AUTHOR’S PREFACE

      In the following pages I present to the musical world the History of the Violoncello and Violoncello playing. I have preceded it by the History of the Viola da Gamba, for the reason that this instrument must be considered the precursor of the Violoncello. For my work I have made use of the musical dictionaries extant, especially Gerber’s old and new musical Lexicon as well as Fétis’s “Biographie Universelle des Musiciens.” What has been borrowed from other works will be indicated in the course of the narrative. The great courtesy of Herr Friedrich Grützmacher, the Royal Concert-director of Saxony, in placing at my disposal his extensive collection of old and new Violoncello Literature, has been of especial value to me in my undertaking. By its means I have been enabled to find my way through the historical development of Violoncello composition. I willingly seize this opportunity of expressing my thanks to him for it.

      Sondershausen,

      December, 1888.

      TRANSLATOR’S PREFACE

      It may be that we are not a musical people, but if so the encouragement and appreciation which the sister Art to painting has of late years received in England is not a proof of the truth of the assertion frequently made. Our Concert-rooms are always crowded to overflowing; foreign artists think it worth while to come year by year to England; schools of music are multiplying, and eagerly attended by amateurs as well as professionals; and I think it may now be taken for granted that a musical education may be as thoroughly acquired here as abroad. Every kind of musical instrument is taken up, if not always with a really serious intention; but no instrument has more rapidly or more certainly come into favour amongst all lovers of music, as well with those who study as with those who listen, than the Violoncello. It is therefore somewhat surprising that up to the present time no book has been published in English, either as regarding its History or its Literature. This consideration, as well as the hope that not only those who devote themselves to the Violoncello, either as professors or amateurs, may be interested in its History, but also the general musical public who delight in listening to its deeply pathetic tones as produced by the great masters of it, has induced me to attempt the translation of Mr. Wasielewski’s interesting work. We love to know and often take pains to enquire into the history of any favourite picture, to learn something of the artist’s life, the circumstances under which he painted it, and often the origin of its conception. I therefore hope that the story of the Violoncello will be acceptable to all who love it and give their lives to the development of its many beauties and capabilities.

      The account of the Violoncello’s forerunner, the Viola da Gamba, cannot but be especially interesting, this instrument having been formerly cultivated in England to so great an extent. The frequent allusions which Praetorius in his “Syntagma Musicum” makes to English Gamba players, with a decided preference to their manner of playing and tuning their instruments, is a proof of how high their reputation was abroad; and if any further evidence were wanting the dictum of Mersennus that English Gambists excelled all other nations in Gamba playing, is sufficient to show that in the sixteenth and part of the seventeenth centuries they held the first rank. If for a short period we have no violoncellist of extraordinary merit to chronicle, more modern times have produced artists who will bear comparison with any of the greatest players on the Continent. Concerning these and English Gamba players I have ventured to add a few more particulars than Mr. Wasielewski has given, hoping they would prove interesting to English readers. These details have been gathered from Grove’s Dictionary, Leslie Stephen’s Nat. Biography, and various other works. For the technical portion, Mr. Niecks’s Dictionary of Musical Terms has been consulted, as well as Mendel and Dommer. I have supplemented the Violoncello Schools by others collected from Mr. Heron Allen’s Bibliography, and various sources, introducing some of the old Instruction books for the Gamba.

      I must here thank Mr. Wasielewski for his kind permission to translate his valuable work, as well as Messrs. Breitkopf and Härtel for their courteous assistance. I beg Mr. George Herbert to accept my grateful acknowledgment for his most kind help and encouragement, and Mr. Heron Allen for the interest he has taken in my work. To Mr. Arthur Hill I am indebted for much kind advice, and to Mr. Nosèda of the Strand for his courteous permission to reproduce from his oil-painting the portrait of Robert Lindley as a Frontispiece.

      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

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