ABSTRACT
This chapter explores some of the possible consequences of this interaction by looking at compositions by the Bohrer brothers. Romberg and Lalo. The works by Bohrer and Romberg, written earlier in the nineteenth century at a time of relative consensus about the 'character' of the cello, are studied with a view to showing how their differences led to strikingly contrasting reception. The chapter examines Lalo Cello Concerto, from the late nineteenth century, of how gender issues can become more complex, and can have suggestive implications for performance. Werner, in stressing the manliness of this sonata, could be seen as reasserting the traditional gender trope at a time when it may have begun to have had less force. The concept of a performed gender that is achieved, or accumulated through innumerable individual performative acts, rather than simply assigned, is familiar from Simone de Beauvoir and Judith Butter.
