played by an upward one on the gamba, and the reverse.
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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.
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.
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.
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.
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.
6
See the article “Kerl.”
7
Also at the presen
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.
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.
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.
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.
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.
6
See the article “Kerl.”
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.
8
Other authorities, however, say he was a Breton—Fétis, Casimir Colomb &c.—(
9
The name Duiffopruggar doubtless came from the same source as the surname Tieffenbrucker, still existing in South Germany.
10
Mr. Heron Allen in his “Violin Making, &c.,” page 74, says that two were recovered.—(
11
The same Prince to whom Corelli dedicated his “Concerti Grossi,” published in 1712.
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.
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.
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.—(
16
“Faburden,” according to Mr. Niecks.—(
17
Concerning this, see my “History of Instrumental Music” in the
18
By the word concert, Mersennus means concerted piece.
19
Maugars is called in the “Historiettes de Tellemant des Réaux,” as Fétis informs us, the “greatest fool that had ever lived.” His “Réponse faite à un curieux” (completely unprejudiced, although somewhat conceited) in no way agrees with this. It is easy to discover that Maugars was not liked by his countrymen, because he openly declared that French music was far behind the Italian. On that account he had incurred the displeasure of French artists. The Parisian musician, Corrette, in the eighteenth century, was guilty of the same offence. He had been candid enough to say to the French that the standard of French violin playing of the eighteenth century was, compared to the Italian, in a disorganised condition. In retaliation they called his pupils scornfully “les anachorètes” (“les ânes à Corette”).
20
I give this and the following quotations from Maugars’ writings, according to my translations in the monthly parts of the “History of Music,” published in the year 1878.
21
The English writers on music affirm that the well-known composer, Ferabosco, who was born at Greenwich in the second half of the sixteenth century, and who was also called Alfonso, was the son of the above Ferabosco, with which the remarks of Maugars agree. Fétis doubts the truth of the assertion made by the English writers on music. The younger Ferabosco appears also to have been a gamba player, for he published, in the year 1609, in London, “Lessons for one, two, and three viols.” He died in 1665.