Wilhelm Joseph von Wasielewski
The Violoncello and Its History
Published by Good Press, 2019
EAN 4057664593139
Table of Contents
The Art of Violoncello Playing In the Eighteenth Century.
The Art of Violoncello Playing In the Nineteenth Century.
VI.—FRANCE, BELGIUM, AND HOLLAND.
VII.— England and Scandinavia.
VIII.—THE SLAV STATES AND HUNGARY.
INTRODUCTION.
Viol da Gamba.
The history of the Violoncello and Violoncello playing is connected in its early stages up to a certain point with that of the Viola da Gamba and its forerunner, “the Basso di Viola,” of the sixteenth century. This last-named instrument formed the bass in the string quartets of that time, to which also belonged, according to the Italian designation, the “Discant-Viola” or “Violetta,” as well as the “Viola d’Alta” and “di Tenore.” In Germany these instruments were called Diskant, Alto, Tenor, and Bass viols. The terms Viola and Violin,[1] were at that time consequently synonymous. From the foregoing remarks it will be perceived that it is a question not of one kind, but of a whole family of stringed instruments. Descriptions and illustrations of them are found in the following music-authors of the sixteenth century.
Sebastian Virdung: “Musica getutscht,” 1511; Hans Judenkünig: “Ain schöne kunstliche Vnderwaisung,” u.s.w., 1523; Martin Agricola: “Musica instrumentalis deutsch,” 1528; Hans Gerle: “Musica Teusch” (Teutsch), 1532; Ottomar Luscinius: (Nachtgall), “Musurgia seu praxis Musicæ,” 1536; and Ganassi del Fontego: “Regola Rubertina,” 1542. Agricola’s and Gerle’s works appeared in various editions. The work of the former, as well as Luscinius’ “Musurgia,” are partly reproductions of Virdung’s “Musica getutscht.”
According to the descriptions of the above-named authors, violas or violins were of two kinds.[2] Some of them had no bridge, others, on the contrary, were provided with one. For the object before us the last only claim our consideration, of which, as well as of the bridgeless violins, there were four different examples. The alto and the tenor were the same size, but of different methods of tuning. The so-called violas (fiddles) were provided with six strings which were called, like the six lute chords, Great Bumhardt (Bombarte), middle ditto (tenor); small ditto (counter-tenor); middle string (great mean); vocal string (small mean); and quint string (treble). The “Great Bumhardt” was left out in those instruments provided with five strings only. In Italy the six strings were called: Basso, Bordone, Tenore, Mezzanella or Mezzana, Sottanella or Sotana, and Canto. In France, according to Mersennus: Sixiesme, Cinquiesme, Quatriesme, Troisiesme, Seconde, and Chanterelle. The same author gives for the violas the names: “Dessus,” “Haut Contre,” “Taille,” and “Basse Contre.”
In Judenkünig’s and Hans Gerle’s works are found the accompanying illustrations of stringed instruments provided with a bridge. Their identity is unmistakable, though they differ from each other in many peculiarities of form. Both instruments represent the so-called “big fiddle”[3] or “Basso di Viola.” The tuning was that of the lute, which, as an older stringed instrument, served in this respect as its model. Only in regard to the pitch did any difference exist. Judenkünig makes it thus:—
Hans Gerle, on the contrary, writes it thus:—
Here the pitch of the second is a fifth lower than the first. Judenkünig’s pitch represents the tenor and that of Gerle the bass. Agricola says in his “Musica instrumentalis,” regarding the height of pitch for the lute:
“Zeuch die Quintsait so hoch du magst
Das sie nicht reist wenn du sie schlagst.”
(Draw up the fifth string as high as you may,
That it may not be broken when on it you play.)
And in Hans Neusiedler’s Lute-book (1535) it is said: “He who wishes to learn how to tune the lute, let him draw up the Quint string, not too high, and not too low, a medium height, as much as the strings will bear.” Similar instructions are to be found in Gerle’s “Musica Teutsch.”