Instruct: Given a question, retrieve passages that can help answer the question.
Query: When was the cello invented?
The direct ancestor to the violoncello was the bass violin. Monteverdi referred to the instrument as "basso de viola da braccio" in Orfeo (1607). Although the first bass violin, possibly invented as early as 1538, was most likely inspired by the viol, it was created to be used in consort with the violin. The bass violin was actually often referred to as a "violone", or "large viola", as were the viols of the same period. Instruments that share features with both the bass violin and the viola da gamba appear in Italian art of the early 16th century.
Luis and Clark, or L&C, is a small, family run company that sells carbon fiber stringed instruments invented and designed by cellist Luis Leguía (Louie) of the Boston Symphony Orchestra. Their line consists of a violin, viola, cello and double bass, and they have recently started producing half-sized cellos, with plans for a classical guitar currently in development.
Stelzner was born in Hamburg, Germany, and educated in music, physics and mathematics. He produced string instruments of his own design in Wiesbaden and then in Dresden. Two instruments of his invention were the violotta and the cellone. The violotta is tuned an octave below the violin, and possesses a timbre between that of the viola and cello. The cellone, a large cello, is tuned between the cello and string bass. His instruments received praise and endorsements from major figures of the day, including impresario Alfred Schulz-Curtius, and the German composer Felix Draeseke composed his string quintet in A major, named the "", specifically for Stelzner instruments.
Although the last written of the three, the Cello Concerto was the first one Khachaturian had considered writing, when he was a cello student at the Gnessin Institute.
A technological advance occurred in the 1660s, centred in Bologna. This was the invention of wound ("overspun" or "overwound") strings. For bass instruments, this was important, because it meant one could now obtain good sounding low strings (that were not thick and rope-like in diameter) without having an excessively long string length. This was also when the term "violoncello" came into use, and the 'standard' cello tuning (C–G–D–A) became the norm. As well, a solo repertoire for the 'cello started to appear, and the 'cello started to replace the G violone or A violone as the preferred bowed basso continuo instrument (see articles by Stephen Bonta for more detailed information). These advances for the 'cello were likely the first seeds of decline for the G violone/A violone. However, it was also this time period that saw the growth of instrumental ensembles, and the beginning of a taste for 'concerti' and 'symphonies.'
Category:Composers for cello Brahms guitar Cello Rock Double Concerto for Violin and Cello Electric cello List of compositions for cello and orchestra List of compositions for cello and organ List of compositions for cello and piano List of solo cello pieces String instrument repertoire Triple concerto for violin, cello, and piano Ütőgardon, a percussive Hungarian folk instrument similar in construction to the Cello Queen Elisabeth Competition § Cello
He was one of "Le Violoncelle" magazine's contributors since its first edition in March 1922. He was the author of a transcription of seven Bach "Inventions" called ""Sept pièces pour deux violoncelles concertants ou pour violon et violoncelle – sans accompagnement de piano"", still edited today. He recorded in 1933 by Gramophone-His Master's Voice (K-6960 et K-7027). His interpretations were broadcast on the "T.S.F." radio (1933–1938). He transcribed the Mozart Sonata for bassoon and cello (K.292/196c) into a cello concerto, of which he inscribed in 1938 a reduction for cello and piano to Maurice Eisenberg.
Russian composer Alfred Schnittke recognized her interpretation as the standard recording of his work when she recorded his First Concerto for Cello and Orchestra in 1990. On top of this, she has done many recordings for Naxos, including concertos and other cello works by Beethoven, Bloch, Brahms, Bruch, Dohnányi, Dvořák, Elgar, Lalo, Saint-Saëns, Shostakovich, Schumann, Tavener and Tchaikovsky. She has also recorded a large volume of chamber music by Brahms, Chopin, Demus, Gubaidulina, Kodály, Mendelssohn and Schubert. She will soon be recording Beethoven's complete works for cello and piano, Haydn's cello concertos and Bach's solo cello suites.
In 1984, when Nelson was seven, his father decided each of his children would learn to play an instrument invented before 1800. He initially tried the violin but found a passion for the cello. In 2002, at 25 years old, he graduated from the University of Utah with a bachelor's degree in music and later earned a master's degree in public administration. Prior to joining The Piano Guys, he worked in real estate.
It enjoyed a brief vogue, perhaps a decade, after its invention around 1823, by the Viennese instrument luthiers Johann Georg Stauffer and Peter Teufelsdorfer. The only notable piece extant for the instrument is a sonata with piano accompaniment by Franz Schubert, D.821, not published until 1871, when the arpeggione was long out of popularity. This sonata is now commonly played on the cello or viola, and many other instruments have received transcriptions as well.
"Invention of Knowledge" is formed of three extended suites: "Invention of Knowledge", "Knowing" and "Everybody Heals", and a single track, "Know...". The first part of "Invention of Knowledge", titled "Invention", was the first piece of music written exchanged between Anderson and Stolt for the project. It originated from Anderson, who had a piece featuring a string section, a "very sort of John Adams, rhythmic strings, cellos" idea, combined with several ideas by English musician Neil Campbell of the Bulbs, who Anderson befriended and also contributed to the writing of "Everybody Heals" and Golden Light".
The endpin or spike is made of wood, metal or rigid carbon fibre and supports the cello in playing position. The endpin can be retracted into the hollow body of the instrument when the cello is being transported in its case. This makes the cello easier to move about. When the performer wishes to play the cello, the endpin is pulled out to lengthen it. The endpin is locked into the player's preferred length with a screw mechanism. The adjustable nature of endpins enables performers of different ages and body sizes to adjust the endpin length to suit them. In the Baroque period the cello was held between the calves, as there was no endpin at that time. The endpin was "introduced by Adrien Servais c. 1845 to give the instrument greater stability".[12] Modern endpins are retractable and adjustable; older ones were removed when not in use. (The word "endpin" sometimes also refers to the button of wood located at this place in all instruments in the violin family, but this is usually called "tailpin".[13]) The sharp tip of the cello's endpin is sometimes capped with a rubber tip that protects the tip from dulling and prevents the cello from slipping on the floor. Many cellists use a rubber pad with a metal cup to keep the tip from slipping on the floor. A number of accessories to keep the endpin from slipping; these include ropes which attach to the chair leg and other devices.
The invention of wire-wound strings (fine wire around a thin gut core), around 1660 in Bologna, allowed for a finer bass sound than was possible with purely gut strings on such a short body. Bolognese makers exploited this new technology to create the cello, a somewhat smaller instrument suitable for solo repertoire due to both the timbre of the instrument and the fact that the smaller size made it easier to play virtuosic passages. This instrument had disadvantages as well, however. The cello's light sound was not as suitable for church and ensemble playing, so it had to be doubled by organ, theorbo or violone.
When released in 1993, Cello was the only browser for the Microsoft Windows platform. Shortly after launch, Cello was being downloaded at a rate of 500 copies per day. As such, it achieved a fair amount of use and recognition within the legal community, including a number of PC users with between 150,000 and 200,000 users. In 1994, most websites were visited using either the Cello browser or the Mosaic browser. Despite having fewer features than Mosaic, Cello continued to be used due to its simpler interface and lower system requirements. Cello was praised for being easy to install, because it wasn't necessary to install Win32s or a TCP/IP stack for Windows 3.1. Following the release of Windows 95, which offered a much better TCP/IP interface, Cello fell into disuse and was abandoned.
Saint-Saëns' Cello Concerto No. 2 in D minor, Op. 119, is written in two movements, like his Fourth Piano Concerto. It was composed in 1902 and is dedicated to the Dutch cellist, Joseph Hollman, who gave the first performance. The Second Concerto is much more virtuosic than the First, but does not possess the thematic inventiveness and harmonic intricacy of the First.
Du Pré primarily played on two Stradivarius cellos, one from 1673 and the Davidov Stradivarius of 1712. Both instruments were gifts from her godmother, Ismena Holland. She performed with the 1673 Stradivarius from 1961 until 1964, when she acquired the Davidov. Many of her most famous recordings were made on this instrument, including the Elgar Concerto with Barbirolli, the Robert Schumann Cello Concerto with Barenboim and the two Brahms cello sonatas. From 1969 to 1970 she (like Casals before her) played on a Francesco Goffriller cello, and in 1970 acquired a modern instrument from the Philadelphia violin maker Sergio Peresson. It was the Peresson cello that du Pré played for the remainder of her career until 1973, using it for a second, live, recording of the Elgar Concerto, and her last studio recording, of Frédéric Chopin's Cello Sonata in G minor and César Franck's Violin Sonata in A arranged for cello, in December 1971.
A cellone is a large cello invented in 1882 by the German luthier Alfred Stelzner. It is held like a cello but tuned to E A D G, a fourth below the cello and two octaves below the violin. Its music is written in the bass clef. Its body length and its breadth slightly exceeds those of a normal cello, but it sounds much deeper than a normal cello.
One special consideration composers must take with the cello (as well as all instruments with a low range) is with the issue of projection. Unlike instruments like the violin, whose high range projects fairly easily above the orchestra, the cello's lower notes can be easily lost when the cello is not playing a solo or near solo. Because of this, composers have had to deliberately pare down the orchestral component of cello concertos while the cello is playing in the lower registers.
Cello did not render graphics well and required that the user reload the webpage when resizing the window. Like most browsers at the time, Cello also did not support any web security protocols. It was also said that Cello rendered html "crudely" and pages would appear jaggedly.
The six Cello Suites, BWV 1007-1012, are suites for unaccompanied cello by Johann Sebastian Bach. They are some of the most frequently performed and recognizable solo compositions ever written for cello. Bach most likely composed them during the period 1717–23, when he served as Kapellmeister in Köthen. The title given on the cover of the Anna Magdalena Bach manuscript was "Suites à Violoncello Solo senza Basso" (Suites for cello solo without bass).
Edward Elgar's Cello Concerto in E minor, Op. 85, his last notable work, is a cornerstone of the solo cello repertoire. Elgar composed it in the aftermath of the First World War, when his music had already gone out of fashion with the concert-going public. In contrast with Elgar's earlier Violin Concerto, which is lyrical and passionate, the Cello Concerto is for the most part contemplative and elegiac.
When he was fifteen years old, he had learned all the Cello Suites of Bach, all "Caprices" by Piatti and 32 cello concertos. At fifteen he played a piece for four cellos by Klengel with Emanuel Feuermann, Fritz Schertel and Julius Klengel in Leipzig. In the same year, 1931, he gave his first public performance of Dvořák's Cello Concerto at the Conservatory in Leipzig. The same year he also made his debut as soloist with the Leipzig Gewandhaus Orchestra with Haydn's Cello Concerto in D major.
The Anyones began in 1995 when brothers Stephen and Malcolm Pinkerton joined with high school friend Nick Murphy and started writing and rehearsing in Melbourne using the name "They Live" The band sought to utilize Mal's ability on the cello and recorded their first EP "Dont" in 1996 accentuating a guitar/cello blend. Mal had recorded cello parts for seminal Melbourne band The Underground Lovers which happened to include Nick Murphy's cousin Phillipa Nihill. Since Mal played both Cello and guitar, the band recruited Adrian Gardner in 1996 from the band "Mineral" to help with guitar when Mal played Cello. The band would eventually eliminate the cello from live performance and concentrate on a 2 to 3 guitar sound. In 1999 The Anyones would recruit Rohan Brooks from the same band to fulfill drum duties while Stephen Pinkerton transitioned from drums/vocal to a lead vocal role.
Together with his cousin, he later joined the court orchestra of the Prince Elector Archbishop of Cologne in Bonn (conducted by the Kapellmeister Andrea Luchesi) in 1790, where they met the young Beethoven. Beethoven admired and respected Bernhard Romberg as a musician. However, Romberg had difficulty understanding some of Beethoven's musical ideas, and rejected Beethoven's offer of a cello concerto for him, saying that he primarily performed his own compositions.
Romberg made several innovations in cello design and performance. He lengthened the cello's fingerboard and flattened the side under the C string, thus giving it more freedom to vibrate. He also invented what is known as the Romberg bevel, a flat section beneath the E string of the double bass that allowed the larger string to vibrate more freely. He suggested that half-size and 3/4 size cellos should be designed to make it easier for young children to play the instrument. Romberg is responsible for simplifying cello notation to only three clefs, the bass clef, the tenor clef and the treble clef. Until his time, it was common to use many clefs for multiple uses - the 18th century cellist-composer Luigi Boccherini used as many as six clefs in his compositions. Romberg is thought to be among the first cellists to perform from memory, which was a skill praised highly in his day. He died in Hamburg.
"Seasons," Concerto for cello and orchestra, 2008
"Icelandic Ballad," for cello and piano, 2007
"Caravan" for two cellos, 2007
Trio – Toccata for violin, piano and cello, 2007
"Adonai" for cello and string orchestra, 2006
"Sufi Suite" for cello scordatura and voice, 2006
"Mexico-Moscow" for cello and piano, 2005
Quintet – Concerto for cello and string quartet, 2005
"Cynthia" for flute and cello, 2004
"A Souvenir from St. Petersburg" for solo cello, 2003
"September 11", for solo cello, 2001
"Voice of Chechnya" for cello and piano, 2000
"A Morning Star" for Three Cellos, 1999
'Song on Mt. San Angelo' for solo cello, 1995