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The cello grew out of a member of the string family called the ‘viole de bracchio’ in the  early 16th century, as a 3 stringed instrument.  By the late 1600s the tuning of the modern cello, i.e. with four strings tuned an octave lower than the viola, had been adopted. Its size, which had fluctuated, was standardized by “Stradavari” in about 1710; and it was becoming  an intrinsic part of the standard orchestra by that time. The spike that supports the instrument on the floor was introduced in the late 18th century but was not universally used until the late 19th.

The cello grew out of a member of the string family called the ‘viole de bracchio’ in the  early 16th century, as a 3 stringed instrument.  By the late 1600s the tuning of the modern cello, i.e. with four strings tuned an octave lower than the viola, had been adopted. Its size, which had fluctuated, was standardized by “Stradavari” in about 1710; and it was becoming  an intrinsic part of the standard orchestra by that time. The spike that supports the instrument on the floor was introduced in the late 18th century but was not universally used until the late 19th.

In the modern cello’s repertoire, the first great work is the series of partitas for solo cello by [[J. S. Bach]] (though their greatness was not realised until Pablo Casals’ recordings in the 1930s.) In the post-[[Baroque period (music)|baroque]] 18th century, a number of virtuoso players – foremost amongst them Boccherini - brought the instrument out of its normal support role in chamber music to be an equal in the string ensemble. Boccherini, Joseph Haydn|Haydn]] and  [[Mozart]] used it as the bass in their string quartets, and  (usually) doubled up with it in quintets. It "arrived" as a [[concerto]] instrument with the three concertos by Haydn.  

In the modern cello's repertoire, the first great work is the series of partitas for solo cello by [[J. S. Bach]] (though their greatness was not realised until Pablo Casals’ recordings in the 1930s.) In the post-[[Baroque period (music)|baroque]] 18th century, a number of virtuoso players – foremost amongst them Boccherini - brought the instrument out of its normal support role in chamber music to be an equal in the string ensemble. Boccherini, Joseph Haydn|Haydn]] and  [[Mozart]] used it as the bass in their string quartets, and  (usually) doubled up with it in quintets. It "arrived" as a [[concerto]] instrument with the three concertos by Haydn.  

During the 19th century [[Beethoven]] wrote his five cello [[sonata]]s - the first serious music of their kind - and a concerto for [[piano]], [[violin]], cello and orchestra. Important sonatas were written by [[Felix Mendelssohn]] (2), [[Chopin]] (1) and [[Brahms]] (3), [[Robert Schumann]] and [[Dvorak]]’s concertos are firm favourites.

During the 19th century [[Beethoven]] wrote his five cello [[sonata]]s - the first serious music of their kind - and a concerto for [[piano]], [[violin]], cello and orchestra. Important sonatas were written by [[Felix Mendelssohn]] (2), [[Chopin]] (1) and [[Brahms]] (3), [[Robert Schumann]] and [[Dvorak]]’s concertos are firm favourites.