the age of 17 in Naples. Through a scholarship, he attended the "San Sebastiano" Conservatory, which later combined with the "San Pietro a Majella" institution (Amministrazione Comunale of San Giorgio Morgeto 1992). Florimo had the opportunity to be a student of the great composer Niccolò Antonio Zingarelli, who also taught Vincenzo Bellini; Florimo later dedicated a symphony and a hymn to Zingarelli (Cafiero 1997). Florimo specialized under the guidance of other renowned musical masters, such as Giacomo Tritto for counterpoint, Giuseppe Elia for piano, and Giovanni Furno for harmony (Scialò 2017). Moreover, he refined his singing abilities, studying with the famous castrato, Girolamo Crescentini, who was CONTACT Giovanna Carugno

This lecture is about some techniques of diminutions. Its main points are:
- first, how musicians used diminutions to improvise in the Baroque
-second, it is focused on some recently rediscovered sources for cello, related to teaching improvisation.
-third, all the sources we are going to see include only melodic variations, based on techniques that can display a great virtuosity.
The first important principle is that all music was written thinking to more levels: the basis of the composition was a melodic skeleton, on which one could/ had to add his own embellishments/ variations, according to the personal taste and ability. The process of diminishing a simple line could be repeated more times.The diminution techinques we'll see are taken from the following four sources for cello:
- Rocco Greco’s antiphons (partially included in Partimenti di Rocco Greco), 1699
- Gaetano Francone’s Passagagli 1699
- Francesco Paolo Supriani’s Sonatas, (first half of the 18th century)
- Antonio Guida’s Metodo per violoncello (end of the eighteenth century)

Recent research has brought to light sources that indicate that early cellists also practised partimenti on their instruments. The partimenti of Rocco Greco (1657-c. 1717) are found in a manuscripts from the library of the Conservatorio di Musica San Pietro a Majella (I-Nc), and from the library of the Abbazia di Montecassino (I-MC). The manuscripts contain various kinds of exercises: diminutions on thoroughbasses of antiphons, figured and unfigured partimenti, and solfeggi. Together, they give insight into an articulated cello curriculum, related to the performance practices of the time. We consider these Rocco Greco manuscripts as crucial documents for the performance practice of basso continuo on the cello. Rediscovering these traditions allows modern-day historical performers to realise the continuo by improvising new parts, as it was done in the past.

In the Montecassino manuscript MS 2-D-13, 1699, containing pieces for cello, are included the ten Passagagli by Gaetano Francone, which to date constitute the only collection of passacaglias for the instrument. Their analysis reveals a didactic destination, even in the careful musical writing, and allows both to glance at the technique in use, and to hypothesize the teaching approach on which they are based. The cataloguing of figurations allows to identify a small number of basic figures ̶ belonging to the language of the time ̶ and processing techniques, which are combined giving rise to infinite variations; it also allows us to highlight the extraordinary virtuosity of cello writing at the end of the seventeenth century in Naples./ Nel manoscritto di Montecassino MS 2-D-13 del 1699, contenente brani per violoncello, si trovano i dieci Passagagli di Gaetano Francone, che ad oggi costituiscono l’unica raccolta di passacaglie per lo strumento. La loro analisi rivela una destinazione didattica, pur nella curata scrittura musicale, e permette sia di gettare uno sguardo sulla tecnica allora in uso, sia di ipotizzare l’approccio didattico su cui sono fondati. La catalogazione delle figurazioni permette di identificare un ristretto numero di figure di base  ̶  appartenenti al linguaggio dell’epoca  ̶  e di tecniche di elaborazione, che combinate danno luogo a infinite variazioni; consente inoltre di evidenziare lo straordinario virtuosismo della scrittura per violoncello alla fine del Seicento a Napoli.

Introdução. Alterações musculoesqueléticas são comumente encontradas em músicos jovens de orquestras. Entretanto, poucos estudos são encontrados especificando a dor musculoesqueléticas de músicos violinistas associando os movimentos relacionados ao manuseio do arco entre os grupos dos primeiros violinos em relação aos segundos. Este estudo objetivou identificar e relacionar os indicadores de dor musculoesqueléticas percebidos por alunos de violino nas diferentes regiões corporais associando a idade, sexo, tempo e frequência dedicada aos estudos com o instrumento musical. Objetivo. Comparar os níveis de dor e alterações musculoesqueléticas em primeiros e segundos violinos de orquestras de câmara infanto-juvenis. Métodos. Foi realizado um estudo observacional transversal, de caráter quantitativo em 74 instrumentistas integrantes de orquestras de câmara infanto-juvenis com idades entre 12 e 17 anos que tinham o violino como seu instrumento principal. A amostra desse estudo foi do tipo ...

Drawing on extensive archival work, this book examines the crucial contribution of Neapolitan string virtuosi to the dissemination of instrumental music and to the development of string practices and musical culture in Europe. It presents a fresh look at the central place of instrumental music in early modern Naples and considers aspects of music pedagogy, performance practices, patronage, and musicians' social mobility. Music examples, paintings, and lists of personnel of major music institutions inform the discussion and illustrate the opportunities for social mobility afforded by the music profession. Music production and consumption are considered within their cultural, political, and economic contexts and in connection with the rapid political changes of eighteenth-century Naples. This substantial contribution to the understanding of a previously under-studied repertory places the cultivation of Neapolitan instrumental music at the centre of aesthetic and cultural developments across eighteenth-century Europe.

Illustrates the crucial role of instrumental music in major Neapolitan music institutions, where scholars have previously focused on opera and song
Examines aspects of music pedagogy, performance practices, and patronage through careful study of original sources
Places Neapolitan music culture at the core of the aesthetic and cultural developments of other European centers including Vienna and Paris

The study of extended techniques is proposed in this work from a double perspective: the historical and musical semiotic. The need to locate the slopes where Latin American composers have approached the techniques extended in the contrabass corresponds to a proposal of a musicological nature. On the other hand, and interdisciplinary way, the semiotic exploration starts from the notion of the sign applied to the notation with which the techniques extended in the works selected for double bass are identified. Taking into account musical analysis methodologies in conjunction with the application of the Peirce sign theory in icon, index and symbol, the aim is to investigate how these resources generate processes of sound and extramusical significance from different layers of analysis ranging from the syntactic , semiotic and semantic. In this way, the result of the study will broaden the understanding towards a musical performance linked to the meaning of these signs in order to construct the sound image that the work in its totality holds and that the interpreter must communicate.

This article discusses Francesco Florimo, one of the most important representatives of the nineteenth century Neapolitan music school, and it explores his impact on singing vocal pedagogy history. Florimo notably contributed to the development of the library of the "San Pietro a Majella" Conservatory of Naples, and he is also known for his commitment to teaching generations of singers. Nevertheless, he is less recognized for his contributions to vocal pedagogy history. Completed in 1825 and published several times during the nineteenth century, Breve metodo di canto is his treatise on vocal pedagogy, and it summarizes his teaching method. This text was an innovative contribution to voice education; the book not only explored the art of singing, but it also advanced specific elements of voice training that are important to modern singing techniques such as breathing, sound emission, and articulation. The text also provides additional information on the history of human voice and underlines the importance of a progressive approach to the practice of singing, making Florimo an unrecognized forerunner of modern voice education. KEYWORDS Breve metodo di canto; Francesco Florimo; Neapolitan music school; singing method; vocal education; vocal health Introduction: Francesco Florimo and the Neapolitan Musical School Francesco Florimo: Biographical Notes Francesco Florimo was one of the most relevant representatives of the Neapolitan music school of the nineteenth century. Born in 1800 in San Giorgio Morgeto in the Calabria region, he discovered a talent for music in his early childhood; his uncle played the harpsichord, and Florimo followed (Megali Del Giudice 1901). His talent developed during his formal training, starting at the age of 17 in Naples. Through a scholarship, he attended the "San Sebastiano" Conservatory, which later combined with the "San Pietro a Majella" institution (Amministrazione Comunale of San Giorgio Morgeto 1992). Florimo had the opportunity to be a student of the great composer Niccolò Antonio Zingarelli, who also taught Vincenzo Bellini; Florimo later dedicated a symphony and a hymn to Zingarelli (Cafiero 1997). Florimo specialized under the guidance of other renowned musical masters, such as Giacomo Tritto for counterpoint, Giuseppe Elia for piano, and Giovanni Furno for harmony (Scialò 2017). Moreover, he refined his singing abilities, studying with the famous castrato, Girolamo Crescentini, who was CONTACT Giovanna Carugno

Uluslararasi keman literaturunde onemli yer edinmis keman koncertolarinin (Mendelsshon, Tchaikovsky, Sibellius, Paganini, Bach vd.) yani sira keman ogretiminin ilk yillarindan itibaren teknik ve muzikal gelisimin saglanmasina yonelik egitsel nitelikte bircok keman koncertosu bulunmaktadir (Rieding, Seitzs, Viotti, Berio, Rode vd.). Turk bestecileri uluslararasi duzeyde basari kazanmis keman koncertolari yazmalarina ragmen, Batili besteciler gibi keman egitimine yonelik koncertolar yazmamislardir. Bu yuzden Turkiye’de keman egitimi veren kurumlarda Turk bestecilerinin keman koncertolarinin egitsel amacli olarak kullanildigi soylenemez. Bu arastirmada, teknik analizi yapilan Necdet Levent’in 1 numarali Keman Koncertosu’nun, hem geleneksel Turk muzigi malzemelerini, hem de keman egitiminin belirli evrelerinde teknik becerileri gelistirici unsurlari tasimasi bakimindan keman ogretiminde kullanilabilirliginin oldugu tespit edilmistir.

O violoncelo é um instrumento íntima e reconhecidamente ligado à prática do baixo contínuo, empregado na execução das linhas escritas de baixo, enquanto instrumentos de característica harmônica realizam o contraponto notado pelas cifras. Entretanto, um considerável número de evidências aponta que ele possa ter tido um papel mais amplo na Música Barroca, podendo ocupar inclusive sozinho o lugar de instrumento do baixo contínuo nos mais diferentes contextos. Desse modo, iremos avaliar tais evidências com o intuito de descrever as visões históricas e as possibilidades para a ampliação dessa prática no instrumento, consultando também pesquisas atuais que mencionem tal questão. Em posse de tais direções metodológicas, iremos propor um estudo de caso em que tais princípios serão aplicados na realização do baixo da Sonata para violoncelo em Mi menor, RV 40, de Antonio Vivaldi.

Este trabalho consiste em uma pesquisa sobre o vibrato, partindo do questionamento sobre sua utilização em termos mecânicos e estilísticos. Objetiva-se assim o conhecimento sistemático e aplicado à performance do violoncelo nos importantes períodos da história do repertório do instrumento. Por meio de artigos e outras menções esparsas presentes em métodos musicais, foi realizado um levantamento de observações por pesquisadores e violoncelistas direcionando a uma abordagem aplicada a peças representativas dos períodos em pauta, a saber, dos compositores J. S. Bach, J. Haydn, H. Villa-Lobos e Luciano Berio. Para tanto, foi necessária a revisão de literatura e uma autoavaliação da forma do uso do vibrato para que fosse possível adotar diferentes tipos de vibrato em diferentes contextos musicais.

CD booklet for Bach Cello Suites complete recording, vol.2 (BWV 1007-1009). J. S. Bach’s cello suites enjoy an unparalleled status as the most iconic works in the cello repertoire, played and replayed, recorded over and over again. Yet their intrinsic relationship with dance and movement is still surprisingly neglected. Drawing on his research and practice in Baroque Dance, Tormod Dalen offers an interpretation that draw the cello suites closer to their origins, full of gesture, grace and life.

CD booklet for Bach Cello Suites complete recording, vol.1 (BWV 1007-1009).
J. S. Bach’s cello suites enjoy an unparalleled status as the most iconic works in the cello repertoire, played and replayed, recorded over and over again. Yet their intrinsic relationship with dance and movement is still surprisingly neglected. Drawing on his research and practice in Baroque Dance, Tormod Dalen offers an interpretation that draw the cello suites closer to their origins, full of gesture, grace and life.

En las últimas décadas se ha reavivado el interés en el estudio de las formas musicales en la musicología internacional (la llamada New Formenlehre), a causa principalmente de las innovaciones de los norteamericanos William Caplin (1998) y James Hepokoski y Warren Darcy (2006) en el análisis de las formas clásicas, que han tenido una enorme difusión y han provocado multitud de investigaciones y algunos interesantes debates.
Sin embargo, la difusión en España de estas nuevas teorías ha sido muy escasa hasta ahora, a pesar de la preeminencia otorgada tradicionalmente a la sonata clásica en la enseñanza del análisis en España.
En esta comunicación trataré de explicar las aportaciones que la teoría funcional de la forma de Caplin y la teoría de la sonata de Hepokoski y Darcy pueden ofrecer para la profundización en el análisis de la música del Clasicismo y la mejora de su enseñanza en nuestras aulas, basándome en las aplicaciones didácticas que hemos realizado durante los últimos años en el Conservatorio Superior de Música de Málaga.
Para ello, empezaré por resumir brevemente las innovaciones más significativas que ambas han introducido en el estudio de las formas clásicas, centrándome en dos aspectos concretos que ilustraré con ejemplos musicales; a continuación, haré una propuesta de aplicación de las mismas a las clases de análisis en las Enseñanzas Superiores de Música, y acabaré recapitulando las conclusiones.

Esse artigo apresenta uma historia do violoncelo como instrumento solista. Desde a primeira obra escrita com esse objetivo, os Ricercare de Domenico Gabrielli, ate as Sonatas para violoncelo solo, de Antonio Vivaldi, hou- ve um intervalo de apenas cinquenta anos, todavia, grandes aperfeicoamentos tecnicos mudaram as maneiras atra- ves das quais o violoncelo poderia ser utilizado na musica. Atraves do conhecimento desse desenvolvimento, vio- loncelistas serao capazes de procurar melhores maneiras de identificar questoes tecnicas nesse repertorio, de modo coerente, assim como musicos em geral poderao apreender sobre os caminhos que levaram o instrumento a figurar como um personagem fundamental na historia da musica. Palavras-chave: Boccherini; Vivaldi; Violoncelo; Performance historica; Musica barroca.

El presente artículo trata de abordar una pieza de la literatura contemporánea del violonchelo que no ha sido especialmente analizada en profundidad hasta la fecha. Esta investigación facilitará el camino a aquellos violonchelistas que decidan trabajar esta pieza, les ayudará a comprender cómo está compuesta y cómo solventar las distintas dificultades que puedan aparecer en el estudio instrumental. Por ello, se ha planteado el trabajo sobre esta obra desde tres puntos de vista analíticos: técnico-interpretativo, a partir de los recursos técnicos propios del instrumento, empleados en la obra; estructural, descifrando de qué manera están escritas las cuatro secciones que componen la pieza; y expresivoperformativo, escuchando y comparando distintas versiones de la obra. Al final de este proceso, se comprobará que Per Slava (1986) es una obra técnicamente asequible para aquellos violonchelistas que se encuentren, al menos, en los últimos cursos de enseñanzas superiores.

Articulation: sustained phrases, sharp, crisp, fast finger action in the accompanimental part. Musical expression and interpretation: dolce, dramatic dynamic contrast within short periods of time, various dynamic shades, expressive, gracious and cantabile melodies contrasted by virtuosic accompaniments. Length: between 35 and 88 measures. Clef: alto only. A. Rolla, Arpeggio in re maggiore per viola con altra viola d'accompagnamento, BI. 6. Movement: "Moderato" Range: constant shifting from first to tenth position on the D and A strings is required in the first viola part; shifting to third position is required in the second viola part. Key: D. Tonality: major. Time signature: simple meter (common time). Rhythmic complexity: in the first viola, the rhythm part alternates between quarters and sixteenths; in the second viola part, the pattern is twelve notes-per-beat. Bow strokes: long and sustained bows in the first viola part, bariolage in the second viola part Dynamics: none marked. Articulation: sustained double stops in the first viola part; fast finger movement in the second viola part. Musical expression: cantabile and expressive. Length: 12 measures. Clef: the first viola part is written in treble clef; the second viola part is written in alto and treble clefs. Clef: alto only. A. Rolla, Duetto in fa maggiore per 2 viole, BI. 13. Movements: I-"Andantino con moto" II-"Rondo: Presto" Range: shifting to seventh position is required in the first viola part; shifting to third position is required in the second viola part. Key: F. Tonality: major. Time signature: simple meter (common time, 2/4). Rhythmic complexity: four sixteenths slurred in pairs, triplets, eighths, quarters, half notes, syncopated rhythms, slurred string crossings, dotted rhythms. Bow strokes: long and sustained bows, staccato, martelé, detaché, legato, alternation of short and long strokes.

The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos-violoncelli piccoli-were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No. 6 in D Major, and Luigi Boccherini's cello sonatas. The key questions are the following: first, is there a relevant organological difference among the instruments Bach used for performance of these compositions? Second, what precisely was Bach's violoncello, and how does the 'piccolo' modifier relate to it? Finally, do range, use, and specific clefs clearly enough suggest one instrument over another, when no specifications appear in the score? 3. Johann Sebastian Bach and the violoncello piccolo.

In der Weihnachtszeit wird zusammen musiziert! Aber was, wenn kein passendes Arrangement zur Hand ist? Dieses Buch ist eine Anleitung, selbst eine zweite Stimme zu komponieren oder zu improvisieren. Neunzehn wunderschöne Weihnachtslied-Klassiker zeigen mit beispielhaften Arrangements und einfachen Vorübungen den Weg zur eigenen Begleitstimme. Alle Satztechniken und harmonischen Modelle werden anhand der Möglichkeiten des Melodieinstruments vermitteln. So wachsen neben der Selbständigkeit und dem Spaß am gemeinsamen Musizieren ganz nebenbei die Fähigkeiten in Musiklehre und Gehörbildung.

The Neapolitan violinist Michele Mascitti (1663/4-1760), who emigrated to France in 1704 or a little earlier, was from that year until his death the leading Italian exponent of the solo sonata and trio sonata for strings in his adopted homeland and an early composer of concertos there. He was a disciple but not an epigone of Corelli, being one of the first composers in Europe to exemplify and help to solidify a 'Neo-Corellian consensus' regarding the normal structure and style for a sonata. In France he remained highly popular, providing a model for those French composers, starting with Dandrieu in 1705, who sought to write sonatas of markedly Italian cast, even though both he and his French imitators took care to make tactful accommodations with indigenous taste. He enjoyed the successive patronage of many high-ranking persons in Paris, among them the duc d'Orléans, cardinal Ottoboni and elector Max II Emanuel of Bavaria. From about 1715 onwards he was under the protection of the prominent Crozat family, at whose house he lodged. Between 1704 and 1738 Mascitti produced nine collections of instrumental music. All included sonatas for violin and continuo, but the first and fourth each contained in addition six trio sonatas for two violins, cello or bass viol and continuo, the sixth a trio sonata for violin, obbligato cello or bass viol and continuo, and the seventh four concerti grossi for an ensemble structured along Corellian lines. The article focuses on his rarely discussed trio sonatas from Opp. 1, 4 and 6. It highlights his rich musical imagination and high level of musical craftsmanship with the aid of copious music examples. His indebtedness to Corelli-greatly overstated by some disparaging later commentators-is acknowledged wherever in evidence, but equal weight is laid on his more adventurous, sometimes even experimental, side. A final plea is made for his elevation to greater prominence in musical life via more comprehensive publication, performance and recording of his music.