This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.
This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.
George Kennaway is a cellist, conductor, teacher and musicologist. He studied at the universities of Newcastle and Oxford, the Salzburg Mozarteum and the Guildhall School of Music. He has appeared as a soloist throughout the north of England, on modern, nineteenth-century and baroque cello - recent solo appearances have ranged from eighteenth-century concertos to contemporary Russian repertoire. From 1980 to 2008 he was co-principal cello in the Orchestra of Opera North. He left the orchestra to take up full-time research in the Leeds University School of Music, working on an AHRC project to create a database of nineteenth-century annotated editions of string chamber music. He is a member of the Ferdinand David Quartet which specializes in the application of theories of historical performance to the German nineteenth-century repertoire. As a conductor, he has worked with orchestras in the UK, Russia, Uzbekistan, Kazakhstan, Italy and Lithuania, and he is also active as a cello teacher and chamber music coach. He is currently Visiting Research Fellow at the University of Leeds, and Visiting Research Fellow at the University of Huddersfield Centre for Performance Research.
Inhaltsangabe
Contents: Preface Basic posture and bow hold The left arm and hand, and scale fingerings The bow in motion Playing with expression - portamento Playing with expression - vibrato Vibrato and portamento in early cello recordings The manly cello? Gender in action - performing the cello Conclusions and speculations Select bibliography Discography Index.
Contents: Preface Basic posture and bow hold The left arm and hand, and scale fingerings The bow in motion Playing with expression - portamento Playing with expression - vibrato Vibrato and portamento in early cello recordings The manly cello? Gender in action - performing the cello Conclusions and speculations Select bibliography Discography Index.
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