The Violoncello and Its History. Wilhelm Joseph von Wasielewski

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 violuntzes14 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

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.

14

Violuntzes is synonymous with the old French instrument, violonsse. Vide Grimm’s Dictionary of the German Language.

15

The Kammerthon or chamber-pitch, as distinguished from the obsolete “Chorton” or choir-pitch, which formerly prevailed in German churches, was a tone, or even more, higher than the secular pitch.—(Tr.)

16

“Faburden,” according to Mr. Niecks.—(Tr.)

17

Concerning this, see my “History of Instrumental Music” in the Century, page 107.

18

By the word concert, Mersennus means concerted piece.