大提琴的起源与发展(续)

• 作 者: 王晓元
• 出 处: 小演奏家
• 发表日期: 2003年03期
• 关键词: 大提琴家 琴身 拇指把位 维奥 五弦琴 法时 四根

在19世纪以前,大提琴的演奏,基本沿袭古低音提琴维奥拉的持琴姿势。当时还未发明支柱,演奏时将琴身夹在两腿之间。用这种姿势演奏,当然十分不便,也严重制约着大提琴演奏技巧的进一步发展。19世纪上半叶,比利时大提琴家塞尔威(1807-1866)才发明了大提琴支柱。由此使大提琴的演奏变得更为轻松方便,解放了演奏者的双腿,使琴

Before the 19th century, the cello’s performance, basically followed the old bass Viola’s piano posture. Pillar was not invented at the time, playing the piano body sandwiched between his legs. Playing in this position is, of course, very inconvenient and seriously restricts the further development of cello playing skills. In the first half of the 19th century, cello pillars were invented by Belgian cellist Servi (1807-1866). This makes the cello playing easier and more convenient, liberated the player’s legs, the piano