Violoncello da Spalla's Purple Cow Effect
The violoncello da spalla represents not just an instrument, but a mindset—one where 'historically informed' includes the courage to upset our comfortable certainties.D.Badiarov
Weren't we supposed to be 'guardians' of culture, culture-workers among baroque violin players? I might be wrong, but I thought it was the Early Music movement that resurrected much of the now-essential repertoire, sonorities and musical experiences related to the very roots from which Classical music grew.
The problem in Baroque music today is... it's just the same as Classical. It's no longer "Wow!" Nobody stops in their tracks anymore because your violin is tuned to a non-standard pitch, with gut strings... all that is déjà vu.
But the violoncello da spalla?
It's still very much that metaphorical purple cow.
Why?
1. It's not exactly the mainstream and
2. Amazingly, historically it was a very important instrument that just we forgot.
Is it not kind of scandalous when you think of it?
Your artistry and dedication to historical performance are already remarkable—of course it is—but the da spalla simply offers another dimension to that authentic tradition.
The violoncello da spalla isn't just a forgotten instrument—it's living proof that even in 'old music,' we can still create moments of genuine astonishment.
While our audiences have grown accustomed to gut strings and historical tuning, the da spalla remains the purple cow in a field of familiar Baroque experiences.
In our quest to perfect what we've already found, we've forgotten the thrill of finding something new.
The violoncello da spalla represents not just an instrument, but a mindset—one where 'historically informed' includes the courage to upset our comfortable certainties.
Think of it!
But wait!
Rather than just pointing this out, I'd like to offer something tangible to help address this gap in our musical heritage. Maybe YOU might want to do something about it, too, just like the great musicians who brought this instrument back to life since 2004. Because currently culture needs more active participants than passive recipients of free offers.
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