The Violoncello and Its History E-Book

Wilhelm Joseph von Wasielewski

• Herausgeber: BertaBooks
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2017

Beschreibung

The Violoncello and Its History by Wilhelm Joseph von Wasielewski."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.”"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.”

Leseprobe

THE VIOLONCELLO AND ITS HISTORY

Illustrated

Wilhelm Joseph von Wasielewski

Copyright © 2017Wilhelm Joseph von Wasielewski

Amazing Classics

All rights reserved.

The Violoncello And its History

First published in 1894.

The VioloncelloAnd its History

RENDERED INTO ENGLISHby  Isobella S. E. Stigand

WITH ILLUSTRATIONS, MUSICAL EXAMPLESANDPortrait of Robert Lindley 

The Violoncello And its History.

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.

V. WASIELEWSKI.

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.

THE TRANSLATOR.

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.”

The capability of tension of the Quint string was consequently the guide for the pitch in tuning the lute—beyond this there was as yet no normal pitch—and in stringed instruments it was in every case so maintained. In playing with wind instruments the stringed instruments had, therefore, to adapt the pitch to them.

The “great violins” were, in the first half of the sixteenth century at least, according to all appearance played in two ways. From the drawing in Judenkünig’s treatise, a mode of handling is seen which requires no further explanation. That the handling of the “great violin” represented by Judenkünig without any explanation is treated of as not exceptional appears also from the accompanying vignette of another publication of that period.

The bass viol performing with the two lutists represents the same position and manner of playing as the woodcut in Judenkünig’s treatise, with the sole difference that he is holding his instrument in the left hand, whereas the peg-box of the instrument, bent sharply backwards, of Judenkünig’s player rests on his shoulder. It is very evident that in both cases scarcely more could be executed than the simplest bass accompaniment. More, however, was eventually to be produced according to the treatment of the “great violin” prescribed by Gerle. He says regarding it: “When you have according to my instructions ‘beschriben’ (noted),[4] tuned and drawn up the violin, and wish to begin playing, proceed thus: Take the neck of the instrument in the left hand and the bow in the right, sit down and press the viola between the legs, that you may not strike it with the bow, and take care when you play that you draw the bow directly and evenly over the strings neither too far from nor too near the bridge[5] on which the strings lie, and that you do not draw the bow over two strings at once, but only over that which is placed under the figuring in the Tablature, and this must be especially attended to.”

It appears, according to Gerle’s instructions, that the instrument of which he speaks was a so-called “Knee violin”—in Italian, “Viola da gamba.” It seems, however, that in the sixteenth century this description was not in common use. Hans Gerle, a native of Nuremberg, born about 1500, had already received important consideration during the first twenty years of the sixteenth century, not only as a skilful performer, but also as a maker of lutes and viols. Yet the making of these instruments, and especially of viols, had already been carried on at a much earlier period by others. The oldest fiddle or viola maker of whom we have any mention is a certain Kerlino, who, according to Fétis’s account, lived and worked in Brescia. It is most probable that he was a German, or at least of German extraction, for the name Kerl, in every kind of variation, both as a common and individual or family name, had been constantly in use among the German races. In the German dictionary[6] of the Brothers Grimm are indicated the various forms of the name “Kerl”: Kerle, formerly Kärle; Kerls, Kerles, Kerlis, Kerli, Kerlin, Kerel, Kaerl, Kerdel, and Kirl. They are of German origin, and are derived from middle or low German, whereas the Anglo-Saxon equivalents are “Carl,” or “Ceorl.”

Originally the word “Kerl” (kerle), according to Grimm, was synonymous with “Mann” (man), and also with Ehemann (husband). But it was also used as a family or tribal name, as is proved from the names Jacob de Kerle (sixteenth century), Joh. Kaspar von Kerll (also written Kerl, Kherl, Cherle), born 1628, and Vitus Kerle (in the eighteenth century).[7]

Another form of “Kerl,” Kerlin, was, according to Grimm, used in the sixteenth and seventeenth centuries. Who can doubt then that the Brescian instrument maker Kerlino was of German origin?[8] He was, evidently, originally called Kerl or Kerlin, to which name was added by the Italians either the diminutive syllable “ino” or the vowel “o.” It cannot be of Italian origin, for the Italian has no “k.”

Fétis informs us that Kerlino must be considered as the founder of the school of Brescian viola makers which, as the oldest in Italy from the middle of the sixteenth century, attained such a great reputation, through Gaspar da Salò and his reputed pupil, Giov. Paolo Maggini. If what appears so extremely probable has any real foundation, to a German, or, at least, to a man of German extraction, must be justly conceded the merit of having, in a measure, been the originator of the art of Italian stringed instrument making which later on developed to the highest point.

Further, we learn from Fétis that in the year 1804 a Parisian violin maker, named Koliker, was in possession of a violin which had been previously described by the French writer on music, de la Borde, containing the inscription

“Joan. Kerlino, ann. 1449,”

and which originally had been a “Viola da braccio.” Doubtless this remarkable instrument exists at the present time. Fétis, who saw it himself, describes its quality of tone as “agreeably soft and faintly subdued.” Among the composers who wrote for the viola, we must mention Giov. Battista Bonometti, born at Bergamo about the end of the sixteenth century. In 1615 he caused to be published in Vienna a collection of trios for two violas and a bass.

After Kerlino there appeared in North Italy as noted lute and viola makers the monk Pietro Dardelli, in Mantua about 1500; Gaspard Duiffopruggar, in Bologna, 1510; Venturi Linarolli (Linelli), in Venice, 1520; Peregrino Zanetto, in Brescia in 1530; and Morglato Morella, in Venice, 1550. Amongst these G. Duiffopruggar is evidently of German birth,[9] and remarkable as having, as far as we can see, made the first violins.

This artist was in 1515 summoned to France by King Francis I.; he at first lived in Paris and then at Lyons. He made some excellent Bass viols (Gambas), of which two fine specimens are extant in France. A similar bass viol was represented by Raphael in his painting of St. Cecilia. This splendid picture, in the Pinacothek at Bologna, existed in 1515.

After Duiffopruggar, Andreas Amati (1520 to about 1580), the founder of the Cremona school, distinguished himself in the making of violas (as well as violins). His instruments obtained such a great reputation that Charles IX. of France, an enthusiastic amateur of music, had twenty-four violins, six tenors, and eight basses made by him. Amongst the latter there were several bass viols, like the viola da gamba. The instruments made for Charles IX. by Andrea Amati were every one of them destroyed during the French Revolution of 1792.[10]

Contemporaneously with Andreas Amati the manufacture of stringed instruments was vigorously carried on by Gaspard da Salò, in Brescia.

In Germany, from the second half of the sixteenth century, Lauxmin Possen, in 1550, at Schongau, subsequently instrument maker for the Hofkapelle at Munich; Joh. Kohl, who at the same time worked at Munich and in 1599 was appointed Court instrument maker there, and also Joachim Tielke were successively celebrated. The latter lived, as Gerber informs us, at Hamburg from about 1660 to 1730, and even made lutes of real ivory and ebony, the necks of which were inlaid with gold and silver and mother-of-pearl, but one especially with nine pegs of the most beautiful tortoiseshell. Tielke, however, made also violins and excellent gambas. One of these, a costly instrument which was formerly in the possession of the Elector Joh. Wilhelm of the Palatinate,[11] was brought from Mannheim to the Duke of Maxburg’s Museum at Munich, and thence into the Royal Bavarian National Museum, where it is preserved as a treasure of rare value. The peg-box, the fingerboard, the tail-piece, the sides, and the back are all decorated with designs of flowers, foliage, and tendrils, as well as symbolical and allegorical representations taken from mythology, the subjects representing for the most part love and music. These decorations and designs are inlaid work in tortoiseshell, ivory, ebony, mother-of-pearl and silver.[12]

Another valuable specimen of a gamba made by Tielke in the year 1701, which belonged to the famous cello virtuoso, F. Servais, has been described and represented by A. J. Hipkins, of Edinburgh, in his lately published work, “Musical Instruments: Historic, Rare and Unique.”[13]

During the second half of the sixteenth century there must have been a considerable multiplication of the different kinds of violas then in use, and especially of the bass viol, for Michael Prätorius mentions in his “Syntagma musicum,” which appeared in 1614-1620, the following examples:

1. Very large Bass Viol with four strings (corresponding to the modern Contrabasso).

2. Great Bass Viol de Gamba in three different tunings, with five and also six strings (also like the Contrabasso).

3. Small Bass Viol de Gamba, five different examples with six, four, and three strings (answering in tone, in some measure, to the modern Violoncello).

4. Tenor and Alto Viol de Gamba, in two different pitches, with six, five, four, and three strings (answering partly to the Violoncello and partly to the modern Tenor).

5. Cant Viol de Gamba (Violetta piccola), four different kinds with six, five, four, and three strings (the tone also partly answering to the Tenor and partly to the Violin).

6. Viol Bastarda, in five different pitches, with six strings (the tone corresponding to that of the Cello).

7. Viola de Braccio, four different examples, with five and four strings (corresponding in tone partly to the Violoncello and partly to that of the Tenor).

Moreover, Prätorius mentions, under the heading “Viole de Braccio Viols,” the “Discant Viol” (our modern Violin), the small “Discant Viol” (tuned a fourth higher than our Violin), and two “very small Viols with three strings,” of which the lowest string of the first is a ninth and of the second an octave higher than the G String of the Violin.

Of the multitude of these different kinds of Viols then in use, which later on by manifold improvements were gradually reduced to a smaller number, until they resulted in the modern Violin and Tenor, as well as the Violoncello and Contrabasso, we must keep in view, for the object of the present work, the “Viola da Gamba” only, which must be regarded as the precursor of the violoncello. Prätorius gives a sketch (annexed) of the so-named instrument.

A comparison of these gambas with the sketches of viols by Judenkünig and Gerle shows what substantial alterations the stringed instrument in question underwent in the course of the second half of the sixteenth century. The neck had assumed a more modern and more convenient form for the technique of the left hand and the sounding-board had acquired more elegant and attractive outlines. At the same time the sound-holes, corresponding to the curves of the belly, were turned round and placed in a position more agreeable to the eye.

Prätorius expresses himself regarding the Viola da Gamba as follows: “Violas, viols, and violuntzes[14] are of two kinds—1. Viole de gamba; 2. Viole de braccio (or de brazzio)—and the former is so called from having been held between the legs; for gamba is an Italian word and means a leg; le gambe, the legs. And since they have much larger bodies and, on account of the length of the neck, have strings of a much longer tension, they produce a mellower resonance than others, ‘di braccio,’ which are held on the arm. The two kinds are distinguished by town musicians: the viole de gamba by the name of violas: the viole ‘di braccio’ (among which Prätorius includes violins) by the name of fiddles or pollish fiddles....

“The Violes de Gamba have six strings and are tuned in fourths and in the middle a third, exactly like the six-stringed lute. Englishmen when they play them alone sometimes tune them a fourth, sometimes a fifth lower, so that the lowest strings are tuned—the bass to D, the tenor and alto to A, and the canto to E. On other occasions each one (reckoning by the chamber-pitch)[15] a fifth lower—as, for example, the bass to G G, the tenor and alto to D, the canto to A; and tuning in this manner produces much more agreeable, grander, and more majestic harmonies than when the instruments are at the usual pitch.”

What Prätorius says regarding the mode and way of English viol-tuning is supplemented by Mersennus in his “Harmonie Universelle” (1636-37). This author says: “Il faut remarquer que les Anglois ioüent ordinairement leurs pièces un ton plus bas que les Français, afin d’entendre l’harmonie plus douce et plus charmante, et conséquemment que leur sixiesme chorde à vuide fait le C sol au lieu que la nostre fait le D re sol.”

The pitch then in England was a varying one, though the series of intervals borrowed from the lute, to which the gamba like the bass viol was tuned, were those which commonly prevailed.

In other respects, Mersennus gives no more explicit directions for the handling of the Viola da Gamba than Prätorius. He does not use this name for the instrument in question, but calls it “Basse de Viole.” The French designation, “Viole de jambe,” corresponding to the Italian name, appears consequently to have been in vogue later and to have been generally little used.

Like Gerle’s “great fiddle” (Basso di Viola), the Viola da Gamba had also as a rule seven frets on the fingerboard like the lute, for fixing the tones and semitones.

The gamba was played in various ways, and used for a variety of musical purposes, as a solo instrument, as well as in orchestral performances, and as an accompaniment to singing. The way in which it was valued during the first half of the seventeenth century as an obbligato accompaniment to singing, may be seen from the preface to Heinrich Schütz’s “Historia of the joyful and victorious resurrection of our only Saviour,” and so on, published in 1623. It is there said, after Schütz has named the instruments which are to accompany the parts of the Evangelists: “But when it can be done it is better that the organ and everything else should be left out and instead of these only four Viole di Gamba (which must also be present), should be used to accompany the parts of the Evangelists.”

“It will, however, be necessary that the four viols should be thoroughly ‘practised’ with the part of the Evangelist in the following manner: The Evangelist takes his part to himself, and recites it straight through without any fixed time, just as it seems correct to him, but not holding longer on one syllable than is customary in ordinary slow and distinct speaking. The violas must not mark any particular time, but only pay attention to the words recited by the Evangelist, and to their parts written below the ‘falso-bordone’ and so doing they cannot go wrong. A viola may also ‘passegiren’ amongst the others, as is usual with the falso-bordone,[16] and this gives a good effect.”

It appears from the explanation that the gambas were used to support the harmonies of recitatives. The “passegiren” suggested by Schütz of one of the accompanying violas was nothing else than the usual improvised ornamental colorature or diminuendos used at that time and up to the eighteenth century.[17]

For solo playing gambas were used not only for the execution of monotone—viz., compositions of one part only; but also for several parts, and especially for double-stops and chords.

The oldest French gambist of whom we have any account is a certain Granier. Gerber says, concerning him, that he had been “in the service of Queen Margaret of France,” and died, about 1600, in Paris, and that he was the greatest artist of his time on the gamba.

Concerning the artistic use of violas, amongst which, as already said, gambas were included, Mersennus writes as follows: “Encore que les Violes soient capables de toutes sortes de musique, et que les exemples que j’ay donné (sic) pour le concert,[18] des violons leur puissent servir, néantmoins elles demandent des pièces, plus tristes et plus graves, et dont la mesure soit plus longue et plus tardiue; de là vient qu’elles sont plus propres pour accompagner les voix. Or l’on peut jouer toutes sortes de pièces non seulement à cinq parties, comme l’on fait ordinairement sur les Violons, mais à six, à sept, à douze et à tout autant de parties que l’on veut.”

At the beginning of the above-quoted passage it is remarked, that violas were used for every kind of music, but the use of these instruments for solo playing is not expressly mentioned. In another passage of his work Mersennus says, however, with regard to gamba playing and the French performers of his time:—

“Personne en France n’égale Maugars et Hottman, hommes très habiles dans cet art: ils excellent dans les diminutions et par leurs traits d’archet incomparables de delicatesse et de suaveté. Il n’y a rien dans l’harmonie qu’ils ne savent exprimer avec perfection, surtout lorsqu’une autre personne les accompagne sur le clavicorde. Mais le premier exécute seul et à la fois deux, trois ou plusieurs parties sur la basse de viole avec tant d’ornements et un prestesse de doigts dont il parait si peu se préoccuper, qu’on n’avait rien entendu de pareil auparavant par ceux qui jouaient de la viole ou même de tout autre instrument.....”

It is here clearly expressed that solo playing on the gamba, and notably in several parts, was much cultivated and highly appreciated.

The Maugars[19] here mentioned by Mersennus expresses himself regarding his own performances as a gamba player in his “Réponse fait a un curieux sur le sentiment de la Musique d’Italie écrite à Rome le premier Octobre, 1639,” which was published either at the end of 1639 or the beginning of 1640. After having spoken of his intercourse with the artistic family Baroni during his residence in Rome, he relates:—

“In this worthy house, at the solicitation of these gifted people, I was induced for the first time to exhibit in Rome the talent with which God had endowed me. It happened in the presence of ten or twelve of the most experienced people of Italy, who, after they had listened to me attentively, bestowed on me some eulogiums; not, however, quite ungrudgingly.

“In order to test me further the Signora Leonora (Baroni) induced me to leave my viola at her house, and begged me to return the following day. This I did, and as it was reported to me by a friend that it was said I played studied things very well, on the second occasion I gave them so many kinds of preludes and fantasias that they really granted me more appreciation than the first time. The respect, however, of these worthy people did not succeed in winning over the experts, who were somewhat over-refined and reticent to concede applause to a foreigner. It was told me they acknowledged that I played very well alone, and that they had never heard such harmonised viola playing, but they doubted if I were capable of extemporising a theme and playing variations on it. You know, sir, that in this I am not a little successful. The same words had been told me on the eve of St. Louis’ day in the French church, while I was listening to the fine music then being performed there. This determined me on the next day, excited thereto by the name of Saint Louis, as well as for the honour of the nation and the thirty-three cardinals who were present and taking part in the Mass, to ascend into the gallery. When I had been greeted with applause, I was given fifteen to twenty notes, in order to make myself heard after the third Kyrie with the accompaniment of a small organ. This subject I treated with such infinite variety that great satisfaction was shown, and the cardinals caused me to be invited to play again after the Agnus Dei.

“I considered myself very fortunate that I had been able to afford this little pleasure to so distinguished a company. I was given another somewhat more cheerful theme than the first, which I treated with so many variations and such a diversity of movements that they were extremely astonished, and immediately came to me in order to requite me with eulogiums. On account of the friendship which you cherish for me, my dear sir, I am convinced you will not accuse me of vanity in this digression. I have only made it in order that you may know that if a Frenchman desires to gain a reputation in Rome he must be well armed; and so much the more because it is thought here that we are not capable of improvising on a given theme. In fact, whoever plays an instrument deserves no extraordinary consideration, unless he shows himself equal to such a demand, especially for the viola—to play on which, by reason of its few strings and the consequent difficulty of playing in parts, is always a thankless task—it is necessary to possess some individual talent in order to be inspired by a subject and expand into beautiful inventions as well as agreeable variations. The capacity to do this requires two real and innate qualifications—viz., a lively and strong imagination and skilful execution, in order promptly to carry out one’s ideas.”[20]

The unlimited tribute of praise which Mersennus pays to the performances of Maugars, renders credible the remarkable account given by himself. Maugars’ gamba playing excited in Rome the greatest consideration, because at that time neither there nor anywhere else in Italy was there any prominent artist for that instrument. “As regards viola playing, Maugars declares there is no one in Italy who is distinguished for it, and in Rome it is very little cultivated. This has greatly astonished me, as formerly they had a certain Horace of Parma who performed wonderfully on this instrument, and left behind him some excellent compositions, which some of our musicians cleverly made use of for other instruments besides those for which they were composed. The father of the great Italian, Ferabosco, was the first to make them known to the English, who from that time have excelled all other nations.”

From the last words it is to be inferred that gamba playing in England was much in vogue at the time of Maugars. The Ferabosco (Ferrabosco)—with the christian name of Alfonso—mentioned by him, who first made the English acquainted with this art, can be no other than the composer of that name referred to by Fétis as born in Italy about 1515. He settled in London about 1540, and about the year 1587 appears to have been in the service, as “gentilumo,” of the Duke of Savoy.[21]

Amongst English gambists of distinction must be named Thomas Robinson, Tobias Hume, William Brade, and John Jenkins. Probably they were all pupils of the elder Ferabosco.

Concerning Thomas Robinson, who was born in the second half of the sixteenth century, and lived and worked in the beginning of the seventeenth in London, nothing further is known than that he published a curious work under the title, “The Schoole of Musicke: the perfect method of true fingering the Lute, Pandora, Orpharion, and Viol da gamba. London, 1603.”

His contemporary, Tobias Hume, was an officer in the English army, and spent much of his time in Sweden. He was reputed one of the cleverest gambists of that period; he caused to be published, in 1605, a work with the following title: “The first part of Ayres, French, Pollish, and others together, some in Tabliture and some in Pricke song. With Pauines, Galliards, and Almaines for the Viole di gamba, and other Musicall Conceites for two Basse-viols, expressing five partes, with pleasant Reportes one from the other; and also for two Leero-Viols, and also for the Leero-Viole with two Treble Viols, or two with one Treble. Lastly, for the Leero-Viole to play alone; and some Songes to bee sung to the Viole with the Lute, or better with the Viole alone. Also an Invention for two to play upon one Viole. Composed by Tobias Hume, gentleman. Printed by John Windet Loud, dwelling at the sign of the Cross Keyes, at Powles Wharfe, 1605.” It is evident that the composition of arrangements for two instruments, which might also be played on one only, was no invention of the Salzburg violinist, Joh. Hein. Biber.[22] In 1607 he published another work, under the title “Captain Hume’s Poeticall Musicke, principally made for two basse viols yet so contrived that it may be plaied eight severall waies upon sundry instruments with much facilitie. London.” This work, of which the British Museum possesses a copy, was dedicated to Anne of Denmark. He was received into the Charterhouse as a poor brother in 1629, and known as “Captain Hume.” His mind seems to have given way, and he died there on April 16, 1645.

William Brade flourished about 1615, and spent much of his life out of England. He was appointed violist to the Duke of Holstein-Gottorp and of the city of Hamburg at the beginning of the seventeenth century. In 1619 he seems to have been Capellmeister to the Margrave of Brandenburg and went subsequently to Berlin. He was esteemed a good performer on the gamba, and published in 1609, 1614, and 1621 a number of Paduans or Pavans, Gaillards, Canzonets, Volts, Courantes, in five and six parts (Berlin, 1621). A great confusion exists regarding the bibliography of his works, authorities differ as to their titles. They are of unusual interest, as containing many English airs, some of which are mentioned by Shakespeare. He is said to have died at Frankfort in 1647.

John Jenkins, born at Maidstone in 1592, was one of the most celebrated composers of music for viols. In early life he made choice of music as a profession, and was appointed musician in ordinary to Charles I. He lived in the family of Sir Hamon l’Estrange and instructed his sons in music. In 1660 he gave lessons to the sons of Lord North at a salary of £1 a quarter! Roger North in his autobiography calls him, “that eminent master of his time, Mr. Jenkins, not conceited nor morose, but much a gentleman.” He was appointed musician to Charles II., and spent the last years of his life with Sir Philip Wodehouse, at Kimberley, in Norfolk, where he died on October 27, 1678. He had for his time extraordinary capacity on the lute, viol, and several bowed instruments, and wrote a great number of compositions for viols, which were not printed; but in 1660 he published “Twelve Sonatas for two violins and a bass, with a thorough-bass for the organ or theorbo” (London, 1660), the first of the kind produced by an Englishman. Indeed he is credited with having been the earliest English composer of instrumental music. Most of his compositions he called Rants or Fancies. He also wrote music for “Theophila, or Love’s Sacrifice; a Divine Poem, by Edward Benlowes, Esq., several parts thereof set to fit Aires by Mr. Jenkins” (London, 1652). Many of his MSS. exist at Christchurch, Oxford. Hawkins reports that it was said of him, “he was a little man, but had a great soul.”

Thomas Simpson is another Englishman who stands out conspicuously as a violist and gamba player; in 1615 he was appointed violist in the service of the Prince of Holstein-Schaumberg. He published: Opusculum, Neuer Pavanen, Gaillards, Couranten und Volts (Frankfurt, 1610); besides Pavanen, Volts und Gaillards (Frankfurt, 1611), and a “Tafel-Consort,” containing all kinds of cheerful songes for four Instruments and a Thorough-Bass (Hamburg, 1621).

John Cooper, born about 1570, was a most distinguished performer on, and good composer for the Viol da Gamba. In his youth he travelled in Italy, and returned with the Italianised name of Coperario. He was master to the children of James I., who was himself not only very musical, but had an excellent judgment on music. He is said to have played eight different instruments, amongst them especially well the harp. Two of Cooper’s pupils were the celebrated musicians, William and Henry Lawes. The elder, William, besides his other numerous compositions, wrote his “Great Consort,” consisting of six Suites for two treble viols, two theorbos, and two bass-viols. Charles I. was also Cooper’s pupil and played the gamba well, since he was able to perform the organ fantasias of his master on that instrument. Cooper published a great number of compositions, and among them were many for the Gamba. He died during the Protectorate.

By far the most eminent English gamba player was Christopher Sympson[23] (or Simpson), who was born at the beginning of the seventeenth century, and died in London between 1667 and 1670. He was a follower of Charles I., and served as a soldier in the army commanded by the Duke of Newcastle against the Parliament. After the defeat of the Royalists, Sir Rob. Bolles, an important adherent of this party, granted him a refuge in his house and entrusted to him the education of his son, John Bolles, who was noted as a very clever musical dilettante and player on the gamba; he died in Rome, 1676, where his mortal remains were laid in the Pantheon. Christopher Sympson is the author of several noteworthy instruction books on music, of which we shall mention only those relating to the viol da gamba. The first of them has the title, “The Division-violist, or the Introduction to the playing upon a ground. Divided in two parts—the first, directing the hands, with other preparative instructions; the second, laying open the manner and method of playing, or composing division to a ground. London: John Playford. 1659.”[24] The title of the second of Sympson’s works referred to for the gamba is “A brief Introduction to the Skill of Music. In two books. The first contains the grounds and rules of music. The second, instructions for the viol and also for the treble violin.[25] The third edition enlarged. To which is added a third book, entituled ‘The Art of Descant or Composing Music in Parts,’ by Dr. Thom. Campion,[26] with annotations thereon by Mr. Ch. Simpson. London, 1660.”

Thomas Brewer was also a celebrated performer on the gamba, who was born in 1611. He was admitted to Christ’s Hospital at three years of age, and learnt the viol from his music master. He composed various fantasias for his favourite instrument, besides airs, catches, rounds, as well as Pavins, Courantes, &c., for which kind of composition he seems to have been noted.

The English gambists of the first half of the seventeenth century must then have had some considerable reputation abroad, for the Frenchman, André Maugars, already mentioned, went about 1620 to London, lived there for nearly four years, and perfected himself after the models of the best gamba players. He does not seem to have had pupils. But his compatriot and rival Hottmann[27] (or Hotteman) not only taught, but distinguished himself especially by some charming compositions. One of his most noted pupils was Marais (Marin), born in Paris on the 31st of March, 1656. At first a choirboy in the Sainte Chapelle, he educated himself further under the direction of Hotteman, and then under Sainte-Colombe, another excellent Parisian gamba player at that time. Lully gave him instructions in composition. In 1685 Marais became solo gambist at the Court Chamber Music Concerts, which position he held until 1725. He died August 15, 1728.

Besides Sainte-Colombe there were at that time two able French gamba players—namely, Desmarets and Baisson. Marais, however, excelled them in artistic execution. He added to the six strings of the instrument tuned in the accepted manner—

also a seventh, the A of the “contra octave.”[28] This enabled him to surpass in harmonised playing all his predecessors and contemporaries. He was the first who caused the lowest strings of the gamba to be cased in metal wire so as to give them greater tension and resonance, a step in advance which was soon adopted for the two lower strings of the violoncello. Besides some operas, Marais was the author of a considerable number of gamba compositions which appeared in five parts. The fifth of them, for one and two gambas with a bass, was printed in 1705.

Out of his nineteen children, three sons and a daughter devoted themselves to the study of the gamba. Amongst them the most distinguished for his performances was

Roland Marais. In the year 1725 he succeeded his father as solo gambist at the Royal Chamber Music Concerts, the prospect of which had been assured to him some years previously. Quantz, who heard him in 1726, reported him as a very skilful player. He published, in 1711, a “Nouvelle méthode de musique,” and in the years 1735 and 1738 two volumes of gamba pieces with figured bass.

The Sainte-Colombe mentioned above had, besides Marais, two noteworthy pupils, Rousseau and Hervelois. Jean Rousseau perfected himself as a distinguished gamba player, and was actively engaged in Paris during the second half of the seventeenth century. He also made himself more widely known by the production of two “livres de pièces de viole,” as well as a gamba school, “Traité de la viole.” The latter work appeared in Paris in 1687.

Caix de Hervelois, born about 1670, became, under the direction of Sainte-Colombe, an excellent player, and after further study entered the service of the Duke of Orleans. In Amsterdam he had two books of his compositions published: “Pièces pour la basse viole avec la basse continue.”

Another French gambist of distinction in the seventeenth century was Antoine Forqueray. He was born in 1671 in Paris, and was one of the performers at the chamber music Concerts of Louis XIV. Forqueray received instruction from his father. At the age of five years he already excited the astonishment of the king by his performances, who called him “his little wonder.” In the year 1745, on June 28, he died at Nantes, whither he had retired upon his pension.

His son, Jean Baptiste Antoine, born on April 3, 1700, in Paris, was esteemed as the most able French gamba player of his time. He also at five years of age was heard with such favourable result before Louis XIV. that he later on became a member of the royal music society. He again had a son, whose christian name was Jean Baptiste, born about 1728, who was also a gambist and published several books of compositions for his instrument. He does not seem, however, to have made himself conspicuous as a performer.

Gerber mentions in his musical Lexicon a Parisian gambist of the eighteenth century of the name of Forcroix, or Forcroy, “whose delightful playing Quantz, who was in Paris in 1726, admired.” Possibly this artist may be identified as the A. Forqueray mentioned above.