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05.03
Jojo_deep
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Pierre Fournier - Beethoven - The Music for Cello and Piano
Duo sonatas for cello and piano, which were a novel form of a chamber music when Beethoven's op. 5 appeared in 1796, marked the final emancipation of the "little bass", whose origins go back to the 16th century, and which was used above all as a continuo instrument and as a member of the orchestra. The devolpment of performnig technique and the widening of the cello's field of action went hand in hand. In the first two decades of the 19th century the virtuoso cellist Jean-Louis Duport, whose playing inspired Beethoven to write works for cello, established the basic principles of fingering and bowing technique. Around the middle of the century the spike or end -pin was introduced, giving the instrument a firmer grip on the ground and also increasing its resonance, with the result that the masculine, baritone sound of the cello could be displayed fully when it was used as a melody instrument. Before that, the cello had taken on the role of the fundamental bass instrument in the up-and-coming string quartet and string trio genres. At the same time its importance in the symphony orchestra increased steadily. The first touring virtuoso cellists began to enhance the reputation of their instrument, and it soon became fashionable among amateur musicians as well. These included King Frederick William II of Prussia. To please this royal music-lover Mozart gave greater melodic interest than usual to the cello parts in a group of his late string quartets. It was to this King of Prussia, too, that Beethoven dedicated his two duo sonatas op. 5, the earliest major works of the Classical-Romantic repertoire for cello. (Karl Schumann)
Duo sonatas for cello and piano, which were a novel form of a chamber music when Beethoven's op. 5 appeared in 1796, marked the final emancipation of the "little bass", whose origins go back to the 16th century, and which was used above all as a continuo instrument and as a member of the orchestra. The devolpment of performnig technique and the widening of the cello's field of action went hand in hand. In the first two decades of the 19th century the virtuoso cellist Jean-Louis Duport, whose playing inspired Beethoven to write works for cello, established the basic principles of fingering and bowing technique. Around the middle of the century the spike or end -pin was introduced, giving the instrument a firmer grip on the ground and also increasing its resonance, with the result that the masculine, baritone sound of the cello could be displayed fully when it was used as a melody instrument. Before that, the cello had taken on the role of the fundamental bass instrument in the up-and-coming string quartet and string trio genres. At the same time its importance in the symphony orchestra increased steadily. The first touring virtuoso cellists began to enhance the reputation of their instrument, and it soon became fashionable among amateur musicians as well. These included King Frederick William II of Prussia. To please this royal music-lover Mozart gave greater melodic interest than usual to the cello parts in a group of his late string quartets. It was to this King of Prussia, too, that Beethoven dedicated his two duo sonatas op. 5, the earliest major works of the Classical-Romantic repertoire for cello. (Karl Schumann)
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