Changes

History:

History:

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 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, 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 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, 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 sonatas - the first serious music of their kind - and a concerto for piano, violin, ‘cello and orchestra. Important sonatas were written by Mendelssohn (2), Chopin (1) and Brahms (3). Schumann and Dvorak’s concertos are firm favorites.

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

The 20th century has enjoyed important works for ‘cello and orchestra by Elgar, Prokofiev, Shostakovich (2) and Britten; with those by Barber and Walton finding favour in concert halls. The solo repertoire has seen works by Reger and Kodaly.

The 20th century has enjoyed important works for cello and orchestra by Elgar, Prokofiev, Shostakovich (2) and Britten; with those by Barber and Walton finding favour in concert halls. The solo repertoire has seen works by Reger and Kodaly.

With Casals, the most important exponent of the instrument in modern times has been Mstislav Rostropovich, who died in April 2007.  

With Casals, the most important exponent of the instrument in modern times has been Mstislav Rostropovich, who died in April 2007.