Thanks to Kuijken and Swarts, this is one of the finest and most instructive videos I've watched on your channel. I've admired Lucia Swarts's art and marvellous sound for a long time, but it is absolutely stunning how she managed to play the mirror image of her usual instrument and tells us that this feat with the da spalla has resulted in deeper understanding of her big cello. Leonardo comes to mind who seems to have achieved something similar with his handwriting.
I have been trying to make a Cello da Spalla for a long time, I contacted Dimitry and he did not want to give me the measurements, I did several experiments but here in Argentina there is no information about this instrument. The economy here is very complicated and the only way to have it is to try to do it yourself
I have a cello da spala from Lutier Simon Jozsef. If you need measures let me know. I will write it here or in other space(telegram, WhatsApp). I will measure it and give you those measures.🙏
Nada que añadir a los sabios comentarios de S. Kuijken y L. Swarts sobre el violoncello de espalda. Bravo maestros por vuestra aportación a la recuperación de la música históricamente informadas. 👏👏👍
A very interesting story about a very unusual instrument. Of course, I am not surprised by the fact that J.S. Bach had "his fingers in it", whose imagination and ability were inexhaustible 🎵😌🎶 The praise to the NBS on always interesting and little-known facts from the richest musical period and the greatest composer of all time, JSB 🎵👏🏻🎶🙂
Very interesting, thanks. It always brings a smile to my face when I hear multiple languages intermixed. I guess the analogy is when different branches of math are in one equation. For example, An integral differential equation. It’s just fun. Like mixing metaphors.
The violoncello da spalla I think has the advantage that it can be played by violinists but it does not have the pleasant and precise sound of a cello and therefore, especially in a solo repertoire, can certainly be substituted but with inferior results.
I don't undertsand why the violoncello da spalla has to be suspended so awkwardly high and laterally like a guitar. Surely Lucia Swarts could have it lower down and more upright (on her lap) which would make playing so much more practical for her. Surely the sound of the instument and the ease of performance takes precedence over how the intrument is held?
I have appreciated Sigiswald's work since the 80's. But based on his argument, if the continuo normally used the generic term "violone", why wouldn't specifying a "violincello" simply mean that specific instrument? He then sites one primary source for this variety ..... Sounds great, though, and seems perfectly suited to these canratas.
Thanks to Kuijken and Swarts, this is one of the finest and most instructive videos I've watched on your channel. I've admired Lucia Swarts's art and marvellous sound for a long time, but it is absolutely stunning how she managed to play the mirror image of her usual instrument and tells us that this feat with the da spalla has resulted in deeper understanding of her big cello. Leonardo comes to mind who seems to have achieved something similar with his handwriting.
I have been trying to make a Cello da Spalla for a long time, I contacted Dimitry and he did not want to give me the measurements, I did several experiments but here in Argentina there is no information about this instrument. The economy here is very complicated and the only way to have it is to try to do it yourself
I have a cello da spala from Lutier Simon Jozsef.
If you need measures let me know. I will write it here or in other space(telegram, WhatsApp). I will measure it and give you those measures.🙏
I'm always impressed by the variety of different instruments used in the 18th century and earlier before things became so standardized as today.
Nada que añadir a los sabios comentarios de S. Kuijken y L. Swarts sobre el violoncello de espalda.
Bravo maestros por vuestra aportación a la recuperación de la música históricamente informadas. 👏👏👍
Tremendo y admirable desafío. Solo grandes personas están dispuestas a aceptarlo. Felicidades 🤗🤗
A very interesting story about a very unusual instrument. Of course, I am not surprised by the fact that J.S. Bach had "his fingers in it", whose imagination and ability were inexhaustible 🎵😌🎶
The praise to the NBS on always interesting and little-known facts from the richest musical period and the greatest composer of all time, JSB 🎵👏🏻🎶🙂
Really interesting, thanks. I appreciated how the spalla sounds sometimes like a human voice.
Love the video of Malov playing this instrument, also on this channel.
Thank you so much for these explanation videos that bring light to the music itself, great work
Very interesting, thanks. It always brings a smile to my face when I hear multiple languages intermixed.
I guess the analogy is when different branches of math are in one equation. For example, An integral differential equation. It’s just fun. Like mixing metaphors.
Fascinating and brilliant! Well-spoken from all involved.
Regards Maestro Kuijken
BRAVO !
Wonderfull , I decided to build one for myself
An interesting instrument... looks about the same size as my Gretsch 🙂
❤❤❤
❤
what do you lose if you play it like a cello?
ruclips.net/video/_26qvQQcteE/видео.htmlfeature=shared
Authenticity, I guess.
クイケンさん、お久しぶりです日本の横浜のコンサートで絵を、送りお手紙いただいたおぐらしんいちです又日本に来て下さい‼️
The violoncello da spalla I think has the advantage that it can be played by violinists but it does not have the pleasant and precise sound of a cello and therefore, especially in a solo repertoire, can certainly be substituted but with inferior results.
I don't undertsand why the violoncello da spalla has to be suspended so awkwardly high and laterally like a guitar. Surely Lucia Swarts could have it lower down and more upright (on her lap) which would make playing so much more practical for her. Surely the sound of the instument and the ease of performance takes precedence over how the intrument is held?
I have appreciated Sigiswald's work since the 80's. But based on his argument, if the continuo normally used the generic term "violone", why wouldn't specifying a "violincello" simply mean that specific instrument? He then sites one primary source for this variety ..... Sounds great, though, and seems perfectly suited to these canratas.
After viola da gamba thete are violoncello da spalla. For culturists doublebass for shoulder..fortunately i play floor standing instruments😂
Baj
Interesting, but I dont see how violoncello da spalla can take the place of the ordinary cello...
Me neither
nonsense to even think that it should, it would be like substituting a mezzo soprano for a coloratura; they are different unique individual voices.
Nobody suggested that it should ...
@@Ennah08 you are right about that, nobody suggested anything…
Don't let 2SetViolin hear about this :)