The Cello, 1700-1900

The cello's origins can be traced to the start of the Baroque period. As the Renaissance faded, so did the popularity of the instruments associated with this period of vast musical exploration. The viola da gamba is seen as the "cello" of the Renaissance period, as it is similar in size, shape, and pitch range to the cello. Towards the end of the 17th century, the viola da gamba had been mostly replaced by the cello as the low-pitch instrument of choice among musicians and composers. The advantages of the cello are its higher level of playing comfort and deeper, fuller tone compared to the awkward viola da gamba. The rich sound and note range capabilities of the cello enabled it to rise in popularity, which begun with Johann Sebastian Bach.

Very early in the 18th century, Bach composed his renowned Six Suites for Unaccompanied Cello, BWV. 1007-1012. These suites, originally intended as etudes for fundamental advancement, have grown into one of the most recognizable and cherished works for the cello. It is impossible to discuss repertoire for the cello without mentioning these suites because each suite demands such a high level of technical ability as well as mental focus. The other cello pieces contained in this website are all staples of most cellists' repertoire, as they are considered the major works of the 18th and 19th centuries for the cello. Concertos for the cello are among the most recognizable pieces in classical music and this website includes clips of four of the major ones: the Dvorak, Haydn D Major, Schumann, and Saint-Saens. The Dvorak Concerto for Cello and Orchestra is a particularly special piece, as it is widely regarded as the pinnacle of the cello realm. No piece can match the requirements that this piece demands - technical brilliance, impeccable communication with the orchestra, and an emotional roller coaster for almost an hour. The sonatas for cello and piano found here are the Brahms E minor and F major, along with Beethoven's third sonata for the cello. Each of these pieces present different chamber music conversations between the cello and piano, making them equally unique.

Also included are some articles and pictures of current cellists, including Mstislav Rostropovich and Yo-Yo Ma. With regards to the Dvorak Cello Concerto and the Bach Suites, these two artists are the among the top performers of these two pieces, respectively. Their own interpretations of the music are highly original and extraordinary; it is necessary to include them in this presentation of the cello works of the 18th and 19th centuries.