Ensemble Vocal lAlliance - Il est ne le divin enfant

In the 18th century under the influence of the violin playing A. cello is formed. The large (compared to the violin) size of the instrument and the resulting vertical way of holding it (in the legs) determined the specificity of the cello A. : the wider spacing of the neck required a different sequence of fingers when playing (playing in the first positions of a whole tone is not the 1st and 2nd, and 1st and 3rd fingers),application of the thumb in the game (the so-called bet acceptance). For the first time, the principles of A. cello are set forth in the School of Cello . . . (Methode . . . pour apprendre . . . le violoncelle, op. 24, 1741) M. Correta (chap. "On fingering in the first and subsequent positions", "On overlaying the thumb - rate "). The development of the bet acceptance is connected with the name of L. Bokkerini (using the 4th finger, using high positions). In the future, systematic. A. L. Duport gave an account of the principles of the cello in his work On Cello Fingering and Bow Maintenance (Essai sur le doigté du violoncelle et sur la conduite de l'archet, 1770). The main significance of this work is associated with the establishment of the principles of the actual cello A. , freed from gambov (and to a certain extent, from the violin) influences and acquiring a specific cello character, in ordering A. gamma. The largest performers are romantic. directions in the 19th century (N. Paganini, F. Liszt, F. Chopin) affirmed the new principles of A. , based not so much on the “convenience” of performance, but on its internal compliance with the muses. content, on the ability to achieve with the help. A.