As quantitative evidence, tables detailing the specific Italian composers found in the Isles, the pieces commissioned by Frederick, and the treatises published at the time have been compiled. To further understand this crucial period in the history of the violoncello, this paper investigates the rationale for the violoncello’s triumph over the viol, the factors driving Italians to the Isles, the influence of Frederick, Prince of Wales as an important patron and cellist himself, and the interaction between the British and Italian compositional styles. Mainland musicians flocked to London, influencing the resident musical style and solidifying the violoncello’s place in the developing musical ensembles. In the 18th century, the violoncello usurped the viol as the preferred solo bass instrument throughout Europe, but the lack of skilled cellists in the British Isles along with a preference for the Italian style resulted in high demand for Italian cellists and composers. In addition, she became one of the first real “great European travelers” Those who, overcoming social prejudices, following the same path as men, took part in the exploration and acquaintance of distant landscapes and exotic cultures, subjected to the same ordeals. She was the first internationally renowned concert cellist. Lisa Cristiani’s prominence in women’s history is outstanding because she has played a dual role. Thanks to Lisa Cristiani, from the middle of the 19th century onwards, the cello was also played on female podium on concert stages. In our study, we try to reconstruct the contemporary image of her and the strategy with which she was able to prevail in her world, which was reserved exclusively for men at the time, by tracing the life of Lisa Cristiani and exploring the content of her musical critiques. The primary mediators of the norms were music-related journalism, articles, and concert critiques. In addition to men, women also slowly appeared on the concert stage, against whom the mentality rooted in the traditional image of women prescribed much stricter rules. The culture of civic concert, which appeared and spread beyond the princely courts of the aristocracy and the salons of wealthy citizens, began to be institutionalized in Europe at the end of the 17th century. 73) with contemporary studies compiled and edited by Siegfried Palm, Pro musica nova: Studien zum Spielen neuer Musik: für Violoncello and the set of Ten Preludes by Sofia Gubaidulina, the article explores the interactions, interrelationships and interdependencies that exist in the superficially different approaches to cello technique. By juxtaposing the orthodox cello method by David Popper (Hohe Schule des Violoncello-Spiels Op. I argue that the extended and ‘extreme’ techniques employed by Xenakis to convey the sound architecture of Nomos alpha must be viewed as a part of a global perspective on the traditions of cello playing. Focusing on Nomos alpha by Iannis Xenakis – one of the most complex works for solo cello of the twentieth century – the article investigates the dynamics of these interactions and how the traditions established in the course of the nineteenth and twentieth centuries might support the expanding domain of new techniques and approaches to the cello. Within the broad area of ‘technique’, I believe that traditional and contemporary technical styles can evolve through a fluid process of interactions – a ‘dialogue’ that is enlivened by tensions, transitional turns and mycelial exchanges. This article seeks to elucidate this notion, highlighting the inherent continuity between the development of the cello’s technical and expressive capacities. In my performance practice and pedagogy, I approach the inter-related elements of playing the cello – technique, interpretation and performance – as a single integrated domain.
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