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178:, exclaiming, "How the devil do you hold this thing, Monsieur Duport?" Duport was so obviously afraid that Napoleon would damage it, that Napoleon laughingly returned it to the cellist's more careful hands. Actually, Napoleon had made a small dent in the ribs of the cello, which may still be seen in the instrument. It was later owned by
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for two cellos, of various difficulty levels. The work has been translated into
English and German, and is widely accepted as the most influential pedagogical work for the instrument.
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5 cello sonatas, which proved to be a defining point in
Beethoven's treatment of the cello in his scores, and also altered the cello's role to become a true solo instrument.
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Mara Parker, "Carlo
Graziani and the Quest for Ideal Employment," International Review of the Aesthetics and Sociology of Music 39, No. 1 (June 2008): 31-56.
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Mary Cyr and
Valerie Walden. "Duport." In Grove Music Online. Oxford Music Online. (Oxford University Press, 2007-2012). Accessed October 14th, 2012.
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99:(4 October 1749 – 7 September 1819), sometimes known as Duport the Younger to distinguish him from his older brother (and teacher)
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in Paris in 1806. The French text of 175 pages discusses in detail a wide range of aspects of cello technique, and is followed by 21
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139:. His virtuosic ability allowed him to hold many notable positions while living in France, although he was forced to flee to
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Miranda Wilson, "The Cello Works that Sealed a
Maestro's Reputation for Genius," Strings 26, no. 10 (2012): 25-28.
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that constitute the final part of the "Essai sur le doigté du violoncelle et sur la conduite de l'archet" ("
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Essay on the fingering of the violoncello and on the conduct of the bow
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A biography of the Duport brothers at the
Internet Cello Society
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This article about a French classical musician is a
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while in
Prussia, where he gained the favor of King
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110:He is perhaps best known today for his 21
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16:French cellist and composer (1749–1819)
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213:technique, by Duport, published by
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452:Burials at Père Lachaise Cemetery
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295:Jean-Pierre and Jean-Louis Duport
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301:Free scores by Jean-Louis Duport
166:In 1812, Jean-Louis returned to
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209:) is a seminal work of
170:, where he encountered
125:Études pour violoncello
135:under the tutelage of
184:Mstislav Rostropovich
157:Ludwig van Beethoven
153:Friedrich Wilhelm II
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201:fingering
182:and also
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172:Napoleon
85:Composer
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
