CONCLUSION
In taking a retrospective glance at the progressive development which Violoncello playing has displayed from the beginning of the present century, it is evident that this branch of Art has reached so great a degree of perfection that it seems scarcely possible it can rise much higher. This result is not only to be ascribed to the deserving work of the leading Violoncellists—and here must be called to mind, besides Romberg and Dotzauer, pre-eminently Friedrich Kummer, Aug. Franchomme, and François Servais—but also to those famous German composers who brought the Violoncello within the sphere of their productions.
Already had Haydn and Mozart appropriated to this noble instrument, in their String Quartets, passages which contributed to the furtherance of the technique and the possibility of expression. Beethoven went much farther even than this. Not only in his String and Pianoforte Trios, as well as in his Quartets, but also in his Sonatas (Op. 5,142 69, and 102) and in the so-called Triple Concerto (Op. 56), he increased the demands on the Violoncello to such an extent that in certain respects a real impulse was given to the artistic manipulation of the instrument. At the same time, the works referred to had a stimulating effect on the productive work of the future in the field of Cello compositions, which received a considerable accession in regard to Sonatas especially. We will note here only the names of the best known composers, who used their genius in this direction. They follow in alphabetical order: W. Sterndale Bennett, Joh. Brahms, Fr. Chopin, Fr. Gernsheim, Edv. Grieg, Ferd. Hiller, Friedrich Kiel, Franz Lachner, Felix Mendelssohn-Bartholdy, Ignaz Moscheles, Georg Onslow, Joachim Raff, Karl Reinecke, Jos. Rheinberger, Ant. Rubinstein, Charles Saint-Saëns, Xaver Scharwenka, Bernhard Scholz, and W. Taubert.
The following have written Concertos for the Violoncello: Albert Dietrich, E. Eckert, Bernh. Molique, Joach. Raff, Karl Reinecke, Anton Rubinstein, Saint-Saëns, Robert Schumann, W. Taubert, and Rob. Volkmann. The Concerto which has lately appeared by Joh. Brahms, for Violin and Violoncello, must also be mentioned.
Besides these there exist a number, by no means small, of greater and lesser Cello compositions, which deserve to be prominently brought forward—as, for example: Max Bruch’s “Kol Nidrei,” Op. 47; Chopin’s Introduction and Polonaise Brilliant, Op. 3, and Duo Concertant on Themes from “Robert le Diable” (the Cello part is Franchomme’s production); Fr. Gernsheim’s Hebrew song, “Elohenu”; Ferd. Hiller’s Concertstück, Op. 104; Duo for Pianoforte and Violoncello, Op. 22, and two Serenades, Op. 109; Fr. Lachner’s Serenade for four Violoncellos, Op. 29, and Elegy for five Violoncellos, Op. 160; Limmer’s Trio for three Violoncellos and Quartet for four Violoncellos; M. Marx’s three Quartets for four Violoncellos; Maurer’s Nocturne for four Violoncellos; Felix Mendelssohn’s Variations for Pianoforte and Violoncello, Op. 17; Ign. Moscheles’s Duo Concertant, Op. 34; L. Pape’s six Serenades for four Violoncellos; F. E. Reinecke’s “Three Pieces,” Op. 146; Ferd. Ries’s “Air russe varié,” as well as Introduction and Rondo “Sur une danse russe”; Rob. Schumann’s five “Stücke im Volkston,” Op. 102; and likewise L. Spohr’s Potpourri for Violin and Violoncello on Themes from “Jessonda.”143
If to these be added the numberless compositions which Violoncellists of our century have produced in Concertos, Concert pieces, Variations, Fantasias, and Duets for their instrument, it must be admitted that Violoncello literature in the course of time has increased very extensively.
The “Etudes” compositions for the Violoncello left much to be desired during the first decade of the present century. On this account the theorist Siegfried Wilhelm Dehn, of some consideration in his time, and who occupied himself in his younger years with Cello playing, may have been induced to arrange a portion—twenty-two in number—of the Kreutzer Violin studies for the Violoncello. This work, however, published by him in June, 1831, cannot be accounted a particularly successful accomplishment. The finger and bow technique of the Violoncello require an entirely different manner of treatment from that of the Violin. And as these Studies were written according to the capacities of the latter instrument it is evident they can only be made available in a limited degree for the Violoncello. It is not then to be wondered at that the Kreutzer “Etudes,” transcribed by Dehn with the best intention, should have fallen into oblivion, since Violoncellists have more and more sought after a thoroughly suitable system of “Etudes” literature, which has now grown to be a very rich field. During the last ten years the solo manipulation of the Violoncello has, in certain respects, undergone a change to its advantage in a very remarkable manner. The higher and highest tones of the instrument are no longer unduly preferred, as in Romberg’s time; but the tenor positions, more in accordance with its character, are chiefly used, without, however, neglecting altogether the lower and the higher parts. The execution of passages has greatly gained thereby. In this respect, it is true, the Violoncello cannot rival the Violin in brilliancy and agility. The strings of the former being so much longer and thicker, of which the two lower ones are made of correspondingly stout wire, form a natural impediment to the rapid emission of tones in quick runs and groups. In addition the somewhat muffled, though at the same time powerful and full tone of the deeper strings renders difficult a brilliant execution. This is felt more especially in Violoncello Concertos with full orchestral accompaniment. The Violoncello has, however, this advantage: that it lends itself far less to virtuoso exaggerations and confusions than does the easily portable violin, so favourably disposed for every variety of unworthy trifling. The masculine character of the Violoncello, better adapted for subjects of a serious nature, precludes this. But then this instrument does not offer the same wealth in means of execution which the Violin is capable of developing as a solo instrument. In harmonics and pizzicato indeed it is at least equal to it, but in the speed and flexibility of passages, as well as in double-stopped playing, its limits are defined. It follows that on account of the larger dimensions of the Violoncello, and the character of the instrument, double-stopped combinations are far less suitable for the deeper than for the higher strings, a circumstance of which there is no question at all on the Violin.
One of the strongest points which the Violoncello possesses in its favour is its suitability as a solo instrument in Cantilena playing, in which it is not surpassed by any other. If the Violin, with melting soprano and tenor-like voice, speaks to us now with maidenly tenderness, now in clear jubilant tones, the Violoncello, grandly moving for the most part in the tenor and bass positions, stirs the soul by its fascinating sonority and its imposing power of intonation, not less than by the pathos of its expression, which by virtue of its peculiar quality of tone more specially belongs to it than to the Violin.
There is no rivalry between the two instruments, but rather do they mutually enhance each other’s power. Even so is it with the themes which devolve on each in the sphere of chamber and orchestral music. It is greatly to be desired that future generations may foster and maintain what has been done for the art of Violoncello playing in so meritorious a manner by unwearied, self-sacrificing labour; but it is to be hoped, at the same time, that the technique of the instrument, so carefully and finely formed, to the subject of which this book is dedicated, may be ever applied in the service of true and noble Art only.
SUPPLEMENTARY
At p. 107, I said that only Johann Baptist Baumgärtner’s tutor (p. 76) could give an explanation concerning the method practised in Germany, with regard to the fourth finger in the thumb position, during the second half of the last century. It was only after this was in the press that the title of a second German Violoncello School of that time became known to me. It is that of Kauer, who was formerly distinguished as an operetta composer in Vienna—“Concise explanation how to play the Violoncello”—which appeared in 1788. It may probably be seen from this work of instruction what the opinion was at that time regarding the fourth finger in the case referred to.
APPENDIX
A
In England, the best violoncello as well as violin bow-maker was John Dodd, who lived and died at Kew; indeed, his cello bows are considered superior to his violin bows. See Ed. Heron Allen “On Violin-making, &c.”
B
Bartholomew Johnson
The Gentleman’s Magazine of 1814 records his death thus in the Obituary, February 14: “At Scarborough, in his 104th year, Mr. Barth. Johnson, a celebrated musical character. He possessed to the last a vigorous mind and strong retentive memory.”
In the “History of Scarborough from the earliest date,” by Joseph Brogden Baker, among the biographical notices, is the following:—
“Johnson, Bartholomew
“Johnson, Barth., was born at Wykeham, near Scarborough, October 3rd, 1710. He resided at Scarborough from the time of his apprenticeship to the time of his death. He was for seventy years one of the ‘town waits.’ As a musician, and for the many excellent traits in his character, he universally preserved the esteem of a highly respectable circle of friends. His constitution naturally was vigorous, and he lived to a great age. In 1810 he completed his hundredth year, which was celebrated by a jubilee dinner and musical performance at the Freemasons’ Lodge, Scarborough, and a medal was struck as a memorial of this event; about ten o’clock at night the good old man bore a part in a quartette, performing on the violoncello the bass to a Minuet which he himself had composed upwards of sixty years before. Lord Mulgrave, the Honourable Henry Phipps, the Bailiffs, and about seventy gentlemen, visitors and residents of Scarborough and the neighbourhood, honoured the meeting with their company. Congratulatory letters from the borough members were read, whilst several poetical compositions, suitable to the occasion, from the classic pens of Archdeacon Wrangham and Thomas Hinderwell, Esq., were recited and sung. Lord Mulgrave afterwards commissioned the late J. Jackson, R.A., to paint the portrait of the venerable old man, which was presented to the Corporation by his lordship and now adorns the council chamber of the Town Hall. In 1814 he departed this life in the 104th year of his age.”
A similar account, from which, perhaps, the above facts were taken, is to be found in “The History and Antiquities of Scarborough,” by Thomas Hinderwell, Esq.
C
Reinagle
A whimsical circumstance, which I cannot forbear mentioning, happened to Reinagle:—
The celebrated Mr. Curran introduced himself to Reinagle and invited him to dine with some musical friends at his country house, five miles from Dublin. Reinagle, anxious to embrace the opportunity of enjoying that great man’s society, most willingly assented, upon which Curran, being in great haste, would not permit our musician to seek for any conveyance, but requested him to ride double on his horse. In this ludicrous way, sitting behind Mr. Curran, they reached his house, to the amusement of many friends they met on the road.
METHODS AND SCHOOLS
Viola da Gamba, &c
Gerle, Hans.—Musica Teusch, auf die Instrument der grossen vnnd kleinen Geygen, auch Lautten, &c. Nürnbergk, 1532.
Danoville, Le Sieur.—L’Art de toucher le dessus et basse de Viole, &c. Paris, 1687.
Ganassi del Fontego, Silvestro.—Part I. Regola Rubertina che insegna sonar la Viola d’archo tastada. Venezia, 1542.
Playford, John.—Breefe Introduction to the skill of Musick for song and Viol. London, 1654.
–– Introduction to the playing on the Viol de Gambo (or Consort Viol). London, 1660.
Robinson, Thomas.—The Schoole of Musicke wherein is taught the method of true fingering of the lute, pandora, orpharion, and viol de gamba. London, 1603.
Rousseau, Jean.—Traité de la viole. Paris, 1687.
Sympson, Christopher.—The Division Violist, or the Introduction to the playing upon a ground; divided in two parts: the first directing the hands, &c. London: John Playford, 1659.
–– A brief Introduction to the Skill of Music, &c. The second book contains instructions for the Viol. London, 1660.
Wodiczka, T.—Méthode nouvelle et facile pour apprendre à joue du par dessus de Viole. Lyons, 1760.
Violoncello
From the middle of the Eighteenth Century up to the present time. 144
Alexander, Joseph.—Anleitung zum Violoncellspiel. Leipzig, 1802.
Aubert, Pierre François Olivier.—Méthode pour le Violoncelle. Texte français et espagnol. Paris, c. 1800.
Azaïs, Pierre Hyacinthe.—Méthode de Violoncelle. Paris, c. 1820 (?)
Baillot, Levasseur, Catel et Baudiot.—Méthode de Violoncelle adoptée par le Conservatoire. Paris, 1805.
–– Method for the Violoncello. Translated by A. Merrick. London, 1850.
Banger, G.—Praktische Violoncellschule. 3 Hefte, Op. 35. Offenbach, 1877.
Baudiot, Charles Nicolas.—Méthode de Violoncelle. Two parts, Op. 25. Berlin, 1830.
Baumgärtner, Joseph Baptist.—Instruction de musique théorique et pratique à l’usage du Violoncelle. La Haye, 1774.
Benito, Cosme de.—Nouvelle Méthode élémentaire de Violoncelle.
Berger, Joseph.—Méthode de Violoncelle. Paris, 1800.
Bideau, Dominique.—Grande et nouvelle Méthode raisonnée pour le Violoncelle. Paris, 1802.
Braga, G.—Metodo per Violoncello intieramente riformato. Milan, 1878.
Bréval, Jean Baptiste.—Méthode raisonnée de Violoncelle. Paris, 1804. (This Violoncello School appeared in 1810, in London, translated into English by J. Peile, under the title, “New instruction for the Violoncello, being a complete Key to the Knowledge of that Instrument.”)
Chevillard, Pierre Alexandre François.—Méthode complète de Violoncelle, contenant la théorie de l’instrument, des gammes, leçons progressives, études, airs variés, et leçons pour chacune des positions. Paris, 1850 (?)
Corrette, Michel.—Méthode, théorique et pratique, pour apprendre en peu de temps le Violoncelle dans sa perfection. Ensemble des Principes de Musique avec des Leçons à I. et II. Violoncelles, la division de la Corde pour placer si l’on veut dans les commencements, des lignes traversalles sur le manche du Violoncelle, plus une petite Méthode particulière pour ceux qui jouent de la Viole, et qui veullent jouer du Violoncelle composée par Michel Corrette, XXIVe. Ouvrage. À Paris, MDCCXLI.
Crouch, Fred. Will. Nicholls.—Complete Treatise on the Violoncello. London, 1827.
Cupis, Jean Baptiste.—Méthode nouvelle et raisonnée pour apprendre à jouer du Violoncelle où l’on traite de son accord, de la manière de tenir cet instrument avec aisance, de la position de la main sur la touche, du tacte, de l’étendue du manche, de la manière de doigter dans tous les tons majeurs et mineurs, &c. Paris, before 1800.
Dancla, Arnaud.—Méthode de Violoncelle.
Depar, Ernest.—Méthode Elémentaire pour Violoncelle à l’usage des collèges et pensions. Paris, 1850.
Deswert, Jules.—The Violoncello. London.
Dotzauer, Justus Johann Friedrich.—Violoncellschule. Op. 165. Mayence, 1832.
–– Violoncellschule fur den ersten Unterricht. Op. 126. Vienna, 1836.
–– Praktische Schule des Violoncellspiels. 4 Hefte, Op. 155. Leipzig, 1870.
–– Schule des Flageolettspiels. Op. 147. 1837.
Duport, Jean Louis.—Essai sur le doigter du Violoncelle et sur la conduite de l’Archet avec une suite d’exercices, dédié aux Professeurs de Violoncelle. Paris, before 1819.
–– English translation. Essay on the Fingering of the Violoncello, &c., by John Bishop. London, 1853.
Eley, Ch. F.—Improved Method of Instruction for the Violoncello. London, 1830.
Forberg, Friedrich.—Violoncellschule. Op. 31. Leipzig, 1882.
Froehlich, Joseph.—Violoncellschule. Cologne and Bonn, 1810 or 1811.
Gross, Johann Benjamin.—Elemente des Violoncellspiels. Op. 36. Leipzig, 1840.
Gunn, John.—The theory and practice of fingering the Violoncello, containing rules and progressive lessons for attaining the knowledge and command of the whole compass of the instrument. London, 1793.
–– An Essay, theoretical and practical, on the application of Harmony, Thorough bass, and Modulation to the Violoncello. Edinburgh, 1801.
Hamilton, J. A.—Complete Preceptor for the Violoncello with a selection of favourite airs, &c. London, 1840.
Hardy, Henry.—Violoncello Preceptor with a compleat set of scales for fingering in the various keys. Oxford, 1785.
Heberlein, Hermann.—Violoncellschule, neueste, praktische und leicht verständliche Methode für Schul- und Selbstunterricht. Leipzig, 1887.
Henning, Karl.—Kleine Violoncellschule. Op. 37. Leipzig, 1864.
Hus-Deforges, Pierre Louis.—Méthode pour le Violoncelle. Paris, 1805.
Jackson, G.—New Instructor for the Violoncello. London, 1880.
Junod, L.—New and concise Method for the Violoncello. London, 1879.
Kastner, G.—Elementarschule. Leipzig, 1846.
Kauer, Ferdinand.—Kurzgefazte Anweisung das Violoncell zu spielen. Speyer, 1788.
Kummer, Friedrich August.—Violoncellschule. Op. 60. Mayence, 1839.
Lanzetti, Salvatore.—Principes du doigter pour le Violoncelle dans tous les tons. Amsterdam, before 1770.
Lebouc, Charles Joseph.—Méthode complête et pratique de Violoncelle. Paris, 1850.
Lee, Sebastian.—Ecole du Violoncelliste. Paris, 1845.
–– Méthode pratique pour le Violoncelliste admise au nombre des ouvrages élémentaires servant à l’enseignement dans le Conservatoire de Musique, Mayence. Op. 30.
–– An English translation, by J. Lidel. Mayence, 1875 or 1882.
–– Méthode de Violoncelle et de Basse d’accompagnement rédigée par MM. Baillot, Levasseur, Catel et Baudiot. 1804.
–– (Supplement to this School.—Exercices pour le Violoncelle dans toutes les positions du pouce.)
Lindley, Robert.—Hand-Book for the Violoncello, with numerous Gamuts, Scales, Exercises, and Examples.... Manner of holding the Violoncello and of holding the Bow, &c.
Luetgen, H.—First lessons for the Violoncello. London, 1860.
Macdonald, J. A.—Treatise Explanatory of the Principles constituting the Practice and Theory of the Violoncello. London, 1811.
Müntzberger, Joseph.—Nouvelle Méthode pour le violoncelle. Paris, before 1800 (?)
Phillips, W. Lovell.—New and complete instruction for the Violoncello. London, 1846.
Piatti, Alfredo.—Method for the Violoncello. London.
Quarenghi.—Metodo di Violoncello. Milan, 1877.
Rachelle, Pietro.—Breve Metodo. Op. 14. Milan.
Raoul, Jean Marie.—Méthode de violoncelle, contenant une nouvelle exposition des principes de cet instrument. Op. 4. Paris, before 1837.
Reinagle, Joseph.—Concise introduction to the art of playing the Violoncello. London, 1835.
Romberg, Bernhard.—Violoncellschule. Berlin, before 1841.
Roth, Philipp.—Violoncellschule. Op. 14. Leipzig, 1887.
Schetky, Johann Georg.—Practical and progressive lessons for the Violoncello, ded. to J. Crosdill, Esq. London.
Schröder, Karl.—Praktischer Lehrgang des Violoncellspiels. Brunswick, 1878.
–– Neue, grosse, theoretisch-praktische Violoncellschule in 4 Abtheilungen. Leipzig, 1876-7.
–– Schule der Tonleitern und Akkorde. Op. 29. Hamburg, 1877.
–– Schule des Trillers und Staccatos. Op. 39. Leipzig, 1878.
Siedentopf, C.—Violoncellschule. Op. 16. Magdeburg, 1881.
Stiastny (Stiasny), Bernhard W.—Méthode de Violoncelle. Mayence, 1832.
Stransky, Joseph.—Elementarschule des Violoncellspiels. Berlin, 1882.
Swert, Jules de.—see Deswert.
Thompson, C.—New Instruction for the Violoncello. London, 1780.
Tietz, Aug. Ferd.—Praktischer Lehrgang für den ersten Unterricht des Violoncellspiels. Brunswick.
Tietz, Henrich.—Praktischer Lehrgang für den ersten Unterricht im Violoncellspiel.
Tillière, Joseph Bonaventure.—Méthode pour le violoncelle, contenant tous les principes nécessaires pour bien jouer de cet instrument. Paris, 1764.
Warot, Adolph.—Méthode progressive pour le Violoncelle. Brussels, 1873.
Werner, Joseph.—Praktische Violoncellschule. Op. 12. Cologne, 1882.
Zimmer, Franz.—Theoretisch-praktische Violoncellschule. Op. 20. Quedlinburg, 1879.