the instrument (primarily the use of the endpin c.18452 and the use of the Tourte bow c.

18003) and the rise in solo repertoire, several pedagogical texts were published with the aim of updating the method of cello playing. Walden notes in particular the development of fingering patterns by Salvatore Lanzetti (Amsterdam, c.1756-67),4 the new bowing method devised by Jean-Louis Duport (Paris, 1806) and systematic approaches to fingering and bowing by Joseph Frhlich (Cologne, 1808)5 and Johann Schetky (London, 1811).6 Some studies from this period are still in use today, notably those by Jean-Louis Duport.7 Walden describes the development of a Romantic cello technique in the first half of the nineteenth century, during which cello technique and cello pedagogy, as we understand them today, were established. Since 1850, the texts that describe the method of cello playing have mostly had a pedagogic focus, particularly describing methods of teaching.8 The studies that were published in this period build towards the virtuoso cello technique still widely aspired to today. Many of these studies are still in widespread use, notably those by Grzmacher,9 Popper10 and Feuillard.11 To summarise: throughout the instruments history, there exist texts, which have described the method of cello playing, often from a pedagogic approach, and study/exercise books, which present musical scores and exercises for developing technical skill.

Woodwind players have an excellent resource that compares early sources describing articulation in early wind music.12 The sources themselves are presented in such a way that the reader is able to see directly the words and
John Dilworth, The cello: origins and evolution, in Robin Stowell (ed.), The Cambridge Companion to the Cello (Cambridge: Cambridge University Press, 2000) 14. 3 John Dilworth, The bow: its history and development, in Robin Stowell (ed.), The Cambridge Companion to the Cello (Cambridge: Cambridge University Press, 2000) 32. 4 Salvatore Lanzetti, Principes ou lApplication de Violoncelle, par tous les tons de la manire la plus facile (Amsterdam, c.1756-67). 5 Joseph Frhlich, Violoncelloschule (Cologne, 1808). 6 Johann Schetky, Practical and Progressive Lessons for the Violincello (London, 1811) 7 Jean-Louis Duport, 21 Etudes for Solo Cello (Paris, c.1813). 8 Titles include: Hermann Hemberlein, Violoncelloschule, neuste, praktischste und leicht verstndliche Method fr Schul- und Selbstunterricht, Op.7 (Leipzig, 1887). Otto Langey, Practical Tutor for the Violincello (London, 1909). Paul Bazelaire, Pdagogie du Violoncelle (Paris: Durand, 1952). Paul Tortellier, How I Play, How I Teach (London: Chester Music, 1975). 9 Friedrich Grzmacher, Hohe Schule des Violincellospiels (Leipzig, 1891). 10 David Popper, Hohe Schule des Violincellospiels, Op. 72, 2 Vols. (Leipzig, 1901-5). 11 Louis Feuillard, Excercises Journaliers pour Violoncelle (Paris: Schott, 1919). 12 Edward H. Tarr and Bruce Dickey, Articulation in Early Wind Music: a Source Book with Commentary (Winterthur: Amadeus, 2007).
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