Introduction

“Everything is simpler than one can imagine, at the same time more complex than one can comprehend.” — Goethe

The primary purpose of this book is to provide a comprehensive presentation of cello playing through movement: physiological analyses and, in connection with this, a discussion of aesthetic problems that the musically educated cellist cannot ignore. Secondly, it aims to fulfill the task of a study that can provide clarification through individual rules, and also serve as a guide for teaching. This is not a “tutor” in the conventional sense, but a systematic work. This being the case, elementary matters will only be touched upon. We assume a complete understanding of the fundamentals and of theoretical knowledge. We expect, especially in the second part of the book, that the reader will possess a certain maturity of musical taste, because we do not aim to persuade through one-sided presentation; we would rather win the listener’s conviction for a final interpretation on the basis of a wide range of possibilities.

In addition to the analysis of the simplest playing processes, the reader will also find a selection of characteristic passages from the cello literature.

We will only deal with elementary aspects in terms of the fact that the simplest mechanisms of bowing and left-hand technique create the foundation for virtuoso playing. There is no special methodology for beginners or for advanced learners. On the other hand, there is no room for arbitrary interpretation in methodological questions of a fundamental nature, as long as this matter can be clarified by physical and physiological investigation.

With such an approach towards technical problems, we believe we can demand either that the reader agrees, or can produce proof of error.

Something else, of course, is the free use of mechanical means in the service of artistic creation. In this, taste, temperament, and sense of style—as well as education and the influence of the environment—play a certain role. We will therefore dare to speak with absolute certainty in the first part of the book, but to proceed in the second part with more tolerance, aware that all art that reproduces masterpieces is ultimately an interpretation—which can turn out differently depending on the point of view. Nevertheless, the insightful musician will surely agree with our opinion that every significant work by a composer is a legacy, and one that we must carry out to the limits of personal sacrifice. Thus, even in aesthetic matters, regularity and not arbitrariness must prevail!

With a few exceptions, the images in this book come from a motion picture shot by the UFA Cultural Department.^[1] When assessing individual still images, one must keep in mind the laws of perspective. Especially in matters such as the bow’s perpendicularity to the string, the reader could easily get the impression that this requirement was often disregarded. These apparent deviations can be explained by the different angles of the lens relative to the player.

The desire for maximum clarity meant that repetitions in the explanations of the various sections were unavoidable. Students should accept that these were essential for a comprehensive explanation.

We hope that with this work, we have made a useful contribution to the understanding and development of instrumental art in our modest field.

We are particularly pleased to acknowledge the help of colleagues in various parts of our work. For valuable information and advice, as well as clarifications in various specialist areas, we owe our thanks first and foremost to Professor Dr. G. Schünemann,^[2] then to Professors Kurt [sic] Sachs,^[3] Max Seiffert,^[4] and Leo Schrattenholz,^[5] as well as to Professor F. H. Levy [sic]^[6] of the Second Medical Clinic at the Charité.^[7]

We also sincerely thank the UFA Cultural Department, who generously made the filming possible. We also wish to thank Dr. Adalbert Lindner of Vienna, who, several years ago, inspired the work we subsequently undertook by emphasizing the necessity of using modern scientific means for physiological analysis.

The Authors