This is the official first chapter in The Violoncello and Its History. It begins with the Introduction entitled: The History of the viola da gamba. This is a bit confusing when reading headings and titles out of context in a podcast player. So, I am sure to repeatedly insert the title of the book. Hopefully, anyone searching for Cello History will not mistakenly take this as the introduction to the history of the viola da gamba as a whole (that history would begin several hundred years earlier, perhaps in the 1400's. The end of the intro. chapter does begin to tell the early developments of the cello and who made it and the perfection of the form. 

The Violoncello and Its History, by Joseph Wasielewski is seminal work for the cello's history. He collected story after story regarding and relating to the cello, piecing it together, and finally writing it down in genealogical form for our edification. 

After this episode, the chapters will deal exclusively and in detail, with the cello and its proponents. 

Here is the the Table of Contents in case you are itching to know the next portion in the sequence of this book. 

CONTENTS.

Introduction.

HISTORY OF THE VIOLA DA GAMBA (Basso di Viola) 1 THE TRANSITION TO THE VIOLONCELLO 36

The Art of Violoncello Playing in the Eighteenth Century.

I. ITALY 48

II. GERMANY 67

III. FRANCE 87

The Art of Violoncello Playing in the Nineteenth Century.

IV. ITALY 109

V. GERMANY 113

VI. FRANCE, BELGIUM, AND HOLLAND 169

VII. ENGLAND AND SCANDINAVIA 189

VIII. THE SLAV STATES AND HUNGARY 198

CONCLUSION 210

APPENDIX 215

METHODS AND SCHOOLS 217

VIOLA DA GAMBA 217

VIOLONCELLO SCHOOLS FROM THE MIDDLE OF THE EIGHTEENTH CENTURY UNTIL THE PRESENT TIME

217 LIST OF NAMES AND INDEX 221

So, to be honest (I didn't mention this in this introductory episode to my new plan) I had already recorded four chapters of The Violoncello and Its History some time ago. I did it thinking that I will be able to utilize clips from it. A secondary purpose has always been in the back of my mind.  That is, I would like to upload the entire book someday. That day has come. However, it won't be the whole thing in one episode--a 20 hour episode, anyone? I'll break up the book into the respective chapters--still very long episodes--and post those while I am preparing new Forgotten Cello Music pieces. 

This episode gives you the purpose for the reading and uploading as well as the Prefaces: the author's and the translator's. I have also included the first page of the first chapter: Introduction: The History of the Viola da gamba. That should whet your whistle. So once you are finished here continue straight away to Episode 44. That will provide you with 43 pages and around 1 hour 30 minutes of densely packed information all having to do with the time right before the cello made its appearance. 

If you are finding this a bit over the top, too full of mundane detail, be sure to take advantage of that speed dial in your podcast player. Crank it up to 1.25 or 1.50 times faster than normal. It is funny to listen to my voice and you still get the benefit of learning tons of great history. (And don't forget that you are helping my stats out a lot as well.)

For all the people especially keen on knowing how the book is generally laid out, the TOC:

CONTENTS.

Introduction.

HISTORY OF THE VIOLA DA GAMBA (Basso di Viola) 1 THE TRANSITION TO THE VIOLONCELLO 36

The Art of Violoncello Playing in the Eighteenth Century.

I. ITALY 48

II. GERMANY 67

III. FRANCE 87

The Art of Violoncello Playing in the Nineteenth Century.

IV. ITALY 109

V. GERMANY 113

VI. FRANCE, BELGIUM, AND HOLLAND 169

VII. ENGLAND AND SCANDINAVIA 189

VIII. THE SLAV STATES AND HUNGARY 198

CONCLUSION 210

APPENDIX 215

METHODS AND SCHOOLS 217

VIOLA DA GAMBA 217

VIOLONCELLO SCHOOLS FROM THE MIDDLE OF THE EIGHTEENTH CENTURY UNTIL THE PRESENT TIME

217 LIST OF NAMES AND INDEX 221

Hey, what question would you find compelling to answer? I'll try a trite one in this episode?

Georg Goltermann wrote two Grand Duos, opp.15 and 25. This episode features Op.15 in D minor. All three movements are presented and talked about. This is a long talk about why I feel that Goltermann's music is worth your time. The melody is well constructed, the harmony is more interesting. It speaks to me on a deeper level. 

Goltermann's influence on my affinity to Forgotten Cello Music when I was still a young student. When I started learning his Concerto No. 4 in G major it left a mark on my memory. Then his Nocturnes and Sechs Tonbilder later on confirmed what I had always felt. That this was convincingly worthy of the studio where students could learn the art of structure and harmony on a smaller scale before being introduced to the "Greats". 

This is my take on this music. My apologies for the rather bad playing, particularly of the Grand Duo. My cello has been suffering and is slowly being reduced to box of worthless junk. Hopefully, one day, it will return to the environment that it was created in, thus revitalizing its voice and character. Crossing my fingers and planning for that glorious day.

Below, you will find all the links to make a donation, buy a cello arrangement, share my podcast with others, leave a message, read my blog.

My hope is that you will find some value in this endeavor. If so, please help me out. If you have any suggestions about other ways you can support me or how I can create content worth supporting, please do get in touch with me.

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PURCHASE AN ARRANGEMENT

"The Swan" cello quartet: https://www.sheetmusicplus.com/title/the-swan-for-cello-quartet-digital-sheet-music/22214835

"Pavane" cello duet: https://www.sheetmusicplus.com/title/pavane-in-g-minor-for-cello-duet-digital-sheet-music/22214820

"Minuet in G"cello duet: https://www.sheetmusicplus.com/title/minuet-in-g-for-cello-duet-digital-sheet-music/22213562?ac=1

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Goltermann had a higher capacity for elevated composition than we think. Based on the one or two student works we learn one would never suspect that he was worth performing on the concert stage. But his two Grand Duos,  op. 15 in D minor featured here, are evidence that he had a mastery over composition and could write great music. 

Please listen on Spotify as it is the only platform that you are able to answer any questions or polls I pose. They are external from the episode content but are visible once your click on the episode itself. If you are in Spotify, the question will be above the description. Take a moment to enter your response. I love to hear from you.

Here's the question: "Is the music of the Grand Duo of higher quality than his student-type oriented compositions?"

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6 Sonatas for the intermediate level.

Cello Treatise

Johann Schetky was a well-known and celebrated Cellist in his day, i.e. the 1700's. When he moved to Edinburgh, Scotland he was already a sought after musician and found employment in the North because of his acquaintance with J.C. Bach. He apparently liked the Capitol of Scotland enough to fall in love and settle there permanently. 

Whether you are into details about individuals or history in general, you'll want to listen to Schetky's own preface to his Op. 7 Cello Duets. He is a straight talker that does not give a student any false sense of ease when it comes to perfecting the art of music. This is a document that sheds light onto the business of educating students in a broad sense. 

You might like to see me in action in several of these Duets. I have recorded videos of the first three and uploaded them to my YouTube channel: Traveling Cello

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#cello #forgottencellomusic #johnanschetky #celloduet #18thcenturycelo #violoncelloanditshistory

This is Episode 37 and is again based on the great historical work by Joseph Wasielewski, The Violoncello and Its History. 

It come from the Chapter titled The Art of Violoncello Playing in the 18th Century. This is the second section in that chapter: Germany.

The Cello was gaining in popularity quickly in Germany. It soon found its place in the Orchestra and then as a solid solo instrument. However, the proponents of the instrument were still working out many of the technical issues that are different to the Viola da Gamba.

In this episode, I explore the introduction of Cello in the German speaking countries and a handful of cellists who wrote works extensively for their instrument. 

Solos, duets, and fugues feature by: Triemer, Schetky, Arnold, Uber, Baumgärtner, and even Duport.

{Take time to answer the question associated with the episode.}

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I play all of the music you hear in the background. If you are interested in Cello Lessons be sure to leave a comment or send me an email at [email protected]

You can choose from a range of lesson formats. 1) Traditional 30, 45, or 60 minute lessons; one on one (via Skype); or 2) Recorded video exchange: Packages of -- 5 or 10 videos or even 20.

Thank you for listening and supporting this podcast!

Looking back over the year. I actually played lots of music. There were many great discoveries as well. 

Georg Goltermann, J. Klengel, J. Hollman, Cervetto.

Thank you for listening. I hope you enjoy my presentations. Happy New Year Everyone!

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Broderip and Wilkinson wrote a cello treatise in the late 1700's. They put many traditional tunes in there. A little searching and I dug up at least some of the sources for those tunes. I'd be honored for you to join me while I look into and play those tunes. 

But it is Xmas season as well. So, I'll include some Xmas Carols. Think of it as busking out on the street, or the on the square of the social media gathering point. 

Consider giving a TIP this Xmas to a Cellist who loves to play but hasn't played in public for almost three years. Thanks for taking the time to read this and listen to my podcast about Forgotten Cello Music.

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Merry Christmaas!