Modern convention on this cello passage

[czoller]

Hello, all. I'm wondering if anyone can confirm if the cello passage (in bass clef) appearing in a manuscript (1.png) should be notated as in the typeset screenshot (2.png). I'm honestly not sure how this is expected to be played especially the "sul D" passage and so I would appreciate a brief explanation to a non-string-player.

[John Ruggero]

What clef are we in?

[czoller]

Bass clef, sorry.

[David Ward]

My uncertain interpretation (I learnt the cello to Grade VIII in my 1950s adolescence, although I became a trombonist): first pair, G as an octave harmonic plus D on open D string; next three pairs A, B, A on the D string, the D's all on the G string. However, I'm not certain, so a currently active cellist should be better informed. In any case, I suspect that this may not be the clearest notation for what is required.

[czoller]

Ah I had not considered that the zeros may be harmonic symbols. Would still be great to get other interpretations here.

[John Ruggero]

Some context might help. Is this from an actual piece, or from an exercise? Who is the composer?

The o are harmonics for sure, as explained by David. But the following chords are so easily played on the D and A strings that I, a non-cellist, could play them. So I find it puzzling that they would be played any other way, except in an exercise.

We have a cellist, Neera, who is a regular contributor and hopefully will chime in at some point.

[czoller]

Hi John, yes this is an actual piece from a Swedish composer written in the 1920s. The scoring is for violin, cello, and harpsichord. This section where the excerpt was taken is effectively the "B" section of a faster movement where the composer wishes a character change. The violin moves to pizz. where previously it was arco, and the dynamic moves from forte to piano in the violin and pianissimo in the cello.

[John Ruggero]

Thanks, czoller. Then it must be a special effect, or an avoidance of the open strings for some reason.