The Baroque Cello Revival

This is the first study in which the revival of a single period instrument has been considered in such qualified detail and will be of great interest to musicologists, luthiers, and anyone interested in string history.

The Baroque Cello Revival

This resource considers the Baroque cello's revival as part of the period instrument movement from the viewpoints of over forty cellists from three generations and four luthiers who have worked on period cellos. What emerges is a nuanced and detailed picture of the cello in the past and present and the varied instruments now played under the label "Baroque cello." Period instruments played with appropriate techniques have become a major presence in classical music in recent decades. For the cello, which changed substantially between the end of the sixteenth and early eighteenth centuries, it is challenging to describe specific traits for certain time periods, let alone how it was played in those periods. By chronicling the searches of over forty top cellists in England, Europe, and North America, the author goes far in revealing the great variety of forms that exist. This is the first study in which the revival of a single period instrument has been considered in such qualified detail and will be of great interest to musicologists, luthiers, and anyone interested in string history.

Playing the Cello 1780 1930

In baroque performance, many ensembles are now regularly adopting performance practices for which there is no specific ... 20 Paul R. Laird, The Baroque Cello Revival: An Oral History(Lanham, MD: Scarecrow Press, 2004). is to the ...

Playing the Cello  1780   1930

This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices. In addition to drawing upon an unusually wide range of source materials - from instructional methods to poetry, novels and film - Kennaway acknowledges the instability and ambiguity of the data that supports historically informed performance. By examining nineteenth-century assumptions about the very nature of the cello itself, he demonstrates new ways of thinking about historical performance today. Kennaway’s treatment of tone quality and projection, and of posture, bow-strokes and fingering, is informed by his practical insights as a professional cellist and teacher. Vibrato and portamento are examined in the context of an increasing divergence between theory and practice, as seen in printed sources and heard in early cello recordings. Kennaway also explores differing nineteenth-century views of the cello’s gendered identity and the relevance of these cultural tropes to contemporary performance. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.

All Things Strings

The Baroque Cello Revival: An Oral History (Lanham: Scarecrow Press, 2004) Lawson, Colin, and Robin Stowell. The Historical Performance ofMusic: An Introduction (Cambridge: Cambridge Univerity Press, 1999). Mather, Betty Bang.

All Things Strings

String players face a bewildering array of terms related to their instruments. Because string playing is a living art form, passed directly from master to student, the words used to convey complex concepts such as bow techniques and fingering systems have developed into an extensive vocabulary that can be complicated, vague, and even contradictory. Many of these terms are derived from French, Italian, or German, yet few appear in any standard music dictionary. Moreover, the gulf separating classical playing from fiddle, bluegrass, jazz, and other genres has generated style-specific terms rarely codified into any reference work. All Things Strings: An Illustrated Dictionary bridges this gap, serving as the only comprehensive resource for the terminology used by the modern string family of instruments. All of the terms pertaining to violin, viola, cello, and double bass, inclusive of all genres and playing styles, are defined, explained, and illustrated in a single text. Entries include techniques from shifting to fingerboard mapping to thumb position; the entire gamut of bowstrokes; terms found in orchestral parts; instrument structure and repair; accessories and equipment; ornaments (including those used in jazz and bluegrass); explanations of various bow holds; conventions of orchestral playing; and types of strings, as well as information on a select number of famous luthiers, influential pedagogues, and legendary performers. All Thing Strings is expertly illustrated with original drawings by T. M. Larsen and musical examples from the standard literature. Appendixes include an extensive bibliography of recommended reading for string players and a detailed chart of bowstrokes showing notation and explaining execution. As the single best source for understanding string instruments and referencing all necessary terminology, All Things Strings is an essential tool for performers, private teachers, college professors, and students at all levels. It is also an invaluable addition to the libraries of orchestra directors and composers wishing to better understand the complexities of string playing. With the inclusion of terms relevant to all four modern string instruments played in all genres—from jazz to bluegrass to historically informed performance—this resource serves the needs of every string musician.

The French Baroque Cello Sonata Context and Style

The French baroque repertoire, however, remains obscure with most musicians, as it is rarely performed or studied. One explanation for this lies in the general obscurity of many of the composers themselves.

The French Baroque Cello Sonata  Context and Style

Over the past forty years, the baroque cello repertoire has increasingly captured the interest of performers and scholars in the midst of the early music revival. Consequently, the musical community has witnessed the rise of an early cello canon, consisting of the music of Bach, Vivaldi, Haydn, and many others. The French baroque repertoire, however, remains obscure with most musicians, as it is rarely performed or studied. One explanation for this lies in the general obscurity of many of the composers themselves. Another reason is the lack of directly related historical data, as the cello was not as highly esteemed as such instruments as the violin and the harpsichord. The eighteenth-century French cello repertoire is, nonetheless, among the most innovative and original music composed for the instrument at the time. The purpose of this thesis is to contextualize and discuss the significance of the emerging cello and its repertoire within the broader developments in French musical culture during the Baroque era. Points of interest are the historical and functional relationships of the cello to other instruments, the organological development of the cello itself, and the change of public tastes from the seventeenth to the eighteenth century. Of utmost importance is the consideration of the repertoire's stylistic relationship to the surrounding musical climate of Paris into the eighteenth century. Upon discussion of these issues, it thus becomes clear that the French literature for the cello is significant both in the history of the instrument itself and in the history of the French baroque style.

Newsletter American Musical Instrument Society

The Baroque Cello Revival is organized into five chapters . The first chapter ( “ In Search of the Baroque Cello " ) establishes a rudimentary understanding of Baroque cello . Chapters 2 through 4 ( “ The Soloists , " " The Pioneers ...

Newsletter   American Musical Instrument Society


Historical Dictionary of the Broadway Musical

... Leonard Bernstein: A Guide to Research (2002), The Baroque Cello Revival: An Oral History (Scarecrow, 2004), Leonard Bernstein's “Chichester Psalms” (2009), “Wicked”: A Musical Biography (Scarecrow, 2011), and The Musical Theater of ...

Historical Dictionary of the Broadway Musical

This second edition of Historical Dictionary of the Broadway Musical contains a chronology, an introduction, an appendix, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on Broadway shows, composers, playwrights, directors, producers, designers, actors, and theatres. This book is an excellent access point for students, researchers, and anyone wanting to know more about Broadway musicals.

The Musical Theater of Stephen Schwartz

Based on extensive interviews with Schwartz and a number of his major collaborators, this book provides a rare look into the creation of the composer and lyricist’s shows and films.

The Musical Theater of Stephen Schwartz

As the composer/lyricist for Godspell, Pippin, Wicked, and other musicals, Stephen Schwartz has enjoyed one of the most significant careers in American musical theater for more than four decades. Schwartz has also achieved success on the big screen, contributing to such films as Enchanted, The Prince of Egypt, and Pocahontas. For his work, he has received six Tony nominations, three Grammys, and three Academy Awards. The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond is a detailed examination of Schwartz’s various projects throughout his career. Musicologist Paul R. Laird discusses at length Schwartz’s major shows and also considers his other ventures, such as the music and lyrics for animated features from Disney and Dreamworks. The book focuses on two major aspects of Schwartz’s creations: the process of collaboration resulting in a project’s completion and a descriptive analysis of his music and lyrics. Laird also describes each show’s critical reception and its place in the larger history of musical theater. Based on extensive interviews with Schwartz and a number of his major collaborators, this book provides a rare look into the creation of the composer and lyricist’s shows and films. The Musical Theater of Stephen Schwartz is intended for fans as well as students and professional researchers in music, theater, and the musical theater.

The A to Z of the Broadway Musical

... Leonard Bernstein: A Guide to Research (2002), The Baroque Cello Revival: An Oral History (2004), and Leonard Bernstein's “Chichester Psalms” (forthcoming). He is also active as a Baroque cellist, playing with the Spencer Consort.

The A to Z of the Broadway Musical

The Broadway musical has greatly influenced American (and world) culture. Such shows as Oklahoma! and Annie Get Your Gun are as 'American as apple pie,' while the long runs of imports like Cats, The Phantom of the Opera, and Les MisZrables have broken records. Broadway has produced such cultural icons as Ethel Merman, Yul Brynner, and Julie Andrews, and composers and lyricists such as Irving Berlin, George Gershwin, Cole Porter, Richard Rodgers, Oscar Hammerstein, Leonard Bernstein, Stephen Sondheim, Andrew Lloyd Webber, and many others have had their melodies sung on its stages. Visionaries like George Abbott, Agnes de Mille, Jerome Robbins, Bob Fosse, Tommy Tune, and Susan Stroman have brought productions to life through their innovative direction and choreography. Since the latter part of the 19th century, the Broadway musical has remained one of the most popular genres in entertainment and its history is related in detail in The A to Z of the Broadway Musical. Through a chronology, an introductory essay, a bibliography, and 900 dictionary entries on Broadway shows, playwrights, directors, producers, designers, and actors, this handy desk reference offers quick information on the many aspects of the Broadway musical.

The Cambridge Companion to the Musical

Laird is currently writing The Baroque Cello Revival : An Oral History . Laird's articles and reviews have appeared in The New Grove Dictionary of Music and Musicians , 2nd edn , Revista de Musicología , Anuario musical , Early Music ...

The Cambridge Companion to the Musical

The Cambridge Companion to the Musical provides an accessible introduction to one of the liveliest and most popular forms of musical performance. Written by a team of specialists in the field of musical theatre especially for students and theatregoers, it offers a guide to the history and development of the musical in England and America (including coverage of New York s Broadway and London s West End traditions). Starting with the early history of the musical, the volume comes right up to date and examines the latest works and innovations, and includes information on the singers, audience and critical reception, and traditions. There is fresh coverage of the American musical theatre in the eighteenth and nineteenth centuries, the British musical theatre in the middle of the twentieth century, and the rock musical. The Companion contains an extensive bibliography and photos from key productions.

Wicked

Laird's previous books have included To— wards a History ofthe SPanish Villancico (1997), Leonard Bernstein:A Guide to Research (2002), The Baroque Cello Revival: An Oral History (2004), and Leonard Bernstein's Chichester Psalms (2010).

Wicked

In 2004, the original Broadway production of Wicked earned 10 Tony nominations, including best musical. Based on the best-selling novel by Gregory Maguire, the show continues to run on Broadway and has touring companies throughout the United States and around the world. In Wicked: A Musical Biography, author Paul Laird explores the creation of this popular Broadway musical through an examination of draft scripts, interviews with major figures, and the study of primary musical sources such as sketches, drafts, and completed musical scores. Laird brings together an impressive amount of detail on the creation of Wicked, including a look at Maguire's novel, as well as the original source material, The Wizard of Oz. This volume also offers a history of the show's genesis along with examinations of the draft scenarios and scripts that demonstrate the show's development. Laird also explores Stephen Schwartz's life and work, providing an analysis of the composer and lyricist's work on the show through song drafts, sketches, and musical examples. Laird also surveys the show's critical reception in New York and London, noting how many critics failed to appreciate its qualities or anticipate its great success. The unusual nature of Wicked's story—dominated by two strong female leads—is also placed in the context of Broadway history. A unique look into a successful Broadway production, Wicked: A Musical Biography will be of interest to musicologists, theatre scholars, students, and general readers alike.

Isolde Ahlgrimm Vienna and the Early Music Revival

Nikolaus Harnoncourt appeared on a total of four records, playing both Baroque cello and viola da gamba. He and Ahlgrimm then went their own separate ways, never to cross musical paths professionally again. When asked about her as late ...

 Isolde Ahlgrimm  Vienna and the Early Music Revival

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte f?r Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century musi

The Cambridge Companion to the Musical

... Baroque Cello Revival: An Oral History (2004), Leonard Bernstein's Chichester Psalms (2010), Wicked: A Musical Biography (2011), The Musical Theater of Stephen Schwartz (2014) and with Hsun Lin, coauthor of Leonard Bernstein: A ...

The Cambridge Companion to the Musical

An expanded and updated edition of this acclaimed, wide-ranging survey of musical theatre in New York, London, and elsewhere.

The Early Music Revival

Baroque and early Classical music , predominantly German , formed the backbone of its repertoire . Inevitably , comparisons were drawn with ... Trained as a violinist and cellist , he became so proficient on the gamba that the conductor ...

The Early Music Revival

First comprehensive historical study, going back to 18th century. Influence of Schola Cantorum; instrument builders; performers such as Wanda Landowska, Alfred Deller, others. Includes 46 illustrations. "Well informed" -- Christopher Hogwood.

The Baroque Double Bass Violone

The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.

The Baroque Double Bass Violone

In the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music. This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.

Texas Monthly

Lang had taken up the viola da gamba and the baroque cello years before, while an undergraduate at Ohio State. ... "The revival of authentic performances of old music couldn't have come before the in- Photography by Danny Turner ...

Texas Monthly

Since 1973, TEXAS MONTHLY has chronicled life in contemporary Texas, reporting on vital issues such as politics, the environment, industry, and education. As a leisure guide, TEXAS MONTHLY continues to be the indispensable authority on the Texas scene, covering music, the arts, travel, restaurants, museums, and cultural events with its insightful recommendations.

The Cello

His instrument was the cello , but he became particularly well known as an opera composer , being called to London in ... The first edition of these , by Piatti in 1874 , marks the beginning of the revival of the baroque cello sonatas .

The Cello


The Cello Suites

J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece Eric Siblin ... to Mendelssohn that it took a Jew (working together with an actor, Mendelssohn's friend Devrient) to revive the world's greatest Christian music, 99.

The Cello Suites

An award-winning journey through Johann Sebastian Bach’s six cello suites and the brilliant musician who revealed their lasting genius. One fateful evening, journalist and pop-music critic Eric Siblin attended a recital of Johann Sebastian Bach’s Cello Suites—an experience that set him on an epic quest to uncover the mysterious history of the entrancing compositions and their miraculous reemergence nearly two hundred years later. In pursuit of his musicological obsession, Siblin would unravel three centuries of intrigue, politics, and passion. Winner of the Mavis Gallant Prize for Non-fiction and the McAuslan First Book Prize, The Cello Suites weaves together three dramatic narratives: the disappearance of Bach’s manuscript in the eighteenth century, Pablo Casals’s discovery and popularization of the music in Spain in the late nineteenth century, and Siblin’s infatuation with the suites in the present day. The search led Siblin to Barcelona, where Casals, just thirteen and in possession of his first cello, roamed the backstreets with his father in search of sheet music and found Bach’s lost suites tucked in a dark corner of a store. Casals played them every day for twelve years before finally performing them in public. Siblin sheds new light on the mysteries that continue to haunt this music more than 250 years after its composer’s death: Why did Bach compose the suites for the cello, then considered a lowly instrument? What happened to the original manuscript? A seamless blend of biography and music history, The Cello Suites is a true-life journey of discovery, fueled by the power of these musical masterpieces. “The ironies of artistic genius and public taste are subtly explored in this winding, entertaining tale of a musical masterpiece.” —Publishers Weekly “Siblin’s writing is most inspired when describing the life of Casals, showing a genuine affection for the cellist, who . . . used his instrument and the suites as weapons of protest and pleas for peace.” —Booklist, starred review

Journal of the American Musical Instrument Society

Laird , Paul R. The Baroque Cello Revival : An Oral History . Lanham , Maryland : Scarecrow Press , 2004. 373 pp .: ill . ISBN : 0810851539 ( hdbk . ) . Liuteria in Toscana Violin - Making in Tuscany . Vol . 1 : I liutai contemporanei ...

Journal of the American Musical Instrument Society


The Scoring of Baroque Concertos

The title - page gives some instructions about numbers : Concerti Grossi con duoi Violini e Violoncello di ... included over seventy string players , 21 but Corelli's sinfonia may have been composed for a revival at Modena later the ...

The Scoring of Baroque Concertos

Evidence indicates that the concertos of Vivaldi, Bach and Haydn were performed as chamber music, not the full orchestral works commonly assumed.