The Cello Endpin
A research by Pippa Drijver
Koninklijk Conservatorium Den Haag
Historical Development 2022/2023- Caroline Kang
Table of Contents
Introduction
Before the endpin
Introduction of the endpin
Development of the endpin
Different materials
Experimenting with different materials
Bibliography
Introduction
When volunteering at the Cello Biënnale in the summer of 2022, I got into a conversation with a luthier about the sound and colour of my cello. I explained to him that I had changed the strings, moved the sound post and even purchased a new bridge, but still had the feeling I could get a better sound out of it. He informed me that many musicians do not know what big of an effect the endpin has. I experimented with one of his cellos, and changed the aluminium one for a titanium one. Not only did the weight of the instrument become bigger, its tone did as well! I figured it would be a great subject to do my research on, and hopefully inform other musicians about the origin, development and effects of the endpin. In this research, a video-comparison between an aluminium and carbon fibre is added and can be viewed online.
Before the endpin
The cello originated in the early sixteenth century as a member of the violin family. A variety of terms (bass violin, basso de braccio, violone) were used before violoncello (cello) was eventually chosen as the standard term. Many of these instruments were bigger than the modern cello. When this instrument that we now know as the cello was invented, it was played in many ways, different from how we play it now. This is because a thing such as the endpin did not exist. The early cello was sized differently and could be held in a couple of ways. Documentary sources, repertory and iconography show these instruments being held da gamba (between the legs), da spalla (on the shoulder), da braccio (against the chest), resting on a stool or on the foot, or with a neck-/shoulder strap. Women had to endure an even more inconvenient way of playing, namely by sitting side saddle. This was because sitting with opened legs as a woman was seen as improper. Having the instrument stand on the floor was often necessary because of its big and uncomfortable size. Since the occasions where the cello was played were different from those nowadays, these existing ways of carrying the instrument were good enough. The neck strap was mostly used by walking musicians (often monks in monasteries, or during dances at weddings for example), the stool when playing standing next to the organ on the balcony (due to the lack of space) and the da gamba style while playing sitting down. The use of the neck strap resulted in unique, characteristic markings in cellos of that time. To attach the rope, a hole was drilled in the back plate. These were later filled up by luthiers, when a strap was no longer used when playing.
Introduction of the endpin
We know the first endpins were made out of wood and were often referred to as a stick to install at the bottom of the cello. However, the exact introduction of the endpin remains a mystery. A number of sources from different time periods indicate the first use of the endpin. The earliest to be found is by Michel Corrette in 1741, who mentions this stick in not the most positive way. This is done in his method book “Methode, théorique et pratique pour apprendre en peu de tems le violoncelle dans sa perfection, op.24”. Corrette states the following:
“… note that the instrument does not touch the ground at all, since that makes it muted: sometimes one puts a stick at the end to support the cello, when one plays standing up: not only is this posture not the most attractive, but it is moreover the most contrary for difficult passages”
Another suggestion of using the endpin is by Robert Crome, coming from his method book “The Compleat Tutor for the Violoncello, containing the best & easiest Instructions for Learners”, dating around 1765. In this fragment on the first page of his book, he mentions a wooden peg, functioning as an endpin (tail-piece). Taking it out is suggested if the player prefers to play without one.
Throughout the first half of the nineteenth century, the use of an endpin was quite rare. The general use expanded when it became clear that the quality of the tone of the cello increased, and not so much because of its benefits in comfort. Adrien-Francois Servais (1807-1866) appears to be the first cellist to have used it regularly. Rumour has it that Servais used the endpin mostly because he was overweight and it helped him play more easily. Others say it was because he was getting older, and needed it for stability. In this image we can see Servais with his cello, completed with an endpin. Although it seems he taught all his students to play with the endpin, it would be another half-century before it became universal.
From the moment that the mention of the endpin in pedagogical-/instructional books, often the tutors refer to the traditional posture of playing da gamba. Pedagogues and musicians Henri Rabaud (1878) and Jules de Swert (1882) both recommend using the endpin, but state that classical posture is important to be skilled with in the first place and both ways of playing should not be too different from each other.
A quote by Rabaud, from one of his method books (1878):
“Several artists make use of a spike, rod or extension to hold up the cello, which fits the button: I advise pupils not to use it before being well familiarised with the classical posture.”
Something De Swert pointed out in his exercise book “The Violoncello” (1882), being more focused on the tonal aspects of the endpin: “Nearly all the modern players use a stem made of wood or metal (wood is preferable) about seven or eight inches long, which is fitted to the lower part of the Violoncello, and on which the instrument rests. In my opinion this is perfectly right, because, by this system, not only is the position of the body freer, but also the tone is favourably influenced by the instrument resting on this stem instead of being held by the pressure of the legs, the latter plan necessarily interfering with the development of the tone.”
The image below visualises the written instruction of De Swert.
In the last decades of the nineteenth century and the beginning of the twentieth, it was either assumpted that the endpin was used, or prescribed as optional. More instructions on how to use it are given in method books. Players should adjust their endpins to a specific height, so their bow does not touch their knees while playing on the C string. Multiple cellists/ pedagogues from this time have written about the usage of the endpin in their method books:
“When using a peg at the bottom of the instrument, it is necessary to have it so long, that the lowest screw [C string peg] reaches the left ear at about two or three inches distance, so as not to run the risk of knocking the left knee with the bow in striking the A string.”
Josef Werner, 1883
“The player sits forward on the seat, grasps the cello with the left hand on the neck, and secures it with the spike, so that it stands perpendicular to the feet…”
Carl Davidoff, 1888
“The use of the peg is now generally adopted, and offers the double advantage of steadying the instrument and strengthening its tone by an additional amount of resonance, resulting from the communication established by it between the body of the violoncello and the floor. If the peg be of steel, as is now generally the case, it will prove even a stronger medium than a peg made of wood [Playing without a tail-pin] which is still practised in isolated cases, has the disadvantage of giving the instrument a rather upright position, rendering it somewhat stiff, and necessitating the covering, by the legs, of a greater part of the ribs, which prevents the free emission of sound.”
Edmund van der Straeten, 1898
The image below visualises the written instruction of Van Der Straeten.
With the general adoption of the endpin, we can focus on the development of the endpin.
Development of the endpin
For the development we jump back in time to look at how the material of the endpin changed throughout the years. The earliest, wooden endpins had a fixed length and were removed from the instrument when the cellist did not have to play. This allowed the musicians to easily switch between playing da gamba style and playing seated with an endpin. There were various fixed lengths made. At first, pedagogues recommended relatively short endpins, about 17-20 cm. This changed in the early twentieth century, when cellists began experimenting with longer (fixed) endpins.
Who exactly invented the adjustable endpin for the cello is a mystery. Names that come forward are the cellists and luthiers Jean-Louis Duport, Jean-Baptiste Vuillome and Auguste Tolbecque. They all lived in the same time period, so we do know when this invention happened. Namely, late nineteenth century and early twentieth century. These adjustable endpins were hybrid: the ‘stem’ was made out of wood, while the tip was made out of metal and could be extended with a screw-mechanism (see image below).
The materialistic change continued, and the entire endpin was now made out of metal. A discussion rose up, debating whether wooden or metal endpins would be best soundwise. Edmund van der Straeten, who we have read about before, stated the following:
“If the tail pin be of steel, as is now generally the case, it will prove even a stronger medium than a tail pin made of wood, metal being a better conductor of the vibrations of sound. A wire fixed to the soundboard of a piano will communicate sound quite distinctly from one room to another; in the telephone it fulfils a similar function.”
Wooden endpins were in the course of the twentieth century fully replaced by adjustable metal endpins that could be inserted in the inside of the instrument through a housing when not in use. Now musicians did not have to carry around an extra component anymore.
After the invention of the metal, adjustable endpin, only one major innovation has been done.
The Tortelier endpin is typically made of metal, such as stainless steel or aluminium, to provide durability and strength. It is adjustable length, allowing mucisians to find their preferred height and positioning for playing. The angle of the bend in the endpin provides a stable connection between the cello and the floor, enhancing the instrument’s stability and minimising the risk of slipping during performance. It is worth noting that while Paul Tortelier popularised and promoted the use of the bent endpin, he did not invent the concept itself. The bent endpin as a general design has been used by various cellists and has undergone different variations throughout history. However, the specific design associated with Tortelier’s name has become well-known in the cello community.
After the invention of the bent endpin, mostly developments in material have found place.
Different materials
As we read in the previous chapter, the endpin of a cello can be made from various materials, each with its unique properties and characteristics.
Wood: The first ever endpins were fixed and made out of wood. There is little to no reliable research to indicate the types of wood used for this. Assuming that most endpins back then were provided by luthiers, common substances in their ateliers were maple, spruce, mahogany, and ebony. It is very likely that they used these same wood types for the crafting of the endpin. The wooden endpin offered a natural and warm tone. Also, they are known for their aesthetic appeal, as they can be beautifully crafted and polished. However, they are quite sensitive to wear and damage over time, and may require regular maintenance/replacement. There is no iconography to be found of original endpins up close, only the upgraded adjustable ones.
Metal: Metal endpins, such as brass or steel, gained popularity in the late 19th century due to their durability and strength. Metal endpins are resistant to wear and can handle regular use, making them a practical choice for many cellists. They are, other than the wooden endpins, less influenced by changes in humidity and temperatures. Metal endpins are often adjustable, allowing for fine-tuning of the cello’s playing position. Metal endpins also improved the resonance and projection of the instrument by minimising dampening effects that could occur with wooden endpins.
Carbon fibre: Carbon fibre endpins are a modern alternative that offer a lightweight, yet sturdy construction. Carbon fibre is known for its high tensile strength and resistance to wear, making it a durable option. Carbon fibre endpins are designed to transmit vibrations more efficiently, enhancing the instrument’s resonance and projection. This can result in a clearer and more focused sound. For this research, I will try a carbon fibre endpin, and compare it to my aluminium one.
Plastic: Plastic endpins, usually made from materials like nylon or PVC, are a more affordable and lightweight option. Plastic endpins are often adjustable as well and can be used for everyday playing. However, they may not offer the same level of durability or aesthetic appeal as wood, metal, or carbon fibre endpins, and are generally considered to be less common in the professional cello scene.
Hybrid materials: Some endpins are made from hybrid materials that combine the advantages of different materials. For example: a wood core encased in a carbon fibre or metal shell can provide a combination of traditional warmth and modern durability. These hybrid endpins can offer a unique balance of tone, stability, and aesthetics.
It is worth noting that the choice of endpin material is often a matter of personal preference for cellists, as different materials can affect the tone, stability, and feel of the instrument. Some cellists may prioritise the traditional warmth and aesthetic appeal of wood, while others may prefer the durability and adjustability of carbon fibre.
Experimenting with different materials
For this part of my research I will be trying and comparing a hollow aluminium endpin and carbon fibre endpin. I have a convenient endpin attachment-mechanism, that allows me to easily slide an endpin into my instrument. I visited luthier Christian Jünemann in Amsterdam and borrowed a carbon fibre endpin for this experiment. Since the biggest difference will be connected to the resonance of the instrument, I will play a C-Major scale (loudly and softly, for the overtones) and a few chords. I recorded the endpins separately, but under the same conditions.
Carbon fibre: https://youtube.com/shorts/Kkp-r-SSZ6E?feature=share
Aluminium: https://youtube.com/shorts/1Mf3QFjrnPM?feature=share
The first thing I noticed after putting the carbon fibre endpin in my cello, was how it felt wobbly and not very supportive. This might be because it is thinner than my usual endpin. Another (obvious) big change was the weight. Because of the light weight that comes with the carbon fibre, my instrument was easier to lift and more comfortable to carry around. Tonewise, I feel like the material of the endpin dampened the resonance. It seems like overtones disappeared and the resonance after the chords faded away more quickly.
My cello sounds warmer and more full while using the aluminium endpin. I believe this is because the overtones get supported and transferred more easily by the vibration of the metal. The chords sound longer and I feel like I get into the strings more deeply.
When demonstrating both endpins in class during my presentation, fellow cellists noted that my cello indeed sounded less warm and powerful, almost dampened, while using the carbon fibre endpin. Considering my instrument and taste, I prefer the aluminium endpin much more over the carbon fibre one. I hope to try even more materials in the future.
Bibliography
Bois d’harmonie, “Baroque Endpin” http://boisdharmonie.net/en/accessories/endpins-endbuttons
Braun, W. The Evolution of the Cello Endpin and Its Effect on Technique and Repertoire (University of Nebraska - Lincoln, published 23/4/2015). Accessed 11/6/2023 https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1089&context=musicstudent
Corrette, M. Methode, théorique et pratique pour apprendre en peu de tems le violoncelle dans sa perfection, op.24 (Paris: [Undefined publisher], 1741), p. 7. Accessed 11/6/2023 https://s9.imslp.org/files/imglnks/usimg/9/94/IMSLP257054-PMLP416691-corrette_methode_pour_le_violoncelle.pdf
Crome, R. The Compleat Tutor for the Violoncello, containing the best & easiest Instructions for Learners (London: C. & S. Thompson, 1765?), p. 1. Accessed 11/6/2023 https://s9.imslp.org/files/imglnks/usimg/8/86/IMSLP459788-PMLP746898-compleattutorfor0000crom_cello.pdf
Davidoff, C. Violoncell-Schule (Leipzig: Edition Peters, 1888?), p. 2. Accessed 12/6/2023 https://s9.imslp.org/files/imglnks/usimg/7/71/IMSLP330455-PMLP62224-KDavydov_Violoncell-Schule_fe.pdf
De Swert, J. The Violoncello (London and New York: Novello, Ewer and Co., 1882), Accessed 12/6/2023. No exact link to be found. https://imslp.org/wiki/List_of_works_by_Jules_de_Swert
Kennaway, G. W. Cello techniques and performing practices in the nineteenth and early twentieth centuries (Published in 2009). Accessed 11/6/2023 https://www.academia.edu/70388658/Cello_techniques_and_performing_practices_in_the_nineteenth_and_early_twentieth_centuries
Langey, O. Practical Tutor for the Violoncello. New Edition, Revised & Enlarged (London: Hawkes & Son, 1909), p. 7. Accessed 12/6/2023 (no link)
Photograph of Adrien-Francois Servais with his cello, with an endpin. Ca 1862. Accessed 13/6/2023 https://schoolofartsgent.be/ee/nl/agenda-nieuws/agenda/francois-servais-the-paganini-of-the-cello-and-the-belgian-school-of-cello
Rabaud, H. Methode Complete de Violoncelle, op. 12 (Paris: Alphonse Leduc, 1878), p. 1. Accessed 12/6/2023 https://s9.imslp.org/files/imglnks/usimg/b/b1/IMSLP249081-PMLP403762-Rabaud_Cello_Meth.pdf
Van Der Straeten, E History of the violoncello, the viol da gamba, their precursors and collateral instruments (London: William Reeves, 1898), p. 17-18. Accessed 13/6/2023 https://archive.org/details/straeten_historyofthevioloncellothevioldagambatheirprecursorsandcollateralinstruments_1914/page/n11/mode/2up
Van Der Straeten, E The Technics of Violoncello Playing (London: The Strad Office, 1905), p. 18 Accessed 14/6/2023 https://vmirror.imslp.org/files/imglnks/usimg/9/99/IMSLP236766-PMLP383754-Straeten_-_The_Technics_of_Violoncello_Playing_1905_text.pdf
Werner, J. Praktische Violoncell-Schule, Op.12 (Köln: P.J. Tonger, 1882?), p. 3. Accessed 13/6/2023 https://s9.imslp.org/files/imglnks/usimg/4/4d/IMSLP449238-PMLP121330-JWerner_Praktische_Violoncell-Schule,_Op.12_books1-4_cello.pdf