It argues that although violins by Stradivari, Guarneri and Amati already had a tradition that imposed high values upon them, their market value increased massively during the late 1820s when the violin maker and dealer Jean-Baptiste Vuillaume began to equate the market for originals and copies with a market that already existed for decorative arts. This chapter-length monologue uses the principals exposed in Hobsbawm and Ranger's "The Invention of Tradition" (Cambridge, 1992) as a model to describe manipulations in the violin market that took place in the mid-nineteenth century Paris. This research aims to illuminate the impact of the Italian influence on the violoncello and its repertoire in the special circumstances that the Isles presented. As quantitative evidence, tables detailing the specific Italian composers found in the Isles, the pieces commissioned by Frederick, and the treatises published at the time have been compiled. To further understand this crucial period in the history of the violoncello, this paper investigates the rationale for the violoncello’s triumph over the viol, the factors driving Italians to the Isles, the influence of Frederick, Prince of Wales as an important patron and cellist himself, and the interaction between the British and Italian compositional styles. Mainland musicians flocked to London, influencing the resident musical style and solidifying the violoncello’s place in the developing musical ensembles. In the 18th century, the violoncello usurped the viol as the preferred solo bass instrument throughout Europe, but the lack of skilled cellists in the British Isles along with a preference for the Italian style resulted in high demand for Italian cellists and composers.
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December 2022
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