Several works of more or less excellence have already been written on the violoncello and its study. It is all the more difficult then to write a work treating on the whole subject of 'cello playing, without in some measure going over the ground that has already been covered by previous writers. As I have found, however, that certain branches of this interesting study have received but scant treatment, and in some cases have even been completely ignored, I have directed my special attention to these subjects; thus, much that has been passed over in existing works will be found to have here received due treatment. Throughout the whole of the present work, I have endeavoured to clothe the matter in as original a manner as possible, and putting aside all stereotyped phrases, have tried to write in the same language that I would express myself in to a pupil having a course of actual lessons.
If by so doing, anything that the student may have passed over as being unimportant, now forces itself upon him, my aim will be accomplished.
In various parts of the work I have endeavoured to introduce the reader to some of the higher branches of 'cello playing, as far as it is possible through the medium of literature, but it must be understood that any treatise on the higher branches of music can only be of a general character, the laws which govern musical expression, or those in connection with the delivery of a musical composition are so fugitive, and players vary so much in the observation, or disregard of them, according to their individual temperament, etc., that to give any hard and fast rules would only be to put fetters on all individuality.
If the student is really musical he will obtain the best results in this direction, by hearing our first class artists interpret the works of the great masters: by thus bringing his faculties of observation and imitation into use, he will gradually absorb some of their style, which in due time will assert itself in his own performance.
THE 'CELLO A DIFFICULT INSTRUMENT TO MASTER.
If the reader has already commenced the study of the 'cello, it will be advisable for either his parents or himself to make direct enquiries of his professor, whether the latter thinks the pupil is sufficiently gifted to continue the study of this most difficult instrument. Of course every 'cello player cannot be a Becker or a Klengel, but unless the student has a very correct ear, and if he is old enough a fair amount of ambition, it would be better for him to study some less exacting instrument; that is if he feels compelled to learn something. The piano is generally supposed to be the fallback classical instrument, but I would not recommend this, we have quite enough piano playing of the second and third and the atrocious order, without violin and 'cello cast-offs trying their hand at it. I do not know of a more pathetic sight, than to see a youth with no musical gifts whatever, wasting the best years of his life, and his--or his parents'--money, in the study of an instrument for which he has no natural capabilities.