Thus, the name "violoncello" contained both the augmentative " -one" ("big") and the diminutive " -cello" ("little"). In modern symphony orchestras, it is the second largest stringed instrument (the double bass is the largest). The term "violone" today usually refers to the lowest-pitched instrument of the viols, a family of stringed instruments that went out of fashion around the end of the 17th century in most countries except England and, especially, France, where they survived another half-century before the louder violin family came into greater favour in that country as well. Violone ("big viola") was a large-sized member of viol (viola da gamba) family or the violin ( viola da braccio) family. The name cello is derived from the ending of the Italian violoncello, which means "little violone". Cellos are found in many other ensembles, from modern Chinese orchestras to cello rock bands. Figured bass music of the Baroque era typically assumes a cello, viola da gamba or bassoon as part of the basso continuo group alongside chordal instruments such as organ, harpsichord, lute, or theorbo. As a solo instrument, the cello uses its whole range, from bass to soprano, and in chamber music such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Played by a cellist or violoncellist, it enjoys a large solo repertoire with and without accompaniment, as well as numerous concerti. Music for the cello is generally written in the bass clef, with tenor clef, and treble clef used for higher-range passages. The viola's four strings are each an octave higher. Its four strings are usually tuned in perfect fifths: from low to high, C 2, G 2, D 3 and A 3. Many a cellist has busted a string and many an audience member has shed a tear at this one.The cello ( / ˈ tʃ ɛ l oʊ/ CHEL-oh), or violoncello ( / ˌ v aɪ əl ən ˈ tʃ ɛ l oʊ/ VY-ə-lən- CHEL-oh, Italian pronunciation: ), is a bowed (sometimes plucked and occasionally hit) string instrument of the violin family. This is truly a cellist’s cello piece.Ī brutal and demanding experience for cellist and listener, Shostakovich’s second concerto for the instrument captures the composer at his intense best. One man’s gimmick is another man’s innovation: Kodaly fundamentally altered the cello’s tuning to achieve the effect of his solo sonata, a characteristically veering work that has many champions in the cello world. Melodies flow unbidden throughout all of its three dainty movements, with several moments where Haydn displays his fondness of the instrument’s vocal characteristics, leaving it hanging above the orchestra with deliciously long and declamatory entries. Of his two cello concertos, Haydn’s first just pips the second in terms of its gem-like quality. Someone would have to do some proper research, but it seems that when people talk about the cello’s similarity to the human voice, they tend to do so after having heard Elgar’s Cello Concerto. Even today it’s seen as a totem of the cello’s ability as a solo instrument: singular, daring, dramatic. When he submitted it to his publishers, he demanded that no changes be made, not even minor ones by the intended soloist - and it served the piece well over the years. The Czech legend was staunch when it came to his cello concerto. The religious connotations of one of Bruch’s most enduring works only add more depth - and with a sensitive cellist at the helm his Kol Nidrei can reach elemental levels of connection. The changes in character are perfectly suited to Rostropovich’s elastic playing style in particular, but cellists have long since found much to sink their teeth into. A master melodist at the worst of times, here Brahms is absolutely on fire.ĭedicated to the one and only Mstislav Rostropovich, Britten’s first cello suite is a stark and demanding work that seamlessly locks together nine movements. It only takes a few minutes of listening to the opening movement of Brahms’ first attempt at a Cello sonata to know that he’s cracked it.
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