The Violoncello and Its History. Wilhelm Joseph von Wasielewski

often referred to in the previous century. On account of an injured foot he was called “the lame.” Born at Piacenza about 1730 he betook himself to Paris in 1758 and appeared with great success in the “Concert Spirituel.” In 1765 he accepted an engagement offered to him by the Count of Parma.64 He remained in this position until his death, which took place in 1789. It is reported of Ferrari that he was the first Italian cellist who made use of the thumb position. If this be true, France must have been beforehand in the difficult matter of the art of fingering; for the thumb position was already known in Paris, as we have seen, before 1740, consequently at a time when Ferrari was only ten or twelve years old. But if it be acknowledged that violoncello playing was cultivated much earlier in Italy than in France, and had already advanced beyond the elemental stage before it had found representatives among the French, we must be inclined to concede to the Italians the discovery of the thumb position, and indeed to the predecessors of Ferrari. It is highly probable that Franciscello and Batistin already availed themselves of its assistance for the use of the upper parts of the fingerboard. The trick must have been brought into France by the last-named artist who, as we know, settled in Paris at the beginning of the eighteenth century.

      The proof that the thumb position was known in Paris before 1740 is established by the violoncello method of Michel Corrette in the year 1741, and which, as far as one can see, was the first work of instruction for the instrument in question. Considering the scarcity at that time of cello compositions this instruction book is the more important, as from it is to be determined with certainty the average standard to which violoncello playing had attained towards the middle of the previous century. This circumstance seems to justify our entering somewhat more fully into Corrette’s school.

      The title is: “Méthode, théoretique et pratique, pour apprendre en peu de temps, le violoncelle … dans sa perfection composée par Michel Corette. XXIV^e Ouvrage à Paris, chez l’auteur, M^e Boivin et le S^r le Clerc; à Lyon chez M. de Bretonne. Avec Privilège du Roy. MDCCXL1.”65

      After some introductory paragraphs regarding the use of the F and C clef, in notation for violoncello music, concerning the value of notes and pauses, the formation of sharps, flats, and naturals, as well as regarding the usual marks, the various measures and syncopes, Corrette treats:

      1. Of the manner of holding the violoncello; 2. Of the holding and action of the bow; 3. Of its use in the up and down strokes; 4. Of the tuning of the violoncello; 5. Of the division of the fingerboard into diatonic as well as chromatic tones; 6. Of the fingering in the lower (first) and following positions; 7. Of the way and manner of returning from the higher positions to the first; 8. Of trills and appogiaturas; 9. Of the various kinds of bow action; 10. Of double-stops and arpeggios; 11. And also of the thumb position. He also gives instruction for those who wish to go from the gamba to the violoncello, and then in conclusion gives hints for the accompaniment of singing and for instrumental solos.

      It is evident that the directions of Corrette have chiefly a mere historical importance, as the technique of the violoncello, after the appearance of his method, underwent substantial changes. His explanation concerning the finger positions of that period and the thumb position which in the higher parts of the fingerboard takes the place of a moveable nut, concerning the manipulation of the bow, and the considerations to be observed in exchanging the gamba for the violoncello have a special interest for us.

      With regard to the first of these four points, we remark that the finger position adopted by Corrette for the diatonic scale on all the strings was, in the first two positions, 1, 2, and 4; in the “third position,” 1, 2, 3, 4; and in the “fourth,” 1, 2, and 3; after the latter position the fourth finger was as a rule no longer needed, for which Corrette adduces as a reason that it is too short to be made use of in the higher positions of the fingerboard; in case however it should be necessary to use it, the use of the left arm would be impeded. In exceptional cases, says Corrette in another part of his school, the fourth finger could be used in the “fourth position,” without altering the thumb position, for the B flat and B on the A string, for the E flat on the D string, for the A flat on the G string, and for the D flat on the C string. The finger positions were then, in the first half and about the middle of the last century, somewhat different in the diatonic scale of the violoncello than they were later on. It is especially to be remarked that the E and the B were touched with the second finger upon the two lower strings, though the notes marked were far more convenient for the third finger, which very shortly took the place of the second.

      As to the exclusion of the fourth finger, when playing with the thumb position, no proof is needed to show the reason was that it gave an awkward manner of holding the left hand. The finger positions for the chromatic scale still more widely differed from the fingering employed later, as the following scale shows—

      It very nearly happened, that as early as the seventeenth century when a stringed instrument was so much desired as a standard one for the violoncello, that the violin mode of fingering was adopted for the former, which according to the foregoing remarks really was the case, with the exception of the use of the third finger. It had however been overlooked that the cello, on account of its much larger dimensions, demanded an entirely different method of fingering. The regulation of this important point, which offered peculiar difficulties, occupied cellists up to the beginning of our century. In some measure the fingering which Corrette teaches for descending intervals of a second from the higher to the lower tones is unavoidable. He gives the two following examples—

      He gave the preference to the second example.

      The almost total exclusion of the fourth finger caused a very great restriction in playing with the thumb position. But when Corrette wrote his work this limitation would hardly have been felt, as the higher parts of the fingerboard were little, and, only in exceptional cases, used by cello players and composers. Corrette mentions, as the highest tone, the one-lined B. Caporale and Pasqualini do not go beyond this note in their sonatas, already mentioned, excepting in one instance, when Caporale casually uses the two-lined C. It appears that, with many cellists, in place of the thumb the first finger was made use of in the higher positions as a support, for Corrette remarks concerning his method: “If the first finger is used instead of the thumb the fourth finger must necessarily be made use of; it is, however, on account of its shortness, really useless in the upper ‘positions.’” To beginners Corrette recommended the attempt then in vogue—but a little later combated by Leopold Mozart in his violin school66—to introduce marks on the fingerboard indicating the intervals in order to learn to play clearly in tune. For gamba players who, following the spirit of the time, gave up their instrument and turned to the violoncello, which was rapidly coming into use, this means of assistance had a certain value, accustomed as they were to the frets of the gamba fingerboard, for the finger positions of both instruments differ considerably from one another, as appears from the comparison given below by Corrette.

      Scale on the gamba.

      7. String. 6. String. 5. String. 4. String. 3. String. 2. String. 1. String.

      Scale on the Cello.

      C String. G String. D String. A String. Thumb-position.

      The figures placed under the gamba scale relate to the frets which are to be attended to by the player, while those of the cello scale are the finger positions to be used.

      The lower C, which the string itself forms on the cello, had on the gamba to be touched at the third fret; the succeeding D on the gamba was the open string, while on the cello it was to be touched with the first finger, and so on.

      The four highest tones, e, f, g, a, fell in the gamba on the 2nd, 3rd, 5th, and 7th frets, whereas, according to Corrette’s account, those in the cello required the use of the thumb position. It is plain that the gamba players who took up the violoncello had to adopt an entirely different system of fingering.

      To a certain extent the handling of the bow presented

64

In Jahn’s biography of Mozart is found the notice that Ferrari had been appointed to the Court of the Archbishop of Salzburg; at what period is not mentioned.

65

Fétis says in his “Biographie universelle des Musiciens” (Vol. II., 365): “The first edition of Corrette’s music tutor appeared in 1761.” On the title page, however, is plainly printed MDCCXL1. Fétis has inadvertently put the number L before the X instead of after.

66

The first edition of this appeared under the title: “Versuch einer Gründlichen Violinschule.”