David Tecchler a Companion to Guy Johnston’S TECCHLER300 Celebrations David Tecchler at 350
Total Page：16
File Type：pdf, Size：1020Kb
David Tecchler A companion to Guy Johnston’s TECCHLER300 celebrations David Tecchler at 350 uy Johnston plays a David Tecchler cello of 1714. To celebrate the avid Tecchler (c.1666–c.1747) orange-brown varnish. Tecchler sound- tricentenary of this cello, he is embarking on a journey in search of was the greatest of the Roman holes are a unique blend of Stainer and his cello’s birthplace – in what is today a small garage off Piazza Dcello makers. Originally from Amati influences with large and often Navona – to explore how the cultural, social and economic the Bavarian town of Füssen on the rounded notches, elegant curved stems Genvironment brought the cello into being, and what makes Tecchler cellos northern slopes of the Alps, Tecchler and tapered wings. They are set wide such celebrated instruments. th came to Rome at the end of the 17 apart and low in the belly, giving them century. Over a working career of To mark this journey, Guy will be recording a new CD tracing the development an easily recognisable appearance. roughly 50 years, he made violins, violas, of the cello repertoire over the last 300 years, and commissioning three new The scrolls are also highly distinctive cellos, basses and some mandolins and works. The purchase of this instrument was kindly enabled by the Royal with a very narrow width between the lutes, but he is best known for his cel- Society of Musicians, a charity that helps musicians in need, and several other ears, a deep and finely carved volute, generous patrons. los. These are built on a large and broad pattern with a rounded full arch and and a chunky eye. Tecchler cellos have Tarisio’s companion to TECCHLER300 presents commentary by Jason Price on an overall very powerful appearance. long been favoured by soloists for David Tecchler and this cello. their colourful tonal range and their Tecchler’s materials were generally of powerful, commanding resonance. excellent quality, with the cellos in par- ticular often using figured spruce and This year celebrates the 350th anniver- attractive maple covered in a tawny sary of Tecchler’s birth. am delighted to welcome the hugely talented musician Guy Johnston and friends to Rome on his journey to explore the history of his cello, which was crafted on Via dei Leutari by the German string maker David Tecchler. ‘‘As patrons of the arts, my family supported the vibrant musical scene in IRome at the time when Tecchler moved to this city to create his world-famous instruments. We wish Guy all the best with his project, as he prepares to record with the award-winning Orchestra dell’Accademia Nazionale di Santa Cecilia. Füssen Prince Jonathan Doria Pamphilj Palazzo Doria Pamphilj Rome, October 2016 Rome David Tecchler cello of 1714 2 1 David Tecchler, Rome, 1714 he back of this handsome cello The front is striking in appearance both REDUCING THE VIOLONE is made of two pieces of ‘oppio’ for its quality of spruce and for the maple with a narrow, rippling elegance of the soundholes. Like many he term ‘violoncello’ did not than the size we see today. Thanks in T th curl. Some sections are cut squarely on makers in Italy at the turn of the 18 come into existence until the part to advancements in string-making the quarter with horizontal flame, and century, Tecchler was greatly influenced Tlate 17th century, and the early technology, cellos with smaller body others show a more slab-cut, irregular by the Tyrolean maker Jacob Stainer. instruments we nowadays refer to as sizes began to be developed in the figure. The outline has been reduced The soundholes of this cello show a cellos were in fact originally conceived early- to mid-18th century, making to its present length of 73.4 cm but Stainer influence, but their position on as bassettos or violones. Nearly all 16th- it easier for cellists to play emerg- the central section – the corners and the belly of the instrument is distinc- and 17th-century precursors to the cello ing virtuosic solo repertoire. The old, C-bouts – has been left untouched. The tive to Tecchler. The distance between were larger than the modern standard, large-sized instruments soon became white of the purfling is in beech, as is the upper lobes of the soundholes is and instruments made by Tecchler outmoded, and most violones were re- typical of Tecchler, and the dark strips an extreme 122 mm (this distance on a were originally built a full 2–3cm longer duced in size in the following centuries. are stained a rich black. The arching Stradivari forma-B cello is 92–93 mm). is moderately full but the edges are Likewise, the stems of the soundholes fluted generously, with the lowest point are slightly angled and taper more than of the channel set in a considerable a typical Stainer pattern. The spruce distance from the purfling. The ribs are is of the highest quality and shows of similar maple to the back but cut beautiful hazelficte, particularly in the The back of this handsome cello is made of two squarely on the slab. Abundant plane lower bouts. The cello is covered in and scraper marks, particularly on the a vibrant golden-brown varnish. pieces of ‘oppio’ maple with narrow rippling curl ribs, give the cello a rich, rustic charm. ‘‘ The scroll of this cello was made by Giovanni Grancino in Milan. It is not known when it was joined to the body but we can assume the original Tecchler head had been damaged in some way that prevented it from being adequately repaired. Stylisti- cally the Grancino head is of the same period and suitably matches the strong and mas- culine character of the cello. The soundholes on this Tecchler cello of 1714 Stylistically the Grancino head is of the show a Stainer influence, but their position on the same period and suitably matches the belly of the instrument is distinctive to Tecchler strong and masculine character of the cello 2 3 HAZELFICTE he distinctive figurations of spruce and produces an irregular running perpendicular to pattern similar to the flame of curly Tthe grain on the top of this maple. For whatever reason, Tecchler instrument are commonly seen in cello tops are often highly marked WHO PLAYS TECCHLER CELLOS? spruce used by Tecchler for his cellos. with hazelficte, whereas the pattern Known as hazelficte, this irregularity is much less common in cellos from is found in dense, slow-growing Cremona, Milan or Venice. In English Many renowned soloists and chamber musicians of the 19th and 20th spruce and for some instrument hazelficte is known as ‘bear claw’ as the makers it indicates wood of superior irregular, crescent-shaped figure looks centuries played Tecchler instruments. Several notable players include: tone qualities. Hazelficte causes a like scratches from a bear. In Italian ripple in the normally straight grain the wood is called abete macchiato. Tecchler cello tops are often ‘‘ highly marked with hazelficte THE ‘PROCESSIONAL HOLE’ ike many classical cellos, this between their legs, supporting it on Bernard Romberg Beatrice Harrison Emanuel Feuermann David Soyer instrument has a small round a fixed wooden peg, or suspending it An early 19th century German One of the first famous Named the ‘greatest cellist of A founding member of the Lplug inserted just above the with a strap from their neck or shoulder. cellist and composer and female cellists, Beatrice all time’ by Arthur Rubinstein, Guarneri String Quartet mid-point of the back, close to the Evolving styles of playing in the early- a close acquaintance of Harrison was active in Feuermann taught at the in 1964, Soyer performed th centreline. Known as the ‘processional to mid-18 century meant the proces- Beethoven’s, Romberg was the first half of the 20th Musikhochschule in Berlin with the quartet until his hole’, this is believed to be the point sional hole was no longer necessary, responsible for developing century. She premiered before being forced to move retirement in 2002, and where a strap that musicians wore and they were filled with the vestigial virtuosic technique many of Delius’s cello works to London under the Nazi was on the faculty of the around their neck, was attached to the plug we see in the back of classical cel- on the cello, adapting and became best known regime and then settling Curtis Institute of Music, cello to support its weight. The term los today. The modern day adjustable the fingerboard, and for her performances of in the US. He performed the Manhattan School refers to the idea that cellists were end-pin, allowing cellists to position simplifying clef notation. the Elgar Cello Concerto. frequently with Jascha Heifetz, of Music and the Juilliard required to carry the instrument in the instrument at the optimum height Romberg played a David Harrison played a David and after Feuermann’s early School. Soyer played a David processions, though the strap could and angle, remarkably only came into Tecchler cello of 1703. Tecchler cello of 1698. death aged 39 in 1943, it took Tecchler cello of 1713. th have also been used to support the widespread use in the late-19 century Heifetz another seven years cello when seated. Early iconography after it was made fashionable by the to collaborate with another shows players holding the instrument Belgian cellist Adrien Servais. ■ cellist. Feuermann played a David Tecchler cello of 1741. Commentary by Jason Price Founder, Expert, Director 4 5 TARISIO IS A LEADING INTERNATIONAL VENUE FOR FINE INSTRUMENTS AND BOWS, SERVING MUSICIANS, PATRONS, DEALERS AND COLLECTORS. With offices in New York and London, Tarisio holds six fine instrument auctions per year, and Tarisio’s Private Sales operates a year-round personalised service.