There are certain natural limitations to the possibilities of the cello. It can play rapidly, but not as easily as the violin and viola. It can play chords, but in the orchestra they tend to blur. The cello has an especially good melodic register on the A-string. The first octave of this A-string register is easy to play and is expressively eloquent. Higher up, extreme intonation difficulties begin.
It is possible for the cellist to do all types of bowing and produce all the trills, tremolos and harmonics that the violinist and violist are able to, but he needs just a little more time to prepare for the problems peculiar to cello playing. The composer must take into consideration the need for heavier finger pressure on the thicker cello strings, the slower action of the shorter, heavier bow, and the larger distances required of the hand in shifting position.
The middle register of the cello is neither vivid for melodic use nor effective as bass line. A bass line will usually employ the lower tones, while typical cello melody will tend to exploit the upper register.
For listening experiences in effective cello writing, hear the concertos by Saint-Saëns and Schumann and Schelomo by Bloch.
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