The mimetic strand in the cello literature: within the context of history, instrument design, iconography and cello performance
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Berlin ; Bern ; Bruxelles
Peter Lang
[2020]
|
| Schriftenreihe: | Ars musica
volume 7 |
| Schlagworte: | |
| Online-Zugang: | Volltext Volltext Inhaltsverzeichnis |
| Beschreibung: | 331 Seiten Illustrationen |
| ISBN: | 9783631806142 |
| DOI: | 10.3726/b17205 |
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| 100 | 1 | |a Mizia, Urszula |e Verfasser |0 (DE-588)1224843983 |4 aut | |
| 245 | 1 | 0 | |a The mimetic strand in the cello literature |b within the context of history, instrument design, iconography and cello performance |c Urszula Mizia ; translated by John Comber |
| 264 | 1 | |a Berlin ; Bern ; Bruxelles |b Peter Lang |c [2020] | |
| 264 | 4 | |c © 2020 | |
| 300 | |a 331 Seiten |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
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| 338 | |b nc |2 rdacarrier | ||
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| 653 | |a Akant | ||
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| 653 | |a Cello | ||
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| 653 | |a Design | ||
| 653 | |a Dziewit | ||
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| 653 | |a Gołąb | ||
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| 653 | |a History | ||
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| 653 | |a ikonografii | ||
| 653 | |a Instrument | ||
| 653 | |a instrumentu | ||
| 653 | |a Jakub | ||
| 653 | |a kontekście | ||
| 653 | |a Literature | ||
| 653 | |a literaturze | ||
| 653 | |a Łukasz | ||
| 653 | |a Maciej | ||
| 653 | |a Mimetic | ||
| 653 | |a mimetyczny | ||
| 653 | |a Mizia | ||
| 653 | |a Nurt | ||
| 653 | |a oraz | ||
| 653 | |a Performance | ||
| 653 | |a Strand | ||
| 653 | |a Trend | ||
| 653 | |a Urszula | ||
| 653 | |a Violoncello | ||
| 653 | |a wiolonczelowego | ||
| 653 | |a wiolonczelowej | ||
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Datensatz im Suchindex
| _version_ | 1822082525934125056 |
|---|---|
| adam_text |
CONTENTS
INTRODUCTION
.
13
CHAPTER
1:
MIMESIS
-
GENERAL
ISSUES
.
17
1.1.
MIMESIS
AND
THE
ART
OF
MUSIC
.
17
1.2.
PERIODISATION
OF
THE
EVOLUTION
OF
MIMETIC
CELLO
PERFORMANCE
.
24
CHAPTER
2:
THE
RENAISSANCE
AND
THE
BAROQUE:
THE
FIRST
EVIDENCE
OF
THE
CELLO,
THE
INSTRUMENT
*
S
DESIGN
AND
THE
EARLIEST
MIMETIC
CELLO
REPERTOIRE;
TERMINOLOGY,
ICONOGRAPHY
.
27
2.1.
MIMESIS
AND
RENAISSANCE
INSTRUMENTS
.
27
2.2.
RENAISSANCE
INSTRUMENTS
AND
THE
DESIGN
OF
THE
CELLO
.
29
2.3.
THE
CELLO
AND
ENSEMBLE
PERFORMANCE
PRACTICE:
PRE
ARRANGEMENT,
PRE-TRANSCRIPTION
AND
SELF-TRANSCRIPTION
.
33
2.4.
ITALIAN
MASTERS
OF
THE
CELLO
.
36
2.5.
CELLO
MAKING
SCHOOLS,
CELLO
MAKERS
AND
EXTANT
INSTRUMENTS
.
39
2.5.1.
THE
BEGINNINGS
OF
CELLO
MAKING
.
39
2.5.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
41
2.5.3.
OTHER
CELLO
MAKING
CENTRES
IN
ITALY
.
46
2.5.4.
THE
CELLO
IN
THE
COMMONWEALTH
OF
POLAND-
LITHUANIA
AND
IN
ROYAL
PRUSSIA:
HYPOTHESES
AND
VIEWS
.
47
2.5.5.
THE
DESIGN
OF
A
BAROQUE
CELLO
AND
BOW
.
51
2.6.
CELLO
TERMINOLOGY
IN
DOCUMENTS
AND
TREATISES
.
56
2.6.1.
CELLO
NOMENCLATURE
IN
EUROPE
.
56
2.6.2.
CELLO
NOMENCLATURE
IN
POLAND
.
58
6
CONTENTS
2.7.
THE
DEPICTION
OF
THE
CELLO
IN
EUROPEAN
ART
OF
THE
SIXTEENTH
AND
SEVENTEENTH
CENTURIES
.
63
2.7.1.
ICONOGRAPHY
AS
A
SOURCE
OF
KNOWLEDGE
ABOUT
THE
CELLO
.
63
2.7.2.
THE
CELLO
IN
ITALIAN
PAINTING
.
63
2.7.3.
REPRESENTATIONS
OF
THE
CELLO
IN
FLEMISH
ART
.
67
2.7.4.
PAINTINGS
DEPICTING
THE
CELLO
IN
DUTCH
ART
.
69
2.7.5.
THE
EARLIEST
TRACES
OF
THE
CELLO
IN
OTHER
EUROPEAN
COUNTRIES
.
78
2.7.6.
SUMMARY
.
81
2.7.7.
DRAWING,
PAINTING
AND
SCULPTURE
WITH
THE
CELLO
AND
HYBRID
INSTRUMENTS
IN
POLAND
.
82
2.7.8.
SACRED
PAINTING
AND
SCULPTURE
DEPICTING
A
CELLO
.
84
CHAPTER
3:
THE
LATE
BAROQUE,
CELLO
TRANSCRIPTIONS
AND
ARRANGEMENTS
AFTER
1687
.
89
3.1.
THE
CELLO
AS
AN
ALTERNATIVE
INSTRUMENT
.
89
3.1.1.
GENERAL
ISSUES
.
89
3.1.2.
THE
CELLO
AND
THE
VIOLA
DA
GAMBA
.
90
3.1.3.
ARTISTIC
TRANSCRIPTION,
SELF-TRANSCRIPTION
AND
POLYVERSIONS
FOR
SOLO
CELLO
.
93
3.2.
CELLISTS
ACTIVE
IN
EUROPE
FROM
1688
TO
1750
.
94
3.3.
THE
ART
OF
CELLO
MAKING
AFTER
1687
.
102
3.3.1.
CELLO
MAKING
IN
EUROPE
.
102
3.3.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
103
3.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRESCIA
AND
BOLOGNA
.
107
3.3.4.
THE
ART
OF
CELLO
MAKING
IN
MILAN
.
108
3.3.5.
THE
ART
OF
CELLO
MAKING
IN
VENICE
.
109
3.3.6.
THE
ART
OF
CELLO
MAKING
IN
ROME
.
ILL
3.3.7.
OTHER
ITALIAN
CENTRES
FOR
CELLO
MAKING
.
112
3.3.8.
EUROPEAN
CELLO
MAKERS
ACTIVE
OUTSIDE
ITALY
.
113
3.3.9.
DESIGN
CHANGES
AND
CONVERSIONS
OF
CELLOS
AND
BOWS
AFTER
1700
.
116
CONTENTS
7
3.4.
THE
EUROPEAN
EXPANSION
OF
THE
CELLO,
AS
DOCUMENTED
IN
ART
FROM
THE
TURN
OF
THE
EIGHTEENTH
CENTURY
.
117
3.4.1.
BAROQUE
AND
ROCOCO
ICONOGRAPHY
WITH
A
CELLO
MOTIF
-
INTRODUCTION
.
117
3.4.2.
DEPICTIONS
OF
THE
CELLO
IN
ITALIAN
ART
.
118
3.4.3.
PAINTINGS
AND
DRAWINGS
WITH
CELLOS
IN
BRITISH,
AUSTRIAN
AND
GERMANY
ART
.
119
3.4.4.
ICONOGRAPHY
WITH
A
CELLO
MOTIF
IN
FLEMISH
AND
DUTCH
ART
.
122
3.4.5.
DEPICTIONS
OF
THE
CELLO
IN
FRENCH
AND
SPANISH
ART
.
124
3.4.6.
SACRED
SCULPTURE
WITH
DEPICTIONS
OF
A
CELLO
IN
POLAND
.
126
3.5.
THE
FORM
OF
MUSICAL
INSTRUMENTS
CALLED
VIOLONCELLO
AND
THEIR
REPERTOIRE
.
128
3.5.1.
INTRODUCTION
.
128
3.5.2.
HYBRIDS
AND
CONVERSIONS
.
129
3.5.3.
REPERTOIRE
FOR
THE
VIOLA
DA
GAMBA
OR
CELLO
-
SELECTED
CONCEPTS
RELATING
TO
THE
ORIGINAL
INSTRUMENTS
.
130
3.5.4.
VIOLONCELLO
PICCOLO
.
132
3.5.5.
HISTORICAL
BAROQUE
CELLOS
.
135
3.5.6.
VIOLA
DA
SPALLA,
HYBRIDS
AND
VIOLONCELLO
PICCOLO
IN
ICONOGRAPHY
.
136
CHAPTER
4:
CLASSICISM
AND
THE
MIMESIS
AESTHETIC,
MIMETIC
MUSICAL
FORMS,
THE
CLASSICAL
CELLO
OF
THE
YEARS
1750-
1815/20
.
139
4.1
THE
AESTHETIC
CATEGORY
OF
MIMESIS
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
139
4.2.
ARRANGEMENTS
AND
TRANSCRIPTIONS
IN
CLASSICAL
MUSICAL
FORMS
.
140
4.2.1.
CLASSICAL
VARIATIONS
.
140
4.2.2.
CLASSICAL
SONATAS,
SELF-TRANSCRIPTIONS
AND
POLYVERSIONS
.
141
8
CONTENTS
4.2.3.
VIRTUOSIC
CADENZAS
IN
CELLO
CONCERTOS
.
142
4.2.4
THE
COMPASS
OF
CLASSICAL
WORKS
FOR
CELLO
WITHIN
THE
CONTEXT
OF
THE
ORIGINAL
INSTRUMENTS,
PERFORMANCE
PRACTICE
AND
ICONOGRAPHY
.
143
4.2.5.
EDITIONS
AND
ARRANGEMENTS
OF
CLASSICAL
WORKS,
TAKING
AS
AN
EXAMPLE
JEAN-BAPTISTE
BREVALS
SONATA
NO.
5
IN
G
MAJOR,
OP.
12
.
145
4.2.6.
CONTEMPORARY
VIEWS
ON
TRANSCRIPTIONS
AND
ARRANGEMENTS
OF
WORKS
BY
LUIGI
BOCCHERINI
.
148
4.3.
CLASSICAL
VIOLIN
MAKERS
AND
THEIR
CELLOS
.
155
4.3.1.
INNOVATIONS
IN
CELLO
DESIGN
1750-1815
.
155
4.3.2.
THE
ITALIAN
ART
OF
CELLO
MAKING
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
156
4.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRITAIN
AND
FRANCE
.
159
4.3.4.
OTHER
CENTRES
OF
CELLO
MAKING
.
160
4.4.
EUROPEAN
ICONOGRAPHY
FEATURING
THE
CELLO
DURING
THE
CLASSICAL
ERA
.
161
4.4.1.
CHANGES
TO
THE
IMAGE
OF
THE
CELLO
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
161
4.4.2.
ITALIAN
AND
BRITISH
ART
FEATURING
THE
CELLO
.
162
4.4.3.
FRENCH
PAINTINGS
WITH
CELLOS
.
163
4.4.4.
GERMAN,
FLEMISH
AND
SWEDISH
ART
WITH
CELLOS
.
165
4.4.5.
SUMMARY
.
166
4.5.
THE
EVOLUTION
OF
CELLO
DESIGN
FROM
THE
BAROQUE
TO
THE
CLASSICAL
ERA
.
166
4.6.
OBTAINING
APPROXIMATE
DIMENSIONS
OF
NECKS
AND
FINGERBOARDS
OF
BAROQUE
AND
CLASSICAL
CELLOS
FROM
PHOTOGRAPHIC
DOCUMENTATION
.
168
4.7.
THE
COMPASS
OF
WORKS
FOR
CELLO
AND
THE
INSTRUMENT
*
S
ACTUAL
PERFORMANCE
CAPACITIES
.
174
4.8.
THE
VIEWS
OF
CONTEMPORARY
CELLISTS
ON
ORIGINAL
INSTRUMENTS
AND
THE
PERIOD
PERFORMANCE
OF
CLASSICAL
WORKS
.
175
4.9.
BETWEEN
CLASSICISM
AND
ROMANTICISM
.
176
CONTENTS
9
CHAPTER
5:
THE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
DURING
THE
ROMANTIC
ERA
.
183
5.1.
THE
MIMETIC
STRAND
AND
CELLO
PERFORMANCE
IN
THE
NINETEENTH
CENTURY
.
183
5.2.
IHE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
AFTER
1815/20
.
187
5.2.1.
ROMANTIC
VARIATIONS,
FANTASIES,
POTPOURRIS,
TRANSCRIPTIONS
AND
PARAPHRASES
.
187
5.2.2.
THE
ROMANTIC
LITERAL
TRANSCRIPTION
OF
A
CYCLIC
FORM:
FRANZ
SCHUBERT
*
S
SONATA
IN
A
MINOR,
D
821
FOR ARPEGGIONE
AND
PIANO
.
190
5.3.
CELLISTS
IN
THE
ENTOURAGE
OF
FRYDERYK
CHOPIN
(1810-1849)
AND
CELLO
TRANSCRIPTIONS
OF
HIS
WORKS
.
191
5.4.
A
NEW
PROFESSION:
THE
CELLIST
TRANSCRIBER
AND
ARRANGER
.
197
5.4.1.
FRIEDRICH
LUDWIG
GRIITZMACHER
(1832-1903)
AS
A
TRANSCRIBER
.
197
5.4.2.
OTHER
TRANSCRIBERS
OF
THE
GERMAN
SCHOOL
.
202
5.4.3.
TRANSCRIBERS
OF
THE
FRENCH
AND
RUSSIAN
SCHOOLS
.
206
5.4.4.
OTHER
EUROPEAN
TRANSCRIBERS
.
209
5.4.5.
ARRANGERS
OF
WORKS
FOR
CELLO
.
212
5.5.
THE
OUTPUT
OF
POLISH
COMPOSERS
IN
TRANSCRIPTIONS
.
214
5.6.
THE
POPULARISATION
OF
THE
CELLO
IN
POLAND,
TRANSCRIPTIONS,
ARRANGEMENTS
AND
POLYVERSIONS
.
216
5.7.
VIRTUOSIC
CADENZAS
.
219
5.8.
COMPOSERS
AND
THEIR
SELF-TRANSCRIPTIONS
.
224
CHAPTER
6:
THE
CELLO
AND
THE
MIMETIC
CURRENT
IN
THE
TWENTIETH
AND
THE
TWENTY-FIRST
CENTURIES
.
227
6.1.
NEW
TRENDS
IN
MUSIC
AND
CELLO
TRANSCRIPTION
.
227
6.2.
CELLO
ARRANGEMENTS
AND
TRANSCRIPTIONS
AND
THEIR
COMPOSERS
IN
THE TWENTIETH
AND
TWENTY-FIRST
CENTURIES
.
228
6.2.1.
EUROPEAN
CELLIST-TRANSCRIBERS
.
228
10
CONTENTS
6.2.2.
CELLO
TRANSCRIPTION
IN
POLAND
.
233
6.3.
THE
MIMETIC
ART
AND
AESTHETIC,
ETHICAL
AND
LEGAL
ISSUES
.
237
APPENDIX
I:
THEORY
.
243
1.
THE
ETYMOLOGY
AND
MEANING
OF
THE
WORD
TRANSCRIPTION;
DEFINITIONS
AND
RELATED
TERMS;
DEFINITION
OF
CELLO
TRANSCRIPTION
.
243
2.
A
SYSTEMATICS
OF
CELLO
TRANSCRIPTIONS
WITH
EXAMPLES
.
245
2.1.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
IN
TERMS
OF
THE
DEGREE
TO
WHICH
THE
ORIGINAL
IS
PRESERVED
.
245
2.1.1.
FAITHFUL
CELLO
TRANSCRIPTIONS:
SUBSTANTIAL,
NATURAL,
LITERAL
.
245
2.1.2.
STRUCTURAL
CELLO
TRANSCRIPTIONS
.
246
2.1.3.
SYNTACTIC
CELLO
TRANSCRIPTIONS
.
247
2.1.4.
RECONTEXTUAL
CELLO
TRANSCRIPTIONS
.
248
2.1.5.
FUNCTIONAL
CELLO
TRANSCRIPTIONS
.
248
2.2.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
ACCORDING
TO
ORIGINAL
FORCES
.
255
2.2.1.
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
255
2.2.2.
STRUCK
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
259
2.2.3.
PLUCKED
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
260
2.2.4.
WOODWIND
AND
BRASS
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
261
2.2.5.
CELLO
TRANSCRIPTIONS
OF
VOCAL
WORKS
.
264
APPENDIX
II:
CONCERT
TRANSCRIPTIONS
FOR
CELLO.
DESCRIPTION
OF
THE
WORKS
RECORDED
ON
THE
CD
.
269
CONCERT
TRANSCRIPTIONS
FOR
CELLO
.
285
CONTENTS
11
BIBLIOGRAPHY
.
287
SUMMARY
.
307
ABOUT
THE
AUTHOR
.
309
INDEX
.
311 |
| adam_txt |
CONTENTS
INTRODUCTION
.
13
CHAPTER
1:
MIMESIS
-
GENERAL
ISSUES
.
17
1.1.
MIMESIS
AND
THE
ART
OF
MUSIC
.
17
1.2.
PERIODISATION
OF
THE
EVOLUTION
OF
MIMETIC
CELLO
PERFORMANCE
.
24
CHAPTER
2:
THE
RENAISSANCE
AND
THE
BAROQUE:
THE
FIRST
EVIDENCE
OF
THE
CELLO,
THE
INSTRUMENT
*
S
DESIGN
AND
THE
EARLIEST
MIMETIC
CELLO
REPERTOIRE;
TERMINOLOGY,
ICONOGRAPHY
.
27
2.1.
MIMESIS
AND
RENAISSANCE
INSTRUMENTS
.
27
2.2.
RENAISSANCE
INSTRUMENTS
AND
THE
DESIGN
OF
THE
CELLO
.
29
2.3.
THE
CELLO
AND
ENSEMBLE
PERFORMANCE
PRACTICE:
PRE
ARRANGEMENT,
PRE-TRANSCRIPTION
AND
SELF-TRANSCRIPTION
.
33
2.4.
ITALIAN
MASTERS
OF
THE
CELLO
.
36
2.5.
CELLO
MAKING
SCHOOLS,
CELLO
MAKERS
AND
EXTANT
INSTRUMENTS
.
39
2.5.1.
THE
BEGINNINGS
OF
CELLO
MAKING
.
39
2.5.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
41
2.5.3.
OTHER
CELLO
MAKING
CENTRES
IN
ITALY
.
46
2.5.4.
THE
CELLO
IN
THE
COMMONWEALTH
OF
POLAND-
LITHUANIA
AND
IN
ROYAL
PRUSSIA:
HYPOTHESES
AND
VIEWS
.
47
2.5.5.
THE
DESIGN
OF
A
BAROQUE
CELLO
AND
BOW
.
51
2.6.
CELLO
TERMINOLOGY
IN
DOCUMENTS
AND
TREATISES
.
56
2.6.1.
CELLO
NOMENCLATURE
IN
EUROPE
.
56
2.6.2.
CELLO
NOMENCLATURE
IN
POLAND
.
58
6
CONTENTS
2.7.
THE
DEPICTION
OF
THE
CELLO
IN
EUROPEAN
ART
OF
THE
SIXTEENTH
AND
SEVENTEENTH
CENTURIES
.
63
2.7.1.
ICONOGRAPHY
AS
A
SOURCE
OF
KNOWLEDGE
ABOUT
THE
CELLO
.
63
2.7.2.
THE
CELLO
IN
ITALIAN
PAINTING
.
63
2.7.3.
REPRESENTATIONS
OF
THE
CELLO
IN
FLEMISH
ART
.
67
2.7.4.
PAINTINGS
DEPICTING
THE
CELLO
IN
DUTCH
ART
.
69
2.7.5.
THE
EARLIEST
TRACES
OF
THE
CELLO
IN
OTHER
EUROPEAN
COUNTRIES
.
78
2.7.6.
SUMMARY
.
81
2.7.7.
DRAWING,
PAINTING
AND
SCULPTURE
WITH
THE
CELLO
AND
HYBRID
INSTRUMENTS
IN
POLAND
.
82
2.7.8.
SACRED
PAINTING
AND
SCULPTURE
DEPICTING
A
CELLO
.
84
CHAPTER
3:
THE
LATE
BAROQUE,
CELLO
TRANSCRIPTIONS
AND
ARRANGEMENTS
AFTER
1687
.
89
3.1.
THE
CELLO
AS
AN
ALTERNATIVE
INSTRUMENT
.
89
3.1.1.
GENERAL
ISSUES
.
89
3.1.2.
THE
CELLO
AND
THE
VIOLA
DA
GAMBA
.
90
3.1.3.
ARTISTIC
TRANSCRIPTION,
SELF-TRANSCRIPTION
AND
POLYVERSIONS
FOR
SOLO
CELLO
.
93
3.2.
CELLISTS
ACTIVE
IN
EUROPE
FROM
1688
TO
1750
.
94
3.3.
THE
ART
OF
CELLO
MAKING
AFTER
1687
.
102
3.3.1.
CELLO
MAKING
IN
EUROPE
.
102
3.3.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
103
3.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRESCIA
AND
BOLOGNA
.
107
3.3.4.
THE
ART
OF
CELLO
MAKING
IN
MILAN
.
108
3.3.5.
THE
ART
OF
CELLO
MAKING
IN
VENICE
.
109
3.3.6.
THE
ART
OF
CELLO
MAKING
IN
ROME
.
ILL
3.3.7.
OTHER
ITALIAN
CENTRES
FOR
CELLO
MAKING
.
112
3.3.8.
EUROPEAN
CELLO
MAKERS
ACTIVE
OUTSIDE
ITALY
.
113
3.3.9.
DESIGN
CHANGES
AND
CONVERSIONS
OF
CELLOS
AND
BOWS
AFTER
1700
.
116
CONTENTS
7
3.4.
THE
EUROPEAN
EXPANSION
OF
THE
CELLO,
AS
DOCUMENTED
IN
ART
FROM
THE
TURN
OF
THE
EIGHTEENTH
CENTURY
.
117
3.4.1.
BAROQUE
AND
ROCOCO
ICONOGRAPHY
WITH
A
CELLO
MOTIF
-
INTRODUCTION
.
117
3.4.2.
DEPICTIONS
OF
THE
CELLO
IN
ITALIAN
ART
.
118
3.4.3.
PAINTINGS
AND
DRAWINGS
WITH
CELLOS
IN
BRITISH,
AUSTRIAN
AND
GERMANY
ART
.
119
3.4.4.
ICONOGRAPHY
WITH
A
CELLO
MOTIF
IN
FLEMISH
AND
DUTCH
ART
.
122
3.4.5.
DEPICTIONS
OF
THE
CELLO
IN
FRENCH
AND
SPANISH
ART
.
124
3.4.6.
SACRED
SCULPTURE
WITH
DEPICTIONS
OF
A
CELLO
IN
POLAND
.
126
3.5.
THE
FORM
OF
MUSICAL
INSTRUMENTS
CALLED
VIOLONCELLO
AND
THEIR
REPERTOIRE
.
128
3.5.1.
INTRODUCTION
.
128
3.5.2.
HYBRIDS
AND
CONVERSIONS
.
129
3.5.3.
REPERTOIRE
FOR
THE
VIOLA
DA
GAMBA
OR
CELLO
-
SELECTED
CONCEPTS
RELATING
TO
THE
ORIGINAL
INSTRUMENTS
.
130
3.5.4.
VIOLONCELLO
PICCOLO
.
132
3.5.5.
HISTORICAL
BAROQUE
CELLOS
.
135
3.5.6.
VIOLA
DA
SPALLA,
HYBRIDS
AND
VIOLONCELLO
PICCOLO
IN
ICONOGRAPHY
.
136
CHAPTER
4:
CLASSICISM
AND
THE
MIMESIS
AESTHETIC,
MIMETIC
MUSICAL
FORMS,
THE
CLASSICAL
CELLO
OF
THE
YEARS
1750-
1815/20
.
139
4.1
THE
AESTHETIC
CATEGORY
OF
MIMESIS
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
139
4.2.
ARRANGEMENTS
AND
TRANSCRIPTIONS
IN
CLASSICAL
MUSICAL
FORMS
.
140
4.2.1.
CLASSICAL
VARIATIONS
.
140
4.2.2.
CLASSICAL
SONATAS,
SELF-TRANSCRIPTIONS
AND
POLYVERSIONS
.
141
8
CONTENTS
4.2.3.
VIRTUOSIC
CADENZAS
IN
CELLO
CONCERTOS
.
142
4.2.4
THE
COMPASS
OF
CLASSICAL
WORKS
FOR
CELLO
WITHIN
THE
CONTEXT
OF
THE
ORIGINAL
INSTRUMENTS,
PERFORMANCE
PRACTICE
AND
ICONOGRAPHY
.
143
4.2.5.
EDITIONS
AND
ARRANGEMENTS
OF
CLASSICAL
WORKS,
TAKING
AS
AN
EXAMPLE
JEAN-BAPTISTE
BREVALS
SONATA
NO.
5
IN
G
MAJOR,
OP.
12
.
145
4.2.6.
CONTEMPORARY
VIEWS
ON
TRANSCRIPTIONS
AND
ARRANGEMENTS
OF
WORKS
BY
LUIGI
BOCCHERINI
.
148
4.3.
CLASSICAL
VIOLIN
MAKERS
AND
THEIR
CELLOS
.
155
4.3.1.
INNOVATIONS
IN
CELLO
DESIGN
1750-1815
.
155
4.3.2.
THE
ITALIAN
ART
OF
CELLO
MAKING
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
156
4.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRITAIN
AND
FRANCE
.
159
4.3.4.
OTHER
CENTRES
OF
CELLO
MAKING
.
160
4.4.
EUROPEAN
ICONOGRAPHY
FEATURING
THE
CELLO
DURING
THE
CLASSICAL
ERA
.
161
4.4.1.
CHANGES
TO
THE
IMAGE
OF
THE
CELLO
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
161
4.4.2.
ITALIAN
AND
BRITISH
ART
FEATURING
THE
CELLO
.
162
4.4.3.
FRENCH
PAINTINGS
WITH
CELLOS
.
163
4.4.4.
GERMAN,
FLEMISH
AND
SWEDISH
ART
WITH
CELLOS
.
165
4.4.5.
SUMMARY
.
166
4.5.
THE
EVOLUTION
OF
CELLO
DESIGN
FROM
THE
BAROQUE
TO
THE
CLASSICAL
ERA
.
166
4.6.
OBTAINING
APPROXIMATE
DIMENSIONS
OF
NECKS
AND
FINGERBOARDS
OF
BAROQUE
AND
CLASSICAL
CELLOS
FROM
PHOTOGRAPHIC
DOCUMENTATION
.
168
4.7.
THE
COMPASS
OF
WORKS
FOR
CELLO
AND
THE
INSTRUMENT
*
S
ACTUAL
PERFORMANCE
CAPACITIES
.
174
4.8.
THE
VIEWS
OF
CONTEMPORARY
CELLISTS
ON
ORIGINAL
INSTRUMENTS
AND
THE
PERIOD
PERFORMANCE
OF
CLASSICAL
WORKS
.
175
4.9.
BETWEEN
CLASSICISM
AND
ROMANTICISM
.
176
CONTENTS
9
CHAPTER
5:
THE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
DURING
THE
ROMANTIC
ERA
.
183
5.1.
THE
MIMETIC
STRAND
AND
CELLO
PERFORMANCE
IN
THE
NINETEENTH
CENTURY
.
183
5.2.
IHE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
AFTER
1815/20
.
187
5.2.1.
ROMANTIC
VARIATIONS,
FANTASIES,
POTPOURRIS,
TRANSCRIPTIONS
AND
PARAPHRASES
.
187
5.2.2.
THE
ROMANTIC
LITERAL
TRANSCRIPTION
OF
A
CYCLIC
FORM:
FRANZ
SCHUBERT
*
S
SONATA
IN
A
MINOR,
D
821
FOR ARPEGGIONE
AND
PIANO
.
190
5.3.
CELLISTS
IN
THE
ENTOURAGE
OF
FRYDERYK
CHOPIN
(1810-1849)
AND
CELLO
TRANSCRIPTIONS
OF
HIS
WORKS
.
191
5.4.
A
NEW
PROFESSION:
THE
CELLIST
TRANSCRIBER
AND
ARRANGER
.
197
5.4.1.
FRIEDRICH
LUDWIG
GRIITZMACHER
(1832-1903)
AS
A
TRANSCRIBER
.
197
5.4.2.
OTHER
TRANSCRIBERS
OF
THE
GERMAN
SCHOOL
.
202
5.4.3.
TRANSCRIBERS
OF
THE
FRENCH
AND
RUSSIAN
SCHOOLS
.
206
5.4.4.
OTHER
EUROPEAN
TRANSCRIBERS
.
209
5.4.5.
ARRANGERS
OF
WORKS
FOR
CELLO
.
212
5.5.
THE
OUTPUT
OF
POLISH
COMPOSERS
IN
TRANSCRIPTIONS
.
214
5.6.
THE
POPULARISATION
OF
THE
CELLO
IN
POLAND,
TRANSCRIPTIONS,
ARRANGEMENTS
AND
POLYVERSIONS
.
216
5.7.
VIRTUOSIC
CADENZAS
.
219
5.8.
COMPOSERS
AND
THEIR
SELF-TRANSCRIPTIONS
.
224
CHAPTER
6:
THE
CELLO
AND
THE
MIMETIC
CURRENT
IN
THE
TWENTIETH
AND
THE
TWENTY-FIRST
CENTURIES
.
227
6.1.
NEW
TRENDS
IN
MUSIC
AND
CELLO
TRANSCRIPTION
.
227
6.2.
CELLO
ARRANGEMENTS
AND
TRANSCRIPTIONS
AND
THEIR
COMPOSERS
IN
THE TWENTIETH
AND
TWENTY-FIRST
CENTURIES
.
228
6.2.1.
EUROPEAN
CELLIST-TRANSCRIBERS
.
228
10
CONTENTS
6.2.2.
CELLO
TRANSCRIPTION
IN
POLAND
.
233
6.3.
THE
MIMETIC
ART
AND
AESTHETIC,
ETHICAL
AND
LEGAL
ISSUES
.
237
APPENDIX
I:
THEORY
.
243
1.
THE
ETYMOLOGY
AND
MEANING
OF
THE
WORD
TRANSCRIPTION;
DEFINITIONS
AND
RELATED
TERMS;
DEFINITION
OF
CELLO
TRANSCRIPTION
.
243
2.
A
SYSTEMATICS
OF
CELLO
TRANSCRIPTIONS
WITH
EXAMPLES
.
245
2.1.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
IN
TERMS
OF
THE
DEGREE
TO
WHICH
THE
ORIGINAL
IS
PRESERVED
.
245
2.1.1.
FAITHFUL
CELLO
TRANSCRIPTIONS:
SUBSTANTIAL,
NATURAL,
LITERAL
.
245
2.1.2.
STRUCTURAL
CELLO
TRANSCRIPTIONS
.
246
2.1.3.
SYNTACTIC
CELLO
TRANSCRIPTIONS
.
247
2.1.4.
RECONTEXTUAL
CELLO
TRANSCRIPTIONS
.
248
2.1.5.
FUNCTIONAL
CELLO
TRANSCRIPTIONS
.
248
2.2.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
ACCORDING
TO
ORIGINAL
FORCES
.
255
2.2.1.
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
255
2.2.2.
STRUCK
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
259
2.2.3.
PLUCKED
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
260
2.2.4.
WOODWIND
AND
BRASS
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
261
2.2.5.
CELLO
TRANSCRIPTIONS
OF
VOCAL
WORKS
.
264
APPENDIX
II:
CONCERT
TRANSCRIPTIONS
FOR
CELLO.
DESCRIPTION
OF
THE
WORKS
RECORDED
ON
THE
CD
.
269
CONCERT
TRANSCRIPTIONS
FOR
CELLO
.
285
CONTENTS
11
BIBLIOGRAPHY
.
287
SUMMARY
.
307
ABOUT
THE
AUTHOR
.
309
INDEX
.
311 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Mizia, Urszula |
| author2 | Comber, John 1968- |
| author2_role | trl |
| author2_variant | j c jc |
| author_GND | (DE-588)1224843983 (DE-588)1096364166 |
| author_facet | Mizia, Urszula Comber, John 1968- |
| author_role | aut |
| author_sort | Mizia, Urszula |
| author_variant | u m um |
| building | Verbundindex |
| bvnumber | BV047216037 |
| collection | ZDB-94-OAB |
| ctrlnum | (OCoLC)1190682862 (DE-599)DNB1215775695 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| doi_str_mv | 10.3726/b17205 |
| format | Book |
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| id | DE-604.BV047216037 |
| illustrated | Illustrated |
| index_date | 2024-07-03T16:55:54Z |
| indexdate | 2025-01-23T23:01:47Z |
| institution | BVB |
| institution_GND | (DE-588)1065711506 |
| isbn | 9783631806142 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032620756 |
| oclc_num | 1190682862 |
| open_access_boolean | 1 |
| owner | DE-12 DE-210 DE-521 DE-1102 DE-1046 DE-1028 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-861 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-824 DE-29 DE-739 |
| owner_facet | DE-12 DE-210 DE-521 DE-1102 DE-1046 DE-1028 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-861 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-824 DE-29 DE-739 |
| physical | 331 Seiten Illustrationen |
| psigel | ZDB-94-OAB BSB_NED_20210415 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Peter Lang |
| record_format | marc |
| series | Ars musica |
| series2 | Ars musica |
| spelling | Mizia, Urszula Verfasser (DE-588)1224843983 aut The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber Berlin ; Bern ; Bruxelles Peter Lang [2020] © 2020 331 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Ars musica volume 7 Arrangement (DE-588)4285138-5 gnd rswk-swf Mimesis (DE-588)4039392-6 gnd rswk-swf Violoncello (DE-588)4063584-3 gnd rswk-swf Akant budowy Burzyński Cello Context Design Dziewit Gałecki Gołąb historii History Iconography ikonografii Instrument instrumentu Jakub kontekście Literature literaturze Łukasz Maciej Mimetic mimetyczny Mizia Nurt oraz Performance Strand Trend Urszula Violoncello wiolonczelowego wiolonczelowej Wydawnictwo wykonawstwa Violoncello (DE-588)4063584-3 s Arrangement (DE-588)4285138-5 s Mimesis (DE-588)4039392-6 s DE-604 Comber, John 1968- (DE-588)1096364166 trl Peter Lang GmbH (DE-588)1065711506 pbl Erscheint auch als Online-Ausgabe, E-PDF 10.3726/b17205 978-3-631-82628-7 Erscheint auch als Online-Ausgabe, EPUB 10.3726/b17205 978-3-631-82629-4 Erscheint auch als Online-Ausgabe, MOBI 10.3726/b17205 978-3-631-82630-0 Ars musica volume 7 (DE-604)BV039148438 7 https://directory.doabooks.org/handle/20.500.12854/74509 Verlag kostenfrei Volltext https://doi.org/10.3726/b17205 Resolving-System kostenfrei Volltext DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032620756&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Mizia, Urszula The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Ars musica Arrangement (DE-588)4285138-5 gnd Mimesis (DE-588)4039392-6 gnd Violoncello (DE-588)4063584-3 gnd |
| subject_GND | (DE-588)4285138-5 (DE-588)4039392-6 (DE-588)4063584-3 |
| title | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_auth | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_exact_search | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_exact_search_txtP | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_full | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_fullStr | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_full_unstemmed | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_short | The mimetic strand in the cello literature |
| title_sort | the mimetic strand in the cello literature within the context of history instrument design iconography and cello performance |
| title_sub | within the context of history, instrument design, iconography and cello performance |
| topic | Arrangement (DE-588)4285138-5 gnd Mimesis (DE-588)4039392-6 gnd Violoncello (DE-588)4063584-3 gnd |
| topic_facet | Arrangement Mimesis Violoncello |
| url | https://directory.doabooks.org/handle/20.500.12854/74509 https://doi.org/10.3726/b17205 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032620756&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV039148438 |
| work_keys_str_mv | AT miziaurszula themimeticstrandinthecelloliteraturewithinthecontextofhistoryinstrumentdesigniconographyandcelloperformance AT comberjohn themimeticstrandinthecelloliteraturewithinthecontextofhistoryinstrumentdesigniconographyandcelloperformance AT peterlanggmbh themimeticstrandinthecelloliteraturewithinthecontextofhistoryinstrumentdesigniconographyandcelloperformance |