The cello is a wonderful instrument–not just for its enormous range and expressive abilities but because it can take part in many types of groups. 

The range of cello performance is expansive, with a rich repertoire of solo, chamber and orchestral music and the cello is frequently used in TV and film music, both as part of an ensemble and as a solo instrument.

Playing cello in solo applications

The first aspect of cello performance is solo cello repertoire. This includes music for cello alone, concert pieces with piano and pieces for cello and a larger ensemble. 

As a soloist, the cellist is responsible for projecting a compelling interpretation of the score. Sometimes the cellist is alone on the stage, performing a work like a Bach Suite. In this case, the cellist can explore the entire dynamic range of the instrument, even the quietest sounds. 

In a concerto, where the cellist is sitting in front of an orchestra, they must play expressively and uniquely throughout so that their sound is always distinguishable from the other instruments onstage. Usually, concerto playing involves a contact point which is closer to the bridge and more bow speed. 

Ultimately, the soloist wants to be able to communicate all of the colors and characters that they would in a more intimate setting, but with an emphasis on projection.

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Playing chamber music repertoire on the cello

Chamber music performance offers a collaborative aspect of cello performance. 

Here, the cellist is part of a small group of musicians who work together to create a musical experience. 

Some of the many types of chamber groups include duos (such as violin and cello), trios (such as violin, cello and piano), and quartet (such as two violins, viola and cello). 

In chamber music performance, the cellist’s role is ever-changing. Frequently, they are providing the bassline or the root of the chord, other times they are an inner voice and occasionally, they have the melody.

In general, duo and trio repertoire is more “soloistic” and quartet, quintet and octet repertoire requires more of a supporting role. When a cellist plays in a duo, their sound needs to frequently be distinguishable and melodic, playing with core and a full-blooded expression. 

Even when they are providing a bassline or supportive harmonic role, they must play with lots of character and intrigue. In a larger chamber ensemble like a quartet, the cellist must play with enough body to support the upper voices riding on top, but not so much that it overwhelms the audience’s attention. 

There are also moments where multiple instruments are playing the same material and the goal is for them to blend together seamlessly. In these moments, the cellist must strive to precisely match their partners’ bow and vibrato speeds.

Orchestral playing technique on the cello

The third aspect of cello performance is orchestral cello performance.

In this situation, the cello embodies all of the roles previously discussed in solo and chamber music performance, however there is a significant difference between the principal and section players. 

The principal cellist must lead the sound and show phrasing direction at all times. Most principal cellists also move significantly so that the whole section can play together more easily. A helpful way to conceive of this role is that they are playing like chamber musicians, where their chamber partners are the conductor and the other sections of the orchestra. 

They must follow the conductor and play with the other sections sensitively, but also with much conviction so that their section can follow them effortlessly. When there is a solo moment (they are typically brief), the principal cellist must play with all of the passion and expression that they would muster in a concerto. Usually, they must also play these solos much louder than the printed dynamics.

Orchestral cello performance is slightly different for the cello section. Members of the cello section must also play with expression and direction, but their primary objective is to blend with the other cellists and to follow the direction of the principal cellist. 

When playing in a cello section, a cellist’s attention is consumed by listening to the other cellists around them and matching their colleagues’ bow speed and location. In symphonic and especially operatic repertoire, there are many moving parts to the ensemble and occasionally, the singer, conductor and rest of the orchestra may believe that the downbeat is in a different place. Since the cello section must act as a unit, a section cellist’s job is not to negotiate between these parties but rather to follow their principal and play with their section.

Special Bonus Topic: Cello Ensembles!

Cello performance is not limited to the traditional settings–cellists are extremely fortunate to choose from a wealth of cello ensemble music. These vary from duos, such as baroque sonatas with a solo voice and bassline to full cello orchestras. 

There is no sound quite as warm and enveloping that of one hundred cellos playing together on the same stage! 

The most common type of cello ensemble is a cello quartet and many works have been arranged for this combination. 

Original works have also been written, such as Gubaidulina’s “Quaternion.” The Galvin Cello Quartet has taken much of this repertoire on tour and brought it into the mainstream. 

My cello quintet, SAKURA, has pioneered the repertoire for five cellos, both in original arrangements and in commissioning new repertoire. This unique ensemble combines both the intimate nature of a cello quartet with a fifth voice which adds a significant weight and resonance to the group. 

With a cello quartet or quintet, the number of the cello part usually corresponds with their range or difficulty, with the first cello playing the highest material and the fourth or fifth cello on the bass.

In our SAKURA arrangements, we have made an effort to trade material throughout the five parts so that everyone has an interesting and challenging part with the opportunity to play many roles.

Conclusion

Cello performance spans a vast repertoire and covers many unique and inspiring combinations of instruments. The ability to play sensitively and listen to others is crucial regardless of the type of ensemble. 

The most effective way to practice this skill is to play lots of chamber music, especially string quartet repertoire. This has all of the critical components of listening, blending, leading, supporting and soloing which apply naturally to every other type of playing.

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Happy practicing!