The Art of Chordal Cello

Accompaniment: The Legacy of Johann

Baptist Baumgärtner (1723-1782)

Critical Notes

Jemma Thrussell, Historical Cello

SID: 312099525

Master of Music (Performance), Historical Performance Unit

Lecture Recital

Wednesday, February 19th, 2020

6:30 p.m.

Recital Hall East

Sydney Conservatorium of Music

The art of accompaniment is a broad topic of discussion within historically informed

performance. Most of the conversation regarding eighteenth-century continuo practices

hasfocused upon methods written for keyboard and lute-family instruments. Despite the great

importance of bowed string instruments in basso continuo, there has been a considerable lack

of attention given to specific techniques for these instruments; however, within the last thirty

years or so, this topic has slowly begun to be investigated. Evidence from recent research

indicates that continuo practices for bass string instruments were far more sophisticated than

what was previously understood. This includes research that suggests that cellists were

expected to not only support the bass line by playing what was written in the score but were

also encouraged to provide chordal accompaniment, much like their keyboard and lute

counterparts.

In this lecture presentation, I present the findings from my Master's research project, which is

titled Chordal Cello Accompaniment: Baumgärtner’s Legacy. In the first part of this lecture, I

will be establishing what chordal cello realisation is and what has already been researched with

regard to this practice. I will also discuss how my research adresses a significant gap in the

literature concerning Baumgärtner’s own importance as a cellist and pedagogue by examining

the notated evidence available of chordal accompaniment practices and techniques present in

his own compositions. As part of the lecture, there will also be a demonstration of the recitative

example from Johann Baptist Baumgärtner’s Instructions de musique, théorique et praqtique,

à l‘usage du violoncelle, 1774.1

Following this, I will discuss how eighteenth-century cellist Johann Baptist Baumgärtner

described this practice in his method on cello playing. I will be paying particular attention to

his chapters on the accompaniment of recitative and the chordal accompaniment of General

Bass as well as the corresponding “Exercises” from his method, which outline to the reader

how to perform chordal cello accompaniment.

I will also then present Baumgärtner’s, Extrait des airs françois de plusiers opéras qui ont

représentées accomodées pour deux violoncellos, which I studied along with other works of

his as part of my research process.2 These Extrait contain evidence of what appear to be notated

1 Johann Baptist Baumgärtner, Instructions de Musique, Théorique et Praqtique, à L’usage du Violoncelle,

(Daniel Monnier, The Hague, ca. 1774). 2 Jean Baptiste Baumgärtner, Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour

deux violoncelles, (The Hague, ca. 1790).

examples of chordal cello realisation in practice. This makes these works of great note within

the research on this topic as the practice is thought to have been mostly undocumented due to

it being a mostly improvised practice. The third section of this presentation will focus on my

performance of excerpts from his Extrait as well as W.A. Mozart’s aria “Batti batti o bel

Masetto.”3 Further discussion on why I have included this particular aria from Don Giovanni

in this performance will be given in this section.

Finally, I will provide a summary of the findings, conclusion and overall experience of my

research project and suggest further applications possible for this research as well as future

avenues for investigation regarding this topic.

1. Recitative Example from, Instructions De Musique, Théorique et Praqtique, à L‘usage

Du Violoncelle, Johann Baptist Baumgärtner, 1774.

Johann Baptist Baumgärtner’s Instructions, 1774, is identified by both Nathan Whittaker4 and

Robert Smith as the first text we have on chordal cello accompaniment from the late eighteenth

century.5 They both conclude that the rules and examples detailed in Instructions are the most

explicit and direct evidence we have of the practice of chordal playing on the cello; however,

my study goes on to demonstrate that Baumgärtner’s Extrait provide us with a notated example

of chordal cello accompaniment. Baumgärtner also gives detailed information on the specific

practice of the chordal accompaniment of recitative by the cello and the fact this was an integral

role for the cello in the Opera.

3 W.A. Mozart, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni, 1787. 4 Nathan Whittaker, “Chordal Cello Accompaniment: the Violoncello from 1660-1850”, (DMA dissertation,

University of Washington, 2012). 5 Robert Smith, “Basso Continuo Realisation on the Cello and Viol”, (Masters dissertation, Conservatorium van

Amsterdam, 2009).

In his “Exercises”, Baumgärtner supplies the reader with various technical examples which the

cellist can play through or try out in order to develop their understanding of chordal playing.

The first example is a fugue. Like most eighteenth-century fugues, this exercise, although

written for one cello, is music written for many voices which the cellist must play

simultaneously. Polyphonic music for the cello is less common than it is for keyboard and lute

instruments; however, examples like this and J.S.Bach’s Suites a Violoncello Solo senza,

demonstrate that this kind of chordal music is also achievable on bowed string instruments.

This exercise also illustrates precisely what can be achieved in terms of chords on the cello,

not just in the standard register of the cello but even in positions above the neck of the cello.6

The following example is from Baumgärtner’s models of cadential realisations from the

Appendix section of his method. These cadence excersises quite clearly show translations of

figured bass lines into various versions of cadences within a key. For example, Baumgärtner

displays the possible inversions available for a dominant to tonic cadence, from having the

tonic, third, dominant and second in the bass and also with changing the positioning of other

notes in the chord. This showcases the distinct versatility that the cello can have, even when

just realising a cadences.

Excerpt from Des Acords des Cadences, Instructions de Musique, Théorique et Praqtique, à l’usage

du Violoncelle, Johann Baptist Baumgärtner, Daniel Monnier, The Hague,( ca. 1774). p.11.

6 Johann Sebastian Bach, Suites a Violoncello Solo senza Basso, BWV 1007-1012, (Anna Magdalena Bach,

Manuscript, ca. 1717-23).

This recitative example is perhaps the most striking of the “Exercises”. Here, Baumgärtner

provides a short recitative without text, that includes a bass line, notated in the standard style

of a recitativo semplice but also a written out chordal cello realisation below. The melodic line

is also notated in two clefs, suggesting that two different voice types would perform this

recitative. This is perhaps a device used by Baumgärtner to help the learner in adjusting to

keeping with the melody line even with changes in clef. It does also aid in helping the cellist

to learn to read in different clefs at a faster rate.

Recitatif, from, Instructions de Musique, Théorique et Praqtique, à l’usage du Violoncelle,

Johann Baptist Baumgärtner, Daniel Monnier, The Hague,( ca. 1774 p.12.

This example is an excellent model provided for the leaner-cellist to understand better what is

expected when realising a recitative. From the use of simpler double stops, as Baumgärtner

suggests should be the standard approach, to the use of fuller quadruple stops on final cadences

and at the end of distinct phrases. American researcher, Nathan Whittaker, demonstrates that

this kind of pedagogical recitative, without text, can also be seen in the later treatises from the

Paris Conservatoire and French cellists like Baudiot. Nevertheless, Baumgärtner’s example is

the earliest case of this kind of exercise for the cello.

In order to adequately perform this recitative extract despite its lack of text, the performers in

this recital have chosen a neutral syllable on which to declaim.

2. Don Giovanni, K. 527: Act I, Scene XVI. No. 12 Aria "Batti, batti, oh bel Masetto"

This particular aria,famously known as Zerlina’s aria, it is at the end of the opera and depicts a

highly comical yet somewhat distasteful (at least in the eyes of a modern audience) scene. In

this scene, the young peasant girl, Zerlina, after being caught up in relationship drama and

debauchery with Don Giovanni, (the anti-hero of the story), coercively begs her betrothed,

Masetto, to take her back. If he should decide to take her back, Masetto may do with her

whatever he pleases…

The main feature of this aria is a cello obbligato that supports Zerlina’s line in both the Andante

grazioso section and in the starkly up-beat allegro. What is fascinating about this obbligato

part and why the aria was chosen as a part of this lecture-performance is to suggest that this

obbligato cello part may act as another kind of chordal accompaniment. The Alberti bassline

style of this obbligato is somewhat unconverntional, seeing at the part does not appear to act

as a counter melody to the soprano line yet effectively creates harmonic support for it. Typically

a more complex bass line of this style is commonly thought to be less suited to the cello.

However, if one were to consider this obbligato as more than just a solo part, and instead as a

more exposed melodic-style harmonic accompaniment, this adds another layer of importance

to this part. The scalic movement of this part also seems to relate to a supposed older, seventh-

century style of improvised melodic accompaniment style employing “passaggi,” as Australian

cellist Noeleen Wright has outlined in her research. 7 Could perhaps this style of

accompaniment, as is possibly exemplified in this obbligato, be a second kind of harmonic

accompaniment style? In order to highlight the difference between these two accompaniment

styles, the performance of this aria also includes part of the previous recitative which uses the

‘vertical’ chordal or block chord approach that is detailed in Baumgärtner’s treatise and as

discussed in the previous recitative example above.

Andante grazioso, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni, W.A.

Mozart.p.198.

7 Noeleen Wright, “Bass lines for bowed bass or keyboard within string ensemble repertoire from Italian

presses; 1660-1700”, (D.M.A dissertation, University of Western Australia, 2013.

3. Extrait des airs françois de plusiers opéras qui ont représentées accomodées pour deux

violoncellos

Baumgartner’s Extrait are a selection of twenty-five arias from nine different operas. These

Operas were all performed in French even including the one Italian Opera listed. This may

suggest that the patron, Jean-Philip Steenis, about whom this study has not been able to find

further information, would have known and understood French. The Extrait were published in

The Hague, the Netherlands, circa 1790.

I. “Le (Du) Deserteur”. Monsigny, 1769.

What is considered one of Monsigny’s masterworks, is his operatic drama, “Le Deserteur.”

The libretto was written by Michel-Jean Sedaine. Le Deserteur is one a few operas that can

claim to be based on a real-life event. The plot of the Opera is adapted off of a situation that

occurred in 1767 during a military event in France. It was announced that there had been a

“deserter” amongst those gathered and the person in question would be put to death. The wife

of a Marechal, a military marshal, in protest to the execution, threw herself at the feet of the

camp commandant in order to plea for the man’s life. The plot of the Opera itself is a fictional

embellishment of the original event.

Allegro, "Batti, batti, oh bel Masetto", No. 12 Aria, K. 527: Act I, Scene XVI, Don Giovanni,1787, W.A.

Mozart. p.203.

Le Deserteur: “Adieu, chere Louise, ma vie étoit a toi.” From Scene 10, Act 3, Page 19.

The original aria is sung by Alexis, Soldat de Milice (In the English version: Henry, a soldier

in the militia.) The Aria is divided into three sections: Adagio, allegro, adagio. In this particular

scene, the soldiers arrive to take Alexis to his execution. At that moment, Louise runs in and

says: “Alexis, your…” before falling and fainting. The aria is signals the dramatic climax of

the opera’s narrative.

“Adieu, chere Louise, ma vie étoit a toi”, Extrait des airs françois de plusiers opéras qui ont représentées

accomodées pour deux violoncellos, Johann Baptist Baumgärtner, The Hague, Universitätsbibliothek

Katholische Universität Eichstätt-Ingolstadt, ca. 1790. p.19.

II. “De Zémire et Azor”. Grétry, 1771.

The Opera is an “oriental” version of the Beauty and the Beast tale. After being shipwrecked,

Sander, a Persian merchant with his servant find a lost palace. The palace appears to magical.

Sander comes across a beautiful rose display, from which he cuts a rose to take to one of his

daughters, Zémire. However, Azor, a beast (who was once a noble prince) suddenly appears,

enraged that Sander has taken one of his prized possessions.

Sander manages to appeal to the Beast. Azor allows Sander to leave the palace but only under

the condition that one his daugthers returns to the palace take his place instead.

Zémire, Sander’s youngest daughter bravely takes her father’s place but upon meeting Azor at

the palace is horrified by him. Nevertheless, as she comes to know the Beast’s better nature,

she befriends him; however, the longer she stays at the place, the more she misses her family.

Azor allows her to watch her family through a magic mirror but after seeing her distress allows

her to leave the palace to see them. Before she goes, he makes it known that he loves her.

Despite her family’s objections, Zémire rushes back to palace after being with them. While

searching for him, she realises her love for him and calls to him. The fairy responsible for

cursing the Beast and his palace in the first place, hears Zémire cries and knowing Zémire true

love for him, breaks the curse on Azor and the palace. At the end of the Opera, Zémire and the

princely Azor marry.

Zémire et Azor: “Ah, Laisser-faire moi laisses moi pleurer.” From Scene 6, Act 3. Page 11.

In this aria, Azor the beast shows Zémire in the magic mirror a vision of her father and family

going about their everyday life. After singing, Zémire longs to be in the arms of her father, but

just at that moment, the apparition of her family disappears.

The original aria is sung by Fadmé, Lisbe and Sander (Soprano, soprano baritone.) In the

original aria, there is an introduction section with dialogue over the top of the music. The

extract arrangement is in 3/4, marked dolce and in Eb major, precisely like the original aria.

The melodies, originally sung between the three characters in harmony, are redistributed

between the two cellos. The writing for the cellos also takes cues from material in the original

aria that is written in the solo horn parts and clarinets.

An example of some of the chordal techniques used in both parts that directly correlate with

the rules stated Baumgärtner are:

• The use of triple stops with the fifths (excluding the third) in the second part.

• Simple thirds in the second part.

• In the second line of the aria: sixths and fifths.

• Cadential chords that prepare cadences.

• In the third line of aria: sixths that alternate between thirds.

In the fourth line of the adaptation, the first cello part takes over the chord playing, creating a

wonderful exchanging in the roles between the parts. This is not only an intelligent

compositional device but would also add to the enjoyment of playing this piece as a duet.

Seeing as the Extrait were most likely composed for “Liebhaber,” skilled amateur musicians,

the main features of these duets like this demonstrate not only Baumgärtner’s skill as a

composer but also his appreciation for those who would perform his works.8

III. La buona figliuola: “Le Diable à quarter il faut le soir.” From Scene 4, Act 3. Page 22.

The recitative which we performed before this extract is taken from the original opera. It is

performed as another example of the style of chordal cello accompanied, as outlined in

Baumgärtner’s treatise. This particular extract is used in this instance to demonstrate the type

8 Matthew Riley, “Johann Nikolaus Forkel on the Listening Practices of ‘Kenner’ and ‘Liebhaber’,” Music and

Letters, 84, no. 3, (August 2003), pp.414–433. https://doi.org/10.1093/ml/84.3.414

of realisation expected in a recitative in conjunction with what Baumgärtner notated as possibly

as an aria accompaniment in the extract.

The aria, being a very typical opera buffa aria, is rather straightforward in structure. The aria

is marked, Allegro non troppo, aria agitata.The Italian term, Agitata, used here highlights the

hilariously frenetic energy portayed the clever orchestration of the scene by the use of Opera

Buffa idioms in this aria. The title in the original opera is marked “Ah, Comme Tutte je

consolar.” However, the French title given in the Extrait does not seem to translate to Italian

title directly.

Tagliaferro sings the aria a German soldier, who acts as ‘secondo buffo’ and draws

comparisons with the earlier comedia dell'arte archetype, The Captain a character that would

have been easily recognised by an Italian audience. The original aria also includes trumpets,

which invoke a military feeling in the music and also add to the comedic setting by playing up

the juxtaposition of a character whose inherent authority as a military figure should display a

level of seriousness yet ultimately only adds to buffoonery through his inherent character flaws.

Another key feature of the aria is the stark and sudden changes in dynamics that highlight the

agitata direction and that also enhance the comedic element of the aria. The overall simplistic

writing style of the aria helps to highlight the text of the aria, as it makes space for the audience

to concentrate on Tagliaferro’s outrageous fake German accent. Tagliaferro’s blatant lack of

sophistication as highlighted in the libretto.

In terms of the orchestration of the original aria, there is an introduction in which the violins

play the theme. There are also trumpets which further add to the military aspect of the aria. The

contour of Tagliaferro’s melody also mimics that of the natural trumpets, whose short but

buoyant and enthusiastic melody is a prominent feature of the aria. The intent of this aria is to

make light of the conventions of Opera Seria by adapting these originally more sombre arias

in to lighter, comical pieces designed to delight and amuse the audience.

The cello duet itself is a rather direct translation of the original orchestral accompaniment with

the first cello reproducing Tagliaferro’s energetic melody. As discussed in his method, to

succesfully capture all of the colourful orchestration of the original aria,, he uses a mixture of

thirds and sixths, along with more simple passages in order to support and drive the melody,

mimicing the overly enthusiastic and hurried atomsphere portrayed by original the

orchestration. There is also an effective use of marked triple stops at the beginning of the central

theme which enlivens the music and good use of stark dynamic contrasts between piano and

forte in the latter half of the duet which effectively mimic the comedic drama of the original

aria.

IV. La Suite de Julie. “Sentir avec ardeur flame discrette.” Andantino, Page 29.

L’erreur d’un moment, ou: La suite de Julie was one of Nicolas Dezède’s most successful

operas. Despite this, Dezède, as a composer, received mixed reviews. While some of his

supporters very much enjoyed his use of straightforward and uncomplicated melodies, others

criticised his works for being too unsophisticated in terms of compositional style and thematic

development. His melodies were described as lacking any development, being too far short of

conveying anything memorable or distinct. However, this antagonism did not deter Mozart

from adapting music from one of the arias from La Suite de Julie into a set of nine variations

for pianoforte. This extract, in Baumgärtner’s cello duets, is also short and works well in

demonstrating a translating of the aria melody with a realised accompaniment even the space

of a relatively short ariette.

Baumgärtner’s adaptation also makes excellent use of the two contrasting major and minor

sections of the aria, using a double stop pedal in the second cello part that mimics the sombre

mood of the original aria, which is then juxtaposed with short, crisp chords in the second

section. It also includes brilliant quadruple stop chords on some the cadences which again recall

the fuller orchestration of this section in the original work.

V. Amour, Amour quand ta riguer - Zémire et Azor. Page 28. Tempo Commodo.

This duet is a wonderfully sweet rendition of the aria from Zèmire et Azor, the plot of which

was described above. The use of chordal cello accompaniment is very noticeable in this

arrangement. Baumgärtner’s uses thirds, sixths and triple stops throughout the moevement. By

incorporating these particular chords also with their inverted forms, (as he suggests the cellist

can in his method,) Baumgärtner successfully captures the delicate dolce quality created in the

original aria.9

Other later duets that are arrangements of Opera arias, like Franz Danzi’s, also show evidence

of the chordal accompaniment within the second cello part. 10 This may indicate that the

instance of written-out chordal accompaniments in a bass line is not just unique to

Baumgärtner’s Extrait.

9 “Zémire et Azor (‘Zémire and Azor’)”, Grove Music Online, Oxford Music Online, published in print, 2002,

published online: 2002. https://doi.org/101093/gmo/97815615992630.article.0003599. 10 Franz Danzi, 24 Kleine Duos nach Opernmelodien, (Zürich: Jean George Naigueli, ca. 1800).

http://dx.doi.org/10.3931/e-rara-20959.

This lecture-recital has presented in multiple settings, from a realised simple recitative,

virtuosic cello obbligato and finally, cleverly adapted and realised cello duets, the various ways

in which chordal accompaniment can be achieved. From what is suggested as a valid form of

chordal realisation in recitative to what is notated in his Extrait, it is clear to see the advantages

and potential scope of chordal cello accompaniment—that it can be replicated in the ways

stated in this treatise and even beyond. The possibilities for further application and study of

this practice indicate an exciting trajectory for the informed cello performer.

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