violoncellisti e repertorio

Nato in una famiglia di musicisti, il giovane Luigi apprese dal padre la tecnica del suo strumento, il violoncello; ben presto rivelò doti prodigiose, tanto che a 14 anni seguì il padre a Vienna, dove entrambi suonarono nell'orchestra del Teatro Imperiale: è qui che il ragazzo comincia a diventare famoso, assimilando anche la nuova forma musicale nascente, il quartetto e il quintetto.

Tornato a Lucca nel 1764 divienne primo violoncello nell'orchestra e qualche anno dopo fondò, con il Manfredi, il Nardini e il Cambini, il primo quartetto stabile di cui si abbia notizia.

Nel 1767 si recò a Parigi, da dove un altro allora celebre violoncellista italiano, Giovanni Battista Cirri, anticipatore, per alcuni aspetti, della maniera compositiva di Boccherini, si era da poco allontanato alla volta dell'Inghilterra.

Nella capitale francese pubblicò la sua prima raccolta di quartetti con l'amico Manfredi; tra i due è però il Boccherini ad essere più apprezzato, soprattutto dai dilettanti, che rappresentavano la clientela maggiore dell'epoca.

La coppia di musicisti toscani dunque raggiunse il successo, ma fu a questo punto (siamo nel 1768) che l'ambasciatore di Spagna nella capitale francese, accortosi del talento dei due, propone loro di trasferirsi a Madrid, dove il re Carlo III avrebbe riservato certamente una calorosa accoglienza. L'offerta viene accettata, ma le cose non vanno esattamente come previsto: è vero che si possono fregiare del titolo di "Compositori Virtuosi al Servizio di Sua Altezza Reale Don Luigi Infante di Spagna", ma era un titolo che valeva poco: don Luigi era il fratello del re e non poteva avere aspirazioni al trono.

Boccherini puntò allora tutto sull'erede dei Borbone, Carlo IV, principe delle Asturie, ma s'imbatté nelle ostilità di un altro compositore italiano, Gaetano Brunetti, musicista di corte invidioso della fama del maestro lucchese.

Nonostante ciò, gli anni seguenti sono tra i più brillanti, Boccherini compone le sei sinfonie e una trentina di quartetti e una trentina di quintetti, in cui ai quattro archi classici aggiunse un secondo violoncello da lui stesso suonato a corte.

Le sinfonie, in particolare, sono tra i suoi lavori più riusciti: solidamente costruite e ricche di una vena melodia tipica italiana, mai sentimentale, sono tra i primi validi esempi di questo genere che sta trovando, proprio in quegli anni, la sua valorizzazione. Nel 1776 segue l'infante don Luigi a Las Arenas, in esilio per uno scandalo di corte. Ma un duplice dramma lo colpì: muoiono la moglie Clementina Pelicho e anche il suo protettore.

Disoccupato, senza moglie e con cinque figli da sfamare il Boccherini tentò di trovare un nuovo lavoro a Madrid, dove divenne maestro da camera della marchesa di Benevante-Osuna. Scrisse regolarmente quartetti, molti dei quali spedisce al re Federico Guglielmo II di Prussia, dilettante musicista e suo nuovo protettore. Ma anche qui l'incarico dura poco: il re morì nel 1797 e il tentativo di ottenere aiuti da Federico Guglielmo III, suo successore, fallisce.

L'unica occupazione rimase il marchese di Benevento, appassionato di chitarra, ma le sue condizioni economiche divennero sempre più precarie. Nel 1799 giunge a Madrid Luciano Bonaparte, per il quale Boccherini scrisse lo Stabat Mater, ma sono i suoi ultimi lavori. Spazzata via la monarchia spagnola dalle truppe francesi, non trovò più un'occupazione stabile.

Trascorre gli ultimi anni nella miseria più nera, colpito anche da una grave malattia circolatoria e afflitto dalla perdita di tre figlie e della seconda moglie. Morì il 28 maggio 1805.

Dal 1927 le sue spoglie sono nella chiesa di San Francesco, in Lucca.

Link

HOASM: Luigi Boccherini

DUPORT Jean Luis (October 4, 1749 - September 7, 1819)

Jean-Louis Duport (October 4, 1749 - September 7, 1819) was a cellist.
Together with his brother Jean-Pierre (1741-1818), also a cellist, he was student of Martin Berteau (1700-1771). He is perhaps best known today for his 21 etudes for solo cello that constitute the final part of the "Essai sur le doigté du violoncelle et sur la conduite de l'archet" ("Essay on the fingering of the violoncello and on the conduct of the bow") (1806), a seminal work of cello technique.

http://etd.lib.fsu.edu/theses/available/etd-08262003-184343/unrestricted/02oettext.pdf

Jean-Louis Duport was born in Paris on October 4, 1749, and began studying the cello at an early age with his older brother Jean-Pierre Duport. At the age of eighteen he made his debut in the Concert Spirituel, accompanied by his brother. Subsequently he performed in Paris under the patronage of Prince of Guéménée and later Baron de Bagge. Jean-Louis became good friends with Giovanni Battista Viotti and around 1782 joined his orchestra for Concert de la Loge Olympique. The French revolution disturbed his life and musical activities in Paris and, in 1790; he joined his brother in Berlin. Jean-Louis taught privately, gave chamber music concerts, composed and joined the opera orchestra where Bernard Romberg was his stand partner. Duport returned to Paris and in 1812 shared the principal position with Charles Nicolas Baudiot at the imperial chapel. Jean-Louis became a professor of cello at the Paris Conservatoire for a year in 1814, and died in Paris on September 7, 1819. Duport wrote six cello concertos, three duets, eight air variés for two cellos, three duos for harp and cello, and several sonatas in addition to numerous other works. His best-known work, Essai sur le doigté du violoncelle et sur la conduite de l‘archet (Essay on the Art of Fingering the Violoncello and of Bowing) (Paris, c1806), was later supplemented with 21 etudes (c1813). Duport established a well-founded system of fingering and also invented the popular 1-2-3-1-2-3 fingering for the chromatic scale (Ex. 1). He held the bow above the frog, as was customary at the time.

Example 1. Duport, Etude no. 3, mm. 1-4.

21 etudes (c1813)

Most of the etudes are works of Jean-Louis Duport himself. There are three exceptions: numbers 6, 8 and 10. Martin Berteau, Jean-Pierre’s teacher, composed the first one. It is a very musical study and also a good introduction to thumb position.
Number 8 and 10 are compositions by Jean-Pierre. The first of these, number 8, is especially challenging for the coordination of the hands. Double stops combined with highly challenging bowing techniques make the etude an excellent study for left and right hand coordination (Ex. 2).

Example 2. Duport, Etude no. 8, mm. 1-3.

Number 10 makes use of thumb positions and virtuoso bow techniques such as
saltando, Sautillé, (Ex. 3).¹⁴

¹⁴ Number 10 is from Jean-Pierre Duport’s Cello Sonata no. 5, op. 4, third movement.

The studies are not placed in order of difficulty and some are very long. Numbers 2, 12, 17, 18 and 21 are five pages each, and number 9 is six pages. The first study, for example, is composed entirely of double stops and is much more difficult than some of the later ones (Ex. 4).

Example 4. Duport, Etude no. 1, mm. 1-6.

The majority of studies includes both thumb and neck positions. Another characteristic of Duport’s etudes is that almost all of them have detailed dynamic markings similar to regular performance repertoire. While the etudes are musically appealing, most of them make use of various techniques. There are also studies concentrating on a specific problem: numbers 1, 8, 14 and 16 are for double stops; numbers 4, 5, 6, 7, 8 and 10 are for bowing techniques.

Table 1

Studies that Involve Specific Techniques

Technical Challenges Addressed Etudes

Scales (regular and chromatic) 3, 17, 18, 21
Arpeggios/Broken Thirds 18
Thumb Positions 5, 6, 10, 12, 13, 14, 17, 18, 21
Position Establishment 2, 9, 13, 17, 19, 21
Multiple Stops 1, 8, 9, 12, 14, 15, 16
Bowing Techniques 4, 5, 6, 7, 8, 9, 10, 11, 13, 18
String Crossings 4, 5, 7, 18, 20
Left and Right Hand Coordination 4, 5, 8

DOTZAUER Justus Johann Friedrich

http://etd.lib.fsu.edu/theses/available/etd-08262003-184343/unrestricted/02oettext.pdf
One of the most important members of the Dresden school of cello playing, Justus Johann Friedrich Dotzauer was born on January 20, 1783, at Häselrieth, near Hildburghausen. He began studying piano, violin, cello and composition at an early age.
He was sent to Meiningen in 1799 for two years of study with a student of Jean-Louis Duport, Johann Jacob Kriegk. After that, he accepted a post in the Meiningen Kapelle until 1805, when he moved to Leipzig and played in the Gewandhaus Orchestra between 1805-1811. While in Leipzig he visited Berlin where he had the opportunity to hear and study with Bernard Romberg.

During the year 1821, Dotzauer accepted a position in the Dresden Court Orchestra where he worked for almost forty years. Exceptional musicians such as Carl Maria von Weber, Richard Wagner and Hector Berlioz conducted this orchestra.
Dotzauer’s students later became important musicians: Friedrich August Kummer, Carl Schuberth, and Karl Dreschler. Dotzauer died on March 6, 1860, in Dresden.
Dotzauer was a particularly prolific composer for his instrument, producing nine concertos, three concertinos, two sonatas with bass, variations, divertissements, potpourris, a great number of duets, and four cello method books (opuses 126, 147, 155
and 165), as well as a number of exercises of various kinds. He was one of the first cellists to make an edition of Johann Sebastian Bach’s Six Suites. He also wrote an opera, overtures, symphonies, a mass and several chamber pieces.

113 Violoncello-Etüden

One hundred and thirteen studies are selected, progressively arranged, fingered and divided into four volumes by Johann Klingenberg. The first two volumes (etudes 1- 62) are more appropriate for the pre-college level because studies preceding number 74 do not include high registers of the cello. However, these two volumes include etudes with a rich variety of bowing techniques and it could be beneficial to use them as supplements to volumes three and four.
The etudes included in the third volume (63-85) tend to focus on one or two particular aspects of technique in each study, while the fourth volume (86-113) includes many studies containing multiple techniques (e.g. 85, 89, 100, 105, 106 and 111). Most of the studies are comprised of several sections and each section is built on a single technical idea (Ex. 5). Overall, Dotzauer’s 113 Studies cover a wide range of technical problems for both hands.

mm. 1-7

mm. 39-41

Example 5. Dotzauer, Etude no. 95, mm. 1-7, mm. 39-41.

Table 2

Studies that Involve Specific Techniques

Technical Challenges Addressed Etudes

Scales (regular and chromatic) 67, 77, 80, 85, 94
Arpeggios/Broken Thirds 77, 81, 84, 85, 89, 90, 91, 92, 93, 98, 99
Left Hand Agility 64, 69, 71, 76, 80, 82, 84, 87, 93
Thumb Positions 77, 81, 85, 89, 92, 99, 100, 102, 107, 108, 110, 112
Position Establishment 68, 69, 71, 75, 76, 78, 79, 85, 90, 92, 103, 112
Ad Libitum Style, Trills, Grace Notes 73, 74, 79, 86, 87, 91
Double Trills 106, 107, 109, 111
Multiple Stops 63, 70, 72, 90, 91, 95, 100, 105, 106, 107, 108, 111, 113
Thirds 96, 101, 103, 106, 108
Sixths 96, 100, 108, 113

Octaves 95, 110
Tenths 110
Bowing Techniques 66, 68, 75, 78, 79, 82, 85, 89, 91, 96, 97, 98, 100,101, 102, 104, 109, 110, 111, 113
String Crossings 64, 65, 84, 89, 98, 105
Slurred Staccato 70, 78, 104

http://etd.lib.fsu.edu/theses/available/etd-08262003-184343/unrestricted/02oettext.pdf

PIATTI Alfredo

http://etd.lib.fsu.edu/theses/available/etd-08262003-184343/unrestricted/02oettext.pdf
The renowned Italian cellist and teacher, Alfredo Piatti was born in Borgo Canale on January 8, 1822. Piatti received his primary musical education both from his father and his great uncle, the cellist Gaetano Zanetti. He later continued his studies at the Milan
Conservatory with Vincenzo Merighi from 1832 to 1837. Piatti played his own concerto at a public concert in the conservatory on September 21, 1837.
Piatti made his first tour of Europe in 1838. He was invited to Munich by Franz Liszt to share a concert, which proved to be a great success. Liszt encouraged Piatti to go to Paris in 1844. During the visit to Paris Liszt gave him a cello made by Niccolò Amati, which he played for the rest of his career. Later in the same year, Piatti made his London debut and had a long and influential career in England as a performer and teacher.

He played with all the great soloists of the day, including Henryk Wieniawski, and was engaged as the cellist of the Joachim Quartet. Piatti also played in another quartet with Heinrich Wilhelm Ernst, Josef Joachim, and Henryk Wieniawski. He taught at the Royal
Academy of Music where Robert Hausmann, Leo Stern, Hugo Becker and William Whitehouse were among his many famous pupils. Toward the end of his life Piatti returned to Italy where he died in Crocetto di Mozzo, July 18, 1901.

POPPER David

http://etd.lib.fsu.edu/theses/available/etd-08262003-184343/unrestricted/02oettext.pdf

One of the most prominent cellists of his generation, David Popper was born on June 18, 1843 in Prague. From 1855 to 1861 he studied at the Prague Conservatory with Julius Goltermann, and graduated by playing his own concerto. In 1864, he gave the first performance of Robert Volkmann’s A Minor Cello Concerto with Hans von Bülow conducting the Berlin Philharmonic. Popper was principal cellist of the Vienna Court Opera between 1868 and 1873, and also played in the Hellmesberger Quartet with Joseph Hellmesberger, Adolf Brodsky, and Sigismund Bachrich. In 1873, he gave up his posts in order to undertake concert tours to Germany, France, England, and Russia with his wife, pianist Sophie Menter. Popper was the first to perform concertos of Joseph Haydn and Robert Schumann, which are among the most popular works of the cello repertoire today.
Franz Liszt recommended Popper for the teaching position at the National Hungarian Royal Academy of Music in 1886, where many famous musicians of the future, such as Béla Bartók, Ernö Dohnányi, and Zoltán Kodály were students. Leaving an impressive output of music for cellists and students, Popper died in Baden, near
Vienna, on August 7, 1913.
Popper wrote four concertos (1871, 1880, 1888, 1900) Requiem for Three Cellos and Orchestra (Hamburg, 1892), two suites (op. 16 and 50), and a string quartet, as well as a considerable number of character and salon pieces. He also composed teaching material: High School of Cello Playing, op. 73 (Leipzig, 1901-5); Ten Medium Difficult
Studies, op. 76 (1907); Easy Studies for Cello, op. 76a (1908).

High School of Cello Playing, op. 73 (Leipzig 1901-5) Most of the op. 73 studies are musically appealing, which makes practicing them enjoyable for the student. A unique feature of Popper’s studies is that they are more
chromatic than most of the studies that were written earlier in the nineteenth century.
This makes them more challenging for accurate intonation. “The High School stresses the importance of playing in hand positions, avoiding note-to-note survival. . . . Perhaps more than any other organizing features found in the High School are the reliance on sequences, both ascending and descending. Popper did this to teach the relationship of one position to the next. Furthermore, because many of these sequences move by whole or half step, frequently with a significant amount of chromaticism, the cellist must use all the fingering combinations within a given group, therefore learning all the notes available in any hand position.”¹⁷

In etude number 20 left hand moves by half step playing many notes in each position (Ex. 21).

Example 21. Popper, Etude no. 6, mm. 36-37.

Although the op. 73 studies cover many aspects of cello playing, they do not really explore a wide range of bowing techniques. Also the difficulty of the studies does not progress gradually.

¹⁷ Marc D. Moskovitz, "David Popper: An Anniversary Retrospective Part II: His Legacy as
Performer and Pedagogue," American String Teacher 44: 4 (Fall 1994): 36.

Some etudes have very specific technical goals: 2, 3, 4, 7, 8, 12, 21, 22, 23, 24, 26, 28, 29 and 33 require the ability to play many notes in one bow. These studies address a variety of left-hand problems with a well-sustained bow (Ex. 22).

Example 22. Popper, Etude no. 23, mm. 1-4.

Number 6 is designed to improve agility and synchronization between the two hands. Numbers 9, 13 and 17 are double stop studies in thumb positions. Numbers 8 and 12 emphasize the grouping of the left hand in thumb positions. Numbers 14 and 32 are staccato studies and, number 27 is clearly for spiccato. Number 37 is a study on mordents and number 40 is on harmonics.
There are also those etudes that are more musical and include a combination of
techniques, such as numbers 15, 20, 22, 31 and 36.

Table 9

Studies that Involve Specific Techniques

Technical Challenges Addressed: Specific Etudes:

Left Hand Agility 6, 12, 18, 21, 26, 28
Thumb Positions 4, 7, 8, 12, 14, 15, 18, 21- 24, 26, 28, 29-33
Position Establishment 1, 2, 3, 6, 8, 11, 28, 33
Trills, grace notes 37
Double Trills 13
Double Stops 7, 9, 13, 17, 34
Thirds 9, 29, 31

Sixths 17, 24, 34
Octaves 13, 20, 23, 38, 39
Bowing Techniques 2, 5, 15, 25, 27, 35, 38
String Crossings 1, 2, 4, 11, 19, 25
Single String Crossings 8, 12, 31, 36
Slurred Staccato 14, 32

NATALIA GUTMAN

Conversation with Natalia Gutman

CONVERSATION WITH NATALIA GUTMAN

by Tim Janof

Natalia Gutman was born in Kazan, Russia, and started to play the cello at the age of 5. In 1964, having already won the International Tchaikovsky Competition, she entered the Moscow Conservatory to study with Mstislav Rostropovich. Her First Prize in the 1967 Munich ARD Competition marked the beginning of her international career. Since then she has performed with the leading orchestras of the world, and with conductors such as Sawallisch, Muti, Abbado, Haitink, Svetlanov, Temirkanov, Celibidache, and Masur. She regularly appears with the most important summer festivals in Europe.

Oleg Kagan and Sviatislov Richter were among Ms. Gutman's regular chamber music partners until their recent deaths. Richter once expressed his admiration for her by saying, "… she is an incarnation of truthfulness in music." She continues to collaborate with Martha Argerich and Mischa Maisky, as on her latest CD's by EMI Classics of the complete Schumann chamber music, and also with artists such as Eliso Virsaladze, Yuri Bashmet, and Alexij Lubimov.

The complete solo Bach Suites have been presented by Ms. Gutman in Berlin, Munich, Madrid, and Barcelona. She has premiered many contemporary works, including two -- a sonata and his first cello concerto -- dedicated to her by Alfred Schnittke. Her recordings include the two Shostakovich Concerti with the Royal Philharmonic Orchestra and Yuri Temirkanov for RCA/BMG-Ariola, for EMI Classics the Dvorak Concerto with the Philadelphia Orchestra and Wolfgang Sawallisch, and the Schumann and Schnittke Concerti with the London Philharmonic conducted by Kurt Masur. She also records frequently for Life Classics.

Each July Ms. Gutman invites her musician friends to the International Musikfest at the Tegernsee in the Bavarian Alps, which she founded in 1990 and dedicated to the memory of Oleg Kagan.

TJ: You studied with two members of your family, your stepfather and your grandfather.

NG: Yes. My first teacher was my stepfather -- Sapozhnikov -- who was a famous Russian pedagogue; he published many scores. I also studied with my grandfather for four years. He was a violinist and had studied with Leopold Auer. Auer also taught Jascha Heifetz and Mischa Elman.

TJ: When you went to study with Galina Kosolupova at age 18, did she have to undo your stepfather's teachings?

NG: No, both my stepfather and Kosolupova were students of Simon Kosolupov, so they had similar ideas.

When I began my studies with Kosolupova, I both loved her and feared her. My musical outlook had already been strongly developed by my grandfather and I idolized his ideas, so Kosolupova and I did not always agree on how music should be played. I was very young at the time.

TJ: Did Kosolupova make you do lots of technical work, like playing scales and etudes?

NG: She did in the beginning but realized that my technique had already been pretty well established. My stepfather had run me through lots of scales and etudes during my first three years of study, as did my grandfather. Of course, one continues to enrich one's technique all one's life, so I am still learning to this day.

Oddly enough, my grandfather, even though he was a violinist, taught me lots of technique too and he gave me a certain virtuosity. He had me play scales for two hours a day with all sorts of bowings and fingerings, which made scale practice very interesting and did great things for my facility. Because of him, I kind of belong to the Auer school.

TJ: You then studied with Rostropovich for four years. Did he primarily concentrate on musical issues, using copious amounts of imagery like he does in his master classes?

NG: Yes, he used the same teaching technique back then. Though my lessons with him were sporadic because he was often on tour, they were life changing moments for me. He has this genius-level intuition about what to say to each student. With me, he sensed that I was a bit tight, so he worked on freeing me up emotionally. He would do whatever he could think of to wake me up, including yell, in a nice way of course. He rarely demonstrated with his cello, however.

TJ: Did the Soviet government punish you for your association with Rostropovich?

NG: Yes. Rostropovich left the country in 1974, but things started to happen to me in 1970. The KGB did not allow me to leave the country, which meant that my international performing career was on hold for nine years.

TJ: Some people have wondered if Rostropovich is more interested in entertaining the audience than being faithful to the score.

NG: Rostropovich has everything that a musician could hope for. He has depth, profundity, creative artistry, intuition, and a personality that wins over audiences. He doesn't worry about what the textbooks say about how to play a piece, and he doesn't need to because he just intuitively understands what's right in the moment. His ability to sell a piece to an audience is but one aspect of his personality. It would be a shame if somebody were to lose respect for this most profound of musicians because of this single attribute. Who else plays Shostakovich with his incredible depth or Don Quixote with such a sense of tragedy? If he is able to reach such artistic heights while also involving the audience, then so much the better.

TJ: Many of the twentieth century's major cello works were written for Rostropovich. Do you find it intimidating to play these works, knowing that you are probably playing them differently than him?

NG: My goal is not to play like him, even though I love his playing. One should be familiar with his playing when studying the works of Shostakovich or Prokofiev, for instance, but one should refer to the score for answers, not his recordings. Rostropovich did not compose these works, so ultimately he's just another performer.

TJ: In a master class at the RNCM Manchester Cello Festival three years ago, you told a student to not play everything with such a scratchy forte character in the first movement of the first Shostakovich Concerto. Do you find that people play Shostakovich's music too harshly?

NG: Is that what I said? I really struggle in master classes because I don't know who they are for. Is it for the student or for the audience? I don't know how to tell jokes that the audience will love, and I'm not sure if a master class is the best place for a student to learn. I prefer a private situation when I teach.

Getting back to the Shostakovich, I believe that you shouldn't sacrifice your sound just because the music has a certain percussive quality and is emotionally powerful. My biggest concern with this type of music is that students generally don't put enough energy into it. But when they do so, they have to do it in a way that is still beautiful.

TJ: Is there such a thing as a "Russian sound?" Rostropovich is certainly known for having a big sound, but is he representative of a so-called "Russian School" of playing? Do we in the West understand the Russian character?

NG: If you had lived for at least a month in Russia during the Soviet Empire's reign you would understand our character!

I don't think that there is a sound that could be called uniquely Russian. The music of Shostakovich and Prokofiev require a big sound, but Bach requires an entirely different sound, as does Schubert, Debussy, and so on. Your sound should vary with the music you play. It should not be pre-determined by which country you come from.

TJ: What's the music scene like in Russia today? Is there money for the Arts?

NG: Though this is a very difficult time, musical life is still quite vital. The Berlin Philharmonic has visited Moscow, the German embassy organized a recital in the memory of Schnittke a couple of years ago, and other fans, mostly European, sponsor musical events.

TJ: Did you collaborate with Schnittke when he wrote his first cello concerto for you?

NG: Yes. This was the first piece he wrote after his stroke. He had even been pronounced clinically dead at the time, but somehow he came back. Two months later he started working on the cello concerto, but he had to work on it in secret because his doctors had ordered him stop writing music until he had recovered sufficiently. His doctors did not understand that composing gave his life meaning; if he wasn't writing he had no reason to live. I was truly honored when he asked if I would play his concerto, especially given the circumstances that surrounded the piece.

Schnittke also wrote a cello sonata for me. He had just written his third violin concerto for his great friend and my late husband, Oleg Kagan. He soon presented me with a cello sonata as a gift, which was a complete surprise because I had no idea that he was working on it.

TJ: He then wrote his second concerto for Rostropovich.

NG: Schnittke didn't know Rostropovich personally at the time he wrote his first concerto. Once Rostropovich became familiar with Schnittke's music, Rostropovich convinced him to write another concerto and to dedicate it to him.

TJ: I understand that you have changed your approach on how to play Bach.

NG: Yes, after listening to lots of recordings made by those in the Early Music movement, I realized that there was a lot that I didn't understand about how music was played in the Baroque era. I used to play Bach with the same sort of expression that I used for Romantic and contemporary music, but then I began to realize that this was inappropriate. Baroque music is still emotional, but it must be conveyed in a very different manner, using very different expressive techniques. In recent decades, we have become much more familiar with how music may have sounded when Bach was alive.

In 1990 I began using a baroque bow when playing baroque music and I now have a 5-string cello that I use for the Sixth Suite. I have found a new range of expressive possibilities and articulations with my baroque bow. I don't play with gut strings at this point because I'd need a different cello and I'd have to dedicate a significant part of my life in order to master it, but I'd like to think that I'm playing in a manner that is more authentically baroque than I did before. People keep asking me to record the Bach Suites, but I'm not ready yet, since I'm still learning many new things.

TJ: The baroque sound seems to still be unfamiliar to Rostropovich, judging by his 1995 recording of the Bach Suites.

NG: He would categorically deny this. He knows about it but he does not believe that one must strive to play in a baroque manner. He believes that you should bring Bach to our time, not go back to Bach's time. I don't want to play Bach in his way, but when I listen to him I deeply respect that he's playing Bach with all his heart and that he does so with great conviction. Fortunately, there's no right and wrong in music, so I can enjoy performances both by him and Anner Bylsma.

(Special thanks to David Tonkonogui for acting as an interpreter in this interview.)

10/8/99

STUDIOMUSICA

Natalia Gutman - Elisso Virsaladze

CURRICULUM

La crescita artistica di Natalia Gutman è stata determinata soprattutto da due personalità musicali in Russia: suo nonno Anisim Berlin, violinista e allievo del leggendario Leopold Auer e Galina Kozolupova sua insegnante per ben quindici anni. Altre tre grandi musicisti hanno avuto un ruolo essenziale nella vita privata e musicale di Natalia Gutman: Sviatoslav Richter, morto nel 1997, suo marito Oleg Kagan, morto nel 1990 e Mtsilav Rostropovitch. S. Richter diceva di lei ".... Natalia Gutman è l'incarnazione dell'onestà nell'Arte". Nata a Kazan in Russia, ha iniziato lo studio del violoncello all'età di cinque anni. e all'età di 9 anni eseguiva il suo primo concerto. Allieva prediletta di Mstislav Rostropovich al Conservatorio di Mosca dal 1964, nel 1967 ha vinto il Concorso della ARD di Monaco di Baviera. Da allora ha avuto inizio la sua brillante carriera internazionale che l'ha vista ospite delle più famose sale europee e delle più prestigiose orchestre: Berliner Philharmoniker, Wiener Philharmoniker, London Symphony Orchestra, Münchner Philharmoniker, Filarmonica di San Pietroburgo e l'Orchestre National de France. Ospite regolare dei più prestigiosi Festival (Salzburger Sommerfestspiele, Berliner Festspiele, Wiener Festwochen) ha collaborato e collabora con i più grandi direttori d'Orchestra quali Claudio Abbado, Wolfgang Sawallisch, Riccardo Muti, Bernard Haitink, Guennady Rozhdestwenskij, Yuri Temirkanov, Kurt Masur e Sergiu Celibidache. Gran parte dell'attività concertistica di Natalia Gutman è dedicata alla musica da camera: suoi partners sono e stati e sono, Svjatoslav Richter, Isaac Stern, Martha Argerich, Yuri Bashmet, Elisso Virsaladze. Con suo marito, il compianto violinista Oleg Kagan, ha suonato dal 1969 al 1990. Nel 1998 Natalia Gutman ha suonato in Sudafrica, ultimo continente dove l'Artista non era ancora apparsa. Natalia ha eseguito l'integrale delle Suites di Bach per violoncello solo a Mosca, Berlino, Monaco, Madrid, Barcellona, in Francia, in Italia, Olanda e Svizzera. A Manchester, Inghilterra ha partecipato al festival di violoncello e nell'estate del 2000 ha suonato al Festival di Berlino, di Lucerna e Salzburg e a Londra (proms concerts) insieme ai "Berliner Philharmoniker" diretti da Bernard Haitink , che sostituì il M° Claudio Abbado, allora malato. Sempre nella stagione 2000/01 ha suonato con orchestra a München, Berna, Helsinki,Birmingham e San Paolo in Brasile. Nel marzo 2002 ha suonato a Milano con la Filarmonica della Scala diretta dal M° G. Bertini. Nella stagione 2002/03 sono previsti dei concerti con la New York Philharmonic diretta dal M° Kurt Masur, a Baltimore con il M° Yuri Temirkanov. Nel 2003 è prevista una lunga Tournée in Giappone. Oltre al repertorio bachiano, classico e romantico Natalia Gutman è anche attenta interprete della musica contemporanea eseguendo brani di Sofia Gubaidulina, di Denisov, di Mansurian e di Lobanov. Alfred Schnittke le ha dedicato una Sonata e il suo primo Concerto per Violoncello. Con la Royal Philharmonic Orchestra e Yuri Temirkanov ha inciso i due Concerti di Shostakovic per la RCA/BMG Ariola. Con la Philadelphia Orchestra e Sawallisch ha inciso il Concerto per Violoncello di Dvorak e con la London Philharmonic diretta da Kurt Masur i concerti per Violoncello di Schumann e di Schnittke, entrambi su etichetta EMI. Sempre per la EMI ha recentemente inciso le composizioni cameristiche di Schumann con partners del calibro di Martha Argerich e Mischa Maisky. Ogni anno all'inizio di luglio Natalia Gutman invita i suoi amici musicisti all' "Internationaler Musikfest" a Kreuth Tegernsee in Baviera, fondato nel 1990 insieme al marito M° Oleg Kagan, ora a lui dedicato, scomparso poco dopo la prima edizione del Festival il 15 luglio 1990. Natalia Gutman suona un prezioso Guarneri del Gesù.

BYSLMA Anner

Anner Bylsma - Wikipedia, the free encyclopedia

Anner Bylsma (born 1934) is a Dutch cellist who plays on both modern and authentic baroque style instruments. He was born in The Hague in 1934, where he took an interest in music from an early age. He studied with Carel van Boomkamp at the Royal Conservatory of The Hague, and won the Prix d'excellence in 1957.

In 1959, he won first prize in the Pablo Casals Competition in Mexico. Later he was the principal cellist for six years in the Royal Concertgebouw Orchestra from 1962 to 1968. He became the Erasmus Scholar at Harvard University in 1982. He is the author of the book Bach, the Fencing Master, a stylistic and aesthetic analysis of Bach's Cello Suites. Bylsma continues to be a towering figure in the baroque cello movement.

Anner Bylsma:
Descritto dal Boston Glabe quale ..Rostropovic del violoncello barocco", Anner Bylsma, a cui nel 1957, nella classe di Carel Boomkamp al conservatorio dell'Aja, fu conferito un Prix d'Excellence, viene considerato uno
dei migliori violoncellisti olandesi della sua generazione. L'ex primo violoncellista dell'orchestra Concertgebouw di Amsterdam
si è dedicato negli ultimi anni soprattutto ad una esecuzione autentica della musica barocca e classica. Oltre ai numerosi dischi, la sua premiata registrazione delle suites per violoncello a solo di Bach merita una attenzione particolare.

William Littler
Traduzione: Wigand & Wigand

DU PRE Jacqeline

Dell'Agosto 1969 è il concerto, con Daniel Baremboim, Ithzakh Perlman, Zubin Metha e Pinchas Zukermann nel quintetto di Schubert La Trota.

YouTube - Fun Clip

WISPELWEY Pieter

(Nato nel 1962 ad Haarlem, in Olanda)

DINDO Enrico

Enrico Dindo - VIOLONCELLISTA

Nato a Torino nel 1965 da una famiglia di musicisti, si è diplomato in violoncello presso il Conservatorio "Giuseppe Verdi" della città natale. Successivamente si è perfezionato con Egidio Roveda e Antonio Janigro. Dal 1987 al 1998 è stato primo violoncello solista dell'Orchestra del Teatro alla Scala di Milano.
Con l'assegnazione nel 1997 del primo premio al Concorso "Rostropovič" a Parigi, ha iniziato un'intensa attività come solista suonando con le più importanti orchestre in Europa e negli Stati Uniti:

REPERTORIO

STUDI

-Duport Jean Luis (Paris on October 4, 1749 - Paris on September 7, 1819): 21 etudes (c1813).

-Dotzauer Justus Johann Friedrich (January 20, 1783 Häselrieth, near Hildburghausen. - March 6, 1860, in Dresden): 113 Violoncello-Etüden, selezionati progressivamente, arrangiati, diteggiati e divisi in quattro volumi da Johann Klingenberg.

-Servais Adrien-Francois (1807-1866): Sei Capricci per Violoncello op. 11.

-Piatti Alfredo (January 8, 1822 - Crocetto di Mozzo, July 18, 1901): 12 Capricci op. 25 per Violoncello (1875).

-Grützmacher Friedrich Wilhelm Ludwig (Dessau Germany on March 1, 1832 - February 23, 1903 at Dresden): Technology of Cello Playing, op. 38, vol. I - II.

-Popper David (June 18, 1843 in Prague - Baden, near Vienna, on August 7, 1913): High School of Cello Playing, op. 73 (Leipzig, 1901-5); Ten Medium Difficult Studies, op. 76 (1907); Easy Studies for Cello, op. 76a (1908); Elfentanz for cello & piano, Op 39 "Dance of the Elves";

-Kummer (): Studi melodici op. 57; op. 44

- Lee S. (): Studi melodici Op. 31

-Romberg (): Sonata op.43 n.1

-Cossman O (): Violoncello studien

VIOLONCELLO SOLO

-Gabrielli Domenico (1659-1690):

7 rivercari.

-Degli Antonii Giovan Battista (1636-1698): [Ricercate, violoncello, op. 1]
Ricercate sopra il violoncello o clavicembalo : opera prima / Gio. Battista de gl' Antonii. -- Bologna : Gioseffo Micheletti, 1687.

-Colombi Giuseppe

-Bach Johann Sebastian (1685-1750):

6 Suites per Violoncello solo.

-Block Ernst: 3 Suites.

-Reger Max (1873-1916)

Drei Suiten für Violoncell allein, op. 131c

German composer and teacher noted for his organ works, which use Baroque forms; he was one of the last composers to infuse life into 19th-century musical traditions.
Learn more at Britannica.com

-Britten Benjamin (born Nov. 22, 1913, Lowestoft, Suffolk, Eng. died Dec. 4, 1976, Aldeburgh, Suffolk)

3 Suites per vlc. solo op. 72, 80 and 87.

http://en.wikipedia.org/wiki/Cello_Suites_(Britten)

Britten wrote them in 1964, 1967 and 1971, respectively.

-Ligeti György Sándor ( May 28, 1923–June 12, 2006)

1 Sonate

MUSICA DA CAMERA

-Gabrielli Domenico ((1659-1690)): 2 sonate vlc e bc; 1 canone a 2 vlc..

- Marcello Benedetto (): Sonate per V.cello

Italian composer and writer, especially remembered for two works: the satirical pamphlet Il teatro alla moda (1720); and Estro poeticoarmonico (1724-26), a setting for voices and instruments of the first 50 psalms in an Italian paraphrase by G. Giustiniani. Il teatro alla moda is an amusing pamphlet in which...
Learn more at Britannica.com

- Torelli Giuseppe (1658-1709): Sonata in sol maggiore per violoncello e b.c.

-Scarlatti Alessandro (born May 2, 1660, Palermo, Sicily, Kingdom of the Two Sicilies
died Oct. 24, 1725, Naples): Sonata per violoncello e B.C.

He may have studied with Giacomo Carissimi in Rome. His first known opera (1679) was a success, and by 1680 he was chapel master in Rome for Queen Christina of Sweden. He left this secure position to become chapel master of the viceroy of Naples (1684–1702). Most of the operas produced in the city during this period were his own, and they were increasingly heard in other cities as well, including Leipzig and London. Most of his instrumental music comes from his late period, as do his comic operas. He wrote at least 70 and perhaps more than 100 operas, as well as some 600 secular cantatas; his opera overtures (sinfonie) were important forerunners of the symphony. Domenico Scarlatti was his son.
© 2005 Encyclopædia Britannica, Inc.

-Vivaldi Antonio (Lucio) (born March 4, 1678, Venice, Republic of Venice died July 28, 1741, Vienna, Austria): Sonate per vlc e b c; Sonata n. 3 in la maggiore; n. 5 in mi minore.
He was taught violin by his father. In 1703 he was ordained a priest (and later became known as the "Red Priest" for his red hair). He spent most of his career teaching violin and leading the orchestra at a Venetian girls' orphanage. After с 1718 he became more involved in opera as both composer and impresario. His concertos were highly influential in setting the genre's three-movement (fast-slow-fast) form, with a returning theme (ritornello) for the larger group set off by contrasting material for the soloists, and he popularized effects such as pizzicato and muting. His L'estro armonico (1711), a collection of concerti grossi, attracted international attention. His La stravaganza (с 1714) was eagerly awaited, as were its successors, including The Four Seasons (1725). In all he wrote more than 500 concertos. His most popular sacred vocal work is the Gloria (1708). Though often accused of repeating himself, Vivaldi was in fact highly imaginative, and his works exercised a strong influence on Johann Sebastian Bach.
© 2005 Encyclopædia Britannica, Inc.

-Wagenseil Georg Christoph ((1715 - 1777): Concerto, C Major, for Cello and Orchestra; Concerto, A Major, for Cello and String Orchestra

HOASM: Georg Christoph Wagenseil

Wagenseil's talents as a composer and keyboard performer were recognized by J. J. Fux, who took him on as a pupil in 1735; he also studied at that time with Matteo Palotta. In 1739 he became court composer, holding the position for the rest of his life. In 1749 he was appointed Hofklaviermeisterto the imperial archduchesses. His music was widely known; a good deal of it was published in Paris. Mozart and Haydn were both familiar with his music. His first opera, Ariodante,was produced in Venice in 1745. Some of his own pupils went on to achieve success: F. X. Dusek, Leopold Hoffmann, and J. A. Stepan. His compositions include several operas, three oratorios, Masses, cantatas, other sacred vocal music, symphonies, harpsichord concertos, other solo concertos, chamber music for strings alone or with keyboard or winds and numerous solo keyboard pieces. He also wrote Rudimenta panduristae oder Geig-Fundamenta(Augsburg, 1751), a theoretical treatise.

YouTube - CELLO Wagenseil C-amjor cello concerto part 1

-Boccherini Luigi (Rodolfo) (February 19, 1743 – May 28, 1805):

Sonate per violoncello e basso;

Sonata n. 1 in La magg. (G. 13)
Sonata n. 2 in Do magg. e Sonata n. 3 in Sol magg. (G. 6 e 5)
Sonata n. 4 in Mi bem. Magg. (G 75)
6261 Boccherini, Luigi (1743-1805) Sonata n. 5 in Fa magg. (G. 1)
Sonata n. 6 in La magg. (G 4 e 4b)
Sonata n. 7 in Si bem. Magg. (G.565 e 565b)
Sonata n. 8 in Si bem. Magg. (G 8)

Sonata n. 9 in Fa magg. (G 9).
Sonata n. 10 in Do min. (G. 2 e 2b). Prima e seconda versione
Sonata n. 11 in Mi bem. Magg )G. 11)

Sonata n. 12 in Si bem. Magg. (G. 12)
Sonata n. 16 in Mi bem. Magg. (G. 16)
Sonata n. 17 in Do magg. (G. 17)
Sonata n. 21 in Mi bem. Magg. (G. 566 )

Sonata n. 22 in Fa Magg. (G 579)
62Sonata n. 23 in Re Magg. (G. 580)
Sonata n. 24 in Sol Magg. e Sonata n. 25 in La Magg. (G )
Sonata n. 26 in Mi bem. Magg. (G. )

CAMT-AM

Le Sonate sono composte per violoncello solo e basso: come spiega chiaramente il musicologo Yves Gérard – a cui si deve la catalogazione dell’opera completa di Luigi Boccherini – «La loro esecuzione pone un problema: come deve essere interpretata l’espressione ‘e basso’ (bisogna sottolineare il fatto che il basso non è mai “basso figurato”)? Da chi era accompagnato Boccherini? Da suo padre, al contrabbasso? Da un altro violoncello? Da un violino? Da un clavicembalo? Forse. Comunque si tratta di un problema mai risolto, anche perché gli accompagnamenti delle edizioni moderne risultano troppo pesanti e in generale di un gusto non corrispondente al carattere della musica boccheriniana. Infatti la dicitura ‘violoncello solo’ è inequivocabile: ogni composizione è concepita nella mente di Boccherini come un modo significativo di esibire i meriti intrinseci del suo strumento, ossia la sua qualità lirica e il suo virtuosismo» ¹.
Delle 19 opere per violoncello di Boccherini, i manoscritti più attendibili sono custoditi presso il Fondo Noseda del Conservatorio “G. Verdi” di Milano.

(1)Yves Gérard, Thematic, bibliographical and critical Catalogue of the Works of Luigi Boccherini, London, Oxford University Press 1969, pp. 3-4

Quartetto in DO Magg. - G. 242 (6 Quartetti Op. 58) for string quartet;
Son of a musician, he received excellent early training and toured widely in Europe as a cellist. He held positions at the courts of Madrid and Prussia. His vast chamber music output includes some 125 string quintets (more than any other composer), some 90 string quartets, and many string trios. He also wrote symphonies and cello concertos. The elegance and charm of his music has ensured its continuing popularity.
© 2005 Encyclopædia Britannica, Inc.

-Beethoven Ludwig van (1770-1827): 5 sonate, sonate I e II op. 5 n°1-2, sonata III op. 69, sonate IV e V op.102 n°1-2. 3 variazioni.

-Schubert Franz (1797-1828): sonata arpeggione.

-Mendelssohn-Bartholdy Felix (1809-1847): 2 sonate vlc e pf; Sonata op. 45 (1839);

Sonata in re maggiore op. 58;

Felix Mendelssohn-Bartholdy 1809 - 1847)

La Sonata in re maggiore è la seconda e la più interessante tra le opere di Mendelssohn per violoncello e pianoforte.
La precedente, op. 45, risale al 1839 ed è una pagina artisticamente imperfetta, che risente di un certo accademismo, mentre questa, scritta tra la fine del 1842 e l'estate del 1843, rivela un'ispirazione lirica tesa a esprimere un ideale d'alto valore poetico.

La partitura è carica di un'espressività costante e viva, aperta anche a toni di rivelazione intima e riservata.
La vena pensosa ne arricchisce l'irruenza romantica.
Consta di 4 movimenti, esempio unico nelle Sonate mendeissohniane: a un "Allegro assai vivace", di ardente comunicativa, segue un "Allegretto scherzando" in si minore, tripartito, con una distesa sezione centrale in re maggiore.
La ripresa è variata e coniuga i 2 elementi precedenti.

Segue la toccante parentesi meditativa di un "Adagio" in sol maggiore dalla profonda spiritualità; e poi il contrastante, liberatorio "Finale: Molto allegro e vivace" si pone in contrappeso al primo tempo.
Questa Sonata, dedicata al conte russo Mathieu Wielhorsky, violoncellista dilettante, fu pubblicata da Kistner a Lipsia nel 1843.
(durata 28 minuti)

Romanza senza parole in re maggiore op. 109 per vlc e pf;

Felix Mendelssohn-Bartholdy 1809 - 1847)

Pubblicata postuma, questa breve e poco nota pagina, che ha lo stesso titolo delle ben più celebri composizioni pianistiche, risale al 1845 e fu composta per una violoncellista, Lisa Christiani.
Il violoncello ha un ruolo preponderante e si vota ad un canto sentimentale, lievemente malinconico ma vibrante ed effusivo.
Il tono drammatico della sezione centrale si stempera poi nella quiete della ripresa, che ha tutta l'eloquenza di un Lied.
(durata 5 minuti)

-Chopin Frédéric (1810-1849): Sonata op.65; Introduction et Polonaise brillante. Op. 3.

- Schumann Robert (1810-1856): Funf Stucke in Volkston für Pianoforte und Violoncello ( 5 pezzi in tono popolare ), Op.102.

-Brahms Johannes (1833-1897): due sonate per vlc e pf, Sonata in F op. 99, op. 38.

Prokofiev:

-Rachmaninov (born in russia 1873-1943): S.: sonata con piano op.19.

-Saint-Saëns Camille (1835-1921): Sonate n°1 pour violoncelle et piano, op. 32; Sonate n°2 pour violoncelle et piano, op. 123; Le Cygne per vlc e pf; Romance pour violoncelle et piano, op. 51; Suite pour violoncelle et piano, op. 16 (existe en version orchestrale); Trio n°1 pour violon, violoncelle et piano, op. 18; Trio n°2 pour violon, violoncelle et piano, op. 92; Romance pour violoncelle et piano, op. 51 ; Chant Saphique pour violoncelle et piano, op. 91.

-Dvorak Antonin (Leopold) (1841-1904):

czech composer who combined folk elements with traditional forms

Rondo in g moll per vc e pft op. 94;

-Fauré Gabriel (1845-1924): . 2 Sonate per violoncello e pianoforte op.117; Romance e Sérénade per violoncello solo; Après un Revè.

-Debussy (1862-1918): sonata vlc e pf .

Reger Max (1873-1916): Cello Sonata #1 op. 5 in F minor ; Cello Sonata #2 op. 28 in G minor; Cello Sonata #3 op. 78 in F major; Cello Sonata #4 op. 116 in A minor

German composer and teacher noted for his organ works, which use Baroque forms; he was one of the last composers to infuse life into 19th-century musical traditions.
Learn more at Britannica.com

-Hindemith Paul (November 16, 1895 – December 28, 1963): sonata.

-Grieg E.: sonata con piano op.36;

-Grieg, Edvard (1843-1907): Sonate für Pianoforte und Violoncell, op. 36

-Franck César (1822-1890): Sonata (Violin or Cello). (1958), sonata per vlc e pf trascrizione .

-Kodaly Kodaly (1882-1967); Sonata per vlc e pf; Duo per violino e violoncello.

-Strauss Richard (Georg) (born June 11, 1864, Munich, Ger. died Sept. 8, 1949, Garmisch-Partenkirchen): Sonata in fa magg. op.6 per violoncello e pianoforte

-Stravinsky Igor (1882-1971): Russian Maiden’s Song for Violoncello and Piano.

-Shostakovich Dmitrii Dmitrievich (1906-1975): Sonate vlc e pf op.40.

-Britten Benjamin (born Nov. 22, 1913, Lowestoft, Suffolk, Eng. died Dec. 4, 1976, Aldeburgh, Suffolk): Sonata per vc. e pf

VIOLONCELLO E ORCHESTRA

-Vivaldi Antonio ((Lucio) (born March 4, 1678, Venice, Republic of Venice died July 28, 1741, Vienna, Austria): Concerto per violoncello archi e B.C. in Do minore; Concerto per due violoncelli archi e B.C. in Sol minore; Concerto per violino e violoncello in Si b Maggiore

- Bach Johann Christian, nom francisé en Jean-Chrétien Bach, (September 5, 1735 – January 1, 1782): Cello Concerto in C minor; Sinfonia Concertante in A major.

http://it.wikipedia.org/wiki/Johann_Christian_Bach

Undicesimo figlio di Johann Sebastian Bach, a 15 anni non ancora compiuti perse il padre, e questa sventura l'obbligò a recarsi a Berlino presso il fratello Carl Philip Emanuel per perfezionarsi in clavicembalo e composizione. I suoi progressi furono notevoli, tanto che qualcuna delle sue produzioni era già stata notata dal pubblico. Finché la conoscenza di alcune cantanti italiane gli fece nascere il desiderio di visitare l'Italia.

Da Berlino nel 1754 si diresse a Milano dove, poco tempo dopo, fu nominato organista della cattedrale incarico che mantenne dal 1760 al 1762 e dove studiò sotto la guida di Giovanni Battista Martini. A Milano scrisse due Messe, un Requiem, un Te Deum e altre opere. A questa periodo risale la sua conversione al cattolicesimo.

Si ignorano i motivi che gli fecero lasciare Milano, ma è certo che dopo essersene allontanato, nel 1759, partì alla volta di Londra. Qui non trascorse molto tempo prima di essere insignito della carica di musicista della regina, e quindi maestro della sua cappella.
Nel 1763 fece rappresentare la sua opera Orione o Diana vendicata, spettacolo che destò sensazione per la bellezza delle arie e i nuovi effetti degli strumenti a fiato. È in questo melodramma, infatti, che i clarinetti furono uditi per la prima volta in Inghilterra.

Il successo di quest'opera fu l'inizio della fortuna di Johann Christian Bach, che poté intessere relazioni con musicisti di notevole fama, come l'italiano Giovanni Battista Cirri, cosicché, a causa del successo ottenuto, Johann Christian (tranne un breve soggiorno a Parigi verso il 1780) prese fissa dimora a Londra, dove visse fino alla morte (1782), legando il suo nome a questa città, tanto da venire soprannominato, già in vita, il Bach inglese.

Pur senza avere la potenza dell'invenzione e la ricchezza dell'armonia paterna, né la varietà d'idee e la profondità di suo fratello Philipp Emmanuel, Christian Bach fu uno dei musicisti più notevoli del XVIII secolo, le sue arie sono molto belle e molte hanno goduto di grande popolarità. Il suo canto non ha un carattere particolare, ma si avvicina, piuttosto allo stile dei grandi maestri italiani dell'epoca, soprattutto quelli della scuola napoletana: uno stile facile, brillante, un canto adatto alle caratteristiche della voce, sostenuto da accompagnamenti gradevoli e di buon effetto.

-Bach Carl Philipp Emanuel (1714 - 1788) : 3 concerti:

concerto in A major per violoncello e orchestra.

-Wagenseil Georg Christoph ((1715 - 1777): Concerto, C Major, for Cello and Orchestra; Concerto, A Major, for Cello and String Orchestra

HOASM: Georg Christoph Wagenseil

YouTube - CELLO Wagenseil C-amjor cello concerto part 1

-Haydn Joseph Haydn (1732-1809): 2 concerti n 1 in DoM e 2 ReM.

-Boccherini Luigi (Rodolfo) (February 19, 1743 – May 28, 1805): 12 concerti per violoncello.

Concerto per Violoncello, Corni e Archi in DO n° 1 G.477;

Concerto per Violoncello e Archi in REM n° 2 G.479;
Concerto per Violoncello e archi in SOL n° 3 G. 480;
Concerto per Violoncello, Corni e Archi in DO n° 4 G.481;

Concerto per Violoncello , Oboi, Corni e Archi in MIb n° 5 G.474;
Concerto per Violoncello, Corni e Archi in LA n° 6 G.475;

Concerto per violoncello solo, 2 flauti e orchestra d'archi in Re magg. n° 7(G 476);
Concerto per violoncello, Oboi, Corni e Archi in RE n° 8 G.478;
Concerto per Violoncello, Corni e Archi in SIbM n° 9 G.482;
Concerto per Violoncello, Oboi, Corni e Archi in RE n. 10 G. 483;
Concerto per Violoncello, Oboi, Trombe e Archi in DOM n° 11 G.573;
Concerto per Violoncello, Archi, 2 Oboi e 2 Corni : G deest

Boccherini, Luigi
Concerto N° 01 : in do maggiore per violoncello, archi e 2 corni : G 477
Boccherini, Luigi
Concerto N° 02 : in re maggiore per violoncello, archi : G 479 :
Boccherini, Luigi
Concerto N° 03 : in sol maggiore per violoncello, archi : G 480
Boccherini, Luigi
Concerto N° 04 : in do maggiore per violoncello, archi e 2 corni : G 481
Boccherini, Luigi
Concerto N° 05 : in mi bem. maggiore per violoncello, archi, 2 oboi e 2 corni : G 474
Boccherini, Luigi
Concerto N° 06 : in la maggiore per violoncello, archi e 2 corni : G 475
Boccherini, Luigi
Concerto N° 07 : in re maggiore per violoncello, archi e 2 flauti : G 476
Boccherini, Luigi
Concerto N° 08 : in re maggiore per violoncello, archi, 2 oboi e 2 corni :
Boccherini, Luigi
Concerto N° 09 : in si bem. maggiore per violoncello, archi e 2 corni : G 482
Boccherini, Luigi
Concerto N° 10 : in re maggiore per violoncello, archi, 2 oboi e 2 corni : G 483
Boccherini, Luigi
Concerto N° 11 : in do maggiore per violoncello, archi 2 obi, 2 trombe : G 573
Boccherini, Luigi
Concerto N° 12 : in mi bem. maggiore per violoncello, archi, 2 oboi e 2 corni : G deest

-Beethoven L.van (1770-1827): Triplo Concerto op. 56.

-Elgar Sir Edward (1857-1934): Cello Concerto in E minor, adagio-lento-adagio-allegro op. 85 (1919) .

English composer whose works in the orchestral idiom of late 19th-century Romanticism--characterized by bold tunes, striking colour effects, and mastery of large forms--stimulated a renaissance of English music.
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-Mendelssohn-Bartholdy Felix (1809-1847):

Variazioni concertanti in re maggiore op. 17 per vlc e pf;

Felix Mendelssohn-Bartholdy 1809 - 1847)

Scritte nel 1829, queste Variazioni, che presentano risoluzioni molto brillanti e tecnicamente assai impegnative, si offrono ad un piacevole ascolto per l'accuratissima rifinitura e per il collegamento molto unitario fra i diversi episodi.
L'aristocratico, raffinatissimo gusto del ventenne Mendelssohn ha modo di manifestarsi soprattutto nel finale, che rinuncia alla perentorietà esibizionistica per svanire nel silenzio.
L'opera fu pubblicata da Mechetti a Vienna nel 1830.
(durata 11 minuti)

-Schumann Robert (1810-1856): Concerto per violoncello op. 129.

-Lalo Édouard (January 27, 1823 - April 22, 1892): Concerto in Re min.

-Strauss Johann (born Oct. 25, 1825, Vienna, Austria died June 3, 1899, Vienna ): Romanza per violoncello e orchestra op.243.

-Brahms Johannes (1833-1897): Doppio Concerto in A minor op. 102.

-Saint-Saëns Camille (1835-1921): 2 Concerti, Concerto per vlc n° 1 en la mineur op. 33; Concerto pour violoncelle n°2 op. 119; Suite pour violoncelle et orchestre, op. 16 bis

-Tchaikovsky Peter Ilich (1840-1893): variazioni su un tema rococo op.33 per violoncello e orchestra, in la maggiore .

Tema. Moderato semplice
Variazione II. Tempo del Tema
Variazione III. Andante sostenuto
Variazione IV. Andante grazioso
Variazione V. Allegro moderato
Variazione VI. Andante
Variazione VII. Allegro vivo

-Dvoràk Antonín (1841-1904): cello concerto in B minor, op.104.

-Fauré Gabriel (1845-1924): Elégie op 24; Après un Revè.

-Delius Frederick (Theodore Albert) (born Jan. 29, 1862, Bradford, Yorkshire, Eng. died June 10, 1934, Grez-sur-Loing, France): concerto

-Prokofiev Sergei (1891-1953), : sinfonia concertante op 125; concerto op.132; concerto per violoncello op.58.

-Walton Sir William (born March 29, 1902, Oldham, Lancashire, Eng. died March 8, 1983, Ischia, Italy): concerto.

-Kabalevsky Dmitry Borisovich (1904 -1987): 2 Celio Concertos, op. 49 n° 1 (1949); op. 77 n° 2 (1964).

Composer of music in a nationalistic Russian idiom

-Shostakovich, Dmitrii Dmitrievich (1906-1975): Due concerti; Concerto for Cello and Orchestra, op.107.