This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ... tones especially of the.4-string are fervent and penetrating. Therefore the violoncello of the concert and opera orchestra is more employed for expressive solo-passages than other instruments. As a familiar example we give in the following quotation, the introduction of the Gavatina of Agatha: Karl Maria Von Werer, ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ... tones especially of the.4-string are fervent and penetrating. Therefore the violoncello of the concert and opera orchestra is more employed for expressive solo-passages than other instruments. As a familiar example we give in the following quotation, the introduction of the Gavatina of Agatha: Karl Maria Von Werer, "Der Freischutz," Act II, Second Scene. Adagio. The technique of the violoncello, is to-day developed to such great extent, that our younger virtuosi can execute with perfect facility and certainty (in a corresponding manner) all that is practicable on the violin. All kinds of double notes, trills, runs and arpeggios succeed as well on one instrument as the other. Regarding the double notes we perceive, that, whilst the same become more difficult in the high positions of the violin; on the contrary, they are very much easier on the violoncello, as the large stretches which are necessary with the low notes, become much smaller when high positions are employed. The most frequently employed double notes are sixths; those of thirds and octaves are more difficult. In orchestral passages we renounce all double notes with the exception of those chords which are given with the down-bow. On the other hand, those chords are easy which contain a pure fifth or those by which we can use the open strings, e. g.: The different kinds of bowing are the same as for the violin, and an extensive movement in light staccato is more successful on the violoncello (although the bow is heavier) than on the violin. The harmonics on this instrument sound well; are very extensively employed in solo-compositions; and are easy, in consequence of the great length of its strings. We can scarcely recall a single modern violoncello solo of moderate time, that does not e...
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