Abstract
Besteci-viyolonselci geleneği, enstrümanın gelişimini tamamlamasına yakın ortaya çıkan müzikal arayışlara paralel, müzisyenin kendi keşfetmesini gerektiren bir yolculuğun neticesinde, 18.yy.’da şekillenmeye başlamıştır. Gamba gibi öncü enstrümanların, gelişen müzikal dil içindeki sınırlılığı da viyolonselin tercih edilmesinin önünü açmıştır. Önceleri, müzikal form anlayışı içinde, gamba etkisinde görünen yazı, kemanın solistik kapasitesinin daha erken keşfi sayesinde kendini aşma ihtiyacı duyurmuştur. Bu ihtiyacı karşılayacak olanlar ise viyolonsel için teknik ve müzikal becerinin karşılığı olacak yapıtlar besteleyen besteci-viyolonselciler olmuştur. İtalya, Fransa ve Almanya’da bu geleneğin en önemli isimleri ortaya çıkmış ve ertesi yüzyılda viyolonselin gerçek bir solistik enstrüman olarak konumlanmasını sağlamışlardır. 19.yy.’ın sonlarına doğru, -büyük besteciler çağında- bu yapıtların sanatsal değeri yetersiz görünerek günümüzde sadece metodolojik amaçlı olanları müfredatta yer alabilmiştir.
References
- Corrette, Michelle, Méthode Théorique et Pratique pour Apprendre en Peu de Tems Le Violoncelle dans sa Perfection. Paris, 1741.
- Geeseman, Katherine Ann, ‘The Rise and Fall of the Cellist-Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions’. Florida State University, A.B.D. Doktora Tezi. 2011.
- Hamilton, Gregory R., ‘The Origins of Solo Cello Literature and Performance’, University of Kansas, A.B.D., Doktora Tezi. 1985.
- Micheletti, André Luis Giovanini , SILVA, William Teixeira da, Cello Development from Gabrielli to Vivaldi, Escola Municipal de Musica de Sao Paulo, Brezilya, Revista Musica Hodie, Makale. 2014.
- Morsches, Jennifer, The Anomoly of the Violoncello Piccolo, Finzi Trust, Finzi Report. Londra, Birleşik Krallık. Makale. 2013.
- Randel, Don Michael, The Harvard Dictionary of Music, Belknap Press, Cambridge, Mass., A.B.D. 2003.
- Raychev, Evgeni Dimitrov, ‘The Virtuoso Cellist-Composers from Luigi Boccherini to David Popper: A Review of Their Lives and Works’, Florida State University, A.B.D. Doktora Tezi. 2003.
- Sadie, Julie Anne, ‘Companion to Baroque Music’, Oxford University Press, Oxford, Birleşik Krallık. 1998.
- Stowell, Robin, The Cambridge Companion to the Cello, Cambridge University Press, Cambridge, Birleşik Krallık. 1999.
- Tunney, Clare, ‘The Bel Canto Cello – A Study of Violoncello Playing in Italy in the 19th Century’, University of Western Australia, Doktora Tezi. 2012.
- Yapp, Francis, ‘Les Pretentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)’, University of Canterbury, Yeni Zelanda. Doktora Tezi. 2012.
- Wasielewski, Wilhelm Joseph, The Violoncello and Its History, Novello and Company, Ltd. Londra, Birleşik Krallık. 1894.
Abstract
The Cellist-composer tradition began to appear in the 18th century as a result of a journey that required the musician to discover, in parallel with the musical exploration that helped complete the development of the instrument. The limitation of leading instruments such as the viola de gamba in the developing musical language also paved the way for the preference of the cello. Previously, the composition techniques appeared under the influence of the viola de gamba and started to evolve with the need to overcome itself after earlier discoveries of the violin’s virtuosic capabilities. The cellists-composers compensated this need by composing works that highlighted the cello’s musical and technical range. The most important names of this tradition emerged in Italy, France and Germany, and in the following century they ensured the cello to be among the most soloistic instruments. Towards the end of the 19th century – in the age of great composers- the compositional value of these works seemed inadequate and today only the ones with methodological purposes are included in the pedagogical repertoire.
References
- Corrette, Michelle, Méthode Théorique et Pratique pour Apprendre en Peu de Tems Le Violoncelle dans sa Perfection. Paris, 1741.
- Geeseman, Katherine Ann, ‘The Rise and Fall of the Cellist-Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions’. Florida State University, A.B.D. Doktora Tezi. 2011.
- Hamilton, Gregory R., ‘The Origins of Solo Cello Literature and Performance’, University of Kansas, A.B.D., Doktora Tezi. 1985.
- Micheletti, André Luis Giovanini , SILVA, William Teixeira da, Cello Development from Gabrielli to Vivaldi, Escola Municipal de Musica de Sao Paulo, Brezilya, Revista Musica Hodie, Makale. 2014.
- Morsches, Jennifer, The Anomoly of the Violoncello Piccolo, Finzi Trust, Finzi Report. Londra, Birleşik Krallık. Makale. 2013.
- Randel, Don Michael, The Harvard Dictionary of Music, Belknap Press, Cambridge, Mass., A.B.D. 2003.
- Raychev, Evgeni Dimitrov, ‘The Virtuoso Cellist-Composers from Luigi Boccherini to David Popper: A Review of Their Lives and Works’, Florida State University, A.B.D. Doktora Tezi. 2003.
- Sadie, Julie Anne, ‘Companion to Baroque Music’, Oxford University Press, Oxford, Birleşik Krallık. 1998.
- Stowell, Robin, The Cambridge Companion to the Cello, Cambridge University Press, Cambridge, Birleşik Krallık. 1999.
- Tunney, Clare, ‘The Bel Canto Cello – A Study of Violoncello Playing in Italy in the 19th Century’, University of Western Australia, Doktora Tezi. 2012.
- Yapp, Francis, ‘Les Pretentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)’, University of Canterbury, Yeni Zelanda. Doktora Tezi. 2012.
- Wasielewski, Wilhelm Joseph, The Violoncello and Its History, Novello and Company, Ltd. Londra, Birleşik Krallık. 1894.
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | research Article |
| Authors | |
| Publication Date | September 30, 2020 |
| Submission Date | June 30, 2020 |
| Published in Issue | Year 2020 |
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