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Ensemble Tiefsait - Dall'Abaco, Barrière, Marcello: 18th Century Cello Trios (2024)

Ensemble Tiefsait - Dall'Abaco, Barrière, Marcello: 18th Century Cello Trios (2024)

BAND/ARTIST: Ensemble Tiefsait

  • Title: Dall'Abaco, Barrière, Marcello: 18th Century Cello Trios
  • Year Of Release: 2024
  • Label: Da Vinci Classics
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 59:15
  • Total Size: 256 MB
  • WebSite:
Tracklist:

1. Trio No. 1 for three Cellos in B Major, ABV 54: No. 1, Moderato (06:16)
2. Trio No. 1 for three Cellos in B Major, ABV 54: No. 2, Adagio (04:50)
3. Trio No. 1 for three Cellos in B Major, ABV 54: No. 3, Capriccio (05:42)
4. Trio No. 1 for three Cellos in B Major, ABV 54: No. 4, Allegro (04:03)
5. Caprice No. 4 in D Minor (03:48)
6. Sonata No. 2 a Tre in D Minor: I. Adagio (Livre III) (01:42)
7. Sonata No. 2 a Tre in D Minor: II. Allegro (Livre III) (01:31)
8. Sonata No. 2 a Tre in D Minor: III. Aria - Largo (Livre III) (02:42)
9. Sonata No. 2 a Tre in D Minor: IV. Giga (Livre III) (02:04)
10. Caprice No. 1 in C Minor (03:10)
11. Sonata a Tré No. 2 in C Minor: I. Largo (04:27)
12. Sonata a Tré No. 2 in C Minor: II. Presto (02:33)
13. Sonata a Tré No. 2 in C Minor: III. Grave (01:24)
14. Sonata a Tré No. 2 in C Minor: IV. Presto (01:55)
15. Caprice No. 2 in G Minor (03:09)
16. Trio No. 2 for three Cellos in G Major, ABV 55: No. 1, Moderato (03:49)
17. Trio No. 2 for three Cellos in G Major, ABV 55: No. 2, Larghetto (02:46)
18. Trio No. 2 for three Cellos in G Major, ABV 55: No. 3, Comodo (03:15)

During the course of the 18th century the cello rose from a humble accompanying bass instrument to a full-fledged solo instrument in its own right. The bass violins around 1700 were rather large and unwieldy instruments which provided a good bass resonance. A smaller version of the bass instrument of the violin family called ‘violoncello’ came into existence in Italy during the last decade of the 17th century. Advances in string making, e.g. the invention of metal wound gut strings for the lowest string on the cello, facilitated smaller instruments sounding at the same pitch as the large bass violins. These new cellos were easier to play on and offered a different, more soloistic timbre, particularly in its higher tenor register. The first sonatas for cello, as well as chamber music with obligato cello parts, originated in Italy just before 1700. It was in the decades after 1730 that the cello experienced a meteoric rise all over Europe: there was a rapid development in playing standards and in public interest in the instrument. Cello soloists, as for example Salvatore Lanzetti (c1710–1780), Joseph-Marie-Clément Dall’Abaco (1710–1805), Johann Georg Schetky (1737–1824) and Luigi Boccherini (1743–1805), toured Europe giving solo concerts and performing cello concertos. The cello quickly became the instrument of choice for musical amateurs, too. In France, Michel Corrette’s (1707–1795) treatise in cello playing and more than 25 volumes of cello music by French and Italian composers, which appeared at the publisher Le Clerc in Paris between 1738 and 1750, testify to a burgeoning amateur market. In England, Peter Prelleur (1705–1741) added a fingering chart and two lessons for the cello to his music primer The Modern Musick-Master, published in 1731. A year later, Frederick Louis, Prince of Wales, started to taking cello lessons and thus set an example for countless other noblemen and gentry in Britain and on the continent. This development of the cello as an instrument of the nobility was partly due to the advantageous playing position: the aristocratic cello player could sit on a chair while making music and avoid unbecoming contortions which the violin necessitated. The cello shared this feature with the viol and the wide-spread viol playing among noble amateurs facilitated switching to the cello once the viol became antiquated. Thus, the first English cello treatise, published by Robert Crome in London around 1765, could claim that ‘this instrument [the cello] appears to be built on the ruins of another, I mean the viol or six string’d bass, which in the last century was held in great esteem and of general use in concerts’ before stating that nowadays ‘the Violoncello is an excellent instrument, not only in concert, but also for playing lessons &c’.



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