Updating the boroque cello

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Caix d'Herveloix and Marin Marais are important examples.They usually go higher than most, but usually not higher than c5 (say 3rd finger, 7th position, 1st string).Consider finding a violinist to work with to study the many sonata for two instruments of baroque composers.Concerning Baroque and pre-Baroque with a few high notes, you might look for transcriptions of works for viola da gamba.Stradivari’s first cellos date from this time as do the first compositions specifically for cello: collections of Ricercares by Giovanni Antonii (1687) and Domenico Gabrielli (1689), as well as Domenico Galli’s “Trattenimento Musicale Sopra Il Violoncello Solo” (1692). That the cello was still not a standardised instrument is shown by the fact that Antonii’s work is written for a cello with six strings, tuned like the contemporary viol (mainly in fourths) except for a scordatura of the lowest string (depending on the key) while Galli’s is written for a 4-string cello, but also tuned in fourths. This introduction of the cello met with a huge success in France. By the late 1730’s the enthusiasm for the cello there was such that between 17 26 volumes of cello sonatas were published (by Le Clerc).

It's Volume II of a three book series that gradually eases the player into thumb position through etudes of a pretty challenging nature (although this is subjective, of course).If you are willing to play baroque cello, with gut strings and a copy of a historical bow, I recommend you to look for Tartini's letter for Maddalena Lombardini. While the Baroque Period in music is generally considered to cover approximately the period from 1600-1750, the cello – an Italian invention – did not appear till the end of the 1600’s. Already in Scarlatti’s cantatas of the early 1700’s the first steps of this emancipation can be seen in the fact that the bass line was now divided into two staves: one for the Basso Continuo, and the other – with both a higher register and a more elaborate part – for the cello. This emancipation continued throughout the 18th century with the cello becoming, in the second half of the century, a fully fledged solo instrument – while at the same time preserving its ability to simply double the bass line. 1728 Senaillé 1687 …………….1730 Couperin 1668 ………………………

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