This is the first book to address the full range of performance issues for the cello from the Baroque to the early Romantic period. The development of playing techniques and stylistic transitions are traced regionally through a comparison of Italian, French, German, English, and East European performance traits. Through a close study of contemporary violoncello methods, music, early instruments, periodicals, diaries, letters and pictures, Walden provides a cohesive overview which examines construction methods for instruments and bows, fingering and bowing techniques, special effects and ornamentation, accompanying skills and the stylistic preferences of the most famous soloists. Richly illustrated with over 300 music examples, plates and figures, this book provides playing instructions which can easily be applied by modern players to their own performance of period music.
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"Performers and students of the violoncello and its music will find this volume a welcome addition to their libraries." The Beethoven Journal
Book Description
The first book to address the full range of performance issues for the violoncello from the Baroque to the early Romantic period. Richly illustrated with over 300 music examples, plates and figures, this book provides playing instructions which can easily be applied by modern players to their own performance of period music.
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19 of 19 people found the following review helpful:
5.0 out of 5 stars
The best scholarly book on the cello published in decades,
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This review is from: One Hundred Years of Violoncello: A History of Technique and Performance Practice, 1740-1840 (Cambridge Musical Texts and Monographs) (Hardcover)
Valerie Walden's book on the history of cello technique and performance practice in the 18th and early 19th centuries is an important contribution to the the field of cello history and performance practice research. No other really good, scholarly work on this subject has appeared for decades, and none has been written or researched so thoroughly as Walden's book. Based in part on her excellent and comprehensive Ph.D. dissertation comparing the French and Austro-German schools of cello playing, One Hundred Years of Violoncello covers all important aspects related to the evolution of cello playing of 18th and 19th centuries in substantial detail, including cellists, development of the instrument and bow, technique and performance practice issues. Walden's familiarity with all of the important treatises on cello playing of the 18th and early 19th centuries allows her to treat each topic with authority and in appropriate detail. Although biographical sketches of early notable cellists are based primarily on standard, traditional sources of information, the main body of the book consists of chapters on technique and performance practice and are of particular interest, as they contain fresh insights into performance conventions and aesthetics of the time. These include chapters on bowing and fingering, "The art of accompaniment", "Special effects", and "Elements of aesthetics and style". This volume is a "must-have" for anyone interested in performance practice studies of this period, but for cellists in particular.
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Concert Spirituel, The Public Advertiser, The Harmonicon, Correspondance des Amateurs Musiciens, New York, Bernhard Romberg, Friedrich Wilhelm, Paris Conservatoire, Anton Kraft, Revue Musicale, Compleat Tutor, History of the Violoncello, Max Bohrer, Treatise of Good Taste, Kurzgefasste Anweisung, Music Museum, Robert Lindley, The Shrine, Hanover Square, James Cervetto, Leopold Mozart, Musikalische Real-Zeitung, Baron de Bagge, Berlin Kapelle, Bernard Stiastny New!
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Concert Spirituel, The Public Advertiser, The Harmonicon, Correspondance des Amateurs Musiciens, New York, Bernhard Romberg, Friedrich Wilhelm, Paris Conservatoire, Anton Kraft, Revue Musicale, Compleat Tutor, History of the Violoncello, Max Bohrer, Treatise of Good Taste, Kurzgefasste Anweisung, Music Museum, Robert Lindley, The Shrine, Hanover Square, James Cervetto, Leopold Mozart, Musikalische Real-Zeitung, Baron de Bagge, Berlin Kapelle, Bernard Stiastny New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 31
books:
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8
books
cite this book:
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- On Playing the Flute by Johann Joachim Quantz on 14 pages
- History of the Violoncello by Lev Ginsburg on page 37, page 38, and Back Matter
- Haydn: A Creative Life in Music (Third Revised and Expanded Edition) by Karl Geiringer on page 31, and Back Matter
- Violin Family by David D. Boyden on page 73, and Back Matter
- Dictionary Of Music And Musicians (9 Volumes)) (Music Book Index) by Sir George Grove in Front Matter, and page 32
See all 31 books this book cites
- Performing Brahms: Early Evidence of Performance Style (Musical Performance and Reception) by Michael Musgrave in Front Matter, and Back Matter
- The Cambridge Companion to the String Quartet (Cambridge Companions to Music) by Robin Stowell in Back Matter (1), and Back Matter (2)
- Chronology of European Classical: Vol 2 on page 644, and Index
- The Birth of the Orchestra: History of an Institution, 1650-1815 by John Spitzer on page 339
- The Cambridge Companion to the Cello (Cambridge Companions to Music) by Robin Stowell in Front Matter
See all 8 books citing this book
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