PLAYING BOCCHERINI’S CELLO SONATAS ON A FIVE STRING CELLO

Playing Luigi Boccherini’s Cello Sonatas on a 7/8 Stradivari-Type Five String Cello

The Italian cellist and composer Luigi Boccherini (1743-1805) wrote almost thirty sonatas for cello and piano, of which the most famous ones are the six sonatas in A, C, G, E-flat, F and A, published most prominently in 1958/78 by G. Ricordi; Milano. There is little doubt that the sonatas were composed for a four string cello, but there are some aspects that could suggest the use of a five string cello: all the sonatas feature very high positions and can only be properly performed by highly skilled cellists who are willing to spend quite some practicing time on them.

While the pieces were composed in a period that is now generally called the classic period their style actually resembles more the so-called gallant style of the middle and late baroque period. This means that the powerful sound of a Stradivari type four string cello is not really necessary for an adequate performance.

Very few cellists immerse themselves in the Boccherini cello sonatas, except occasionally in the 6^thin A (referring to the Ricordi edition’s counting order), mostly because it is sometimes a required piece at cello competitions. Since the sonatas are actually quite charming compositions it is a considerable waste to ignore them as a part of the study repertoire especially of young or amateur cellists. It is worth to examine if a five string cello would allow an easier access to those pieces.

Playing Luigi Boccherini’s Cello Sonata Nr.1 a-major on a 7/8 Stradivari-Type Five String Cello

I. Allegro moderato:

The first time the use of the thumb becomes necessary in MM.11 and 12 in order to play the grace notes.

The following measures continue to require thumb positions until one measure before the repeat.

Until M.37 the presence of the E-string only allows for minor facilitations.

MM.37-40 can be played in the 1^st position. Highest note on a five string cello is the b’’ in the 9^th position on the E-string (M.18).

II. Largo:

From the upbeat of MM.8 until M.14 comfortable, low positions can be used. (Cellists with small hands might have to use the thumb in M.10.)

In MM.21, 22 and the first half of M.23 low thumb positions can be used.

The rest of the movement can be played within the low four positions.

Highest note on a five string cello is the e’’ in the 5^th position on the E-string (MM.22/23).

III. Allegro:

MM.7-11 can be played in 1^st and 2^nd positions.

MM.17-21 and MM.17-34 can be played comfortably in low thumb positions.

From M.79 until the end of the movement only the lower four positions have to be used.

Highest note on a five string cello is the e’’ in the 5^th position on the E-string (MM.18,20,22 and the following parallel-passage).

Playing Luigi Boccherini’s Cello Sonata Nr.2 c-major on a 7/8 Stradivari-Type Five String Cello

I. Allegro:

When using a four string cello in M.27 the use of the thumb becomes necessary; on a five string cello 1^st and 2^nd positions could be used. M.7-11 can be played in 1^st and 2^nd positions.

The highest position on a four string cello is the 7^th in M.10 which would become a 3^rd position on a five string cello.

　　 Highest note on a five string cello is the c’’ in the 3^rd position on the E-string (MM.10 and 13).

II Largo:

When using a five string cello thumb positions can be avoided in the entire movement.

Highest note on a five string cello is the d’’ in the 4^th position on the E-string (M.29).

III Allegro:

Both on a four- and five string cello the use of a thumb position is not necessary until M.37.
From M.37 to M.55 playing a four string cello requires the use of high thumb positions on A- and D-string. On a five string cello the passage can be executed in positions where the thumb can stay in the 7^th position.
Until M.111 there is no need for thumb positions on both types of cellos.
From M.111 the use of a five string cello allows the use of a low thumb position without requiring any shifts.

Highest note on a five string cello is the a’’ in the 7^th (8^th when shifting) position on the E-string (MM.38/41/45/48/53).

Playing Luigi Boccherini’s Cello Sonata Nr.3 g-major on a 7/8 Stradivari-Type Five String Cello

I. Largo:

Until M.17 this movement is not too difficult on a four string cello but when using a five string cello the highest position until there would be only the 5^th in M.13.
On the upbeat to M.17 on both cello types the thumb has to be used. On a four string cello this passage requires the use of positions up to the a’’ in measure 18 while on a five string cello the whole place until M.20 can be played in the 7^th and 8^th position.
The cadenza in M.20 can be played in the 8^th position (stretching the 3^rd finger) on A- and E-string when using a five string cello.

Highest note on a five string cello is the stretched b’’ in the 8^th position on the E-string (M.20).

II. Allegro:

When using a four string cello there is only in M.64 the use of high positions necessary.
On a five string cello the whole movement can be played without using 5 thumb position.

Highest note on a five string cello is the g’’ in the 7^th position on the E-string (M.64).

III.Minuetto:

Only in MM.56-58 the E-string facilitates playing the movement; otherwise for both types using the same fingerings is advisable.

Highest position on the E-string of a five string cello is the 1^st position in MM.56-58.

Playing Luigi Boccherini’s Cello Sonata Nr.4 e-flat major on a 7/8 Stradivari-Type Five String Cello

I. Adagio:

Because of the grace notes in M.3 the thumb position has to be used.
Because of the trill in MM.15 and 17 the thumb position has to be used. It is probably best to stay in the thumb position until M.27.
The E-string becomes useful for the first time in MM.32 and 33.
From the second half of M.38 a low thumb position on A- and E-string can be used.

Highest note on a five string cello is the e’’ flat in the 5^th position on the E-string (MM.40 ff).

II. Allegro:

Until M.11 the fingering does not differ from a four string cello’s.
From the second half of M.11 until M.21 no thumb positions have to be used.
From M.22 the use of the same positions as on a four string cello is advisable.
The chords in MM.31 and 32 can be played in the 2^nd position.
MM.37 and 38 can be played in the 1^st and 2^nd position.
The c’’ in M.41 can be played in the 5^th position on the E-string
The second half of M.50 can be played in the 2^nd position on the E-string.
From the second half of M.64 the 3^rd position on the E-string can be used.
From the upbeat to M.67 until M.75 low thumb positions can be used.

Highest note on a five string cello is the e’’ flat in the 5^th position on the E-string (MM.69/74).

III. Affettuoso:

MM.3 and 4 can be played in the 1^st and 2^nd position.
MM.5 to 8 can be played in low thumb positions.
MM.18 and 20 can be played in the 3^rdand 4^th position.
M.24 can be played without shift.
From M.25 until M.55 the use of the same positions as on a four string cello is advisable.
In MM.56 and 64 the f’’ can be played with the thumb on the E-string.
In MM.58 and 60 the g’’ can be played in the 1^st position on the E-string.

Highest note on a five string cello is the g’’ in the 9^th position on the E-string (MM.58/60).

Playing Luigi Boccherini’s Cello Sonata Nr.5 f major on a 7/8 Stradivari-Type Five String Cello

I. Allegro moderato:

MM.1 until the first half of M.6 can be played in low (5^thand 6th) thumb positions.
From the second half of M.6 until M.22 the use of the same positions as on a four string cello is advisable.
From M.23 until M.42 no thumb positions have to be used.
From M.43 until the first beat of M.50 a low (6^th) thumb position can be used.

Highest note on a five string cello is the g’’ in the 7^th position on the E-string (M.4).

II. Largo:

The whole movement can be played without using thumb positions.

Highest note on a five string cello is the c’’ in the 4^th position on the E-string (M.45).

III. Amoroso:

Until M.22 the use of the same positions as on a four string cello is advisable.
From the last part of M.22 untilM.56 no thumb positions are necessary.
From M.56 until the first beat of M.70 a low (6^th) thumb position can be used.

Highest note on a five string cello is the f’’ in the 6^th position on the E-string (MM.59/65/66/69/70).

Playing Luigi Boccherini’s Cello Sonata Nr.6 a-major on a 7/8 Stradivari-Type Five String Cello

I. Adagio:

Until M.8 comfortable, low positions can be used.

M.8 needs to use the 7^th position and then leads to a rather comfortable thumb position in MM.9 and 10.

M.11 can be played in low positions until from the upbeat to M.12 again the use of the thumb is suggested. If the high d-sharp’’ in M.12 is played with the second finger on the A-string the following 64^ths can be played in one position.

From M.14 until M.20 the use of the thumb is not necessary.

The 64^ths passage in M.20, a rather difficult place when using a four string cello, can be played in one position on a five string cello.

In M.21 one can either stay in the thumb position or play the double stops in low positions and shift after the fermata to thumb positions.

Highest note on a five string cello is the e’’’ in the 12^th position on the E-string (M.22).

II. Allegro:

Until upbeat toM.11 the E-string allows only for minor facilitations. In MM.11 to 14 the use of the thumb is necessary but in relatively comfortable low positions.

In MM.19-25 the E-string becomes really helpful for the first time: the passage can be played until the first half of M.25 in the 1^st position; MM.23-25 require only low positions (1^st-2^nd).

Until M.52 the E-string again allows only for minor facilitations.

MM.52-56 could be played on the E- and A-string but that would require a quite big stretch on the fourth beat of M.56, cellists with small hands might prefer using the A- and D-string.

Because of the trills MM.57-64 probably should be played on the A-string.

For the rest of the movement only low positions have to be used. The 16^th in MM.71-75 can be played in the 1^st position.

Highest note on a five string cello is the b’’ in the 9^th position on the E-string (M.57).

III. Affettuoso:

In MM.5-7 instead of using a thumb position the open E-string allows for the use of the 1^st position.

M.12 can be played in the 1^st position.

MM.22-36 can be played rather comfortably in a low thumb position.

MM.58 and 59 stay in neck positions.

MM.65-72 can be played in the 1^st position.

In MM.73 the use of the open E-string allows for playing in 1^st and 2^nd position.

Highest note on a five string cello is the f-sharp’’ in the 5^th position on the E-string (MM.25/27/59).

CONCLUSIONS CONCERNING BOCCHERINI’S CELLO SONATAS

The sonatas frequently require the use of quite high positions, which is probably one reason why they generally are neglected by today’s cellists with the exception of Nr.6 which is often a required piece in competitions). Playing them on a five string cello is not always easy but it would facilitate their performance to a considerable extent, a fact that might give them a higher, well deserved popularity.

From a stylistic standpoint there is no reason to oppose to the use of a five string cello, even when performing them in a concert. The only sacrifice for a possible loss of volume when using a five string cello would be having to choose a small hall.

(For a list of pieces for which the use of a five string cello could be appropriate see Appendix D.)