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was not effected without difficulty, to which indeed the gambists, who thought their pretended rights were thereby infringed, not a little contributed. For in a paper which appeared in 1757 in the French language, “Observations sur la Musique,” &c., it is said: “La seule basse de viole a déclaré la guerre au violoncelle qui a remporté la victoire et elle a été si complète que l’on craint maintenant que la fameuse viole, l’incomparable sicilienne ne soit vendue à quelque inventaire à un prix médiocre et que quelque luthier profane ne s’avise d’en faire une enseigne.”59

      It was not quite so bad as the last words of the announcement lead one to suppose. Even if the violoncello caused the gamba to be quite superfluous in the orchestra, the latter was cultivated as a solo instrument for some time longer, and many of the good old gambas were in course of time metamorphosed into violoncellos, and made available for further use; while the more insignificant specimens were destroyed, if they were not required for completing instrumental collections and so preserved from destruction.

      The art of violoncello playing in the first stages of its development was, as regards the method of treatment, not so much favoured as violin playing. To the latter a definite direction for imitation was early given, as soon indeed as the end of the seventeenth century, by the Roman school founded by Arcangelo Corelli, which was soon followed by the foundation of the Paduan and Piedmontese schools. Violoncello playing lacked such classical parent schools. When a few prominent artists of this instrument had brought it into greater consideration, centres were formed by distinguished masters for the study of the cello, which supplied the want of proper schools, about which we shall have more to say farther on.

      It is easy to understand how it followed that the violoncello was first valued in the land of its birth—that is, in Italy, not only as an orchestral instrument but also for solo playing. How this important branch of art was there developed we shall see in the next section.

      I.—ITALY

      Italy has the claim of priority in violoncello as well as violin playing. It was the birthplace of the violin and of the cello, and from thence emanated the artistic executive development of both instruments. The first famous Italian cellist of whom we have any notice is—

      Domenico Gabrieli, with the surname of Menghino del Violoncello, born about 1640 at Bologna, died in 1690. This artist found a sphere of work in the church of San Petronio in his native town. Then he entered the service of Cardinal Pamfili in Rome. Gabrieli was also a composer of some repute. Fétis mentions eight of his operas which were written partly for Bologna and partly for Venice. His other works consist of a “Cantata a voce sola,” in a collection of Motets, entitled “Vexillum pacis,” for alto solo and instrumental accompaniments, as well as “Baletti, gighe, correnti, e sarabande a due violini e violoncello, con basso continuo” (Op. 1). These three works, of which the last is a reprint, appeared successively in 1691, 1695, and 1703, consequently after Gabrieli’s death. He appears to have composed nothing specially for the cello.

      More remarkable as a cellist must have been Attilio Ariosti, the Dominican monk, born at Bologna in 1660. Gerber at least says of him that he was one of the most excellent violoncellists of his time. But he was also a distinguished performer on the Viola d’amore. He occupied himself chiefly, however, with opera compositions, for which the Pope granted him a dispensation from the rule of his order, as without it, being a Dominican, he was forbidden to meddle with anything connected with the theatre. In 1698 Ariosti was sent for to Berlin as Kapellmeister to the Elector of Brandenberg. Thence he went in 1716 to London, where, in the proximity of Handel, he could make no way, and therefore at last returned to his fatherland. He chose Bologna as his place of residence. Like Gabrieli, he appears to have produced no independent60 violoncello compositions.

His fellow-country man, Giovanni Battista Bononcini (Buononcini),61 famous as an able cellist, also devoted his talent by preference to the operatic stage. He was the eldest son of the choirmaster, Giov. Maria Bononcini, at the church S. Giovanni, in Monte, at Modena, and was born in 1672, or, according to Fétis, in 1667 or 1668. At first instructed in music by his father, and then perfected by Colonna at Bologna, he betook himself, at twenty-two or twenty-three years of age, to Vienna, where he found a post as cellist in the Imperial Kapelle. Here he turned to opera, which at that time was a favourite means of entertainment for the seeing and listening public, and promised more reputation and gain than all other kinds of composition.

      Fétis mentions twenty operas by Bononcini, but he doubtless wrote more. Even in his eightieth year he was occupied for the theatre in Venice. Besides, he wrote an Oratorio, “Joshua,” several orchestral pieces, masses, chamber duets, “Trattenimenti da Camera,” &c., some of which were composed before his entrance into the Vienna Hofkapelle. He also wrote “Sinfonie” for violin and violoncello as well as cello solos. Of the latter there appeared at J. Simpson’s (London) a sonata for two violoncellos in a collection of sonatas by Pasqualini, San Martino, Caporale, Spourni, and Porta. As Caporale was born in 1750 and Porta in 1758, the publication of this collection must have taken place late in the second half of the eighteenth century. The Bononcini sonata contained in it does not give a very favourable impression of this composer’s talent. The development is dry and in places very formal, even here and there somewhat incorrect. To the two figured parts are given accompanying basses, partly simple and partly contrapuntal. The interest which attaches to this composition, consisting of an Allegro, with introductory Andante, a movement marked “Grazioso,” and a “Minuet,” after which the “Grazioso” is to be repeated, rests chiefly on the light which it throws upon the technical condition of cello playing at the beginning of the eighteenth century (for doubtless the composition belongs to that period). In reference to this is to be remarked: the principal part is confined chiefly to the middle tones; the lower ones are only occasionally touched, and the compass of the higher notes reaches to the one-lined A; the thumb position does not come into use. Figure is little developed, and only modest attempts are made at playing double stoppings and chords; the notation is in tenor and bass clefs.

      It is reported that during Bononcini’s residence in Paris, between 1735-1748, he composed a Motet with cello obbligato accompaniment, for the royal band there, which last he himself played at the performance of his work in the presence of the king.

      Alessandro Scarlatti,62 the founder of the Neapolitan opera school, had given an example of this use of the violoncello about twenty-five years before in one of his cantatas. Geminiani, Corelli’s pupil, related that this cello part was performed during Scarlatti’s presence in Rome, and with his assistance on the clavier, by the famous violoncellist, Franciscello (Francischello); his playing was so beautiful that Scarlatti described it as heavenly.

      This event must have occurred in the year 1713, when Scarlatti was in Rome the last time. Consequently, Franciscello’s birth must be placed with all probability in the year 1692. He would have been twenty-one years of age when he played with the Neapolitan master.

      Gerber says that Franciscello went from Rome to Naples in 1725. That he was actually there in the year mentioned is affirmed by Quantz, who himself heard him play. Through Franciscello’s extraordinary performances the violoncello was soon so generally accepted in Italy, that the gamba had, in 1730, almost entirely disappeared from the Italian orchestras.

      In the year 1730, Franciscello was summoned to Vienna as Imperial chamber musician, a proof that his name had already penetrated beyond his country. Franz Benda, afterwards celebrated as a violinist, and founder of the Berlin violin school, heard him in the Austrian capital. Franciscello’s manner of playing so impressed him that he took him from that time as his model.

      Franciscello remained, it appears, ten years in Vienna. If a notice in the “Musical Almanack for Germany, of the year 1782,” is to be credited, he had already been a member of the Imperial Court and Chamber Music Society in 1766, which is by no means beyond the bounds of possibility, though not very probable. We hold then to the assumption that he was born in 1692 so that, in 1766, he would be already seventy-four years old. It is not known where Franciscello closed his life. Tradition only says that at an advanced age he resided in Genoa,

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