# Shoulder Cello-Whaaaa!?



## classical yorkist (Jun 29, 2017)

Just seen this vid:






What an astonishing instrument. Is this the instrument Bach had in mind?


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## Mandryka (Feb 22, 2013)

classical yorkist said:


> Is this the instrument Bach had in mind?


Do you mean for the solo music? If so then probably it seems, though I've never investigated it more deeply than this note



> Lambert Smit, who played an important part in reconstructing the violoncello piccolo da spalla, combined a traditional analysis of original sources with practical study of Bach's music, concluding that the number of unavoidable shifts is no more than average for baroque music, whereas the execution on a full-size instrument requires ceaseless shifting. Historical evedence suggests that Johann Sebastian, being proficient on both the violin and viola (nothing is known about him as a violoncellist da gamba), would then have been the first to play the Suites for Unaccompanied Cello on his own violoncello piccolo, played on the arm: the Suites I to V on a four-stringed and Suite VI on a five- stringed instrument.


(From Dmitri Badiarov's essay for his recording of the suites, who unfortunately doesn't cite a reference for Smit's work.)


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## classical yorkist (Jun 29, 2017)

Haven't had much time to read it but http://www.lambertsmit.com/ this could be a useful and fascinating read.


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## Mandryka (Feb 22, 2013)

classical yorkist said:


> Haven't had much time to read it but http://www.lambertsmit.com/ this could be a useful and fascinating read.


Thanks. I doubt you'll be disappointed if you check Dimitri Badiarov's or Ryo Terakado's recordings, I've not got on so well with Kuijken's.


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## classical yorkist (Jun 29, 2017)

I have definitely got to buy Bach's cello music played on this instrument.


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## wkasimer (Jun 5, 2017)

classical yorkist said:


> I have definitely got to buy Bach's cello music played on this instrument.


I agree with Mandryka - Kuijken sounds like he picked up the instrument yesterday, and makes the suites sound like student exercises. Badiarov, who is also a luthier who makes these instruments, is vastly superior, as is Terakado.


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## dmitrybadiarov (5 mo ago)

Mandryka said:


> (From Dmitri Badiarov's essay for his recording of the suites, who unfortunately doesn't cite a reference for Smit's work.)


Accidentally stumbled upon this thread. Thank you for sharing. Indeed, when I built my instrument and recorded the suites I did not know anything about Lambert. It was shortly after my album was issued, that I met Lambert. Lambert too was pissed off I did not mention him in my recording, how could I. Consequently, he helped me enormously with preparing my article for the Galpin Society Journal where his work is dully appreciated. He is also in my upcoming book on Spalla. 

For ever grateful to Kuijken. I have had the blessing to learn form him, it would not be an exaggeration that nothing of what I do today would be possible without him. Great musician, great human, great teacher. And the biggest, perhaps, lesson I learned from him - he is an eternal student. Always learning. And for ever grateful to Terakado. Not just one of my biggest clients, but also an amazing musician to whom I am especially grateful for decades of friendship.


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## hammeredklavier (Feb 18, 2018)

Cello Suite no. 6 in D major BWV 1012 - Malov | Netherlands Bach Society


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## Tarneem (Jan 3, 2022)

the instrument is called "cello da spalla" and I strongly believe is should replace viola


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## Rogerx (Apr 27, 2018)

dmitrybadiarov said:


> Accidentally stumbled upon this thread. Thank you for sharing. Indeed, when I built my instrument and recorded the suites I did not know anything about Lambert. It was shortly after my album was issued, that I met Lambert. Lambert too was pissed off I did not mention him in my recording, how could I. Consequently, he helped me enormously with preparing my article for the Galpin Society Journal where his work is dully appreciated. He is also in my upcoming book on Spalla.
> 
> For ever grateful to Kuijken. I have had the blessing to learn form him, it would not be an exaggeration that nothing of what I do today would be possible without him. Great musician, great human, great teacher. And the biggest, perhaps, lesson I learned from him - he is an eternal student. Always learning. And for ever grateful to Terakado. Not just one of my biggest clients, but also an amazing musician to whom I am especially grateful for decades of friendship.



What nice things you saying, hope all will go well for you.
Welcome on this site by the way.


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## elgar's ghost (Aug 8, 2010)

Out of curiosity, what is the tuning for this instrument?


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