'The Perfection of Talent': The Cello as Chordal Accompanist in Simple Recitative, 1750 - 1850.

This project will reappraise the role of the cellist in eighteenth-century simple recitative (now pejoratively termed 'secco'). Currently, whether hearing modern or period instruments, we are used to a 'one size fits all' approach, honed to an economical perfection whereby keyboard repetiteur teaches recitative to soloists and, in doing so, learns to accompany them precisely and unobtrusively. A cellist may be added at later stage rehearsals, as has become the norm for classical recitative, but is still considered an inessential luxury. This attitude has led to performances in which the cellist, if he plays at all, plays inarticulately and 'safely', adding nothing to the affect and expression of the words. The historical reality gave a far greater role to cellists, as testified by several cello treatises which instruct in how to 'realise' (harmonise) the bass so as to provide most help to the singer. Sometimes cello pedagogues instructed how to harmonise in conjunction with keyboardists, but it is also clear from other treatises and from writers touring European music centres that there were times and places where there was simply no keyboard in the opera at all. Further, the most famous cello accompanist of the classical period, Robert Lindley, was known as half of a partnership with the double bass player Domenico Dragonetti. I have never yet taken part in, or heard, a performance of any classical opera in which the double bass is used in recitative, and this despite the fact that musicology has long since accepted the double bass as a normal part of the classical continuo group. Current practice renders recitatives fluent but dry and, worse, lacking harmonic clarity. Some cellists are beginning to explore our accompanying roles, but our efforts are hampered by lack of time for wide-ranging research and experimentation. Recorded examples of cellists doing any more than 'play along' with the harpsichord are few, and those that there are suffer because the cellist's role is not complemented by his colleagues, or because the recorded sound takes the audience so far from the opera house as to make any attempt at realistic balance between the musicians impossible.

In order to resolve this, I will research historical practices using treatises for cello, for voice and for keyboard, as well as the work of eighteenth and nineteenth-century theorists and reviewers. At the same time, I will become fluent in as many different styles of cello accompaniment as I can find evidence for, bringing my new skills and research into my work with keyboardists, bassists and singers to experiment with different combinations of instruments and techniques. Plans to transfer the results of these experiments to the stage are already taking shape with the artistic director and continuo colleagues of The Classical Opera Company, a unique group specialising in the performance of classical opera on historical instruments. As principal cellist with the group I have the opportunity to take my research to the stage in a way that other cellists cannot, as they are bound by the conflicting interests of guest directors and continuo colleagues, and by time constraints. Further, as principal cellist with the Academy of Ancient Music, The Early Opera Company and a regular guest principal with The Orchestra of The Age of Enlightenment, I will bring this experience to my work with several other orchestras when their programmes allow.

I will share my experience with other continuo players and cellists in two ways. Firstly, I will give lecture demonstrations to cello classes at music colleges, universities and residential summer courses (starting at Southampton University, The Royal Welsh College of Music and Drama, and Dartington International Summer School), and secondly I will coach continuo practice at opera houses (starting at English National Opera, where theinvitation to coach the continuo group has already come from new musical director Edward Gardner).