Works by one of the masters of the Amati family. a bass instrument of the violin family, tuned an octave below the alto. The performer places the cello on the floor and plays it while sitting. Initially, in the 16th century, it was a purely ensemble instrument,... ... Collier's Encyclopedia
- (Italian violoncello, from viola viola). A musical instrument between a violin and a double bass. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. CELLO 4-string bowed instrument, invented by the musician ... Dictionary of foreign words of the Russian language
cello- and, f. violoncelle, it. violoncelle. 1. music A four-string bowed instrument, in place and sound intermediate between viola and bass. Dal. Plays the cello. Note Ved. 1738 178. They played two violinists and a philonchelle. 20.7.1789. KFJ. // Livanova 2… … Historical Dictionary of Gallicisms of the Russian Language
Cello- Cello. CELLO (Italian violoncello), a bowed string musical instrument of the violin family of basso-tenor sound. Appeared in the 15th and 16th centuries. Classic designs created Italian masters 17th 18th centuries (A. and N. Amati, J.... ... Illustrated Encyclopedic Dictionary
- (Italian violoncello) musical instrument of the violin family of the basso-tenor register. Appeared in the 15th and 16th centuries. Classic examples were created by Italian masters of the 17th and 18th centuries: A. and N. Amati, G. Guarneri, A. Stradivari and others. CELLO (Italian... ... Big encyclopedic Dictionary
Bassetla, chordophone, instrument Dictionary of Russian synonyms. cello noun, number of synonyms: 6 basetl (3) gamba ... Synonym dictionary
- (Violoncello, abbreviated as Cello) is a medium instrument between viola and double bass; has an enlarged viola shape. It replaced the ancient viola di Gamba instrument. The tuning is the same as that of the viola, but only an octave lower. Its sound volume is very large, in... ... Encyclopedia of Brockhaus and Efron
- (Italian violoncello), a bowed string musical instrument of the violin family of basso-tenor sound. Appeared in the 15th and 16th centuries. Classic examples were created by Italian masters of the 17th and 18th centuries. (A. and N. Amati, G. Guarneri, A. Stradivari and... ... Modern encyclopedia
CELLO, cellos, female. (Italian violoncello) (music). A bowed musical instrument with four strings, shaped like a large violin. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary
CELLO, and, female A bowed musical instrument, medium in register and size between a violin and a double bass. | adj. cello, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary
Books
- , Vasilyeva Alla Evgenievna. The book "Cello Solo. Alchemy of Music" is published on the 85th anniversary of the outstanding cellist People's Artist of Russia Professor Alla Vasilyeva (1933-2018). The first of Mstislav's students...
- Cello SOLO. Alchemy of music (+ DVD application), Alla Evgenievna Vasilyeva. Book Cello Solo. The Alchemy of Music is published on the occasion of the 85th anniversary of the outstanding cellist, People's Artist of Russia, Professor Alla Vasilyeva (1933-2018). The first of Mstislav's students...
Or buy cello strings
Cello - (Italian violoncello, diminutive of violone - double bass). 1) A bowed instrument of the violin family (see Violin) of the basotenor register, tuned in fifths (C, G, d, a). The cello's range reaches 5 octaves.
V. appeared at the end of the 15th - beginning of the 16th centuries. as a result of the long development of folk bowed instruments. At first it was used in a profound way as a bass instrument in various ensembles and to accompany singing or playing the violin, flute, etc. Until the 2nd half of the 17th century. bore the names violoncino, Basso di Viola da braccio (Italian), Basse de violon (French), Ba Viol de Braccio (German), etc. The instruments were made of various sizes (often large) and usually had a tuning of B1, F, s, g. In the 16th-17th centuries. There were also 5- and 6-string instruments of this type. One of the earliest indications of the modern system is given (in relation to Bass Geig de Braccio) by M. Pretorius ("Syntagma musicum", Bd II, 1619).
Apparently, the name “cello” was first used in a collection of sonatas by G. C. Arresti for 2 and 3 voices with the addition of a cello part, published in 1665 in Venice. (“con la parte del Violoncello a beneplacito”).
Classic examples of the cello were created by Italian masters of the 17th and 18th centuries. A. and N. Amati, G. Guarneri, A. Stradivari, C. Bergonzi, D. Montagnana and others. Only at the beginning of the 18th century. The modern size of the cello is firmly established (body length 750-768 mm; scale length, i.e., the vibrating part of the string, 690-705 mm). Great successes in cello making were achieved by the Russian master I. A. Batov (1767-1841) and modern masters E. A. Vitachek, T. F. Podgorny, G. N. Morozov, N. M. Frolov, Ya. I. Kosolapov, L. A. Gorshkov. Excellent cellos by French (J.B. Vuillaume, M. Laber), German, Czech and Polish masters are also known.
When playing, the performer rests the cello on the floor with a spire, which became widespread only at the end of the 19th century. (before this, the performer held the instrument in his calves). In modern cellos, a curved spire invented by the French cellist P. Tortelier is widely used, giving the cello a flatter position, it facilitates the playing technique and, to a certain extent, contributes to the better sound of the instrument.
The first solo works for cello appeared in Bologna at the end of the 17th century. (sonatas for cello with bass and ricercars for solo cello by G. Gabrieli. The cello begins to be involved early in the performance of trio sonatas (G. Torelli - notes, A. Corelli) and Concerti grossi (A. Corelli). The first examples of use of the cello in the concert genre are represented by G. Iacchini's Concerti per camera (1701) and 6 solo concerts by L. Leo (1737-38). The flourishing of cello art began in the 18th century, when the cello finally replaced the viola da gamba. The victory of the cello was due to its richer nature. expressive and technical capabilities, a more powerful, full and bright sound, warmed by vibration and close in timbre to the human voice; all this met the requirements of the new instrumental style with its inherent melodic expressiveness. The cello is gradually becoming increasingly used as a solo and ensemble instrument (it is included. in a bow quartet) and an orchestral instrument. In a modern symphony orchestra, up to 12 cellos are used. In many symphonic, opera and ballet scores, the cello is used as a solo instrument.
Among the cello works of the 18th century, preserved in the concert repertoire, are 6 suites for solo cello by J. S. Bach, concertos by A. Vivaldi, L. Boccherini - sheet music, J. Haydn - sheet music, numerous sonatas for cello and bass by the largest cellists -composers of this century. The modern repertoire includes best works concert genre of the 19th century. - concerts by R. Schumann, C. Saint-Saëns - sheet music, E. Lalo, A. Dvorak; Beethoven's Triple Concerto (violin, cello, piano) and Brahms' Double Concerto (violin, cello) should also be named here. In the 20th century cello concertos were written by E. Elgar, E. dAlbert, P. Hindemith, A. Honegger, D. Milhaud, B. Martinou, F. Martin, B. Britten, A. Jolivet, S. Barber and others. Five sonatas for cello and piano by L. Beethoven (two op. 5 - 1796; op. 69 - 1807; two op. 102 - 1815) laid the foundation for chamber sonatas for this instrument; they were followed by sonatas by F. Mendelssohn, F. Chopin, C. Saint-Saëns, G. Fauré, E. Grieg, C. Debussy, M. Reger, P. Hindemith, Z. Kodaly, B. Martinu, S. Barber and others. Suites for solo cello were created by M. Reger, B. Britten and others, sonatas by P. Hindemith, Z. Kodály and others.
The first Russian sonata for cello and piano that has come down to us was written by M. I. Glinka’s contemporary I. I. Lizogub (20s of the 19th century), the first concerto was written by N. Ya. Afanasyev (40s of the 19th century). ). Concertos for cello were created by A. G. Rubinstein, K. Yu. Davydov, A. K. Glazunov (Concert-Ballad, 1931), concert "" - by P. I. Tchaikovsky (1876), sonatas for cello and piano - by S. V. Rachmaninov (1902), N. Ya. Myaskovsky (1911) and others. Cello literature has reached a bright peak in creativity Soviet composers. Cello concertos were written by N. Ya. Myaskovsky, R. M. Glier, S. S. Prokofiev (Symphony-concert), D. D. Shostakovich, A. I. Khachaturyan, D. B. Kabalevsky, T. N. Khrennikov , L. K. Knipper, S. F. Tsintsadze, Ya. A. Ivanov, A. A. Babajanyan, B. A. Tchaikovsky, M. S. Weinberg, V. A. Vlasov, B. I. Tishchenko and others ; sonatas - N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, V. Ya. Shebalin, D. B. Kabalevsky, M. S. Weinberg, E. M. Mirzoyan, K. S. Khachaturyan and other.
Among the most prominent foreign cellists who played a significant role in the development of the classical cello school of the 18th century are the Italian L. Boccherini, the Frenchman J. L. Duport, and the Czech A. Kraft. Masterly-romantic movement of the 19th century. represented by the German cellist B. Romberg and the Belgian F. Servais (Romberg's concertos and Servais' fantasies have been preserved only pedagogical significance). Artistic flourishing cello art since the end of the 19th century. associated primarily with the performer. activities of the outstanding Spanish musician P. Casals, and later - G. Casado, M. Marechal, E. Mainardi... Among modern foreign cellists: A. Navarra, Z. Nelsova, L. Rose, K. Vilkomirsky, M. Sadlo, P . Tortelier, M. Gendron, P. Fournier, L. Gelscher, J. Dupre, J. Starker, A. Janigro...
Russian cello art 18th and 1st half. 19th century brought forward a number of talented performers from the serfs, and then from the common ranks (I. Khoroshevsky, A. Volkov, I. Lobkov, V. Meshkov, I. Podobedov). The skill of N. B. Golitsyn and M. Yu. Vielgorsky reached a high professional level. Thanks to the performing activities of K. Yu. Davydov, the Russian cello school becomes one of the leading performing schools in the world. Among the outstanding students of the Russian classical cello school he headed are his student A. V. Verzhbilovich, as well as A. A. Brandukov, S. M. Kozolupov, I. I. Press, E. Ya. Belousov, L. B. Rostropovich, G. P. Pyatigorsky, V. T. Podgorny. The older generation of Soviet cellists (A. A. Brandukov, S. M. Kozolupov, A. Ya. Shtrimer, K. A. Minyar-Beloruchev) passed on the best performance traditions to the Soviet cello school, which enjoys worldwide fame; Among the largest representatives of this school are S. N. Knushevitsky, M. L. Rostropovich, D. B. Shafran. In the 1960-70s. A brilliant galaxy of young Soviet cellists, laureates of international competitions, emerged.
So, we told you about the history of the cello, but did not mention anything about its structure. It's time to get better!
The cello consists of:
1) Head.
2) Grif.
3) Housing.
Well, more details.
The cello head consists of a scroll, a peg box and pegs. Connected to the neck.
The second part of the cello is the neck. On it, like on a guitar, there is a nut, in special grooves of which strings pass (A, D-small octave, G, C-major), then a neck, a heel.
The third part is the body. It consists of a top soundboard, a back soundboard, a shell (this is the side), a f-hole (an F-shaped hole in the body that serves as resonators), a stand, a headstock, clippers, a loop, a button and a pin. If you look at a classical cello, you can see a double line drawn along the edges of the top soundboard - this is called a mustache. The spacer inside the case under the stand is the bow. It is the “spine” of the entire instrument.
Well, we talked about the structure of the cello. What else is important when playing it? Can you guess? That's right, bow.
The cello bow happens different sizes - Has sizes: 1/8, 1/4, 1/2, 3/4, 4/4. Comprises:
- A wooden cane (shaft) that goes into the head on one side, with a block attached on the other;
- The cane is made from fernambuco or brazilwood.
- The block is made of ebony with mother-of-pearl inserts. A small copper nut is screwed into the block on the inside adjacent to the cane, and an octagonal screw with a long thread is inserted into the base of the cane, with which you can adjust the tension of the hair.
- The hair of the ponytail (artificial or natural) goes from the head to the block and forms a ribbon with the help of a ring on the block.
The location where the string contacts the bow hair is called gaming point. Depending on the speed of movement, the force of pressure and the playing point on the string, it determines the nature of the sound: volume and timbre.
Tilt of the bow towards the fingerboard is done for:
- Changes in the width of the hair band, which promotes the manifestation of higher harmonics; used most often when playing closer to the fretboard on the piano nuance or when playing harmonics.
- Adjusting the direction of the bow cane spring force, which is necessary for various articulatory effects, for example: softening the sound attack, reducing the jumping ability of the bow, etc.
Before playing, the bow is rubbed with rosin. This is necessary to make your cello “sing.” In principle, there is a simple explanation for this - the friction force improves, the bow glides along the strings more easily and the sound becomes better. But! Don’t forget to wipe down your instrument after each game - rosin has a very bad effect on the varnish coating, as well as on the wood of the instrument, which can subsequently seriously distort its sound. Rosin also accumulates on the strings, so you need to remove it from the strings with a soft cloth. It is also advisable to remember that for each string bowed instrument– your own type of rosin.
If you want to purchase a cello or electric cello, as well as accessories for them, then contact us - we will give you full advice regarding the purchase.
violoncello, abbr. cello ; German Violoncello; fr. violoncelle; English cello) - a stringed bowed musical instrument of the bass and tenor register, known since the first half XVI century, the same structure as a violin or viola, but much larger in size. The cello has wide expressive capabilities and a carefully developed performance technique; it is used as a solo, ensemble and orchestral instrument.
History of the origin and development of the instrument
The appearance of the cello dates back to the beginning of the 16th century. It was originally used as a bass instrument to accompany singing or playing an instrument of a higher register. There were numerous varieties of cellos, differing from each other in size, number of strings, and tuning (most often, they were tuned to a tone lower than the modern one).
IN XVII-XVIII centuries Through the efforts of outstanding musical masters of Italian schools (Nicolo Amati, Giuseppe Guarneri, Antonio Stradivari, Carlo Bergonzi, Domenico Montagnana, etc.), a classic cello model with a firmly established body size was created. At the end of the 17th century, the first solo works for cello appeared - sonatas and ricercars by Domenico Gabrieli. By the middle of the 18th century, the cello began to be used as a concert instrument, thanks to its brighter, fuller sound and improving performance technique, finally displacing the viola da gamba from musical practice. The cello is also part of the symphony orchestra and chamber ensembles. The final establishment of the cello as one of the leading instruments in music occurred in the 20th century through the efforts of the outstanding musician Pau Casals. The development of schools for performing this instrument has led to the emergence of numerous virtuoso cellists who regularly perform in recitals.
The cello's repertoire is very wide and includes numerous concertos, sonatas, and unaccompanied works.
Technique of playing the cello
The principles of playing and strokes when performing on the cello are the same as on the violin, however, due to the larger size of the instrument and the different position of the player, the technique of playing the cello is more complicated. Harmonics, pizzicato, thumb bet are used (English)Russian and other game techniques. The sound of the cello is juicy, melodious and intense, slightly compressed in the upper register on the lower strings.
Cello string structure: C, G, d, a(“do”, “sol” of the large octave, “d”, “a” of the small octave), that is, an octave below the alto. The range of the cello thanks to the developed string playing technique a very wide - from C(“to” major octave) to a 4(“A” of the fourth octave) and higher. Notes are written in bass, tenor and treble clefs according to their actual sound.
Before late XIX centuries, performers held the cello with their calves. But at the end of the 19th century, the French cellist P. Tortelier invented a curved spire, which gives the instrument a more flat position. When playing, the performer rests the cello on the floor with a pin, which somewhat facilitates the playing technique.
The cello is widely used as a solo instrument, a group of cellos is used in string and symphony orchestras, the cello is an obligatory participant in a string quartet, in which it is the lowest (except for the double bass, which is sometimes used in it) of the instruments in sound, and is also often used in other chamber ensembles. ensembles. In an orchestral score, the cello part is written between the viola and double bass parts.
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Literature
- Ginzburg L.S. History of cello art: In two books. - M., L., 1950, 1957.
- Ginzburg L.S. History of cello art: Russian classical cello school. - M.: Music, 1965
- Lazko A. Cello. - M.: Music, 1965
Links
| 30px | cello in Wiktionary |
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| 30px | Cello in Wikiquote |
| [[Lua error in Module:Wikidata/Interproject on line 17: attempt to index field "wikibase" (a nil value). |Cello]] in Wikisource | |
| 30px | [((localurl:Commons:Category: Lua error: callParserFunction: function "#property" was not found. ))?uselang=ru Cello] on Wikimedia Commons |
- Cello // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
- (English)
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An excerpt characterizing the Cello
And my heart again ached for the wonderful people whose lives were cut short by the same church, which falsely proclaimed “forgiveness”! And then I suddenly remembered the words of Caraffa: “God will forgive everything that happens in his name!” monsters!..Before my eyes again stood young, exhausted Esclarmonde... An unfortunate mother who had lost her first and last child... And no one could really explain to her why they did this to them... Why they, kind and innocent, went to their death...
Suddenly a thin, out of breath boy ran into the hall. He clearly came straight from the street, as steam was pouring out of his wide smile.
- Madam, Madam! They were saved!!! Dear Esclarmonde, there is a fire on the mountain!..
Esclarmonde jumped up, about to run, but her body turned out to be weaker than the poor thing could have imagined... She collapsed straight into her father's arms. Raymond de Pereille picked up his feather-light daughter in his arms and ran out the door... And there, gathered on the top of Montsegur, stood all the inhabitants of the castle. And all eyes looked only in one direction - to where a huge fire was burning on the snowy peak of Mount Bidorta!.. Which meant that the four fugitives had reached the desired point!!! Her brave husband and newborn son escaped the brutal clutches of the Inquisition and could happily continue their lives.
Now everything was in order. All was good. She knew that she would go to the fire calmly, since the people dearest to her were alive. And she was truly pleased - fate took pity on her, allowing her to find out... Allowing her to calmly go to her death.
At sunrise, all the Perfect and Believing Cathars gathered in the Temple of the Sun to last time enjoy its warmth before leaving for eternity. The people were exhausted, cold and hungry, but they were all smiling... The most important thing was accomplished - the descendant of Golden Maria and Radomir lived, and there was hope that one fine day one of his distant great-grandchildren would rebuild this monstrously unjust world, and no one will have to suffer anymore. The first ray of sunlight lit up in the narrow window!.. It merged with the second, third... And in the very center of the tower a golden pillar lit up. It expanded more and more, covering everyone standing in it, until the entire surrounding space was completely immersed in a golden glow.
It was farewell... Montsegur said goodbye to them, tenderly seeing them off to another life...
And at this time, below, at the foot of the mountain, a huge terrible fire was taking shape. Or rather, a whole structure in the form of a wooden platform, on which thick pillars “flaunted”...
More than two hundred Paragons began to solemnly and slowly descend the slippery and very steep stone path. The morning was windy and cold. The sun peeked out from behind the clouds only for a short moment... to finally caress its beloved children, its Cathars going to their deaths... And again leaden clouds crawled across the sky. It was gray and uninviting. And to strangers. Everything around was frozen. The drizzling air soaked thin clothes with moisture. The heels of those walking froze, sliding on wet stones... The last snow was still showing off on Mount Montsegur.
Below, brutalized by the cold small man hoarsely yelled at the crusaders, ordering them to cut down more trees and drag them into the fire. For some reason the flame did not flare up, but the little man wanted it to blaze to the very heavens!.. He deserved it, he had been waiting for it for ten long months, and now it had happened! Just yesterday he dreamed of returning home quickly. But anger and hatred for the damned Cathars took over, and now he wanted only one thing - to see how the last Perfects would finally burn. These last Children of the Devil!.. And only when all that remains of them is a pile of hot ashes, will he calmly go home. This little man was the seneschal of the city of Carcassonne. His name was Hugues des Arcis. He acted on behalf of His Majesty, King of France, Philip Augustus.
The Cathars were already descending much lower. Now they moved between two sullen, armed columns. The crusaders were silent, gloomily watching the procession of thin, emaciated people, whose faces for some reason shone with an unearthly, incomprehensible delight. This scared the guards. And this was, in their opinion, abnormal. These people were going to their death. And they couldn't smile. There was something alarming and incomprehensible in their behavior, which made the guards want to get away from here quickly and far away, but their duties did not allow them - they had to resign themselves.
The piercing wind blew through the thin, wet clothes of the Perfects, causing them to shudder and, naturally, huddle closer to each other, which was immediately stopped by the guards, who pushed them to move alone.
First in this terrible funeral procession was Esclarmonde. Her long hair fluttering in the wind, they covered the thin figure with a silk cloak... The dress on the poor thing hung, being incredibly wide. But Esclarmonde walked, holding her beautiful head high and... smiling. As if she was going to her great happiness, and not to a terrible, inhuman death. Her thoughts wandered far, far away, beyond the high snowy mountains, where the people dearest to her were - her husband, and her little newborn son... She knew that Svetozar would watch Montsegur, she knew that he would see the flames when they mercilessly devour her body, and she really wanted to look fearless and strong... She wanted to be worthy of him... Her mother followed her, she was also calm. Only from pain for her beloved girl did bitter tears well up in her eyes from time to time. But the wind caught them and immediately dried them, preventing them from rolling down their thin cheeks.
Plan
Introduction
Background to the appearance of the cello
History of the origin and development of the instrument
Tool structure
Technique of playing the cello
Repertoire for cello
Modern cello
Outstanding cellists
Bibliography
Introduction
Cello (Italian) violoncello, abbr. cello, German Violoncello, fr. violoncelle, English cello) is a stringed bowed musical instrument of the violin family of bass and tenor registers.
It is believed that the cello appeared in the first half of the 16th century.
It has the same structure as a violin or viola, but is much larger in size. The cello has wide expressive capabilities and a carefully developed performance technique; it is used as a solo, ensemble and orchestral instrument.
1. Background to the appearance of the cello
The history of musical instruments goes back as many centuries as the history of humanity itself. The science that studies the origin and development of musical instruments is called organology. Its systematization dates back to the Renaissance.
Due to the fact that musical instruments have very different origins and nature, they are classified in accordance with the principle of sound formation according to the classification adopted in 1914 by Kurt Sachs and Erich Moritz von Hornbostel (“Systematik der Musikinstrumente: ein Versuch” Zeitschrift fur Ethnologie) (“Systematics of musical instruments: experience” Journal of Ethnology) classical.
Following the system proposed by the above-mentioned musicologists, chordophones are distinguished among musical instruments (from the Greek “chord” - string). In chordophones, as their name suggests, sound is produced by vibrating tightly stretched strings through the action of a bow (violin, viola da gamba) or by directly plucking the strings with fingers or a plectrum (pick).
String instruments are divided into two large groups: a group of bowed instruments and a group of plucked instruments. We will look at the group of bowed instruments, since the cello belongs to this group.
Bowed instruments have been known since the 8th century. and their homeland is considered to be the region of Uzbekistan and the territories near the Aral Sea. From here, bowed instruments spread to the east - into the musical cultures of India and China, while along the Persian route - to the south and west, reaching Islamic territories. The bowed cordafon appeared in the Balkan zone, arriving on the European continent through Byzantium. Also on the Iberian (Iberian) Peninsula already in the 11th century. we encounter extensive information and iconography related to bowed instruments.
But the most significant bowed instrument of the Middle Ages was the viol, also called the bowed vihuela and known among musicologists (organologists) as the fidula. In fact, from the named instrument at the end of the XV
Viola da gamba, predecessor of the cello
The repertoire for viols was extremely diverse, primarily from the French school, in which the names of Saint-Colombe, De Mache, Louis de Ca d'Hervelois, Antoine Forqueret and Maren Marais appeared.
Also in England in the 16th and 17th centuries. A whole galaxy of composers appeared who wrote music for viols - Tobias Hume, Orlando Gibbons, Christopher Tye, Matthew Locke, Henry Purcell and John Jenkins.
But already in the 17th century. viols began to be displaced from musical Olympus which replaced them with another family of bowed instruments - the family of violins (violin, viola, cello, double bass). These instruments immediately gained popularity among both composers and listeners. Compared to violas da gamba, violins have a more pinched body, narrower side contours (shells), a higher stand (and therefore have greater sonority and pitch), four strings tuned in fifths, and a longer bow.
2. History of the origin and development of the instrument
The history of the creation of the cello coincides with the history of the violin. The ancestor of both instruments is the viol. In the history of music, a fairly strong belief has been established that this instrument traces its ancestry to the ancient “foot viol”, known as the viola da gamba. In contrast to the gamba, some varieties of the viol, and in particular the viole d'amour, had a number of consonant "harmonic" strings under the fingerboard, tuned exactly to the main ones. A genuine "viol bass" with six strings did not have these consonant strings.
However, one variety of bass viol - viola bastarda, received these “consonant strings”, which happened much later and was never included in the rule for the gamba.
The appearance of the cello dates back to the late 15th and early 16th centuries as a result of the long development of folk bowed instruments. Initially, it was used as a bass instrument in various ensembles, to accompany singing or performance on an instrument of a higher register (violin, flute, etc.).
Until the 2nd half of the 17th century. bore the names violoncino, Basso di Viola da braccio (Italian), Basse de violon (French), Ba Viol de Braccio (German), etc. There were numerous varieties of cello. The instruments were made in various sizes (often large) and usually had a tuning of B1, F, c, g (most often, tuning was a tone lower than the modern one).
One of the earliest indications of the modern system is given (in relation to Bass Geig de Braccio) by M. Pretorius ("Syntagma musicum", Bd II, 1619). In the XVI-XVII centuries. There were also 5- and 6-string instruments of this type.
In the history of the cello, only two famous masters are mentioned who designed the cello: Gasparo da Salo and Paolo Magini.
They lived at the turn of the 16th - 17th centuries and popular rumor attributed to the first of them the honor of “inventing” the modern violin with four strings tuned in fifths, the improvement of the violone, or viol double bass, and finally the creation of the cello. The first masters who built cellos did not yet clearly understand Right way in the development of the modern cello.
Antonio Stradivari gave the instrument its modern look.<#"601005.files/image004.gif">
Well, in more detail:
The cello head consists of a scroll, a peg box and pegs. Connected to the neck.
The second part of the cello is the neck. On it, like on a guitar, there is a nut, in special grooves of which the strings pass (A, D-small octave, G, C-major), then the neck, heel.
The third part is the body. It consists of a top soundboard, a back soundboard, a shell (this is the side), a f-hole (an F-shaped hole in the body that serves as resonators), a stand, a headstock, clippers, a loop, a button and a pin. If you look at a classical cello, you can see a double line drawn along the edges of the top soundboard - this is called a mustache. The spacer inside the case under the stand is the shackle. It is the “spine” of the entire instrument.
When playing it, the bow is also important.
The cello bow comes in different sizes - it has sizes: 1/8, 1/4, 1/2, 3/4, 4/4. Comprises:
A wooden cane (shaft) that goes into the head on one side, with a block attached on the other. The cane is made from fernambuco or brazilwood.
The block is made of ebony with mother-of-pearl inserts. A small copper nut is screwed into the block on the inside adjacent to the cane, and an octagonal screw with a long thread is inserted into the base of the cane, with which you can adjust the tension of the hair.
The hair of the ponytail (artificial or natural) goes from the head to the block and forms a ribbon with the help of a ring on the block.
The location where the string meets the bow hair is called the playing point. Depending on the speed of movement, the force of pressure and the playing point on the string, it determines the nature of the sound: volume and timbre.
Tilt of the bow towards the fingerboard is done for:
) changes in the width of the hair band, which contributes to the manifestation of higher harmonics; used most often when playing closer to the fretboard on the piano nuance or when playing harmonics;
) adjusting the direction of the bow cane spring force, which is necessary for various articulatory effects, for example: softening the sound attack, reducing the jumping ability of the bow, etc.
Before playing, the bow is rubbed with rosin. This is necessary to make your cello “sing.” In principle, there is a simple explanation for this - the friction force improves, the bow glides along the strings more easily and the sound becomes better. But! Don’t forget to wipe your instrument after each game - rosin has a very bad effect on the varnish coating, as well as on the wood of the instrument, which can subsequently seriously distort its sound.
Rosin also accumulates on the strings, so you need to remove it from the strings with a soft cloth. It is also advisable to remember that each stringed instrument has its own type of rosin.
4. Technique of playing the cello
In technical terms, the cello as a musical instrument is perfect - a comfortable position for the instrument when playing, the ability to perform virtuoso things with ease, and producing sound does not require a full load on the performer’s physical abilities. In this regard, the cello is an almost perfect instrument. She has access to all the technical subtleties inherent in the violin and viola, but to reproduce them, as a rule, they require more labor. In short, the cello's technique is more complex than the violin's, although just as brilliant. From the first days of the appearance of the cello in the orchestra and throughout the centuries, its position there was extremely unenviable; none of the contemporaries then even knew about the rich artistic and performing capabilities of cellos. Even in those times when music moved sharply forward, the duties of the cello remained just as modest and even miserable.
The cello is a string instrument that belongs to the “family” of the violin, therefore the principles of play and strokes when performing on the cello are the same as on the violin, however, due to the larger size of the instrument and the different position of the player, the technique of playing the cello is somewhat limited. Harmonics, pizzicato, bet are used thumb and other game techniques. The sound of the cello is juicy, melodious and intense, slightly compressed in the upper register.
Every stringed instrument
Cello string structure: C, G, d, a(C, G of the large octave, D, A of the small octave), that is, an octave below the alto. The range of the cello thanks to the developed string playing technique a very wide - from C(to major octave) to a 4(A fourth octave) and higher, so it can extend over more than four octaves, and the character of its sound is extremely diverse. Each string of the cello has its own coloring of sound, characteristic of it alone. The low register of the cello corresponds to the low male voice bassa profundo and has a great fullness of sound. This section of the cello scale is very good in dark, mysterious and dramatic music.
Notes are written in bass, tenor and treble clefs according to their actual sound.
The cello is approximately four feet long and a foot and a half at its widest point and is therefore played while seated. When playing, the performer rests the cello on the floor with a pin, which became widespread only at the end of the 19th century (before that, the instrument was held with the calves of the legs).
On modern cellos, a curved spire invented by the French cellist P. Tortelier is widely used, which gives the instrument a flatter position, somewhat facilitating the playing technique and, to a certain extent, contributes to the better sound of the instrument.
5. Repertoire for cello
The cello's repertoire is quite wide, because the cello's rich expressive capabilities have always attracted the attention of composers. An extensive literature has been created for this tool. The concert repertoire is decorated with solo cello suites by J. S. Bach, sonatas for cello and piano by L. Beethoven, F. Schubert, F. Chopin, J. Brahms, E. Grieg, C. Debussy, S. V. Rachmaninov, D. D. . Shostakovich. Concerts for cello and orchestra by A. Vivaldi, I. Haydn, L. Boccherini, R. Schumann, C. Saint-Saëns, A. Dvorak, S. S. Prokofiev, D. D. Shostakovich, A. I. . Khachaturian, P. Hindemith, B. Britten; The concert Variations on a Rococo Theme for cello and orchestra by P. I. Tchaikovsky are world famous.
The first solo works for cello appear in Bologna at the end of the 17th century. (sonatas for cello and bass and ricercars for solo cello
The flourishing of cello art began in the 18th century, when the cello finally replaced the viola da gamba. The victory of the cello was due to its richer expressive and technical capabilities, a more powerful, full and bright sound, warmed by vibration and close in timbre to the human voice; all this met the requirements of the new instrumental style with its characteristic melodic expressiveness. Gradually, the cello is becoming increasingly used as a solo, ensemble (it is part of a bow quartet) and orchestral instrument. A modern symphony orchestra uses up to 12 cellos. In many symphonic, opera and ballet scores, the cello is used as a solo instrument.
Among the cello works of the 18th century, preserved in the concert repertoire, are 6 suites for solo cello
During the Baroque Era, composers such as Antonio Vivaldi and Luigi Bocerini composed unaccompanied cello suites. TO XIX century pieces for cello included concertos that were written by Jonas Brahms and Antonin Dvorak. Composers such as Sergei Prokofiev and Dmitri Shostakovich further explored and expanded the cello's capabilities as a solo instrument during the 20th century.
The modern repertoire includes the best works of the concert genre of the 19th century. - concerts
In the 20th century cello concertos were written by E. Elgar, 'E. DAlbert
Five sonatas for cello and piano by L. Beethoven (two op. 5 - 1796; op. 69 - 1807; two op. 102 - 1815) laid the foundation for chamber sonatas for this instrument; they were followed by sonatas by F. Mendelssohn, F. Chopin, C. Saint-Saëns, G. Fauré, E. Grieg, C. Debussy, M. Reger, P. Hindemith, Z. Kodaly, B. Martinu, S. Barber and etc.
The first Russian sonata for cello and piano that has come down to us was written by M. I. Glinka’s contemporary I. I. Lizogub (20s of the 19th century), the first concerto was written by N. Ya. Afanasyev (40s of the 19th century). ). Concertos for cello were created by A. G. Rubinstein, K. Yu. Davydov, A. K. Glazunov (Concert Ballad, 1931), concert “Variations on a Rococo Theme”
Cello literature reached a bright peak in the works of Soviet composers. Cello concertos were written by N. Ya. Myaskovsky, R. M. Glier, S. S. Prokofiev (Symphony-concert
Among the most prominent foreign cellists who played a significant role in the development of the classical cello school of the 18th century is the Italian L.
Boccherini, French J.L. Duport, Czech A. Kraft. Masterly-romantic movement of the 19th century. represented by the German cellist B. Romberg and the Belgian F. Servais (Romberg's concertos and Servais' fantasies retained only pedagogical significance).
The artistic flowering of cello art, starting from the end of the 19th century. associated primarily with the performing activities of the outstanding Spanish musician Pablo Casals, and later with G. Casado, M. Marechal, E. Mainardi. Among modern foreign cellists: A. Navarra, Z. Nelsova, L. Rose, K. Vilkomirsky, M. Sadlo, P. Tortelier, M. Gendron, P. Fournier, L. Gelscher, J. Dupre, J. Starker, A . Yanigro...
Russian cello art of the 18th century. and 1st floor XIX century brought forward a number of talented performers from the serfs, and then from the common ranks (I. Khoroshevsky, A. Volkov, I. Lobkov, V. Meshkov, I. Podobedov). The skill of N. B. Golitsyn and M. Yu. Vielgorsky reached a high professional level. Thanks to the performing activities of K. Yu. Davydov, the Russian cello school becomes one of the leading performing schools in the world. Among the outstanding students of the Russian classical cello school he headed are his student A. V. Verzhbilovich, as well as A. A. Brandukov, S. M. Kozolupov, I. I. Press, E. Ya. Belousov, L. B. Rostropovich, G. P. Pyatigorsky, V. T. Podgorny.
The older generation of Soviet cellists (A. A. Brandukov, S. M. Kozolupov, A. Ya. Shtrimer, K. A. Minyar-Beloruchev) passed on the best performance traditions to the Soviet cello school, which enjoys worldwide fame; Among the largest representatives of this school are S. N. Knushevitsky, M. L. Rostropovich, D. B. Shafran. In the 1960-70s. A brilliant galaxy of young Soviet cellists, laureates of international competitions, emerged.
There is an interesting fact in history: Great master orchestra, composer, musician, conductor, such as Johann Sebastian Bach, never dedicated the cello to a solo singing part in the orchestra, in which it could show off its qualities. Beethoven was, undoubtedly, the first classical composer who appreciated the instrument. He guessed the true dignity of the cello and placed it in the place in the orchestra that it rightfully deserves.
Later, such romantic composers as Mendelssohn, Davydov, Shostakovich, Weber further deepened means of expression cellos in the orchestra. They already needed a mysterious, fantastic and excited sonority, and, having found it in the sounds of the cello, they used it in the most worthy way.
The great composer Pyotr Ilyich Tchaikovsky made especially rich use of the cello in his work Variations on a Theme “Rococo”, where he gave the cello such rights that he made this small work of his a worthy adornment for everyone. concert programs, demanding from the performer true excellence in the ability to master his instrument, in order to emphasize the greatness and dignity of this beautiful instrument. cello instrument composer repertoire
There are several more composers mentioned above who wrote cello concertos: Camille Saint-Saëns, Robert Schumann and Antonin Dvorak. The concertos of Schumann and Dvorak should be considered among the favorite, but also quite rarely performed works.
Perhaps the greatest success among listeners is the Saint-Saëns concerto and, unfortunately, the rarely performed triple concerto for piano, violin and cello by Beethoven. The idea, in principle, was common - to show the instrument from different sides: musical, technical and expressive, and they all succeeded in doing this perfectly!
It is quite fair to note that nowadays all composers deeply value the cello - its warmth, sincerity and depth of sound, and its performing qualities have long won the hearts of both the musicians themselves and their enthusiastic listeners. After the violin and piano, the cello is the most favorite instrument to which composers turned their attention, dedicating their works to it, intended for performance in concerts accompanied by an orchestra or piano.
6. Modern cello
It is difficult to say with certainty when the modern cello originated. It is impossible to say whether the modern cello arose completely independently or was the result of long-term improvement of the bass viol or gamba.
Modern cellos are different: they may differ, for example, in color, material, shape (if it is an electronic instrument) and, of course, sound quality.
Here are some examples of cellos made in modern times: C - Cello 4/4, case JW 2890
The cello is designed specifically for students and orchestral players who want a professional and affordable instrument.
An orchestral craftsman's instrument crafted from naturally seasoned, eight-year-old +AAA European Curly Maple. Hand varnished with oil-alcohol varnish, in amber-brown tones. The fittings are made of African ebony wood.
Tailpiece with 4 machines from Wittner. Larsen Solo and Spiro core Wolfram strings. Carbon lightweight spire.C - Cello 4/4, case JW 8033
A handcrafted solo instrument with a soft sound and superb responsiveness, it is crafted from naturally seasoned, ten-year-old +AAA European Curly Maple. Hand varnished with oil-alcohol varnish, in amber-brown tones. The fittings are made of African ebony or rosewood. Larsen Solo and Spiro core Wolfram strings. Carbon lightweight spire.
. Outstanding cellists
The development of the cello performance school led to the emergence of wide range virtuoso cellists who regularly performed their solo concerts. The most famous cello performers: Mstislav Rostropovich, Pablo Casals, Natalia Gutman, Yo-Yo-Ma, Jacqueline Dupre, Andre Navarre, Pierre Fournier.
· Grigory Pyatigorsky
Mstislav Rostropovich
· Pablo Casals
· Pierre Fournier
· Jacqueline Du Preez
· Paul Tortelier
· Daniil Shafran
· David Geringas
· Eikka Toppinen
· Perttu Kivilaakso
· Konstantin Minyar-Beloruchev
· Natalia Gutman
· Aleksandr Kuznetsov
· Yo-Yo Ma
· Maurice Marechal
· Andre Navarra
· Stephen Isserlis
· Alexander Ivashkin
· Alexander Rudin.
Bibliography
1. Ginzburg L.S. History of cello art: In two books. - M., L., 1950, 1957.
2. Ginzburg L.S. History of cello art: Russian classical cello school. - M.: Music, 1965
3. Lazko A. Cello. - M.: Music, 1965
4. M. Astrel World of Music (encyclopedia), AST 2008
Musical instrument: Cello
The cello is a string-bowed instrument, an obligatory member of the symphony orchestra and string ensemble, possessing rich in technology execution. Due to its rich and melodious sound, it is often used as a solo instrument. The cello is widely used when it comes to expressing sadness, despair or deep lyricism in music, and in this it has no equal.
Unlike violins And viola , to which it is very similar in appearance, the cello is not held in the hands, but placed vertically. It is interesting that at one time it was played standing up, placed on a special chair, only then they came up with a spire that rests on the floor, thereby supporting the instrument.
It's amazing what creativity L.V. Beethoven composers did not attach special significance the melodiousness of this instrument. However, having received recognition in his works, the cello occupied an important place in the work of the Romantics and other composers.
History cellos and read many interesting facts about this musical instrument on our page.
The sound of a cello
Having a thick, rich, melodious, soulful sound, the cello often resembles the timbre of the human voice. Sometimes during solo performances it seems that she is talking and talking to you in a sing-song voice. About a person, we would say that he has a chest voice, that is, coming from the depths of the chest, and perhaps from the soul itself. It is precisely this mesmerizing deep sound that surprises the cello.
Her presence is necessary when it is necessary to emphasize the tragedy or lyricism of the moment. Each of the four strings of the cello has its own special sound, unique to it. Thus, low sounds resemble a bass male voice, while upper sounds resemble a more gentle and warm female alto voice. That is why it sometimes seems that she not only sounds, but “talks” to the audience.
Sound range covers the interval of five octaves from the note “C” of the major octave to the note “E” of the third octave. However, often the performer's skill allows him to hit notes much higher. The strings are tuned in fifths.
Photo:
Interesting facts about the cello
- The Stradivarius and Duport cello is considered the most expensive instrument in the world. It was made by the great master Antonio Stradivari in 1711. Duport, a brilliant cellist, was its owner. long years until his death, which is why the cello got its name. It's a little scratched. There is a version that this is a mark from Napoleon's spurs. The emperor left this mark when he tried to learn to play this musical instrument and wrapped his legs around it. The cello stayed for several years with the famous collector Baron Johann Knop. M. Rostropovich played on it for 33 years. There are rumors that after his death, the Japan Music Association bought the instrument from his relatives for $20 million, although they stubbornly deny this fact. Perhaps the instrument is still in the musician's family.
- Count Villegorsky owned two beautiful Stradivari cellos. One of them was later owned by K.Yu. Davydov, then Jacqueline du Pré, now played by the famous cellist and composer Yo-Yo Ma.
- Once upon a time, an original competition was held in Paris. The great cellist Casals took part in it. The sound was studied vintage instruments, made by the masters of Guarneri and Stradivari, as well as the sound of modern cellos made in the factory. A total of 12 instruments took part in the experiment. The light was turned off for the purity of the experiment. Imagine the surprise of the jury and Casals himself when, after listening to the sound, the judges gave modern models 2 times more points for the beauty of sound than the old ones. Then Casals said: “I prefer to play old instruments. They may lose in the beauty of sound, but they have a soul, and those of today have beauty without a soul.”
- Cellist Pablo Casals loved and pampered his instruments. He inserted a sapphire, which was given to him by the Queen of Spain, into the bow of one of the cellos.
- The Finnish group Apocalyptika gained great popularity. Her repertoire includes hard rock. What’s amazing is that the musicians play 4 cellos and drums. Such use of this bowed instrument, always considered soulful, soft, soulful, lyrical, brought the group worldwide fame. In the name of the group, the performers combined the two words Apocalypse and Metallica.
- Renowned abstract artist Julia Borden paints her amazing paintings not on canvas or paper, but on violins and cellos. To do this, she removes the strings, cleans the surface, primes it and then paints the design. Why she chose such an unusual placement for the paintings, Julia cannot even explain to herself. She said that these instruments seem to be pulling her towards them, inspiring her to create another masterpiece.
- Musician Roldugin bought the Stuart cello, made by Stradivarius in 1732, for $12 million. Its first owner was the King of Prussia, Frederick the Great.
- The cost of Antonio Stradivari's instruments is the highest. In total, the master made 80 cellos. Today, according to experts, 60 instruments have survived.
- The Berlin Philharmonic Orchestra has 12 cellists. They became famous for introducing many arrangements of popular modern songs into their repertoire.
- The classic type of instrument is made of wood. However, some modern masters decided to break stereotypes. For example, Louis and Clark produce cellos from carbon fiber, and Alcoa has been producing aluminum cellos since the 1930s. The German master Pfretzschner was also interested in this.
- The ensemble of cellists from St. Petersburg under the direction of Olga Rudneva has a rather rare composition. The ensemble includes 8 cellos and a piano.
- In December 2014, South African Karel Henn set a record for the longest cello playing time. He played continuously for 26 hours and got into the Guinness Book of Records.
- Mstislav Rostropovich, a 20th-century cello virtuoso, made significant contributions to the development and promotion of the cello repertoire. He performed more than a hundred new works for cello for the first time.
- One of the most famous cellos is the “King”, which was made by Andre Amati between 1538 and 1560. It is one of the oldest cellos and is located in the National music museum South Dakota.
- The instrument did not always have 4 strings; in the 17th and 18th centuries there were five-string cellos in Germany and the Netherlands.
- Initially, the strings were made from sheep's offal, but later they were replaced by metal ones.
Popular works for cello
J. S. Bach - Suite No. 1 in G major (listen)
P.I. Tchaikovsky. - Variations on a Rococo Theme for cello and orchestra (listen)
A. Dvorak - Concerto for cello and orchestra (listen)
C. Saint-Saens - "Swan" (listen)
J. Brahms - Double Concerto for violin and cello (listen)
Cello repertoire
The cello has a very rich repertoire of concertos, sonatas and other works. Perhaps the most famous of these are the six suites I.S. Bach for solo cello, variations on a rococo theme P.I. Tchaikovsky and "The Swan" by Saint-Saëns. Antonio Vivaldi wrote 25 cello concertos, Boccherini 12, Haydn wrote at least three, Saint-Saens And Dvorak wrote two each. The cello concertos also include works written by Elgar and Bloch. The most famous sonatas for cello and piano were written by Beethoven, Mendelssohn , Brahms, Rachmaninov , Shostakovich, Prokofiev , Poulenc and Britten .
The instrument retains its original appearance for a long time. Its design is quite simple and it never occurred to anyone to alter or change anything in it. The exception is the spire that rests the cello on the floor. At first it was not there at all. The instrument was placed on the floor and played with the legs wrapped around the body, then placed on a raised platform and played while standing. After the appearance of the spire, the only change was its bending, thanks to which the body could be at a different angle. The cello looks like violin big size. It consists of 3 main parts:
- Frame. Contains an upper and lower soundboard, f-hole (hole for resonance), headstock, shell, loop, button, bow (spacer inside).
- Grif. There is a nut, a neck and a heel.
- Head. This is a part with a peg box where the pegs for tensioning the strings are located. It ends with a curl.
An important separate part of the instrument is the bow. It comes in different sizes and also consists of 3 parts:
- Wooden cane (Brazil wood or fernamboo is used).
- Pads (made from durable ebony, with mother-of-pearl inserts).
- Horsehair (either natural or artificial). Its tension is adjusted by an octagonal screw located on the reed.
The place where the hair touches the string is called the “playing point”. The sound is affected by the playing point, the force of pressure on the bow, and the speed of its movement. In addition, the sound can be influenced by tilting the bow. For example, use the technique of harmonics, articulatory effects, sound softening, piano.
Cello sizes
Standard (full) cello size is 4/4. These are the instruments that can be found in symphony, chamber and string ensembles. However, other tools are also used. For children or short people, smaller format models are produced in sizes 7/8, 3/4, 1/2, 1/4, 1/8, 1/10, 1/16.
These options are similar in structure and sound capabilities to conventional cellos. Their small size makes playing convenient for young talents who are just beginning their journey into a great musical life.
There are also cellos that are larger than the standard size. Such models are designed for tall people with long arms. Such a tool is not produced on a production scale, but is made to order.
Cello weight quite small. Despite the fact that it looks massive, it weighs no more than 3-4 kg.
History of the cello
Initially, all bowed instruments originated from a musical bow, which was not much different from a hunting bow. Initially they spread to China, India, Persia and all the way to Islamic lands. On European territory, representatives of the violin began to spread from the Balkans, where they were brought from Byzantium.
The cello officially begins its history at the beginning of the 16th century. This is what teaches us modern history instrument, although some finds cast doubt on it. For example, on the Iberian Peninsula, already in the 9th century, iconography appeared on which bowed instruments are present. Thus, if you dig deep, the history of the cello begins more than a millennium ago.
The most popular of the bowed instruments was viola da gamba. It was this that was subsequently supplanted by the cello from the orchestra, being its direct descendant, but with a more beautiful and varied sound. All its known relatives: violin, viola, double bass, also trace their history back to the viol. In the 15th century, the division of the viol into various bowed instruments began.
After its appearance as a separate representative of the bowed instrument, the cello began to be used as a bass to accompany vocal performances and parts for the violin, flute and other instruments that had a higher register. Later, the cello was often used to perform solo parts. To this day, not a single string quartet can do without it. Symphony Orchestra, where 8-12 instruments are involved.
Great Cello Makers
The first known cello makers are Paolo Magini and Gasparo Salo. They designed the instrument at the end of the 16th - beginning of the 17th century. The first cellos created by these masters only vaguely resembled the instrument that we can see now.
The cello acquired its classical form in the hands of such famous masters like Nicolo Amati and Antonio Stradivari. A distinctive feature of their work was the ideal combination of wood and varnish, thanks to which they were able to give each instrument its own unique sound, its own style of sound. There is an opinion that each cello that came out of the workshop of Amati and Stradivari had its own character.
Stradivarius cellos are considered the most expensive to date. Their cost amounts to millions of dollars. Guarneri's cellos are no less famous. It was this instrument that the famous cellist Casals loved most, preferring it to the products of Stradivarius. The cost of these tools is slightly lower (from $200 thousand).
Why are Stradivarius instruments valued tens of times higher? In terms of originality of sound, character, and timbre, both models have exceptional features. The simple fact is that the Stradivari family was represented by no more than three masters, while Guarneri was represented by at least ten. The fame of the house of Amati and Stradivari came during their lifetime, the name Guarneri began to sound much more later than death their representatives.
Sheet music for cellos write in the range of tenor, bass and treble clefs in accordance with the pitch. In the orchestral score, her part is placed between the violas and double basses. Before starting to play, the performer rubs the bow with rosin. This is done to adhere the hair to the string and allow sound to be produced. After playing music, rosin is removed from the instrument, as it spoils the varnish coating and wood. If this is not done, the sound may subsequently lose quality. Interestingly, each bowed instrument has its own type of rosin.
Video: listen to cello