Belle Epoque Cello

Writing for the cello experienced a revolution in the nineteenth century. After gradually abandoning its systematic role as a harmonic bass, the instrument soon found its rightful place as a soloist. In the French context, the cello sonata developed even before the violin sonata, with composers who were often cellists themselves or else friends of a distinguished soloist. It was not until the end of the century, however, that a significant body of literature appeared alongside the cello sonatas of Camille Saint-Saëns. Composers such as Léon Boëllmann and Albéric Magnard followed the path opened up by César Franck, while others, such as Louis Vierne in his five-movement suite for cello and piano, Soirs étrangers, adopted freer forms.