In taking a retrospective glance at the progressive development which
Violoncello playing has displayed from the beginning of the present
century, it is evident that this branch of Art has reached so great a
degree of perfection that it seems scarcely possible it can rise much
higher. This result is not only to be ascribed to the deserving work of
the leading Violoncellists--and here must be called to mind, besides
Romberg and Dotzauer, pre-eminently Friedrich Kummer, Aug. Franchomme,
and François Servais--but also to those famous German composers who
brought the Violoncello within the sphere of their productions.
Already had Haydn and Mozart appropriated to this noble instrument, in
their String Quartets, passages which contributed to the furtherance of
the technique and the possibility of expression. Beethoven went much
farther even than this. Not only in his String and Pianoforte Trios, as
well as in his Quartets, but also in his Sonatas (Op. 5,[142] 69, and
102) and in the so-called Triple Concerto (Op. 56), he increased the
demands on the Violoncello to such an extent that in certain respects a
real impulse was given to the artistic manipulation of the instrument.
At the same time, the works referred to had a stimulating effect on
the productive work of the future in the field of Cello compositions,
which received a considerable accession in regard to Sonatas especially.
We will note here only the names of the best known composers, who
used their genius in this direction. They follow in alphabetical
order: W. STERNDALE BENNETT, JOH. BRAHMS, FR. CHOPIN, FR. GERNSHEIM,
EDV. GRIEG, FERD. HILLER, FRIEDRICH KIEL, FRANZ LACHNER, FELIX
MENDELSSOHN-BARTHOLDY, IGNAZ MOSCHELES, GEORG ONSLOW, JOACHIM RAFF, KARL
REINECKE, JOS. RHEINBERGER, ANT. RUBINSTEIN, CHARLES SAINT-SAËNS, XAVER
SCHARWENKA, BERNHARD SCHOLZ, and W. TAUBERT.
The following have written Concertos for the Violoncello: ALBERT
DIETRICH, E. ECKERT, BERNH. MOLIQUE, JOACH. RAFF, KARL REINECKE, ANTON
RUBINSTEIN, SAINT-SAËNS, ROBERT SCHUMANN, W. TAUBERT, and ROB. VOLKMANN.
The Concerto which has lately appeared by JOH. BRAHMS, for Violin and
Violoncello, must also be mentioned.
Besides these there exist a number, by no means small, of greater and
lesser Cello compositions, which deserve to be prominently brought
forward--as, for example: MAX BRUCH’S “Kol Nidrei,” Op. 47; CHOPIN’S
Introduction and Polonaise Brilliant, Op. 3, and Duo Concertant
on Themes from “Robert le Diable” (the Cello part is Franchomme’s
production); FR. GERNSHEIM’S Hebrew song, “Elohenu”; FERD. HILLER’S
Concertstück, Op. 104; Duo for Pianoforte and Violoncello, Op. 22, and
two Serenades, Op. 109; FR. LACHNER’S Serenade for four Violoncellos,
Op. 29, and Elegy for five Violoncellos, Op. 160; LIMMER’S Trio for
three Violoncellos and Quartet for four Violoncellos; M. MARX’S three
Quartets for four Violoncellos; MAURER’S Nocturne for four Violoncellos;
FELIX MENDELSSOHN’S Variations for Pianoforte and Violoncello, Op. 17;
IGN. MOSCHELES’S Duo Concertant, Op. 34; L. PAPE’S six Serenades for
four Violoncellos; F. E. REINECKE’S “Three Pieces,” Op. 146; FERD.
RIES’S “Air russe varié,” as well as Introduction and Rondo “Sur une
danse russe”; ROB. SCHUMANN’S five “Stücke im Volkston,” Op. 102; and
likewise L. SPOHR’S Potpourri for Violin and Violoncello on Themes from
“Jessonda.”[143]
If to these be added the numberless compositions which Violoncellists
of our century have produced in Concertos, Concert pieces, Variations,
Fantasias, and Duets for their instrument, it must be admitted that
Violoncello literature in the course of time has increased very
extensively.
The “Etudes” compositions for the Violoncello left much to be desired
during the first decade of the present century. On this account the
theorist Siegfried Wilhelm Dehn, of some consideration in his time, and
who occupied himself in his younger years with Cello playing, may have
been induced to arrange a portion--twenty-two in number--of the Kreutzer
Violin studies for the Violoncello. This work, however, published
by him in June, 1831, cannot be accounted a particularly successful
accomplishment. The finger and bow technique of the Violoncello require
an entirely different manner of treatment from that of the Violin. And
as these Studies were written according to the capacities of the latter
instrument it is evident they can only be made available in a limited
degree for the Violoncello. It is not then to be wondered at that the
Kreutzer “Etudes,” transcribed by Dehn with the best intention, should
have fallen into oblivion, since Violoncellists have more and more
sought after a thoroughly suitable system of “Etudes” literature, which
has now grown to be a very rich field. During the last ten years the
solo manipulation of the Violoncello has, in certain respects, undergone
a change to its advantage in a very remarkable manner. The higher and
highest tones of the instrument are no longer unduly preferred, as in
Romberg’s time; but the tenor positions, more in accordance with its
character, are chiefly used, without, however, neglecting altogether
the lower and the higher parts. The execution of passages has greatly
gained thereby. In this respect, it is true, the Violoncello cannot
rival the Violin in brilliancy and agility. The strings of the former
being so much longer and thicker, of which the two lower ones are made
of correspondingly stout wire, form a natural impediment to the rapid
emission of tones in quick runs and groups. In addition the somewhat
muffled, though at the same time powerful and full tone of the deeper
strings renders difficult a brilliant execution. This is felt more
especially in Violoncello Concertos with full orchestral accompaniment.
The Violoncello has, however, this advantage: that it lends itself far
less to virtuoso exaggerations and confusions than does the easily
portable violin, so favourably disposed for every variety of unworthy
trifling. The masculine character of the Violoncello, better adapted for
subjects of a serious nature, precludes this. But then this instrument
does not offer the same wealth in means of execution which the Violin is
capable of developing as a solo instrument. In harmonics and _pizzicato_
indeed it is at least equal to it, but in the speed and flexibility of
passages, as well as in double-stopped playing, its limits are defined.
It follows that on account of the larger dimensions of the Violoncello,
and the character of the instrument, double-stopped combinations are far
less suitable for the deeper than for the higher strings, a circumstance
of which there is no question at all on the Violin.
One of the strongest points which the Violoncello possesses in its
favour is its suitability as a solo instrument in _Cantilena_ playing,
in which it is not surpassed by any other. If the Violin, with melting
soprano and tenor-like voice, speaks to us now with maidenly tenderness,
now in clear jubilant tones, the Violoncello, grandly moving for the
most part in the tenor and bass positions, stirs the soul by its
fascinating sonority and its imposing power of intonation, not less than
by the pathos of its expression, which by virtue of its peculiar quality
of tone more specially belongs to it than to the Violin.
There is no rivalry between the two instruments, but rather do they
mutually enhance each other’s power. Even so is it with the themes which
devolve on each in the sphere of chamber and orchestral music. It is
greatly to be desired that future generations may foster and maintain
what has been done for the art of Violoncello playing in so meritorious
a manner by unwearied, self-sacrificing labour; but it is to be hoped,
at the same time, that the technique of the instrument, so carefully and
finely formed, to the subject of which this book is dedicated, may be
ever applied in the service of true and noble Art only.