A Guide to Pedagogy and Technique in Alfredo Piatti's Twelve Caprices,

A GUIDE TO PEDAGOGY AND TECHNIQUE IN ALFREDO PIATTI'S

TWELVE CAPRICES, OP. 25 (1865) by

Matthew A. Ryan-Kelzenberg

A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree

Doctor of Musical Arts

ARIZONA STATE UNIVERSITY

December 2009

UMI Number: 3385203

All rights reserved

INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed,

a note will indicate the deletion.

UMI' Dissertation Publishing

UMI 3385203 Copyright 2009 by ProQuest LLC.

All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code.

ProQuest LLC 789 East Eisenhower Parkway

P.O. Box 1346 Ann Arbor, Ml 48106-1346

A GUIDE TO PEDAGOGY AND TECHNIQUE IN ALFREDO PIATTI'S

TWELVE CAPRICES, OP. 25 (1865) by

Matthew A. Ryan-Kelzenberg

has been approved

October 2009

Graduate Supervisory Committee:

Thomas Landschoot, Chair Amy Holbrook Catalin Rotaru

Catherine Saucier

ACCEPTED BY THE GRADUATE COLLEGE

ABSTRACT

The legacy of the great virtuoso cellist Alfredo Piatti (1822-1901) includes a wealth of glowing reviews of his performances, colorful accounts of his life, important students, and a large body of

compositions for the cello. This study focuses on Piatti's Twelve

Caprices for solo cello, Op. 25, composed in 1865, and it accompanies

a CD recording of this work performed by the author. The Twelve

Caprices were intended not only as technical etudes but also as

concert pieces, which Piatti himself performed, and they are still widely

used for the development of techniques necessary for virtuosic cello-

playing.

A summary of Piatti's biography establishes the context in which

the Twelve Caprices arose and brings to light some of the

compositional and pedagogical influences that affected them. This

summary is followed by examination of each Caprice individually as a

guide for both students and pedagogues. Piatti's method for teaching

virtuosity might be repetitive in its approach to left-hand technique,

but it is highly varied in its approach to bow technique, and the

challenges the Caprices offer appear in abundance in the solo cello

literature. To promote and define their value for the development of

iii

technique, the discussion of the Caprices offers performance

suggestions, practice exercises, and excerpts from related repertoire.

For Shelley

ACKNOWLEDGEMENTS

Thank you Tom for sharing your encouragement and insight, Dr.

Holbrook for sharing your meticulous eye and humor, Dr. Saucier for

sharing your enthusiasm and knowledge, and Catalin for sharing your

respect and passion. Special thanks to Living Head recording studio

and Michael Hissong, recording engineer. And an extra measure of

gratitude for the teachers who have inspired and molded me into the

musician and performer I am today: Thomas Landschoot, Caroline

Paetsche, and Cordelia Wikarski-Miedel.

vi

TABLE OF CONTENTS

Page

LIST OF TABLES ix

LIST OF FIGURES x

LIST OF EXAMPLES xi

CHAPTER

1 HISTORICAL PERSPECTIVE 1

Introduction 1

Alfredo Piatti: Cellist, Pedagogue, Composer 1

Piatti and his 12 Caprices, Op. 25 12

2 A PEDAGOGICAL ANALYSIS OF THE TWELVE CAPRICES .. 22

Introduction 22

Caprice No. 1: Allegro quasi Presto 22

Caprice No. 2: Andante religioso 27

Caprice No. 3: Moderato 32

Caprice No. 4: Allegretto-Poco meno-

Allegretto come prima 39

Caprice No. 5: Allegro comodo.. 43

Caprice No. 6: Adagio, largamente 54

Caprice No. 7: Maestoso 58

Caprice No. 8: Moderato ma energico 62

vii

CHAPTER Page

2 ANALYSIS

Caprice No. 9: Allegro 68

Caprice No. 10: Allegro deciso 72

Caprice No. 11 : Adagio-Allegro-Adagio 76

Caprice No. 12: Allegretto Capriccioso 81

Summary and Conclusions 84

REFERENCES 88

viii

LIST OF TABLES

Table Page

1. Publication History of Piatti's 12 Caprices, Op. 25 13

ix

LIST OF FIGURES

Figure Page

1. Rocking Motion of the Thumb 37

2. Rolling Pressure of the Hand on the Fingerboard 41

3. Elbow Anticipation in Caprice 5 48

4. Slurred Staccato Bowing 51

5. Path of the Elbow 61

6. Motion of the Down-bow 70

7. Rocking Motion of the Fingers and Wrist 80

x

LIST OF MUSIC EXAMPLES

Example Page

1. Servais and Piatti: Similar Melodic Material

A. Piatti Caprice 1, mm. 1-4 18

B. Servais Caprice 6, mm. 1-5 18

2. Cossmann and Piatti: Similarities in Technique

A. Cossmann Trill Studies Excerpt 19

B. Piatti Caprice 4, mm. 53-56 19

C. Piatti Caprice 6, mm. 56-57 19

D. Piatti Caprice 11, mm. 28-31 19

3. Double-stop Intonation Exercise 25

4. Double-stop Excerpts

A. Dvorak, Cello Concerto, Op. 104,1. Allegro,

mm. 259-61 26

B. Shostakovich, Cello Concerto, Op. 107, I. Allegretto,

mm. 23-26 26

C. Ligeti, Solo Sonata, I I . Capriccio, mm. 42-47 26

D. Francoeur, Sonata in E Major, I I . Allegro vivo,

mm. 17-19 26

5. Slurred Exercise 27

xi

Example Page

6. Excerpts Requiring Upper-arm Strength

A. Prokofiev, Symphonie Concertante, Op. 125,1. Andante

mm. 1-12 28

B. Schubert, Sonata for Arpeggione, D. 821, I I . Adagio

mm. 4-8 28


A. Stravinsky, Suite Italienne, I I . Serenata, mm. 15-16 30

B. Schumann, Cello Concerto, Op. 129, I I . Langsam,

mm. 17-22 30

C. Dvorak, Cello Concerto, Op. 104, I I I . Allegro moderato,

mm. 425-29 30

D. Schumann, Five Pieces in Folk Style, Op. 102,

I I I . Nicht schnell, mm. 17-27 30

8. Left Hand Exercises for Caprice 2 (A., B.) 31 9. String-crossing Exercise: Gradual Lengthening of Melodic

Note(A.-C) 33

xi

Example Page

10. String-crossing Excerpts

A. Brahms, Cello Sonata in E minor, Op. 38,

I. Allegro non troppo, mm. 114-19 33

B. Hindemith, Sonata for Unaccompanied Cello,

Op. 25 no. 3, mm. 15-16 34

C. Schumann, Concerto for Cello, Op. 129,

I I I . Sehrlebhaft, mm. 342-52 34

11. Octave Exercise Without Thirds 36

12. Octaves and Thirds Exercise 36

13. Excerpts with Octaves and Thirds

A. Barber, Cello Concerto, Op. 22, I. Allegro moderato,

mm. 104-109 37

B. Beethoven, Cello Sonata in F Major, Op. 5 No. 1, I I . Rondo, mm. 236-45 37

C. Haydn, Concerto in D Major, Hob. VIIb:2,

I I I . Rondo, mm. 111-23 38


V. Stark und markiert, mm. 101-4 38

E. Tchaikovsky, Rococo Variations, Op. 33,

VI I . Allegro vivo, mm. 61-64 38

xii

Example Page

14. Crescendo into Each New Downbeat 39

15. Left-hand Exercises (A., B.) 41

16. Multiple-stop and Finger Independence Excerpts

A. Bach, Suite 6 for Unaccompanied Cello, BWV 1012,

VI . Gigue, mm. 1-4 42

B. Prokofiev, Symphonie Concertante, Op. 125,

I. Andante, mm. 139-43 42

17. Excerpts that Combine Staccato and Legato Bowings


V. Menuet I, mm. 1-5 .44

B. Bach, Suite 6 for Unaccompanied Cello, BWV 1012,

V. Gavotte I, mm. 1-5 44

C. Beethoven, Sonata in A Major, Op. 69, I I I . Allegro vivace, mm. 15-26 44


I. Mit Humor, mm. 1-4 44

18. Arpeggio Exercise... 46

xiii

Example Page

19. Arpeggiated Chord Excerpts


IV. Sarabande, mm 25-32 46

B. Tchaikovsky, Rococo Variations, Op. 33,

VI I I . Allegro vivo, mm. 47-52 46

C. Prokofiev, Symphonie Concertante, Op. 125,

I I . Allegro giusto, mm. 8-9 46

20. Multiple String-crossing Excerpts

A. Haydn, Concerto in C Major, Hob. V I I b : l , I. Moderato, mm. 72-75 49

B. Schumann, Cello Concerto, Op. 129,

I I I . Sehr lebhaft, mm. 368-71 49

C. Brahms, Symphony No. 4 in E minor, Op. 98,


D. Tchaikovsky, Piano Trio, Op. 50, I. Moderato assai,

mm. 20-23 49

21 . Slurred Staccato Exercise 51

xiv

Example Page

22. Slurred Staccato Excerpts

A. Schubert, Sonata for Arpeggione, D. 821,

I. Allegro moderato, mm. 56-59 51

B. Tchaikovsky, Rococo Variations, Op. 30,

I I I . Tempo des Themas, mm. 1-3 51

23. Ricochet Exercises. Begin Each at J>= 60 (A.-D.) 53 24. Ricochet Excerpts

A. Dvorak, Cello Concerto, Op. 104,1. Allegro,

mm. 157-158 53

B. Prokofiev, Sonata for Cello and Piano, Op. 119,

I I . Moderato, mm. 29-32 54

25. Intonation Exercise for mm. 6-7 55

26. Exercises for Developing Thumb Strength (A., B.) 56 27. Thumb Strength and Finger Independence Excerpts

A. Boccherini, Concerto in B-flat Major, G482, I. Allegro moderato, mm. 31-34 57

B. Dvorak, Cello Concerto, Op. 104, I I I . Allegro moderato,

mm. 52-56 57

C. Poulenc, Sonata for Cello and Piano, IV. Finale,

mm. 34-44 57

xv

Example Page

28. String-crossing Excerpts


I. Prelude, m. 85 57

B. Beethoven, Sonata in A Major, Op. 69,

I. Allegro ma non tanto, mm. 114-120 58

29. Flexibility/Vibrato Exercise 60

30. Left-hand Extension Excerpts


I. Prelude, mm. 21-26 60

B. Prokofiev, Symphonie Concertante, Op. 125,


31 . String-crossing Excerpts



B. Elgar, Cello Concerto in E minor, Op. 85, IV. Allegro,

mm. 52-58 62

32. Trill Motive 63

33. Trill Progression Exercise 64

34. Incremental Chord Exercise 65

xvi

Example Page

35. Trill Excerpts

A. Bach, Sonata in G Major, BWV 1027, I I . Allegro ma non tanto, mm. 1-9 65

B. Beethoven, Sonata in A Major, Op. 69, I. Allegro ma non tanto, mm. 69-73 66

C. Schumann, Cello Concerto in A minor, Op. 129,

I I I . Sehrruhig, mm. 21-25 66

D. Stravinsky, Suite Italienne, I I I . Tarantella, mm. 1-10 66

36. Bow Distribution in the Theme 66

37. Bow Distribution Excerpts


I I I . Courante, mm. 1-7 67

B. Bach, Suite 5 for Unaccompanied Cello, BWV 1011,


38. Multiple-stop Exercise 69


A. Prokofiev, Symphonie Concertante, Op. 125,


B. Saint-Saens, Concerto No. 1 in A minor,


xvii

Example Page

40. Bow Control Exercise 71

41 . Spiccato Excerpts

A. Elgar, Cello Concerto in E minor, Op. 85,

I I . Lento, Allegro molto, mm. 16-20 71

B. Barber, Sonata for Cello and Piano, Op. 6,

I I . Adagio-Presto, mm. 11-17 71

42. Double-stop Exercise 73

43. Excerpts that Apply Extensive Thumb Position Work

A. Haydn, Cello Concerto in D Major, Hob. VIIb:2, I. Allegro moderato, mm. 107-10 74

B. Ligeti, Sonata for Violoncello Solo, I I . Capriccio,

mm. 174-85 74

C. Saint-Saens, Cello Concerto in A minor, Op. 33,

I I . Allegretto con moto, m. 297 74

44. Less Arm Weight and Bow Speed on Bracketed Notes 74

45. Practice Exercises

A. Using rests 75

B. Lengthening exercise 75

xviii

Example Page

46. Excerpts With Slurred Legato and Staccato Bowings

A. Haydn, Cello Concerto in C Major, Hob. V I I b : l ,

III. Allegro molto, mm. 197-99 76

B. Debussy, Sonata for Cello and Piano, I. Prologue,

mm. 21-23 76

C. Schubert, Sonata for Arpeggione, D. 821,

III. Allegretto, mm. 77-83 76

D. Tchaikovsky, Rococo Variations, Op. 33,

I I . Tempo desThemas, mm. 1-3 76

47. Double-stop Exercises (A., B.) 78 48. Excerpt for Strength and Finger Independence, Shostakovich,

Cello Concerto in E minor, Op. 107, I I I . Cadenza,

mm. 51-58 78

49. String-crossing Exercises (A., B.) 79 50. String-crossing Excerpts

A. Brahms, Cello Sonata in F Major, Op. 99, I. Allegro vivace, mm. 58-64 80

B. Dvorak, Cello Concerto in B minor, Op. 104,

mm. 313-24 80

xix

Example Page

51 . False-harmonic Excerpts

A. Saint-Saens, Cello Concerto in A minor, Op. 33,

III., mm. 521-26 83

B. Shostakovich, Cello Concerto in E minor, Op. 107,

I I . Moderate, mm. 166-70 83

52. False-harmonic Exercise 83

53. Slurred Staccato Exercise 83

54. Slurred Staccato Excerpts

A. Pietro Locatelli, Sonata in D Major, I. Allegro, mm. 1-6 84

B. Nicola Porpora, Sonata in F Major, I I . Allegro, mm. 1-6 84

xx

Chapter 1

Historical Perspective

Introduction

The rich history of cello pedagogy is filled with the names of

virtuoso cellists and composers, many of whom published their

techniques and ideas in pedagogical treatises or compilations of

etudes. In the latter half of the nineteenth century, the great cellist

Alfredo Piatti composed his 12 Caprices, Op. 25, as an exhaustive

approach to cello technique and a demonstration of the heights of

virtuosity, akin to Nicolo Paganini's 24 Caprices for the violin. Though

now nearly 150 years old, the Caprices are still valuable to cellists

because they focus on developing the most virtuosic and difficult

techniques for the left and right hands within a simple and beautiful

melodic framework. This study combines a short historical

investigation of Piatti and his Caprices with a discussion of the musical

content and technical demands of each Caprice, including suggestions

for execution and practice and excerpts from the solo cello literature

that require similar techniques.

Alfredo Piatti: Cellist, Pedagogue, Composer

Carlo Alfredo Piatti (1822-1901) was born in Bergamo, Italy, in January of 1822, the first son of Antonio, a musician, and Marianna, a

seamstress. Antonio Piatti was a prominent violinist in Bergamo; he

2

earned a modest living for his family playing music for the theater in

the Teatro Sociale and the Teatro Riccardi. Young Alfredo soon

followed in his father's footsteps, and at the age of five began to play

the cello under his father's tutelage. As the boy's proficiency on the

cello progressed rapidly and easily, it became clear to Antonio that

Alfredo would need proper instruction on the instrument. During his

first year, Alfredo studied with his great-uncle, Gaetano Zanetti, a fine

cellist, who likewise played alongside Alfredo's father in the theater

orchestras of the Basilica di S. Maria Maggiore. The young Piatti

learned quickly and soon found regular employment in his father's

orchestra where he earned money for his family and began to gain

recognition as a local prodigy.1

In 1832, after five years with his Uncle Zanetti, further formal

study seemed the natural choice for Piatti's growing talent, and as the

cost of Conservatory was far beyond the means of his family, he was

fortunately accepted as a free student at the Conservatorio di Milan.

Piatti's new teacher was Vincenzo Merighi (1795-1849), from whom he received "a considerable amount of personal attention," as he was one

1 Morton Latham, Alfredo Piatti: A Sketch (London: The Anchor Press

Ltd., 1901), 1-12.

of only two cellists at the Conservatory at the time.2 Piatti's study was

both intense and fruitful, and after just five years the young cellist was

ready to receive his diploma. Marking the occasion on September 21 ,

1837, at the ripe old age of fifteen, Piatti gave his first public concert

as a soloist and received as a prize the cello that he had played during

his Conservatory years.3 Following the success of this concert, a

glowing review in the Allgemeine musikalische Zeitung found Piatti to

be a musician who "...possesses a talent all of his own when it comes

to playing the violoncello and who will one day be the Paganini of the

violoncello."4

Piatti's success in Milan was a substantial step towards a career

as a cellist for the young musician, but it did not quickly translate into

fame and fortune. Upon returning to Bergamo, Piatti resumed his post

in the civic orchestra, and with his father's help he began to pursue a

career as a soloist. Though Alfredo was becoming known throughout

much of Italy, many of his concerts in the provinces were poorly

planned and attended, perhaps providing the cellist with a good sense

2 Ibid., 16.

3 Ibid., 21 .

4 From Allgemeine musikalische Zeitung, 3.14.1838, as quoted in

Annalisa Lodetti Barzano and Christian Bellisario, Signor Piatti: Cellist, Composer, Avant-Gardist, trans. Clarice Zdanski (Kronberg, Germany: Kronberg Academy Verlag, 2001), 181.

of humility (and many great stories told at parties, no doubt), but no lasting fame and certainly not much fortune. When an early trip to

Vienna (1838) again proved to be both expensive and unsuccessful, Piatti focused his attention on orchestral playing in Bergamo, Turin,

and Milan during the next four years.5

In 1843, Piatti resumed extensive touring and was fortunate

enough to be engaged to play in Munich at a concert with Franz Liszt.

Liszt was quite pleased with Piatti's playing and encouraged him to go

on to Paris, where, when the two met again at one of Piatti's concerts,

Liszt brought a fantastic Amati cello as a gift of encouragement for the

young cellist. After such success, Piatti embarked on his lifelong

dream to make his career in England; in the spring of 1844, Camplani

writes that Piatti arrived in London "completely unknown, without a

friend and without any money," and began to carve out a niche for

himself in what was one of the most important musical cities in ail of

Europe.6 After two years, Piatti had become an indispensable part of

the artistic life of London, and apart from some minor European tours,

London is where he made his home and career for the next fifty years.

5 Latham, 23-30.

6 Vittorio Camplani, as quoted and translated in Barzano and Bellisario,

194.

The air in London was virtually polluted with music during the

concert season, and Piatti worked as much as any fine musician could

want. As in Bergamo, Piatti provided a fair amount of music for the

theaters and the opera performances in London, but it was in playing

chamber music in private homes and in the exclusive clubs of the

Musical Union and the Quartet Association that Alfredo made his mark.

He forged longstanding friendships and partnerships with the likes of

Anton Rubinstein, Edvard Grieg, Camillo Sivori, Giovanni Bottesini, and

Joseph Joachim.7 In order to share his love of great music with those

of lesser means, Piatti worked with these colleagues to found the

Popular Concerts. Held at the newly constructed St. James's Hall for

the first time in December of 1858, the Popular Concerts offered

inexpensive tickets, and paired the great compositions of the past with

new music of the day, including the premieres of most of Piatti's Cello

Sonatas (Opp. 28-32).8 During his long and productive career, Piatti not only premiered many new sonatas and concertos, including Felix

Mendelssohn's Op. 58 sonata and Bernard Molique's Op. 45 concerto,

but he was also a great champion of the Baroque: Piatti was the first

to edit, transcribe, and perform chamber music by such composers as

7 Barzano and Bellisario, 208

8 Ibid., 207.

6

Boccherini, Corelli, Locatelli, Marcello, Porpora, and Tartini, who were

at the time "unknown to English audiences."9

Amidst this great quantity of music-making, Piatti's virtuosity

and generosity as a musician did not go unnoticed; he constantly

received the highest praise from the press, and from his admirers he

received many gifts, the greatest of which was a Stradivarius cello

given to him by General Oliver in July of 1866.10 As a cellist, Piatti had

the deep respect of his peers: Bernard Cossman dedicated his Op. 10

Concert Studies and David Popper his Op. 72 concerto to him, and

Adrien Francois Servais, perhaps the greatest cellist to precede Piatti,

gave the young Alfredo his "blessing" of sorts as the two played

Romberg duets together for ecstatic listeners during a tour of Russia in

the summer of 1845.u During his time in London, Piatti also

cultivated an important teaching studio, both privately and at the

Royal Academy of Music. Piatti's students included Robert Haussman,

the German pedagogue who premiered the Op. 99 Sonata and the

Double Concerto, Op. 102, of Johannes Brahms; Hugo Becker, another

German pedagogue to whom many modern-day cellists (including this one) can trace their lineage; Leopold Stern, the cellist who premiered

9 Ibid.

10 Ibid., 230.

11 Ibid., 197.

7

Dvorak's great Cello Concerto, Op. 104; and William Whitehouse,

whose many students included Felix Salmond, who became a central

figure in twentieth-century American cello pedagogy, teaching both

Leonard Rose and Bernard Greenhouse.12

To recover from the taxing schedule of the London concert

seasons, Piatti would return to Italy for the summers, spending time

with family in Bergamo and, after 1868, retiring to his villa in

Cadenabbia, a small lakeside village in northern Italy. Here Piatti

found the solitude and rest that were absent from his busy career in

London; his villa also served as a place of hospice as he was nursed to

health after an unfortunate coach accident in 1858 in which he broke

his bow arm. Although Cadenabbia was also the natural choice for his

final retirement from the London concert scene in 1898, his health

declined shortly after returning there, and he was subsequently taken

into the care of his daughter, Rosa, who lived near Bergamo in

Crocette di Mozzo, where he stayed until his death on the eighteenth

of July 1901. A testimony to the richness of Piatti's life and musical

career can be found in the many rare books, manuscripts, concert

programs, and correspondences collected in his personal library, which

12 Ibid., 252-253.

8

was generously donated after his death to the Instituto Musicale in

Bergamo.13

Closely following his death, two important biographies of Piatti

were written. The first, by Morton Latham (Alfredo Piatti, 1901), an Englishman and personal friend of Piatti's, sets out "to depict the man

to those who only knew the artist."14 Latham's account is mostly

anecdotal and offers many stories "heard from the lips of Signor Piatti

himself;" these stories record not just the herculean greatness of Piatti as a cellist, but also his humility and trials, his joyful friendships, and his humorous personality.15 Although Latham's biographical account is

often circuitous and difficult to follow, he offers a wealth of information

regarding Piatti's early family life, education, personal relationships,

and important accomplishments. The second biography is by Vittorio

Camplani (Alfredo Piatti, 1902), who was Piatti's family doctor from Bergamo, and who was with him until his last days at Crocette di

Mozzo.16 Camplani's account of Piatti's life is similar to Latham's: his

story is filled with many personal anecdotes, and his writing is full of

admiration for the man he considered to be "the greatest cellist that

13 Ibid., 214-217.

14 Latham, i.

15 Ibid.

16 Vittorio Camplani, Alfredo Piatti: Ceni Biografici (Bergamo: Tipo

Litografia Mariani, 1902).

9

our age or any other past age might boast of. Despite the many

similarities, Camplani's text is set apart by his thorough and

meticulous collection and transcription of what was written about Piatti

in the newspapers of his day. As Camplani explains early on in his

biography:

I transcribed them word for word in order to plot the artistic events and triumphs of the cellist as precisely as possible, thus avoiding the jumble of anecdotes that would have made the work more boring. On the other hand, in the printed version, I presented impartial, faithful documents, which were aimed at making Piatti's artistic individuality known to the public, which is something Piatti never would have done on his own.18

Camplani's work and research have significant value, as many of the

periodicals he drew from are no longer available.

The biographies by Latham and Camplani are the most important

twentieth-century works solely dedicated to the life and career of

Alfredo Piatti. Other accounts of Piatti's life and work appear in J. W.

von Wasielewski's Das Violoncell und seine Geschichte (1889), in Edmund van der Straeten's History of the Violoncello, the Viol da

Gamba, their Precursors and Collateral Instruments (1915), and also in Grove's Dictionary of Music and Musicians beginning in 1922.

Annalisa Barzano and Christian Bellisario offer the most recent

Camplani, as quoted and translated in Barzano and Bellisario, 179.

research into Piatti's life and career in Signor PiattiCellist, Composer,

Avant-Gardist (2001).19 This comprehensive text is divided into two parts, "A Biographical Profile" by Barzano, and "Notes for an

Investigation" by Bellisario, and aims to bring together all existing

research on Alfredo Piatti. In addition, Barzano and Bellisario provide

many correspondences not included in the first biographies,

translations of news clippings and reviews from Piatti's concerts, and

wider research into Piatti's family life and friendships, ail while

blending the stories of Latham and Camplani into a cohesive whole. A

section of photographs and illustrations, a much-needed catalogue of

Piatti's compositions, and an extensive bibliography complete the

picture of Alfredo Piatti as a performer, a father, an intellectual, and a

friend.

Piatti began composing almost as early as he began playing the

cello, and is remembered as one of the great composer-virtuosi of his

generation. Early compositions were often used as a way to showcase

both his talent and his Italian musical heritage; Introduction and

Variations on a Theme from Lucia di Lammermoor, Op. 2, was Piatti's

first highly successful composition, and it was performed often during

19 Annalisa Lodetti Barzano and Christian Bellisario, Signor Piatti:

Cellist, Composer, Avant-Gardist, trans. Clarice Zdanski (Kronberg, Germany: Kronberg Academy Verlag, 2001).

11

his early tours of Europe.20 Piatti composed many other similar

orchestral concertinos and fantasies with cello soloist, including

Souvenir de la Sonnambula, Op. 5, and Souvenir de Puritani, Op. 9,

and midway through his career he composed a pair of concerti, Opp.

24 and 26, that were quite successful during his lifetime. Piatti's

repertoire also included many short chamber works, mostly for cello

and piano, which he played often on many of London's concert stages

and in many private homes. While a good number of these earlier

chamber works, such as Un priere, Op. 3, and Airs Baskyrs, Op. 8, can

be categorized as virtuosic showpieces, many of the later works, such

as Notturno, Op. 20, and Danza moresca, focus instead on the cello's

unique ability to sing and convey deep emotion.

During the last ten years of his London career (1885-1896) Piatti composed six sonatas for cello and piano, Opp. 28-33, which, similar

to his many earlier works, include passages of double- and triple-

stopped melodies and many difficult bowing techniques. Despite many

technical challenges, these sonatas highlight Piatti's affinity for

cantabile playing, and are focused more on the development of

melodic ideas than on any display of virtuosity. Piatti's sonatas also

reflect the influence of Chopin, Mendelssohn, and Brahms, whose

20 Ibid., 192-195.

12

sonatas he often performed; the Sonata II, Op. 29, and Sonata IV,

"Idillica", Op. 33, are especially beautiful examples of the composer's

ability to combine virtuosic elements within a highly lyrical setting. As

a composer and performer, Piatti had a fondness for melody and

singing: outside of his compositions for cello, Piatti also composed

over fifty songs for voice and piano (some of which include an obbligato line for cello).21 Piatti published most of his works during his lifetime, but many of these have since fallen out of publication.

Fortunately, Christian Bellisario recently edited and published through

Pizzicato Verlag, Switzerland, most of Piatti's compositions for cello

and piano, including all of his sonatas, the last two of which had never

been published.

Piatti and his 12 Caprices, Op. 25

In contrast to most of Piatti's compositions, the Twelve Caprices

have enjoyed constant and wide publication ever since the first edition was published in 1874 (Table 1, below).22 The popularity of the Caprices among performers and pedagogues has also grown steadily

throughout the twentieth century, and their place of prominence in the

21 Ibid., 247.

22 Alfredo Piatti, 12 Caprices, Op. 25 (Leipzig: Simrock, 1874).

13

1874

1932

1974

1988

2003

Piatti/Whitehouse

Stutschewsky

Fournier

Filippini

Bellisario

Table 1. Publication History of Piatti's 12 Caprices, Op. 25

Publisher Copyright Date Editor

Sim rock

C. F. Peters

International Music Co.

United Music (Ricordi) G. Henle Verlag

cello repertoire needs almost no mentionthey are a central part of

the teaching curriculum in music schools all over the world from New

York to Vienna, and are also an entrance requirement for many of the

leading music schools and conservatories.

To trace the musical and pedagogical history of Piatti's 12

Caprices, Op. 25, it is necessary to explore some of the history of the

cello in Italy along with the influences Piatti encountered during his

musical training in Milan and his tours throughout Europe. Italian

musical history includes many cellists like Piatti who were both virtuosi

and composers. In the late seventeenth century, Antonio Caldera (ca. 1670-1736) was one of the first great Italian cellists. Caldera toured throughout Italy and brought his talent and pedagogical ideas as far as

Vienna in the early eighteenth century; his compositions include 16

cello sonatas, and there is an early pedagogical treatise. In the

eighteenth century Francisco Alborea (1691-1739) and Salvatore Lanzetti (ca. 1710-1780) continued in Caldera's tradition, writing inventive solo works for the cello and traveling as far as Paris, London,

and Germany as performers and pedagogues. Following Lanzetti, Luigi

Boccherini (1743-1805) brought cello technique and string repertoire to new heights, touring and teaching throughout Europe, and

composing over 25 cello sonatas, more than 10 cello concerti, and

countless orchestral and chamber works.23

The influence these Italian cellists brought to the rest of Europe

was great, but by the nineteenth century, the focus of cello pedagogy

and virtuosity shifted from Italy to France and Germany. The French

cellist Martin Berteau (1708-71), originally a viol player, switched to the cello after attending a brilliant concert that featured Francisco

Alborea. 24 Berteau subsequently founded the French school of cello

playing, going on to teach some of the most influential cellists in

history/ among them J. L. Duport (1749-1819), whose 21 Exercises

23 Stephen Bontha, et al. "Violoncello," Grove Music Online,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/44 041 (accessed August 6, 2009).

were an integral part of Piatti's Conservatory training in Milan.

Bernard Romberg (1767-1841) was inspired early in his career by his relationships with both Boccherini and Duport, and the influence of his

teaching and of his Methode de violoncelle (1839) establishes him as one of the fathers of the German school of cello playing.26 Romberg's

legacy also had a profound impact on Piatti's early training; when

Piatti later compiled his own Violoncello Method, he included the

exercises and etudes of Romberg and others from the German school:

Friedrich Dotzauer (1783-1860), Friedrich Kummer (1797-1879), and Sebastian Lee (1805-1887).

Although much of Piatti's musical education has roots in the

French and German schools of cello playing, the Italian school of violin

playing was also quite important to Piatti as a cellist and a composer.

Piatti's facility and inventive approach to bow technique highlight the

influence of the great Bergamasque violinist Pietro Locatelli (1695-1764), who was known for his virtuosic talent and technique.27 As Piatti was composing the 12 Caprices, he rigorously studied the

compositions and pedagogy of Locatelli and his contemporaries, an

25 Barzano and Bellisario, 128.

26 Valerie Walden, "Bernard Heinrich Romberg," Grove Music Online,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/43 995pg2 (accessed August 25, 2009) 27

Barzano and Bellisario, 248.

16

endeavor that eventually led him to transcribe for cello some of the

violin sonatas of Locatelli, Valentini, Tartini, and other Italian violin

virtuosi.28 In addition, the influence of Nicolo Paganini (1782-1840) on Piatti's technique and virtuosity as a cellist and composer cannot be

overlooked; although there is no documentation that the two ever

met, in 1837 when Piatti received his diploma, Paganini was the "idol

of the young talents that were being trained at the Conservatory in

Milan." And during Piatti's professional career, Camillo Sivori (1815-1894), Paganini's only pupil, was a close friend and colleague with whom Piatti no doubt shared many pedagogical and technical thoughts

and ideas.29

While Piatti's Caprices are certainly the most famous of the

genre (for the cello) from the nineteenth century, there are many similar works that pre-date Piatti's. The concert etudes of Duport

(within the 21 Exercises) are similar in melodic style to many of Piatti's, and Friedrich Gruetzmacher's (1832-1903) Op. 38 etudes, while lengthier and often more in fantasia style, offer technical

challenges on a par with any of Piatti's Caprices. A. F. Servais (1807-1866), who preceded Piatti's reign as "King" of the cello during the

Latham, 116. Barzano and Bellisario, 248.

first half of the nineteenth century, wrote Six Caprices, Op. 11 (1854), published shortly before Piatti's Op. 25. Despite their close proximity,

there are not many similarities between the two sets; Servais'

Caprices were written for solo cello with a second cello ad libitum, and

while the caprices may easily be played as solo pieces, much of their

melodic integrity and beauty are lost without the second cello.

Servais finds greatest pedagogical success and beauty in Caprice

2, a moto perpetuo study focused on finger dexterity in the left hand

and quick staccato bowings, and in Caprice 5, Larghetto cantabile,

which develops the player's ability to execute trills (both single-note and double-stopped) and double-stopped passage work. Most pertinent to this study is Servais' Caprice 6, which has a similar

melodic contour to Piatti's Caprice 1 and poses many of the same

technical challenges in the left hand (Example 1). Both caprices focus on repeated string changes for the bow and a broken double-stop in

the left hand, and both often combine a melodic lower voice with an

accompanying upper voice. The similarities in melody between the

two caprices strongly suggest that Piatti was familiar with Servais'

works as he was composing his own.

18

Example 1. Servais and Piatti: Similar melodic material

A. Piatti Caprice 1, mm. 1-4 V o

B. Servais Caprice 6, mm. 1-5

Allegro.

6. $\ j J j J j J j * ?

Pipl

Piatti was also well acquainted with the Studiesa set of

exercises for developing agility, strength of fingers, and purity of

intonationcomposed by his friend and colleague Bernard Cossmann

(1822-1910), the German cellist and pedagogue to whom Piatti dedicated his Op. 25. Although the focus of Cossmann's Studies is on

left hand agility, strength, and intonation, their influence on Piatti's

composition is readily apparent in that many of the Caprices focus on

developing similar techniques (Example 2). A comparison of Cossmann's Trill Studies with three of Piatti's Caprices (4, 6, and 11) shows similarity in left hand techniques, particularly in those double-

stopped passages that develop the player's capability for finger

19

independence. As a reciprocal sign of his admiration and gratitude,

Cossmann dedicated his own later Concert Studies, Op. 10, to Piatti.

Example 2. Cossmann and Piatti: Similarities in Technique

A. Cossmann Trill Studies Excerpt

( y *QM A *J J J J * 1 rtptpfptftpfrfft -ii- rtttrfttftrrrtrt 1 B. Piatti Caprice 4, mm. 53-56

i jyrf i """ jf nfrViD IT C. Piatti Caprice 6, mm. 56-57

56

jWrfrfrfrfrfpftftfrf D. Piatti Caprice 11, mm. 28-31 :i caprice i i , mm. Z O - J I

JT]lIT}l JT]7JT37 JT]7jT]7 JT]7jT]7 :*' w r rrr i"riLr r rrr i^rjr cxij" i^ f dir

dim. - - - - -

In the late nineteenth and early twentieth centuries, David

Popper (1843-1913) was the greatest cellist after Alfredo Piatti.

20

Popper spent his early career as an orchestral cellist in Berlin and

Vienna, and though most of his later years were dedicated to teaching

at the National Hungarian Royal Academy of Music, he toured often as

a soloist and began replacing Piatti in the London Popular Concerts

starting as early as the 1891/92 season.30 Similar to Cossmann's

Concert Studies, Popper's High School of Cello Playing, Op. 73, is

written in a highly chromatic, almost Wagnerian language; these 40

etudes are highly influential in cello technique and pedagogy today,

and serve as a great companion to the study of Piatti's Caprices.

An investigation of the entire set of Piatti's Caprices is useful for

identifying pedagogical themes that tie the work together. Piatti has

given equal emphasis to left-hand and right-hand challenges (if not slightly greater challenges for the bow-arm), with special attention paid to double-stopping (especially thirds and octaves), up-bow staccato, arpeggios, both slurred and staccato string-crossings, trills,

left-hand strength (especially for the pinky finger), and stamina. Alongside the many technical issues, Piatti always includes a distinct

melodic line and formal structure, making the caprices both "sing-able"

and well suited for public performance. This melodic trait reflects

Piatti's spirit and musical development, which were cultivated in close

30 Ibid., 208.

proximity to the Italian opera stage; for Piatti, a strong emphasis on

song and melody (cantabile playing) was far more important than mere technical precision. Reviews of Piatti's performances point not

only to a cellist of "consummate skill and precision," but more

significantly to an artist who has transformed his instrument "into a

human voice/' one that can "sing sweetly, [and] miraculously," perhaps "the best [voice] that one might ever hear from this instrument with its special singing qualities," and the kind of playing

that reproduces "precisely that singing which we hear in our souls."31

Because mastery of the Caprices requires both technical

precision and cantabile playing, it is safe to assume that Piatti

intended the Caprices for both pedagogical purposes and for

performance; in fact, he performed them often himself. The study at

hand is accompanied by the author's own recording of the Twelve

Caprices to illustrate their beauty in performance as well as to provide

aural examples for the discussions that are to come. It is hoped that

this in-depth study and recording of Piatti's Caprices will unveil the

many possibilities for their use not only in teaching the virtuosic

techniques, but also for their performance on the concert stage, as

was clearly the intention and the practice of Alfredo Piatti.

31 Ibid., 238, 239, 242.

Chapter 2

A Pedagogical Analysis of the Twelve Caprices

"My feeling about technique in art is that it has about the same value as technique in lovemaking. Heartfelt ineptitude has its appeal and so

does heartless skill; but what you want is passionate virtuosity." John Barth

Introduction

Because mastery of Piatti's 12 Caprices requires the highest level

of cello technique and virtuosity, the information presented here will

be most useful to advanced cellists who have already attained the ease

of technique that is the goal of David Popper's High School of

Violoncello Playing, Op. 73. The discussion of each caprice begins with

an overview of the musical substance, then proceeds to performance

suggestions and analyses of the technical challenges for the left hand

and for the right hand. Tempo suggestions made here are

implemented in the accompanying recording. Excerpts from the

repertoire are not meant to be exhaustive, but rather provide an

important link between the technique of virtuosity and the practice of

virtuosity.

Caprice No. 1: Allegro quasi Presto

This perpetual-motion Caprice in G-minor combines broken

double-stops in the left hand with Sulla punta d'arco (only at the tip) string-crossings in the right hand. As Whitehouse suggests,

the tone of the Caprice should be "lightalmost ponticello in

character," and "played with a freedom of timevirtually rubato."1 A

counterstatement of the eight-measure theme changes direction with

a modulatory sequence leading to a variant of the opening motive in

B-flat Major (m. 19). After a gradual build to a forte climax in measure 29, a dominant pedal in G minor signals the imminent return

of the theme in measure 39. The second half continues similarly to

the first and concludes with a dramatic coda (beginning in m. 62). Although practice should begin with a soft dynamic level, the Caprice

is most exciting when Piatti's dynamic markings are followed,

especially the diminuendo to pianissimo that occurs when the main

theme returns (m. 39), and the many shifts in dynamic level that occur towards the end of the coda (mm. 70-77). Left Hand: The Caprice begins with a simple pattern that oscillates

between a fingered melody on the G-string and the open D-string.

However, in measure 13 the open D-string is replaced by a fingered

note, producing the fingered broken double-stops that fill much of the

Caprice and pose challenges in both intonation and left-hand strength

and flexibility. This type of oscillation is an effective way to practice

1 Alfredo Piatti, 12 Caprices, Op. 25, ed. William Edward Whitehouse

(1874; repr., London: Boosey & Hawkes, 2000), 2.

and teach double-stopping because it can encourage flexibility and

release of tension in the left hand.

Slow practice (i* = 48) will aid in the establishment of good left-hand technique, and will also quickly reveal any intonation issues.

Finger pressure must be released from the string after each note has

been played, and transferred to the note that follows. While constant

tension and release at a slow tempo may seem tedious, it is necessary

for training the movements of the fingers, and as the tempo gradually

quickens, it will allow the cellist to play through the entirety of the

Caprice without excess strain. Once this technique has been

mastered, vibrato should be added to each note. The performance

tempo will not allow for a great amount of vibrato to be heard, but

practice with vibrato increases flexibility and decreases tension in the

hand.

An exercise that brings the broken double-stops together is

useful for perfecting intonation (Example 3). For this exercise, each bow stroke should be as short as possible, followed by adequate rest,

which will allow the player's ear to discern whether or not there are

any intonation issues, and also for a release of tension in the hand.

Vibrato should be used with this exercise.

25

Example 3. Double-stop Intonation Exercise n V n V n V

Wi h J'> h I

26

Example 4. Double-stop Excerpts

A. Dvorak, Cello Concerto, Op. 104, I. Allegro, mm. 259-61 ores . - cen - -do poco 0 poeo

B. Shostakovich, Cello Concerto, Op. 107, I. Allegretto, mm. 23-26

C. Ligeti, Solo Sonata, I I . Capriccio, mm. 42-47

D. Francoeur, Sonata in E Major, I I . Allegro vivo, mm. 17-19 1% Jfltfo^frtafomroJrPiJff mimPfli tJ > ^ > > = > > >- > 21

To practice, play the Caprice with two-note slurs set in the

middle of the bow, using small circular movements with the wrist and

fingers to execute the string-crossings (Example 5). For this exercise to be effective the shoulder must remain relaxed, and the stick of the

bow must remain in a fixed position relative to the strings. To slowly

strengthen the muscles of the upper-arm and shoulder, set the bow

closer and closer to the tip with each repetition of the exercise. As the

27

player gains strength and begins to master the wrist and finger motion

of the slurred string-crossings, the exercise should be repeated

without the slurs (as the Caprice is written), again starting in the middle of the bow and gradually moving toward the tip with each

repetition.

Example 5. Slurred Exercise n V

M J J J IJi IJ tf a> 0 \mJ0 +j ~J m~j *j -> ~J *!> ~J mj +j mj \J

Mastery of the punta d'arco bowing will give the cellist greater

upper-arm strength and the ability to maintain dynamic level and tone

at the tip of the bow, a skill that is especially useful in the excerpts

shown in Example 6 from Prokofiev's Symphonie Concertante, Op.

125, and Schubert's Arpeggione Sonata, D. 821. Both excerpts

feature either a slow crescendo to the tip of the bow or slurred notes

on a down-bow that must be sustained (J= 48-60).

Caprice No. 2: Andante religioso

This Caprice, in E-flat Major, develops overall left-hand strength (especially in the pinky finger) and focuses on extensive string-crossings in the right hand. The hymn-like opening section (A, mm. 1-26), almost completely in double-stops, modulates from E-flat Major

28

Example 6. Excerpts Requiring Upper-arm Strength

A. Prokofiev, Symphonie Concertante, Op. 125, I. Andante mm. 1-12

B. Schubert, Sonata for Arpeggione, D. 821, I I . Adagio, mm. 4-8

to C minor and from E-flat Major to G minor before ending on the dominant of B-flat minor. The beginning of section B (mm. 27-49) is marked by a shift to B-flat Major and a new, arpeggiated figuration. In this espressivo section, Piatti avoids a strong cadence in B-flat

Major until measure 38, which adds to the restless character created by the accompanying thirty-second notes. The return of the primary

key (m. 51) is marked by a return to the rhythm of section A (A', mm. 50-67), after which a shortened form of the espressivo section is presented in E-flat Major (B', mm. 68-79), followed by an arduous double-stopped coda (mm. 80-92) that tests the limits of the player's thumb-position technique and requires the utmost finesse from the

bow in order to execute the pianississimo ending. For this Caprice to

be effective in performance the voice of the melodic line must always

be prominent and the tempo should be reverent, but not too slow (J =

66-68), remaining the same throughout. Left Hand: Piatti's concentration on broken double-stopping in Caprice

1 can be immediately applied to Section A of Caprice 2, and this

shared technique strongly suggests a pedagogical progression between

the two. Applying a variant of the practice technique in Example 1

will again help with intonation and flexibility, and will also prepare the

cellist for excerpts that focus on extensive use of double-stops, such

as Stravinsky's Suite Italienne and Schumann's Cello Concerto, Op.

129 (Example 7). Mastery of these excerpts and the Caprice requires the same type of slow practice and release of tension between fingers

described in the discussion of Caprice 1, although the technique

becomes especially challenging in Caprice 2 as the double-stopping

rises to the thumb position (e.g., mm. 17-24). Such double-stopping is necessary in executing the passages from the Dvorak Concerto and

Schumann's Five Pieces in Folk Style, Op. 102, shown in Example 7.

For section B of the Caprice, begin practice by simplifying the

note values into straight sixteenth notes, being careful to release the

tension in each finger before moving to the next note. This type of

exercise can be played both with separate bows and by slurring two,

30

Example 7. Double-stop excerpts

A. Stravinsky, Suite Italienne, I I . Serenata, mm. 15-16

B. Schumann, Cello Concerto, Op. 129, I I . Langsam, mm. 17-22

C. Dvorak, Cello Concerto, Op. 104, I I I . Allegro moderato, mm. 425-29

j i) J51 fvj i *W i f D. Schumann, Five Pieces in Folk Style, Op. 102, I I I . Nicht schnell, mm. 17-27

four, or eight notes in one bow (Example 8A). In addition, an exercise that combines the notes from each quarter note into one chord will

slowly train the fingers of the left hand to navigate the complex chord

31

patterns in this section (Example 8B). Although agility and strength are developed in all fingers, Piatti assigns the highest level of difficulty

to the fourth finger (pinky), requiring the small, weak finger to play the most espressivo portions of the melody. Practice must be patient

and slow (especially in mm. 33-34), allowing the muscles in the fourth finger to gain strength without excess strain, and enabling the

flexibility and beauty of vibrato in the melodic line.

Example 8. Left hand exercises for Caprice 2

A. Start practice at }= 44

S mft- .te LtfcOTLk B. Start practice at J>= 60

i * ')\\l^ i ^ f v I v \\, v ^

te

Right Hand: The shoulder and upper-arm strength developed by

Caprice 1 finds instant application in Caprice 2, especially in its

sustained double-stops and phrases with crescendos that climax at the

tip of the bow. While mastery of the bow technique in Caprice 1 is not

necessary before the study of Caprice 2, this link in technique is

further evidence of a pedagogical progression between the two. The

string-crossings in the espressivo section pose the greatest technical

challenge for the bow arm. Proper execution of this technique will

develop both the anticipatory motion of the elbow and the flexibility of

the fingers in the bow hold.2 Practice can begin with the four- or

eight-note slurred version shown in Example 8A, adding the necessary

focus on the motion of the right arm during each string-crossing. As

right-hand facility increases, gradually lengthen the first note of each

quarter beat, and consequently, shorten the others, until Piatti's

written rhythm is reached (Example 9). This type of string-crossing practice will also develop the technique necessary to execute passages

found in Brahms' Cello Sonata, Op. 38, Hindemith's Solo Sonata, Op.

25 No.3, and Schumann's Cello Concerto, Op. 129 (Example 10). Caprice No. 3: Moderato

This boisterous Caprice is primarily a study in left-hand double-

stop techniques, most often oscillating between octaves and thirds in

the thumb position. Caprice 3 can be divided into two similar sections

in B-flat Major (A: mm. 1-100, A': mm. 101-169); both sections exploit a simple rhythmic motive, and both conclude in cadenza-like

2 Gerhard Mantel, Cello Technique, trans. Barbara Haimberger Thiem

(1975; repr., Bloomington: Indiana University Press, 1995), 191-98.

33

Example 9. String-crossing Exercise: Gradual Lengthening of Melodic Note

A. Start practice at J = 4 0

1 3 ' ' 3 >3-

B. Start practice at J = 4 0

C. As written

Example 10. String-crossing Excerpts

A. Brahms, Cello Sonata in E minor, Op. 38, I. Allegro non troppo, mm. 114-19

\ f Wf?g|ffTpir r/Tfr, f>, f?frA ff jsr

34

Example 10. (cont.) B. Hindemith, Sonata for Unaccompanied Cello, Op. 25 No. 3, mm. 15-16

ff i>

C. Schumann, Concerto for Cello, Op. 129, I I I . Sehr lebhaft, mm. 342-52

w\ \\{ 4 ^ I m Tempo

passages, the first tonicizing G minor (mm. 65-100) and the second remaining in the primary key (mm. 137-169). While the constant double-stopping poses a demanding challenge for the left hand in both

strength and intonation, the repetitiveness of Piatti's motive is an

equal test as it requires not only careful melodic shaping of each eight-

bar phrase, but also inventive dynamics since the score neglects to

provide much direction in this arena. The "moderato" marking

indicates a tempo that can easily be counted in three (J>= 188-192). This tempo should be observed until the piu presto/prestissimo

35

indications in mm. 161-169, because the virtuosity of Caprice 3 lies

not only in speed and accuracy of intonation, but also in the beauty of

the melodic line.

Left Hand: As the placement of the fingers is constantly shifting in this

Caprice, the primary goal for the left hand is fluidity of positions,

where "the entire left arm is continually in motion in order to support

the changing action of the fingers."3 Practice begins with octaves first,

followed by the addition of the thirds. This approach allows adequate

focus on the intonation of each type of double-stop and slowly builds

strength and stamina in the left hand. For octave practice, a slurred

exercise is best for developing intonation and phrasing of the melody

(Example 11). When thirds are added, it is best to remove the chromatic embellishments (Example 12). During the back-and-forth motion between octave and third, the thumb's pressure on the

fingerboard gently rocks between the D-string (for the octave) and the A-string (for the third) while the circular motions of the hand and arm move counter-clockwise (Figure 1). The counter-clockwise motion of the hand and arm is essential to obtain fluidity in the left hand and will

3 Mantel, 85.

36

continue to aid in the execution of the Caprice when the sixteenth-note

thirds are played as written.

Example 11. Octave Exercise Without Thirds

m Example 12. Octaves and Thirds Exercise

A. Adding thirds without chromatic embellishment

#i mm

Thirds Octaves

Figure 1. Rocking Motion of the Thumb4

Popper's Etudes nos. 9 and 38 (for thirds and octaves, respectively) are excellent preparatory studies for the left-hand techniques in Caprice 3. Practice and mastery of Caprice 3 will help

with the preparation of excerpts from a variety of musical periods,

4 Ibid., 82.

37

including Barber's Cello Concerto, Beethoven's Cello Sonata in F Major,

Op. 5 No. 1, Haydn's Concerto in D Major, Schumann's Five Pieces in

Folk Style, and Tchaikovsky's Rococo Variations (Example 13). All excerpts can be practiced in steps similar to those outlined in

Examples 11 and 12.

Example 13. Excerpts with octaves and thirds

A. Barber, Cello Concerto, Op. 22, I. Allegro moderato, mm. 104-109

B. Beethoven, Cello Sonata in F Major, Op. 5 No. 1, I I . Rondo, mm. 236-45

':;, mm r r r nrrr.rf - i CT3 rrr n rrr-frf

I I I I I I *s ff \ LI I I ' ' t=t=

2 , -**r ' P

i i ~Pr-*"

2_t

38

Example 13. (cont.) C. Haydn, Concerto in D Major, Hob VIIb:2, I I I . Rondo, mm. 111-23

Minore

rn T ^ * Q. -HP J J>,fflj hJT)ff%J l ^ i p i i ? 7 ] & - &

3S dtrr f

Hii 4 i w w #= r D. Schumann, F/Ve Pieces in Folk Style, Op. 102, V. Stark und markiert, mm. 101-4

snl D. SU] D . 8

IBS^^S 3fi E. Tchaikovsky, Rococo Variations, Op. 33, VII. Allegro vivo, mm. 61-64

I t L 9 9 j ^ * Iff ffl, iff ffl rff TO>MP m i^|J> j7J>Jyj; [Jj v. jf

r.

lll tfl

*. c rit

t

1

/

Right Hand: It is essential to differentiate among legato, slurred, and

detache bowings. The bow also plays an important part in voicing

each double-stop: octaves require more volume and bow pressure on

the lower note, while each of the thirds may be voiced differently

depending on the position and string. A subtle crescendo on each slur

39

leading to the downbeat of each measure can guard against monotony

in the melody and propel the forward motion of each phrase, but care

must be taken to give full value to the eighth note at the end of each

measure (Example 14).

Example 14. Crescendo into Each New Downbeat

Caprice No. 4: Allegretto-Poco meno-Allegretto come prima

The D-minor Caprice evokes a scherzo and trio in that it begins

with a rounded-binary form in the tonic (mm. 1-30) that is followed by another in F Major. This "trio" dissolves in preparation for a return of the opening, which is reduced to only ten measures (mm. 62-71) and followed by a coda. The first Allegretto section (mm. 1-30) should be played with a quick tempo (J>= 116-120). A leggiero approach to the

multiple-stopped chords keeps the tempo from slackening and brings

shape to the four-measure phrases. After a short pause, the Poco

meno (mm. 31-61) shifts directly into F Major and highlights legato bowings and double-stops with the occasional staccato for punctuation.

The interplay between detache and legato bowings (both slurred and separate) develops control and agility in the right hand. A relaxed

tempo (J* = 88-92) avoids frantic string changes and draws out the

beauty of the melody. The greatly abbreviated da capo of the

Allegretto (mm. 62-71) returns to the original key and tempo and is followed by a coda that blends the character and articulation of both

sections.

Left Hand: Caprice 4 develops the independence of the fingers,

building upon the left-hand techniques in Caprices 1 and 2 by adding

extensive use of triple- and quadruple-stopped chords and

contrapuntal double-stopped melodies often in contrary motion. Each

multiple-stop must be fully released before moving on to the next,

rolling the pressure of the hand on the fingerboard from the lowest to

the highest note (in conjunction with the motion of the bow) and vibrating to the top of the chord in order to avoid excess strain (Figure 2). To efficiently practice the successive multiple-stops, separate the chords from the rest of the notes, creating a simple exercise that also

provides a clear outline of the harmonic motion, melodic contour, and

phrasing (Example 15A). As the degree of finger independence increases in the F-Major section of Caprice 4 (e.g., mm. 52-56), practice by placing a short rest after each eighth note. This exercise

makes the use of vibrato more possible, isolates each finger motion,

and gives the hand a chance to rest between double-stops (Example

15B). Caprice 4 develops the kind of finger independence and left-hand strength needed for excerpts from Bach's Suite 6 for

Unaccompanied Cello and Prokofiev's Symphonie Concertante, Op. 125

(Example 16).

Figure 2. Rolling Pressure of the Hand on the Fingerboard

Example 15. Left-hand Exercises

A. Multiple-stop Exercise (J>= 68) from mm. 1-5 v y

s y n V n

^ ^ ffi^ F f Y V r B. Finger Independence Exercise from mm. 52-56

n _

^

P v \

# # #

42

Example 16. Multiple-stop and Finger Independence Excerpts

A. Bach, Suite 6 for Unaccompanied Cello, BWV 1012, VI. Gigue, mm. 1-4

wm i t

V

m i* B. Prokofiev, Symphonie Concertante, Op. 125,1. Andante, mm. 139-43

# a >r J J IJ o* A fc=fc P S

Right Hand: Piatti explores staccato bowings in all parts of the bow,

from the frog to the tip, and with all types of stopping, from double to

quadruple, oftentimes within one measure. Proper execution of each

staccato bowing must begin on the string, and after the note has been

played, the bow is both released from the string (in an upward motion) and returned to the string before the next note is played. Bowings

that begin off the string do not provide the clarity, agility, or control

needed for Caprice 4. Special attention must be given to the legato

bowings in the Allegretto in order to add interest and beauty to the

melodic line. Conversely, the staccato bowings play a similar role in

the Poco meno.

Popper's Etude no. 11 and Duport's Exercise no. 5 are excellent

for developing right-hand technique in preparation for Caprice 4. In

addition, much of the cello repertoire includes music that employs a

similar combination of staccato and legato bowings, including excerpts

from Bach's Suites 2 and 6 for Unaccompanied Cello, Beethoven's

Sonata in A major, Op. 69, and Schumann's Five Pieces in Folk Style, Op. 102 (Example 17). Caprice No. 5: Allegro comodo

The F-Major Caprice introduces and develops some challenging right-hand techniques, including both scalar and arpeggiated slurred

staccato and ricochet bowings, and it employs many of the left-hand

techniques developed in earlier caprices. Written in three-part form

(ABA1), the first section (mm. 1-23) begins in F Major and at m. 17 goes to a D-minor transition that sets up the middle section in a new

figuration. Because Section A lacks a clear melodic component, it is

important to focus on the bass line for structure and phrasing. After a

surprise common-tone modulation to the subdominant key of B-flat

Major, Section B (mm. 24-49) showcases a lilting melody accompanied

44

Example 17. Excerpts that Combine Staccato and Legato Bowings

A. Bach, Suite 2 for Unaccompanied Cello, BWV 1008, V. Menuet I, mm. 1-5

2 4

HJ irf 1 4 7 m

B. Bach, Suite 6 for Unaccompanied Cello, BWV 1012, V. Gavotte I, mm. 1-5

n

mm f ,f ftfW f if sqya 'r ' M r * r

C. Beethoven, Sonata in A Major, Op. 69, I I I . Allegro vivace, mm. 15-26

_!_ -T~\ I ' , - . . ! _ inrrrVrhr' -s r j n r LT D. Schumann, F/Ve P/'eces //? Fo//c Sty/e, Op. 102, I. Mit Humor, mm. 1-4

by frolicking sixteenth-note figures in the bass. Tasteful use of rubato

brings out the sentimentality of the melody and eases the difficulty of

the ricochet accompaniment. The final section (A', mm. 50-68) briefly

recapitulates the key and arpeggiated melody of section A and then

quickly departs into a series of dramatic sequences rising to the

heights of the fingerboard before a final flourish of staccato arpeggios.

Piatti's Allegro comodo marking, which applies to all sections of the

Caprice, suggests that a comfortable tempo (J= 72-78) be chosen in order to bring clarity to the staccato and ricochet bowings, and "to

enable the pace of the arpeggios in the second part of the Caprice to

be twice as fast as those in the first part, as written."5

Left Hand: Every measure of Caprice 5 contains at least one

arpeggiated chord aimed at developing the strength and versatility of

the left hand. Each arpeggio should apply the same rolling pressure

that is outlined in Figure 2 above (p. 41). Practice can include multi-stop exercises for strength and intonation (Example 18). Special attention and care should be given to arpeggios that either require

significant fourth-finger strength (e.g., m. 1 beats 3 and 4, mm. 24-25) or contain awkward stretches and finger placements (mm. 31-33, mm. 64-65). The left-hand technique and strength developed in Caprice 5 can be applied to excerpts from Bach's Suite 6 for

Unaccompanied Cello, Tchaikovsky's Rococo Variations, and

Prokofiev's Symphonie Concertante (Example 19).

5 Piatti, ed. Whitehouse, 2.

46

Example 18. Arpeggio Exercise (from mm. 24-25), J*= 64

as n v n v n n

#r f J ^sa r"?

, n v

j*rrirrEWE P Example 19. Arpeggiated Chord Excerpts

A. Bach, Suite 6 for Unaccompanied Cello, IV. Sarabande, mm 25-32

25 P J= * # M~r r-r ^ i> feM 9

1 1 E II III

s I

29 . a.

m fmtffJMu 2 9 114 1 in*

J, , ^ ?

^ ^

j , d P o

T=^ B. Tchaikovsky, Rococo Variations, Op. 33, VIII. Allegro vivo, mm. 47-52

C. Prokofiev, Symphonie Concertante, Op. 125, I I . Allegro giusto, mm. 8-9

47

Right Hand: Challenges in right-hand technique are both numerous

and extreme, testing the player's ability to perform a variety of strokes

rarely used in even the most virtuosic cello repertoire. The Caprice

begins with a succession of legato and staccato multiple string-

crossings that build upon the techniques in Caprice 2 and continue to

develop the motion of the elbow. String-crossings require flexibility of

the arm and careful elbow placements that must be anticipated.

Caprice 5 stresses the importance of the elbow anticipation both

during a slurred stroke, as seen in the first and third beats of measure

1, and in preparation for a change in bow direction that also includes a

string-crossing, as found between beats two and three of measure 1

(Figure 3). Elbow anticipation serves two main purposes: it produces a smooth and unnoticeable transition between adjacent strings, and it quickly propels the bow to the position of a distant string.

Good practice of the string-crossings in section A begins with

slurred legato bowings on all notes. The staccato string-crossings can

be re-inserted when the anticipatory motion of the elbow becomes

smooth and fluid. This type of practice can be used also in excerpts

from the cello repertoire, such as Haydn's Cello Concerto in C Major, Hob. VI Ib : l , and Schumann's Cello Concerto, Op. 129. Extensive

string-crossings (both legato and staccato) are found throughout the

48

Before Beat One, m.l of Beat Three, m. 1

Figure 3. Elbow Anticipation in Caprice 5

orchestral and chamber music literature, and the excerpts from

Brahms' Symphony No. 4, Op. 98, and Tchaikovsky's Piano Trio, Op.

50, employ techniques analogous to those developed in Piatti's Caprice

5 (Example 20). Mastery of slurred staccato (i.e., up-bow staccato) is an

extremely demanding task, and a challenge that many cellists choose

never to undertake. There are no ideal practice techniques for up-bow

staccato; as Mantel writes, "it is not possible to recommend any one

way to execute it because different players achieve it in basically

different ways."6 The practice methods suggested here require utmost

6 Mantel, 215.

49

Example 20. Multiple String-crossing Excerpts

A. Haydn, Concerto in C Major, Hob. VI Ib : l , I. Moderato, mm. 72-75

B. Schumann, Cello Concerto, Op. 129, I I I . Sehr lebhaft, mm. 368-71

C. Brahms, Symphony No. 4 in E minor, Op. 98, I. Allegro non troppo, mm. 1-9

Allegro non troppo > non trop

' * M [J V r i ^

D. Tchaikovsky, Piano Trio, Op. 50, I. Moderato assai, mm. 20-23

Qrfo &f %#& fw-fr\ ( m i-rr IS aj^aj LLr'flJLLT ureuLLf aJ LLfeLl UrtQ LLrffl LJ>'fcD lirHJ L

50

patience and perseverance, as they will not likely produce immediate

results. For a true slurred staccato, the weight of the arm moves

horizontally to the string and must not manufacture any vertical

(bouncing) motion of the bow (Figure 4). Each note of the slur must include both the starting and the stopping of the bow created by the

horizontal motion of the arm, and not by any type of vertical motion in

an attempt to manufacture a bounce in the bow. Practice begins with

an open-string exercise that can be gradually adapted to incorporate

the notes and bowings of Caprice 5 (Example 21). Similar to the exercise, Piatti prepares each extended slurred staccato with a slurred

legato arpeggio on a down-bow (e.g., m. 2), ensuring that the full weight of the arm is in the string and allowing the bow to travel well

past its balance point in order to execute the descending up-bow

staccato scale. These practice techniques can also be applied to the

few examples of slurred staccato in the cello repertoire, such as the

excerpts from Schubert's Sonata for Arpeggione and Tchaikovsky's

Rococo Variations, Op. 30 (Example 22).

Direction of arm weight

Bow String

Figure 4. Slurred Staccato Bowing

Example 21. Slurred Staccato Exercise

51

S tsrtsr : Tft-7ft7ff7 1 ^ rp ? rp S 9 msrv 1 K 1 1 ;

52

The delicate ricochet bowings in section B are harder to describe

and teach than slurred staccato bowings because they rely on both the

natural buoyancy of the stick and the perfect combination of tension

and relaxation in the right arm, variables that are unique to each bow

and cellist. Excepting the portions of the accompaniment_that reach

down to the C-string (e.g., mm 31-35), elbow position should not proceed below the level of the D-string. Higher elbow placement

provides the tension needed to help the bow "spring" out of the G-

string at the beginning of each ricochet, and also brings clarity and

focus of sound to the melody on the A-string. Less motion in the

elbow during string-crossings is compensated for by an increased

flexibility in the wrist and fingers. A triplet practice exercise outlines a

slow progression towards the mastery of the ricochet bowings

(Example 23). This type of exercise can also be applied when practicing excerpts that exploit a similar ricochet technique, as in the

Dvorak Concerto, Op. 104, and the Prokofiev Sonata, Op. 119

(Example 24).

Example 23. Ricochet Exercises (Begin Each at J>= 60) A. Legato Triplets (Can Also Be Used as a Left-hand Exercise).

m ^ /Jffis / f f f>^ m*im. -3-"3"-3-113ll-3-ll-3-1 3 3 "-3-"-3-

B. Bow Will Bounce on Staccato. Use Rest to Place Bow on A-string.

V..fis. s s I3I ' - 3 - ' 1 - 3 - 1 > - s - " - s - " - S 3 - 1 3113I

^ r. f>s r ; ^ * 5>S fr , fo C, 1 CJ 7 u _ r ^ i3i 13''3''3''3''3' 3 3 3 " 3 -

D.

^ *> .^rf> /?fr> . /rf, f> E-JTE-jJE-a \ f * 4V L-3-113"-3-113ll-3-ll-3-1 3 3 L-3-"-3

Example 24. Ricochet Excerpts

A. Dvorak, Cello Concerto, Op. 104, I. Allegro, mm. 157-158

54

Example 24. (cont.) B. Prokofiev, Sonata for Cello and Piano, Op. 119, I I . Moderate, mm. 29-32

Caprice No. 6: Adagio, largamente

The uncommon keys of A-flat Major and A-flat minor bring both great beauty and challenge to this Caprice. While the right-hand

challenges are mainly a reprise of the legato and staccato string-

crossings of the previous caprices, the left hand finds even greater

challenges in intonation, independence of parts (finger independence), and endurance. Much like an introduction, the Caprice opens with a

gentle fanfare of arpeggios that outline basic triads in A-flat Major and close on the dominant (A, mm. 1-15). The undulating melody of section B (mm. 16-43) begins unexpectedly in A-flat minor and wanders back and forth between major and minor modes before returning to the gentle arpeggios of the opening (A1, mm. 44-54). Despite the small divisions of the beat, the Adagio must move quickly

55

enough to be counted in three (J = 48-52), with ample forward motion

in section B (especially mm. 28-32) and tasteful use of rubato to shape phrases and cadences. Although not marked, a slight calando in

measure 54 provides a beautiful transition into the coda (mm. 55-66). Left Hand: The unique challenge of intonation in A-flat Major/minor is of immediate importance and requires persistent engagement from the

ears and fingers. Practice intonation by transforming the arpeggios

into a sequence of double-stops in order to train the ear and build

stamina in the left hand (Example 25). Section B develops the strength and endurance of the thumb muscles and must be

approached with careful practice to avoid excess strain (Example 26). Popper's Etude no. 13 also develops thumb strength and finger

independence, and excerpts from Boccherini's Concerto in B-flat,

G482, Dvorak's Cello Concerto, and Poulenc's Sonata utilize similar

techniques (Example 27).

Example 25. Intonation Exercise for mm. 6-7 (J>= 60)

Begin with separate bows, add slurs as marked for an extra challenge.

56

Example 26. Exercises for Developing Thumb Strength (from m. 23) A. Release Pressure on Fingerboard During Each Rest. (J1 = 70)

i^w^\^-'^r ^S'^-'^Q

Right Hand: The arpeggio work in the left hand is accompanied by

string-crossings, both legato and staccato, similar in many ways (with a lesser degree of difficulty) to the techniques discussed in Caprice 5. Legato slurs may be separated for practice to ensure that the

anticipatory movement of the elbow and hand becomes flexible and

smooth. Staccato slur practice involves exercises comparable to those

discussed in Figure 4 above (p. 51). Popper's Etude no. 33 is a good preparatory exercise for the string-crossings in Caprice 6, and the

excerpts from Bach's Suite 6 for Unaccompanied Cello and Beethoven's

Sonata in A Major, Op. 69, benefit from the right-hand techniques developed in this Caprice (Example 28).

57

Example 27. Thumb Strength and Finger Independence Excerpts

A. Boccherini, Concerto in B-flat Major, G482,1. Allegro moderato, mm. 31-34

B. Dvorak, Cello Concerto, Op. 104, I I I . Allegro moderato, mm. 52-56

C. Poulenc, Sonata for Cello and Piano, IV. Finale, mm. 34-44


A. Bach, Suite 6 for Unaccompanied Cello, BWV 1012,1. Prelude, m. 85

58

Example 28. (cont.) B. Beethoven, Sonata in A Major, Op. 69, I. Allegro ma non tanto, mm. 114-120

117

m n^mimpimmfri^ pirnimfTw t+ ^ ^ *'

Caprice No. 7: Maestoso

In this Caprice, Piatti stresses the importance of string-crossings

and left-hand strength through a series of slurred arpeggios over a

marcato melody in the bass. Melodic accents on the third beat of each

measure (e.g., mm. 1, 2, 5, 6) are best used as a means of expression within the larger phrase, and should not displace, but rather anticipate

and emphasize, the stress on the first beat of each measure. Though

lengthier, Caprice 7 is similar in moto perpetuo style and form to

Caprice 1. The Maestoso can be played "somewhat in the character of

a 'tempo rubato"' (J = 78-92), and careful attention must be given to

both phrasing and changes in dynamics due to lack of variation in

thematic material and articulation.7 The basso theme is stated in the

primary key of C Major (mm. 1-16), and after modulation (mm. 17-23) is repeated in both A minor (mm. 24-35) and F Major (mm. 36-

7 Piatti, ed. Whitehouse, 2.

43). The bass melody then climbs chromatically from the low C-string to a G pedal before a "recapitulation" in the primary key area (m. 61). The coda (mm. 75-94), marked grandioso, broadens the tempo (J = 66-80) and extends the flexibility of the left hand to its limit through broken double-stops that eventually reach the interval of a thirteenth

(mm. 89-90). Left Hand: As in the previous caprices that feature extensive

arpeggiation (essentially broken multiple-stops), Caprice 7 continues to develop strength, endurance, and flexibility in the left hand. The

fourth finger plays a prominent role, as in Caprices 2 and 5, and the

techniques and exercises presented for these caprices provide ample

ideas for arpeggio and double-stop practice (Examples 8 and 15A, above). To increase flexibility and improve vibrato in the left hand, lengthen one note of each sextuplet, allowing the hand ample time to

vibrate and prepare for the following notes. Shift the lengthened note

forward after each successful repetition (Example 29). The extreme extensions in thumb position towards the end of the grandioso (mm. 86-90) are not common in the cello literature and must be approached with care so that the hand does not linger in a stretched position. The

extension techniques in Caprice 7 can also be used in Bach's Suite 6

60

for Unaccompanied Cello and in Prokofiev's Symphonie Concertante

(Example 30).

Example 29. Flexibility/Vibrato Exercise (J)= 82) Shift lengthened note

- 3 - J I - 3 - , - T : 3-^^-3- s-L^^Zft^?^^ L 3-L,_ l ' -3 -

Example 30. Left-hand Extension Excerpts

A. Bach, Suite 6 for Unaccompanied Cello, BWV 1012, I. Prelude, mm. 21-26

s i j9 s p 9 9 1 1 9 9 [/]

B. Prokofiev, Symphonie Concertante, Op. 125, I I . Allegro giusto, mm. 39-41

^ ^

5- ^

Jtfm

h^ 4 #

P0- -0-

hi ILTZ= in i 2

Right Hand: Although not as readily apparent as in the punta d'arco

bowing of Caprice 1, the bowing in Caprice 7 has a similar effect on

61

the strength of the upper arm and shoulder. Each down-bow must

include a slight crescendo to bring out the marcato melody in the

bass; this technique slowly improves the player's ability to increase

volume and intensity towards the tip of the bow. In addition,

repetitive multiple string-crossings on each beat develop flexibility and

elbow anticipation (as in Caprice 5). The specific motion of the elbow is described below in Figure 5. Similar elbow patterns can be found in

excerpts from Bach's Suite 3 for Unaccompanied Cello, BWV 1009, and

Elgar's Cello Concerto, Op. 85. The Bach excerpt also incorporates

extensions in thumb position as discussed above (Example 31).

Position of elbow on * * * A-string

Position of elbow on lower string (C or G)

Up-bow

Figure 5. Path of the Elbow

62


A. Bach, Suite 3 for Unaccompanied Cello, BWV 1009, I. Prelude, mm. 44-51

44 , fV , f , ,n, ft* ft* ^"fp./rfr^ffr^fr./ffr^fF/Tf,

i t 4 9 T "n 48 ftr^rfr ft r. *ff r /ff> /Tf /ff> ^ f r /ft>, ^

^ ^ 'dJj eJJ^ U J 'g^y sLU eUJ B. Elgar, Cello Concerto in E minor, Op. 85, IV. Allegro, mm. 52-58

Caprice No. 8: Moderate ma energsco

The "energy" in this Caprice comes from left-hand accuracy in

the trill motive and clarity of articulation in the right hand (Example 32). The main theme (mm. 1-12) begins in A minor. It is cut short, and after a grand pause a hushed variant of the theme begins, marked

by octaves in thumb position (mm. 13-20). A series of diminished-seventh chords outlined in octaves results in a modulation to C Major, which is affirmed by cadences that fall from piano to pianissimo to

pianississimo (mm. 29-37). A subito fortissimo brings back the

63

opening theme (m. 39), which this time is completed and followed by a coda (mm. 48-57). The repetitive nature of the theme and accompanying trill motive require inventive phrasing and dynamics. A

sober moderato (J = 68-72) ensures a lively melody and precise

articulation, especially as the distance between notes on the

fingerboard increases in the exciting coda (e.g., mm. 48-54).

Example 32. Trill Motive

'nU!titUii3

f Left Hand: Piatti augments the complexity of multiple-stop chords and

octaves with incessant and strenuous trills that often involve the use of

the fourth finger. Separate practice of multi-stops and octaves can

follow similar exercises as outlined in the discussion of Caprices 3 and

4. Trill practice begins by removing the ornament in order to focus the

weight of the hand on the main note of the trill. Next, slowly introduce

a measured trill, increasing the velocity of the trill over time in order to

produce a quintuplet on each sixteenth note (Example 33).8 Combine the chords/octaves with the trill motive by using the same type of

Ibid.

64

Example 33. Trill Progression Exercise (J = 48, Accent Added)

v _

ry &rc;^ *-> p-ggp tv6fr * " & w :J

incremental approach, making sure to release each chord in

preparation for the accompanying figure (Example 34). Similar practice can be applied to excerpts from Bach's G-Major Sonata,

Beethoven's Sonata in A Major, Schumann's Cello Concerto, and Stravinsky's Suite Italienne (Example 35).

Right Hand: Caprice 8 develops the art of bow distribution (i.e., the bow's placement and amount used). Similar to Caprice 4, Piatti juxtaposes multiple-stopped chords, staccato and legato articulation, and accented beats, necessitating careful examination of the

placement and length of each bow stroke. During the main theme, the

first beat of each measure must be played at the frog, after which a

slight retake of the bow (in the direction of the frog) will enable proper execution of the staccato sixteenth notes. A longer staccato stroke on

the second sixteenth note provides both a slight crescendo into the trill

and a sufficient amount of bow for the subsequent slur (Example 36).

65

Example 34. Incremental Chord Exercise

f=r^

r r r f F r r r r r i r r r r r p f f r ^

, fia^iffifiiiiif^Tg

* r f i-= F r r i* ==*~p~ j^sj y j fcjsj y j ' Lisa =* r

^ "^m W w Example 35. Trill Excerpts

A. Bach, Sonata in G Major, BWV 1027, I I . Allegro ma non tanto, mm. 1-9

Allegro ma non tanto i 8

V , * y' * & * " ^ [ / ^ q H L r c J ^ l ^ ^ ^ l ' ^p &

66

Example 35. (cont.) B. Beethoven, Sonata in A Major, Op. 69, I. Allegro ma non tanto, mm. 69-73

69 arco tr tr

C. Schumann, Cello Concerto in A minor, Op. 129, I I I . Sehr ruhig, mm. 21-25

D. Stravinsky, Suite Italienne, I I I . Tarantella, mm. 1-10

fy I Jj J j j ] \}y jjj iJTJ iU iCXj ntf ' ^ ^ Example 36. Bow Distribution in the Theme

Slight retake Longer stroke

67

The octave variation does not require quite as much thought or

discipline in the area of bow distribution: remain in the lower half of

the bow to bring definition to the changing articulations. In the coda

(mm. 48-53), the bow must travel to its upper half on the first and third beat of each measure. Stay towards the tip to play each staccato

sixteenth note, and save the majority of the up-bow for the harmonics at the ends of the slurs. Careful planning and practice of bow

distribution in Caprice 8 finds instant application in many of the Solo

Suites of Bach, as seen in excerpts from Suites 1 and 5 (Example 37).

Example 37. Bow Distribution Excerpts

A. Bach, Suite 1 for Unaccompanied Cello, BWV 1007, I I I . Courante, mm. 1-7

Caprice No. 9: Allegro

The D-Major Caprice features bene spiccatoa bowing most likely originated by Piatti, and one which combines the buoyancy of a

spiccato stroke with the control and clarity of a slurred up-bow

staccato.9 Caprice 9 has similarities with Caprices 1 and 7 in technical

approach and formal structure. Both initial sections (A, mm. 1-34; A', mm. 35-53) develop Piatti's signature bowing in the right hand accompanied by double stops in the left hand, and the return to the

primary key is likewise set over muted, pianissimo dynamics. Special

attention must be given to the specific and detailed dynamic

instructions throughout Caprice 9, which add spice to the uniformity of

the articulation and direction to the phrases and melody. The light

and quick tempo (J = 132-138) remains constant, leaving adequate

room for acceleration in the exciting affretando of the concluding

measures.

Left Hand: Constant double-stopping continues to develop the rolling

motion outlined in the discussion of Caprice 4 (Figure 2 above, p. 41). A multiple-stop exercise closely approximates the motion of the left

A Guide to Pedagogy and Technique in Alfredo Piatti's Twelve Caprices,

Documents

Transcript of A Guide to Pedagogy and Technique in Alfredo Piatti's Twelve Caprices,