THE CERVETTI IN GEORGIAN LONDON: A STUDY OF CELLO PERFORMANCE, REPERTOIRE, AND THE SPREAD OF THE FORMA B STRADIVARIUS CELLO

Abstract

The violoncello emerged in Italy in the mid-sixteenth century, gradually spreading across Europe and fulfilling the role of an accompaniment instrument in ensemble playing. By the middle of the seventeenth century, the instrument could be found in England, though it had no solo repertoire designated for its performance. With the arrival of Italian immigrants in the early eighteenth century, the cello began its rise to prominence. Italian cellist Giacobbe Cervetto immigrated to London in the 1730s, and was a prominent performer and composer, writing solo pieces for the cello. His son, James Cervetto, followed in his father’s footsteps, starting his career as a child prodigy on the cello and becoming a well-known professional cellist by his twenties. The Cervetti were tied to several luthiers throughout their careers, including Cremonese luthier Antonio Stradivari, British luthier William Forster Senior, and his son, William Forster Junior. Their musical circle also included composers such as Willem de Fesch, Karl Friedrich Abel, Johann Christian Bach, and Franz Joseph Haydn. The performing careers of Giacobbe and James Cervetto also coincide with the elevation of the cello from the confines of the continuo role to an instrument widely regarded for its soloistic capability. This thesis examines the Cervetto family and their circle, a study of the individuals who shaped the advancements in construction and repertoire for the violoncello throughout its development in the eighteenth century.