The Mimetic Strand in the Cello Literature

Table Of Contents

• Cover
• Title
• Copyright
• About the author
• About the book
• This eBook can be cited
• Contents
• Introduction
• Chapter 1: Mimesis – general issues
• 1.1. Mimesis and the art of music
• 1.2. Periodisation of the evolution of mimetic cello performance
• Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument’s design and the earliest mimetic cello repertoire; terminology, iconography
• 2.1. Mimesis and Renaissance instruments
• 2.2. Renaissance instruments and the design of the cello
• 2.3. The cello and ensemble performance practice: pre-arrangement, pre-transcription and self-transcription
• 2.4. Italian masters of the cello
• 2.5. Cello making schools, cello makers and extant instruments
• 2.5.1. The beginnings of cello making
• 2.5.2. The art of cello making in Cremona
• 2.5.3. Other cello making centres in Italy
• 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views
• 2.5.5. The design of a Baroque cello and bow
• 2.6. Cello terminology in documents and treatises
• 2.6.1. Cello nomenclature in Europe
• 2.6.2. Cello nomenclature in Poland
• 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries
• 2.7.1. Iconography as a source of knowledge about the cello
• 2.7.2. The cello in Italian painting
• 2.7.3. Representations of the cello in Flemish art
• 2.7.4. Paintings depicting the cello in Dutch art
• 2.7.5. The earliest traces of the cello in other European countries
• 2.7.6. Summary
• 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland
• 2.7.8. Sacred painting and sculpture depicting a cello
• Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687
• 3.1. The cello as an alternative instrument
• 3.1.1. General issues
• 3.1.2. The cello and the viola da gamba
• 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello
• 3.2. Cellists active in Europe from 1688 to 1750
• 3.3. The art of cello making after 1687
• 3.3.1. Cello making in Europe
• 3.3.2. The art of cello making in Cremona
• 3.3.3. The art of cello making in Brescia and Bologna
• 3.3.4. The art of cello making in Milan
• 3.3.5. The art of cello making in Venice
• 3.3.6. The art of cello making in Rome
• 3.3.7. Other Italian centres for cello making
• 3.3.8. European cello makers active outside Italy
• 3.3.9. Design changes and conversions of cellos and bows after 1700
• 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century
• 3.4.1. Baroque and Rococo iconography with a cello motif – introduction
• 3.4.2. Depictions of the cello in Italian art
• 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art
• 3.4.4. Iconography with a cello motif in Flemish and Dutch art
• 3.4.5. Depictions of the cello in French and Spanish art
• 3.4.6. Sacred sculpture with depictions of a cello in Poland
• 3.5. The form of musical instruments called violoncello and their repertoire
• 3.5.1. Introduction
• 3.5.2. Hybrids and conversions
• 3.5.3. Repertoire for the viola da gamba or cello – selected concepts relating to the original instruments
• 3.5.4. Violoncello piccolo
• 3.5.5. Historical Baroque cellos
• 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography
• Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750–1815/20
• 4.1 The aesthetic category of mimesis during the second half of the eighteenth century
• 4.2. Arrangements and transcriptions in Classical musical forms
• 4.2.1. Classical variations
• 4.2.2. Classical sonatas, self-transcriptions and polyversions
• 4.2.3. Virtuosic cadenzas in cello concertos
• 4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography
• 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Bréval’s Sonata No. 5 in G major, Op. 12
• 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini
• 4.3. Classical violin makers and their cellos
• 4.3.1. Innovations in cello design 1750–1815
• 4.3.2. The Italian art of cello making during the second half of the eighteenth century
• 4.3.3. The art of cello making in Britain and France
• 4.3.4. Other centres of cello making
• 4.4. European iconography featuring the cello during the Classical era
• 4.4.1. Changes to the image of the cello during the second half of the eighteenth century
• 4.4.2. Italian and British art featuring the cello
• 4.4.3. French paintings with cellos
• 4.4.4. German, Flemish and Swedish art with cellos
• 4.4.5. Summary
• 4.5. The evolution of cello design from the Baroque to the Classical era
• 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation
• 4.7. The compass of works for cello and the instrument’s actual performance capacities
• 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works
• 4.9. Between Classicism and Romanticism
• Chapter 5: The art of cello transcription and arrangement during the Romantic era
• 5.1. The mimetic strand and cello performance in the nineteenth century
• 5.2. The art of cello transcription and arrangement after 1815/20
• 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases
• 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert’s Sonata in A minor, D 821 for arpeggione and piano
• 5.3. Cellists in the entourage of Fryderyk Chopin (1810–1849) and cello transcriptions of his works
• 5.4. A new profession: the cellist transcriber and arranger
• 5.4.1. Friedrich Ludwig Grützmacher (1832–1903) as a transcriber
• 5.4.2. Other transcribers of the German school
• 5.4.3. Transcribers of the French and Russian schools
• 5.4.4. Other European transcribers
• 5.4.5. Arrangers of works for cello
• 5.5. The output of Polish composers in transcriptions
• 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions
• 5.7. Virtuosic cadenzas
• 5.8. Composers and their self-transcriptions
• Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries
• 6.1. New trends in music and cello transcription
• 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries
• 6.2.1. European cellist-transcribers
• 6.2.2. Cello transcription in Poland
• 6.3. The mimetic art and aesthetic, ethical and legal issues
• Appendix I: Theory
• 1. The etymology and meaning of the word transcription; definitions and related terms; definition of cello transcription
• 2. A systematics of cello transcriptions with examples
• 2.1. The classification of cello transcriptions in terms of the degree to which the original is preserved
• 2.1.1. Faithful cello transcriptions: substantial, natural, literal
• 2.1.2. Structural cello transcriptions
• 2.1.3. Syntactic cello transcriptions
• 2.1.4. Recontextual cello transcriptions
• 2.1.5. Functional cello transcriptions
• 2.2. The classification of cello transcriptions according to original forces
• 2.2.1. String instruments and transcriptions of their repertoire
• 2.2.2. Struck string instruments and transcriptions from their repertoire
• 2.2.3. Plucked string instruments and transcriptions from their repertoire
• 2.2.4. Woodwind and brass instruments and transcriptions of their repertoire
• 2.2.5. Cello transcriptions of vocal works
• Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD
• Concert transcriptions for cello
• Bibliography
• Summary
• About the Author
• Index