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The French cello school evolved due to the exquisite playing of Martin Berteau (circa 1700–71). Despite maintaining the underhand bow-hold of the gamba, his sweet tone and depth of expression greatly influenced his students, Jean Pierre Duport, Tillière, and Jean Baptiste Cupis. Berteau developed an effortless fingering system, incorporating ...
They slowly changed the fingering methods of the cello, as there was a perceived notion that using the violin and viola de gamba technique on the cello was detrimental to its style. [3] The bowing technique of placing the fingers on the bow stick above the frog became more widespread as the French valued consistent, beautiful tones above all else.
In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is largely tempo ...
Two ways in which the martelé bowstroke is commonly notated. An excerpt from Dotzauer's cello étude no. 6, played with martelé bowing. Martelé (French pronunciation: [maʁt(ə)le]; literally meaning "hammered") [1] [2] is a percussive bow stroke used when playing bowed string instruments, though the Italian martellando and martellato are also applied to piano and vocal technique, and even ...
Capuçon's principal instrument is a 1701 Matteo Goffriller cello which he has on loan. [8] He also has a 1746 Joseph Contreras cello on loan from BSI (Banca della Svizzera Italiana). [6] Speaking about his Goffriller cello in April 2008, he said: [9] I am very lucky to be playing this cello for ten, nearly eleven, years now.
Mstislav Leopoldovich Rostropovich [a] (27 March 1927 – 27 April 2007) was a Russian cellist and conductor.In addition to his interpretations and technique, he was well known for both inspiring and commissioning new works, which enlarged the cello repertoire more than any cellist before or since.
The classical bow was pioneered by François Xavier Tourte, a French master bowmaker from the late 18th and early 19th century. [3] With the help of virtuoso violinist G.B. Viotti he sought to improve upon the limitations of the Baroque bow by lengthening it, strengthening its tip, and introducing a curvature that allowed for greater flexibility and improved the springing action of the bow.
48 sec: battuto with movement of the bow across the fingerboard In music for bowed string instruments , col legno , or more precisely col legno battuto ( Italian for 'with the wood [being hit]'; pronounced [kol ˈleɲɲo batˈtuːto] ), is an instruction to strike the string with the stick of the bow across the strings.