"Violoncello" Quotes from Famous Books
 ... imagined, lost no time in calling on Garcia and setting on foot a scheme for bringing forward "my 'Don Giovanni,'" as he always called it. Crivelli was a second-rate tenor, and could not be trusted with the part of Don Ottavio, and a Frenchman named Milon, whom I conclude to have been a violoncello player, afterward identified with the organization of the Philharmonic Society, was engaged for that part. A Mme. Barbieri was cast for the part of Donna Anna, Mme. Garcia for that of Donna Elvira, Manuel Garcia, Jr. (who died in 1906 at the ...
— A Book of Operas - Their Histories, Their Plots, and Their Music • Henry Edward Krehbiel
... circumscribed at the instant, by the arrival of a party of five or six musicians; one of whom, a German, under the patronage of the Duke of Buckingham, was particularly renowned for his performance on the violoncello, but had been detained in inactivity in the antechamber by the non-arrival of his instrument, which had now at length made ...
— Peveril of the Peak • Sir Walter Scott
... The beautiful duchess is soon recognized, and as soon in deep gossip with her friends. But who is that gentlemanly man leaning over the chamber-organ? That is Sir Roger L'Estrange, an admirable performer on the violoncello, and a great lover of music. He is watching the subtile fingering of Mr. Handel, as his dimpled hands drift leisurely and marvelously over ...
— The Great German Composers • George T. Ferris
... musical people avoid falling in love with each other? Even political principle must have been in danger of relaxation under such circumstances; and the violin, faithful to rotten boroughs, must have been tempted to fraternize in a demoralizing way with a reforming violoncello. In that case, the linnet-throated soprano ...
— The Mill on the Floss • George Eliot
... church of St. Gregory at Boscherville in Normandy shows an orchestra of several players. This relief is of the twelfth century. It presents first on the left a king who plays a three-stringed gamba, which he holds between his knees, like a violoncello. A woman performer handles an organistrum, a sort of large hurdy-gurdy, sometimes (as apparently in this case) requiring two players, one for the crank and another for the stops. Then comes a man with a pandean pipe, next another with a semicircular harp and then one with a portable ...
— Some Forerunners of Italian Opera • William James Henderson
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