.Baroque cello - Bass violin bow
vue de l'archet avant ET APRES AVOIR CLIPPé la hausse
Archet fait par Hans Reiners, Berlin
La tenue d'archet
Portrait of a gentleman seated playing cello, by Charles Philips, circa 1720
Concerto in casa Lazzari by Girolamo Martinelli
Dans des pays tels que L'Italie, l'Allemagne, les Pays Bas, la tenue d'archet la plus courantependant l'epoque baroque était avec la main en dessous.
"Iconographic study of the violoncello and the way it was played up to the year 1800"
"Certain Aspects of baroque music for the violoncello as finally exemplified in the suites for
unaccompanied violoncello by J.S. Bach. (thesis, doctorate, University of South Australia 1983-4)"
LIRE: "The cello bow held the viol way, once common, but almost forgotten" by Mark Smith
The thumb was laying on the frog of the bow, the second finger was on the stick, and the other 3 fingers were on the bow hair. By the pressure of those fingers, especially the little finger, he increased the tension of his bow .
Description of J.C. Schetky's bow hold
Celebres violoncelliste qui jouaient avec la main sous la hausse
Ferdinando III de Medicis- 1663-1713 -
His Villa in Patrolino was a center of music where he held operatic production in a theater built for that purpose. Close to D. Scarlatti, he produced five of his operas. Ferdinando was also in contact with J.F. Handel. Vivaldi dedicated him L'Estro Armonico, a collection of twelve concertos for one, two and four violins.
- Colleague of A. Vivaldi in 1720
- First violoncellist of the Church of St. Antonio in Padua, concertmaster: Tartini (1721)
- 1723-26 : Accompanist of Tartini in Prague
- 1726-70: Back to his position of principal cello of the Church of St. Antonio in Padua.
- 1776-78: Back to Bologna his birth town where he taught until his death.
Composition for the violoncello:
Concerto in D major
Charles Burney, Excerpt from: “Music men, and manners in France and Italy 1770”
German cellist Markus Graüel was born in Eisenach in the first half of the eighteenth century.
He joined the chamber musicians of the Prussian Court in Berlin from 1742 until 1798.
Excerpt from "An eighteenth century musical tour in central Europe and the Netherland."(1773)
Johann Christoph Shetcky
In 1799 the "Allgemeine Musikzeitung" published a long biographical print where his bow hold is described, explaining that his thumb was laying on the frog of the bow, the index finger was alone on the stick, and the other fingers were on the bow hair.
Spent six months in Hamburg in 1761 where he got offered a Stradivarius.
- 1761-68 Cellist of the court orchestra of Darmstadt
- 1768-69 Played concerts in Hamburg
He also appeared in concerts in London where he got the patronage of J.C. Bach.
tenue d'archet AVEC la main sur la baguette
peintures, documents historiques
( Cellist: J.P. Duport)
Excerpt from: The Rev. John Chafy Playing the Violoncello in a Landscape, Gainsborough - c.1750-2
Portrait of Giovanni Battista Cirri by Giacomo Ceruti
descriptions de Michel Corette1741
Methode théorique et pratique pour apprendre en peu de temps de violoncelle dans sa perfection. - 1741
"On the manner of holding the bow"by jl DUPORT
PREMIER VIOLONCELLISTE QUI FAIT PARLER DE LUI PARTOUT EN eUROPE:
"Franciscello", a travelling virtuoso
His playing and sound had an important impact in the development and the popularity of the violoncello. After a performance with Scarlatti, Geminiani related that only an angel that had descended and assumed his shape could have played like that. Quantz describes him as «the incomparable violoncellist Fransciscello."
Employed at the Imperial chapel of Vienna from 1726 until his death, he received by far the highest salary paid to any violoncellist at the chapel (1260 fl. while the standard salary was between 150 and 500 fl.)
His fame also inspired viola da gamba players to explore the new instrument. The French gamba player Martin Berteau was one of them. After hearing a concert of Alborea, he decided to dedicate the rest of his career to the violoncello.
This is the only portrait of Berteau, there is no more information about his bow and bow-hold.
Berteau was born in 1691 in Valenciennes, France.
Before becoming a cellist, Berteau was a fine bass viol player. Important figure as a performer teacher and composer, "The famous Bertaud", is considered as the founder of the French school of violoncello. He left no written record of his teaching method, but many of his pupils did. Among them: the Brothers Janson, Jean-Pierre Duport, Jean-Baptiste Bréval, François Cupis de Renoussard, Joseph Tillière, Dominique Bideau. Famous for his use of harmonics, he composed 6 cello sonatas Sonate Da camera a violoncello Solo col Basso Continuo op.l where he wrote an explanation on how to play harmonics on the cello.
ABOUT THE CHOICE OF BOW-HOLD
THE CHOICE OF BOW HOLD IS RELATED TO THE WAY THE INSTRUMENT IS HELD IN ORDER TO USE THE NATURAL STRENGTH OF THE ARM THROUGH THE PALM OF THE HAND
Overhand bow hold
Only instrument held in the Da Spalla/violin position
Underhand bow hold
Only instrument held in the upright position
But the cellists used both bow-holds..