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.
The art of gamba playing was pursued in Germany with as great or perhaps greater zeal than in England and France. While the pursuit of music by the English and French was confined chiefly to London and Paris, there were in Germany many courts who admired and cherished with fostering care the art of music; and the result was, especially after the tumult of the thirty years’ war had subsided, a widely-spread musical life throughout the whole of the German nation.
Amongst the first German players to be mentioned is David Funk, born about 1630, in the Saxon town of Reichenbach. Gerber says of him, he was “an excellent musician and master of the violin, the viola da gamba, the angelica,[29] the clavier, and guitar”; and then goes on: “Funk was in every way a genius. His chief study, which he carried to no small degree of perfection, was that of the law. He was, besides, a wit and a poet, and was reckoned among the good German poets of that time. As a musician he was not only a virtuoso on all the above-named instruments, but he was also a composer, and won the applause of the public in a variety of styles, for the church as well as for the chamber. … How and where he had gained all these distinctions there is no account. He was first known as a composer