In addition to men, women also slowly appeared on the concert stage, against whom the mentality rooted in the traditional image of women prescribed much stricter rules. ![]() The culture of civic concert, which appeared and spread beyond the princely courts of the aristocracy and the salons of wealthy citizens, began to be institutionalized in Europe at the end of the 17th century. 73) with contemporary studies compiled and edited by Siegfried Palm, Pro musica nova: Studien zum Spielen neuer Musik: für Violoncello and the set of Ten Preludes by Sofia Gubaidulina, the article explores the interactions, interrelationships and interdependencies that exist in the superficially different approaches to cello technique. By juxtaposing the orthodox cello method by David Popper (Hohe Schule des Violoncello-Spiels Op. I argue that the extended and ‘extreme’ techniques employed by Xenakis to convey the sound architecture of Nomos alpha must be viewed as a part of a global perspective on the traditions of cello playing. Focusing on Nomos alpha by Iannis Xenakis – one of the most complex works for solo cello of the twentieth century – the article investigates the dynamics of these interactions and how the traditions established in the course of the nineteenth and twentieth centuries might support the expanding domain of new techniques and approaches to the cello. Within the broad area of ‘technique’, I believe that traditional and contemporary technical styles can evolve through a fluid process of interactions – a ‘dialogue’ that is enlivened by tensions, transitional turns and mycelial exchanges. ![]() This article seeks to elucidate this notion, highlighting the inherent continuity between the development of the cello’s technical and expressive capacities. ![]() In my performance practice and pedagogy, I approach the inter-related elements of playing the cello – technique, interpretation and performance – as a single integrated domain.
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