Relevant bibliographies by topics / Violin cellists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Violin cellists'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Violin cellists"

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Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (2004): 167–78. http://dx.doi.org/10.2307/3345438.

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We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers wer
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Золотарьова, Н. С., та Т. О. Оліферовська. "ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 149–63. http://dx.doi.org/10.33287/221912.

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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shaf
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Schirlbauer, Anna. "Nicolaus Zmeskall und die Initialen „NZ“ auf einigen Abschriften von Werken J. Haydns und A. Zimmermanns." Studia Musicologica 49, no. 1-2 (2008): 49–71. http://dx.doi.org/10.1556/smus.49.2008.1-2.3.

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Several copies of works by Joseph Haydn and Anton Zimmermann, located mainly at the Gesellschaft der Musikfreunde in Vienna, have some striking features in common: almost identical calligraphic initials “NZ,” dates ranging from 1776 to 1778 on the cover pages, and great similarity in the handwriting of text and music. This handwriting was analysed by the author and compared to the surviving contemporary manuscript copies (paper, watermarks, script) of string quartets by Nicolaus Zmeskall (1759–1833), Beethoven’s friend in Vienna. Using previously unknown samples of Zmeskall’s handwriting from
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Baldwin, Olive, and Thelma Wilson. "Getting and spending in London and Yorkshire: a young musician’s account book for 1799–1800." Royal Musical Association Research Chronicle 51 (January 2020): 137–48. http://dx.doi.org/10.1017/rrc.2019.2.

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AbstractIn March 1799 John White was 20 years old and already an experienced professional violinist and cellist. He kept a detailed account book between March 1799 and March 1800 that provides much information about the economic and professional life of a young musician at the very end of the eighteenth century. White had showed early musical promise, and when he was 15 he attracted the patronage of the future Lord Harewood, who enabled him to take lessons from leading musical figures and appointed him as his director of music. White lived at Harewood House, near Leeds, but he spent some month
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Скигин, С. Б. "Габриэль Джебран Якуб: «В Кремоне мне приходилось не только постигать наследие прошлого, но и бороться с ним»". Музыкальная академия, № 2(790) (27 червня 2025): 198–211. https://doi.org/10.34690/471.

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Габриэль Джебран Якуб — всемирно признанный скрипичный мастер, виолончелист, ювелир, создатель более 250 высококлассных инструментов, ряд которых обладает неповторимым внешним видом. В интервью, состоявшемся в марте 2025 года в Берлине, он раскрыл давнему знакомому, пианисту Семёну Скигину, секреты своей профессии: авторскую рецептуру клея и лака, особенности подбора дерева, процесс изготовления и реконструкции струнных. Вспомнил о предках, детстве, проведенном в Дамаске и Санкт-Петербурге, о годах учебы в Кремоне, первых виолончелях и смычках. Собеседники поговорили о шаблонах и экспериментах
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Kennaway, George. "Haydn's (?) Cello Concertos, 1860-1930: Editions, Performances, Reception." Nineteenth-Century Music Review 9, no. 2 (2012): 177–211. http://dx.doi.org/10.1017/s1479409812000274.

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While there exist numerous nineteenth- and early twentieth-century annotated editions of repertoire such as the violin sonatas of Beethoven, the repertoire for the cello was in general edited significantly less frequently. The cello concertos by or attributed to Haydn constitute an exception, both in the number of versions and the degree of editorial intervention. Three cello concertos were associated with Haydn's name: the well-known concerto in D Hob.VIIb:2, another concerto in D Hob.VIIb:4, and a concerto in C Hob.VIIb:5. The first is now known to be a genuine work of Haydn's although this
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Paulina Ptak. "The violin-type fingering and oblique left hand position in the history of cello technique." Royal Conservatoire Research Portal, no. 1 (May 28, 2015). http://dx.doi.org/10.22501/koncon.108734.

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Name: Paulina Ptak Main Subject: Baroque Cello Research Coaches: Maggie Urquhart, Job ter Haar Title of Research: The violin-type fingering and oblique left hand position in the history of cello technique Research Question: what were the possible reasons for the application of diatonic fingerings and violin-like left hand position in the history of the cello technique? Summary of Results: Before 1800, cellists did not have a consistent manner for fingering scales with the left hand. From the origins of the instrument till the beginning of the nineteenth century different systems were used. One
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"Imre Waldbauer, an Important but Little-Known Violinist Partner of Béla Bartók." Studia Musicologica 62, no. 1-2 (2021): 149–73. http://dx.doi.org/10.1556/6.2021.00010.

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Abstract Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of im
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Dissertations / Theses on the topic "Violin cellists"

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Bottelli, Roberta M. "Double concerto for violin, violoncello, and orchestra by Frederick Delius : historical context, form and performance challenges from a cellist's perspective." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46727.

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Double Concerto for Violin, Violoncello, and Orchestra by Frederick Delius: Historical context, form and performance challenges from a cellist’s perspective covers different issues related to the Delius Double Concerto, including historical context, the form of the Concerto, and the challenges faced by the soloists when preparing the work for performance, especially from the solo cellist’s perspective. The History of the Work chapter includes an overview of Delius’ life, how the Double Concerto fits into his compositional output, and background about the performers for whom the work was writt
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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.

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When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experime
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Books on the topic "Violin cellists"

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Cohen, Mary. Scaley Monsters for Cello: Scales Without Tears for Young Cellists. Faber & Faber, Limited, 2008.

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Book chapters on the topic "Violin cellists"

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Wilson, Miranda. "Domenico Gabrielli (1651/1659–1690)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0002.

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Abstract The cello originated during the Baroque era. The youngest member of the violin family, it went through many variations in size and string tuning before instrument builders and string manufacturers reached a consensus. The earliest solo cello repertoire comes from seventeenth-century Bologna with the pioneering Ricercare of Domenico Gabrielli. After that, the cello rose in popularity across Europe. It superseded the viola da gamba in popularity in France, where Jean-Baptiste Barrière composed his four books of sonatas. In Germany, Johann Sebastian Bach’s Six Suites created a cello repe
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Wilson, Miranda. "Luigi Boccherini (1743–1805)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0007.

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Abstract By the late eighteenth century, improvements to cello technique made the instrument the equal of the violin in terms of virtuosity. The prolific cellist-composer Luigi Boccherini bridged the Baroque and Classical style periods with demanding sonatas and concertos that further extended the cello technique, often requiring the cellist to play in the highest registers. In the Austro-Hungarian lands, cello concertos by Joseph Haydn showcased the top European players at the courts of music-loving aristocrats. All over Europe, developments in playing technique gave the cello additional cred
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Wilson, Miranda. "Robert Schumann (1810–1856)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0023.

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Abstract The cello arguably became the equal of the violin as a solo concerto instrument in the nineteenth century. This was no doubt due in part to the codification of advanced techniques by the great nineteenth-century performer-pedagogues, including Romberg, Dotzauer, Kummer, Grützmacher, and Piatti. The dazzling technical etudes and showpieces by these cellist-composers revealed new possibilities for solo playing. This may explain why most of the major Romantic composers wrote at least one concerto for the cello Works by Schumann, Dvořák, and Elgar developed new ways of using the instrumen
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Reiter, Walter S. "Temperament and “Historical” Intonation: An Outline." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0011.

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The modern piano is tuned to a system known as equal temperament, in which all semitones are equal. This system is convenient because it enables the pianist to play in any key and, to the modern ear at least, in tune. To musicians from the Baroque period, the piano’s intonation would have sounded excruciatingly out of tune! This lesson explains the basics of temperament, what it is, why it is needed and how the modern performer can become comfortable with systems of intonation that existed in the Baroque era, whether the mathematics are understood or not. Topics such as “pure” intonation, mean
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Harvey, Brian W., and Carla J. Shapreau. "Stolen Violins." In Violin Fraud. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166559.003.0007.

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Abstract Thefts of violins and other bowed stringed instruments have been endemic for the past two centuries. Violins can be beautiful things. They are known by the general public to be of value. A few collectors, players, or other ‘fidiculomaniacs’ are happy to conceal a famous stolen violin, it seems for their lifetimes (as is the case with dishonest art collectors), and less famous violins can be disposed of in various ways, just like other stolen goods. For the last hundred years or so the pages of the Strad have been full of sad accounts of the loss of someone’s instrument, more often tha
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Beamnt, Jams. "The Bridge, Soundpost, and Tailpiece." In The Violin Explained. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166238.003.0003.

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Abstract The bridge transfers the vibration of the string to the body and plays a much larger part in determining tone than is often recognized. We saw in the previous chapter that it is also involved with pitch. A well cut, perfectly fitting bridge of the right weight is essential. Would that every player appreciated that a good professionally cut bridge is also precious. The bridge has one foot near the point where the front is supported internally by the sound post; the other foot is over the bass bar, a beam along the inside (Fig. S. l ). In the playing position the violinist and violist s
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Heyman, Barbara B. "Discoveries." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0004.

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This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were com
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