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Name: Anne-Linde Visser Main Subject: Baroque Cello Research Supervisor: Johannes Boer Title of Research: Seventeenth century (Italian) cello playing, focusing mainly on bow technique Research Question: How can we regain seventeenth century bow-technique for cello repertoire? Summary of Results: My aim for this research was to find out more about 17th century cello playing, with the focus on bow technique. The first cello treatise was not written until 1741 (Corette) and therefore most cellists will play this repertoire with a late 18th century (bow) technique. Repertoire which is written especially for the violoncello starts in the late 17th century, but a lot of this repertoire was still composed in the old style. In short, my research contains the following elements: the bow, the bow-hold, bow-technique and other sources on articulation. The sources used include mainly treatises and iconography (taking into account that not all iconography is appropriate). Iconography shows us that there are a lot of possibilities to play the cello. In terms of bow hold, underhand bow hold is seen the most, but also overhand bow hold can be seen towards the end of the 17th century. The treatises by Sylvestre Ganassi, Riccardo Rognioni and Francesco Frognoni, were my main sources for bow-technique. Ganassi (16th century) already gives some very important ‘rules’ on string-playing that are still applicable today. Written in even greater detail concerning articulation, are the treatises for wind instruments. In my opinion, those treatises are not only valuable for 17th century repertoire, but could be also a source of inspiration for any other repertoire. Biography: Anne-Linde Visser (The Netherlands, 1992) studies baroque cello with Lucia Swarts. Last year she studied with Jonathan Manson at the Royal Academy of Music in London (Erasmus Exchange). Anne-Linde is ‘Young Bach Fellow’ of the Nederlandse Bachvereniging and member of the Theresia Youth Baroque Orchestra (Italy). Besides that, she regularly performs with the Laurenscantorij, Ars Musica and the Dutch Baroque Orchestra. With the Castello Consort she was recently accepted to take part in the Eeemerging-programme. She especially enjoys playing basso continuo, which has been described as ‘excellent’ (Early Music Reviews) and ‘impressive: unobtrusive yet decisive’ (Opera Today).
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Example 1 - Groppo: from Guilio Caccini 'le nuove musiche'.
Example 2 - Tremolo: from Francesco Rognoni 'Selva de Varii Passaggi'.
Example 3 - Trillo: from Guilio Caccini 'le nuove musiche'.
Example 4 - Accenti: from Francesco Rognoni 'Selva de Varii Passaggi'.
Figure 1 - Pieter Claesz: Still life (1623)
Figure 2 - Detail from a painting by Girolamo Martinelli: Concerto in casa Lazzari (1680)
Figure 3 - Domenico Antonio Gabbiani: Portrait of the Musicians of the Medici Court in Florence (1685?)
Figure 4 - Gerard van Honthorst: the concert (1623-30)
Figure 5 - Andrea Celesti: Papa Benedetto III fa visita alla chiesa (c. 1684)
Figure 6 - Anonymous, early seventeenth century, Italy
Figure 7 - Jan Miense Moolenaer: Family music making (c. 1630)
Figure 8 - Michael Praetorius: viol and violin family (1614-15)
Figure 9 - Bologna bow
Figure 10 - Anonymous bow
Figure 11 - Pier Leono Ghezzi: Antonio Vandini
Figure 12 -http://www.stringbassonline.com/images/violinbasics_bowhold/german_bowholdfront.jpg
Figure 13 - Detail from a painting by Rutillio Manetti: Mass of San Cerbone, Chiesa S. Maria di Provenzano (Siena)
Figure 14 - Judith Leyster: the cello player, copy after Frans Hals (middle 17th century)
Figure 15 - Anonymous, sixteenth century, Italy
Figure 16 - Baldassare Franceschini: Angels playing music (1644)
Figure 17 - Detail from a painting by Abraham van der Schoor: the concert (c. 1650)
Figure 18 - An engraving by Carlo Buffagnotti (Bologna, 1688). Buffagnotti was a student of the famous Bolognese cellist Guiseppe Maria Jacchini.
Figure 19 - Detail from a painting by Pieter de Hooch: Musical company with 5 figures (1674-77)
Figure 20 - Anonymous, seventeenth century, Italy
Figure 21 - Antonio Tonelli
Figure 22 - Martin de Meytens: Francesco Alborea
Figure 23 - Detail from a painting by Niccolò Maria Rossi: The Procession of the Feast of the Four Altars (1732). The cellist is tough to be Alborea.