Academic literature on the topic 'Violin cellists'
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Journal articles on the topic "Violin cellists"
1
Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (July 2004): 167–78. http://dx.doi.org/10.2307/3345438.
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We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers were more stable when using vibrato. University players tended to become sharper during both vibrated and nonvibrated tones compared to the younger players. Pitch oscillations during vibrato were alternations both above and below conceived pitch, rather than oscillations only above or only below the conceived pitch.
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Золотарьова, Н. С., and Т. О. Оліферовська. "ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 149–63. http://dx.doi.org/10.33287/221912.
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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shafran for O. Strimer school. These cellists are interesting not only because of their vivid difference in the vision of theory and interpretations of music works, but also by the fact that they have made a lot of effort to popularize the cello and bring it to the level of solo instrument as high as the violin and piano. The methods of this research consist of historical, empirical, practical, interpretive-comparative approaches, which are based on examination of performance versions through the prism of the pedagogical schools influence on the aspects of the art-technological plan. The scientific novelty consists in the lack of material on the comparison of interpretative versions of the concert for cello A. Dvorak h-moll op. 104 performed by Soviet cellists Mstislav Rostropovich and Daniil Shafran, in terms of the influence of "school" on technical techniques and artistic vision of the work, which is considered as an example, in his genre, of the most striking combinations of deep lyricism, drama and the need for a masterly skills of instrument proficiency. It’s one of a few favorite concerts of the Romantic era among the soloists of cello. Thus, it contains a broad background for an interpretative analysis. Conclusions. Comparison of interpretative versions, as a method of performing analysis contributes to a vivid representation of the artistic content of the work, helps to find its own style combining already used technical and agogic techniques of the performance with new artistic views.
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Schirlbauer, Anna. "Nicolaus Zmeskall und die Initialen „NZ“ auf einigen Abschriften von Werken J. Haydns und A. Zimmermanns." Studia Musicologica 49, no. 1-2 (March 1, 2008): 49–71. http://dx.doi.org/10.1556/smus.49.2008.1-2.3.
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Several copies of works by Joseph Haydn and Anton Zimmermann, located mainly at the Gesellschaft der Musikfreunde in Vienna, have some striking features in common: almost identical calligraphic initials “NZ,” dates ranging from 1776 to 1778 on the cover pages, and great similarity in the handwriting of text and music. This handwriting was analysed by the author and compared to the surviving contemporary manuscript copies (paper, watermarks, script) of string quartets by Nicolaus Zmeskall (1759–1833), Beethoven’s friend in Vienna. Using previously unknown samples of Zmeskall’s handwriting from the period of his high school studies in Pressburg (Bratislava, Slovakia), it was possible to identify his music-copying style, and determine conclusively that his string quartet manuscripts are autographs. This study proves that the manuscript copies of the Haydn and Zimmermann works (including Haydn’s Violin Concerto in G Major and two symphonies by Zimmermann) were written out by Zmeskall, while he was living in Pressburg. This previously unknown aspect of Zmeskall’s biography is treated at length and it is suggested that this talented cellist and composer may have been in contact with Haydn much earlier than hitherto suspected.
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Baldwin, Olive, and Thelma Wilson. "Getting and spending in London and Yorkshire: a young musician’s account book for 1799–1800." Royal Musical Association Research Chronicle 51 (January 2020): 137–48. http://dx.doi.org/10.1017/rrc.2019.2.
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AbstractIn March 1799 John White was 20 years old and already an experienced professional violinist and cellist. He kept a detailed account book between March 1799 and March 1800 that provides much information about the economic and professional life of a young musician at the very end of the eighteenth century. White had showed early musical promise, and when he was 15 he attracted the patronage of the future Lord Harewood, who enabled him to take lessons from leading musical figures and appointed him as his director of music. White lived at Harewood House, near Leeds, but he spent some months of the London season each year with the Harewood family in their house in Hanover Square. The accounts show how White earned money in London by playing at private and public concerts and deputising at almost every place of musical entertainment in the capital. In Yorkshire he led orchestras in concerts and oratorio performances, took on pupils and visited Scarborough. White’s meticulous lists of his income and expenditure, from an expensive violin, a harp and harp lessons to silk stockings, waistcoats and hair ribbon, paint a fascinating picture of a young man making his way in the musical profession.
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Kennaway, George. "Haydn's (?) Cello Concertos, 1860-1930: Editions, Performances, Reception." Nineteenth-Century Music Review 9, no. 2 (December 2012): 177–211. http://dx.doi.org/10.1017/s1479409812000274.
Full textAbstract:
While there exist numerous nineteenth- and early twentieth-century annotated editions of repertoire such as the violin sonatas of Beethoven, the repertoire for the cello was in general edited significantly less frequently. The cello concertos by or attributed to Haydn constitute an exception, both in the number of versions and the degree of editorial intervention. Three cello concertos were associated with Haydn's name: the well-known concerto in D Hob.VIIb:2, another concerto in D Hob.VIIb:4, and a concerto in C Hob.VIIb:5. The first is now known to be a genuine work of Haydn's although this attribution was not universally accepted in the nineteenth century. The second is an unattributable eighteenth-century concerto claimed to be by Haydn and accepted as such at its publication in 1895. The third was compiled by the cellist David Popper who claimed to have based it on Haydn's sketches, providing orchestration and linking material. This article discusses aspects of the five performing editions of Hob.VIIb:2 by Bockmühl, Servais, Becker, Klengel and Whitehouse, the two editions of Hob.VIIb:4 by Grützmacher and Trowell, and Popper's concerto, considering these texts, the reception of the concertos as compositions, and the reception of individual performances. This article surveys the period of the greatest diversity of editions, a period whose later limit is determined by the eventual entry of this work into the cello canon. It will be suggested that this diversity is a consequence of non-canonicity.
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"Imre Waldbauer, an Important but Little-Known Violinist Partner of Béla Bartók." Studia Musicologica 62, no. 1-2 (December 20, 2021): 149–73. http://dx.doi.org/10.1556/6.2021.00010.
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Abstract Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of important violin works by Bartók: the “One Ideal” from the Two Portraits, (première: Budapest, 12 February 1911), the Violin Sonata no. 2 (première: Berlin, 7 February 1923) and nos. 16, 19, 21, 28, 36, 42, 43, 44 from the Forty-Four Duos (concert hall première: Budapest, 20 January 1932). Although Waldbauer seems like an individual of special importance, very little is known about his relation to Bartók and about his life in general (unlike his violinist contemporaries, e.g. Joseph Szigeti or Zoltán Székely). The present paper focuses on the relationship between the composer and the violinist, using materials from the yet unexplored Waldbauer legacy held in the Budapest Bartók Archives (recent donation from the Waldbauer family).
Dissertations / Theses on the topic "Violin cellists"
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Bottelli, Roberta M. "Double concerto for violin, violoncello, and orchestra by Frederick Delius : historical context, form and performance challenges from a cellist's perspective." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46727.
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Double Concerto for Violin, Violoncello, and Orchestra by Frederick Delius: Historical context, form and performance challenges from a cellist’s perspective covers different issues related to the Delius Double Concerto, including historical context, the form of the Concerto, and the challenges faced by the soloists when preparing the work for performance, especially from the solo cellist’s perspective. The History of the Work chapter includes an overview of Delius’ life, how the Double Concerto fits into his compositional output, and background about the performers for whom the work was written, cellist Beatrice Harrison and violinist May Harrison. The Form and Analysis chapters provide different interpretations of the form of the work, particularly double-function and cyclic form models, and compare the Double Concerto with works with similar formal designs, specifically the Liszt Sonata in B Minor and the Saint-Saëns Cello Concerto No. 1 in A Minor. The final chapter addresses the specific challenges faced when performing the Double Concerto, including discrepancies in the score, balance and ensemble issues, and non-idiomatic writing for both soloists.
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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.
Full textAbstract:
When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue.
Yet notwithstanding its repertoire and the skill of its performers,
this generation of French cellist-composers has remained undervalued
and underexplored. To a large extent, this neglect has arisen because a
succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing.
This dissertation focuses exclusively on the early French cello school.
It seeks to examine the rise of the solo cello in France within its socio-
cultural and historical context; to provide biographies of those com-
prising the early French cello school; to explore the repertoire with
particular emphasis on the growth of technique and idiom, detailing
features that may be described as uniquely French, and to assert the
importance of and gain recognition for this school, not as a forerunner
of the so-called Duport school but as an entity in itself.
Books on the topic "Violin cellists"
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Leo, Rostal, Schenk Dietmar, and Kalcher Antje, eds. Violin, Schlüssel, Erlebnisse: Erinnerungen. Berlin: Ries & Erler, 2007.
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Cohen, Mary. Scaley Monsters for Cello: Scales Without Tears for Young Cellists. Faber & Faber, Limited, 2008.
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The Baroque Cello Revival: An Oral History. The Scarecrow Press, Inc., 2004.
Find full textBook chapters on the topic "Violin cellists"
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Reiter, Walter S. "Temperament and “Historical” Intonation: An Outline." In The Baroque Violin & Viola, 99–107. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0011.
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The modern piano is tuned to a system known as equal temperament, in which all semitones are equal. This system is convenient because it enables the pianist to play in any key and, to the modern ear at least, in tune. To musicians from the Baroque period, the piano’s intonation would have sounded excruciatingly out of tune! This lesson explains the basics of temperament, what it is, why it is needed and how the modern performer can become comfortable with systems of intonation that existed in the Baroque era, whether the mathematics are understood or not. Topics such as “pure” intonation, meantone, the qualities of individual tonalities, flatter sharps, and sharper flats are discussed and there is an exercise comparing pure intonation with equal temperament. Clear practical guidance is given as to how to explore historical intonation by ear, using Leopold Mozart’s charts on overtones and the mysterious “phantom cellist.”
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Harvey, Brian W., and Carla J. Shapreau. "Stolen Violins." In Violin Fraud, 75–93. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166559.003.0007.
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Abstract Thefts of violins and other bowed stringed instruments have been endemic for the past two centuries. Violins can be beautiful things. They are known by the general public to be of value. A few collectors, players, or other ‘fidiculomaniacs’ are happy to conceal a famous stolen violin, it seems for their lifetimes (as is the case with dishonest art collectors), and less famous violins can be disposed of in various ways, just like other stolen goods. For the last hundred years or so the pages of the Strad have been full of sad accounts of the loss of someone’s instrument, more often than not taken with its case when proper attention to its safety was not being paid. In one recent example the owner put her double violin case on the ground while helping an elderly cellist into her car. In this brief moment the double violin case was taken.
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Beamnt, Jams. "The Bridge, Soundpost, and Tailpiece." In The Violin Explained, 33–50. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166238.003.0003.
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Abstract The bridge transfers the vibration of the string to the body and plays a much larger part in determining tone than is often recognized. We saw in the previous chapter that it is also involved with pitch. A well cut, perfectly fitting bridge of the right weight is essential. Would that every player appreciated that a good professionally cut bridge is also precious. The bridge has one foot near the point where the front is supported internally by the sound post; the other foot is over the bass bar, a beam along the inside (Fig. S. l ). In the playing position the violinist and violist see the sound post side on their right; the cellist and bassist see it on their left. In the figures the bass bar is marked Bb and the sound post Sp.
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Heyman, Barbara B. "Discoveries." In Samuel Barber, 58–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0004.
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This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.