The Violoncello and Its History

The Violoncello and Its History
Wilhelm Joseph von Wasielewski

Wilhelm Joseph von Wasielewski

The Violoncello and Its History

RENDERED INTO ENGLISH

BY

Isobella S. E. Stigand

THIS TRANSLATION

IS INSCRIBED TO

My dear Sisters

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 - In the fifteenth and sixteenth centuries the name “Geige” violin, then in ordinary use, must not be confounded with the violin of our time. This term was not applied to the more modern instrument until later.] 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 - A more detailed account of the above stringed instruments and their precursors is contained in my work, “The Violin and its Masters,” Second Edition (Leipsic: Breitkopf and Härtel), and “History of Instrumental Music in the Sixteenth Century” (Berlin: Brachvogel and Ranft), therefore a repetition of what is there said is unnecessary.] 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 - The “big fiddle” of the sixteenth century must not be confounded with the stringed instrument of that time, of which the pitch answered to our modern Contra-basso, and in Italy was already called “Violone,” as appears from Laufranco’s “Scintille,” 1533.] 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 - The word “beschriben” refers to the letters which, for the convenience of the player, it was the custom to mark for the fingers on the fingerboard.] 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 - The artist who drew the sketches of the instrument for Gerle’s “Musica Teutsch” has left out the bridge in the “great viola.” See page 2 (#x2_x_2_i73).] 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 - See the article “Kerl.”] 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 - Also at the present time it is a family name. We need only mention G. H. Bruno Kerl, Professor of the Royal Berg Academy at Berlin.]

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 - Other authorities, however, say he was a Breton—Fétis, Casimir Colomb &c.—(Tr.)] 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 - The name Duiffopruggar doubtless came from the same source as the surname Tieffenbrucker, still existing in South Germany.] 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 - Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two were recovered.—(Tr.)]

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 - The same Prince to whom Corelli dedicated his “Concerti Grossi,” published in 1712.] 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 - Herr Obernetter, of Munich, has taken two beautiful photographs of this richly decorated instrument, which reproduce with great accuracy all its peculiarities. As far as I know they can still be purchased.]

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 - Here may be mentioned also a third magnificent gamba, that of Vincenzo Ruger, said to have been made in Cremona in 1702. It is distinguished not only for its beautiful exterior in every respect, but also by an extraordinarily sonorous and unusually fine quality of tone, which combines the resonant character of the gamba with that of the violoncello. The latter circumstance is attributed to the fact that the back, which is usually flat in the ordinary gamba, is arched in this one. This instrument, which has been lately purchased by the Prussian Government for the Berlin Museum, was formerly in the possession of Herr Paul de Wit, in Leipsic. The account of instrument making published by him contains (Vol. VI., No. 21) a description and illustration of the gamba in question.]

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).