During the eighteenth century the cello gradually emerged from the anonymity of the continuo group, and by the beginning of the Romantic era the instrument had become an indispensable tool for composers. Robert Schumann, who had himself taken cello lessons, was very fond of it, describing is as a `beautiful instrument'; and Johannes Brahms, who acquired considerable skill as a cellist, praised its `masculine, serious character'. It is therefore to be hoped that neither composer would object to Christian Poltéra's sensitive adaptations of their works.
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