father had brought them on so well in music that with their two brothers they had given at Vienna, Prague, Leipsic, Wittenberg, and other places such evident proofs of their talent as to have excited universal admiration, for people thought they heard heavenly rather than earthly music.”
Here also must be mentioned a royal personage—namely, the Elector Maximilian Joseph, born March 28, 1728; died December 30, 1777. He played the violin and the cello, but was especially an excellent gambist. Burney, who heard him in 1772, says that he needed not to be a great prince in order to discover that his skill, his rendering of adagio, and his accuracy in time were perfect. Maximilian also composed. His teacher for composition was Bernasconi.
Finally, Carl Friedrich Abel must also be mentioned as a gambist of the first rank. He was born at Köthen, 1725, where his father held the appointment of gamba player in the Hofkapelle. “The young Abel,” says Gerber, “seems to have had instruction, as Thomas’ scholar, at Leipsic, from the great Seb. Bach; then came in 1748 to the Hofkapelle at Dresden, where, during the more flourishing period of Hasse’s life, and for nearly ten years, he found time enough to form his taste.[36] His small salary and a split with the director Hasse caused him to leave that Court, according to Burney, in 1758, with three thalers in his purse. In order to increase this capital, he went on foot to Leipsic, laden with the MS. of six symphonies, where, through the generosity of the publisher of these symphonies, he became six ducats richer. He now went from one German court to another, and, by repeated good receptions and applause, he regained not a little confidence. Finally he turned to London, in 1759, where he found a great patron in the lately deceased Duke of York, who supported him until the formation of the Queen’s Band, to which he was appointed in the capacity of chamber musician, receiving an annual payment of £300.
“This salary was considerably increased by the music dealers giving him a stipulated sum of £150 for six symphonies. His duty at the Queen’s Concerts was generally to play the tenor on his gamba, and now and then, in the absence of Bach,[37] to accompany on the piano. For some years he lived in Paris during the summer, where he found in the house of a fermier-général not only a friendly reception, but also what he liked better than all, the best of wine. On his first appearance in London, his discretion, his taste, and his pathetic manner of expression in the rendering of his adagios so captivated the young virtuosi that they very soon followed his school, with less expenditure of notes and with more successful result. His taste and knowledge especially made him the umpire on all contested points, so that he was looked upon in all difficult cases as an infallible oracle. With his dexterity on the gamba he also possessed the talent, like many other older virtuosi, of exciting the astonishment and admiration of his hearers by free fantasias and learned modulations. And although he had considerably less power on the harpsichord, yet he knew how to modulate in arpeggio with consummate skill and in endless changes.”
“Abel remained in London until 1782, in which year the desire of once more seeing his brother and his country induced him to return to Germany. It was on this journey that he displayed, both at Berlin and Ludwigslust, the greatness of his talent, his wonderful power of expression, the richness of his tones, and his stirring execution on the gamba. The present king, then Crown Prince of Prussia, before whom he performed in Berlin, presented him with a costly casket and 100 louis d’or. A few years later he stayed some time in Paris on account of the disordered condition of his finances. But he returned again to London and died there on June 22, 1787, after a three days’ lethargy, without the least suffering. Shortly before his death he played a recently finished solo which astonished his warmest admirers. His cadences especially were excellent.”
It is remarkable that, amongst Abel’s numberless published works, which consist partly of concertos and orchestral pieces and partly of chamber music, there are no compositions for the gamba. This must be explained by the fact that the zenith of gamba-playing had been reached, and the art was on its decline, at the beginning of the second half of the eighteenth century. It went out of fashion, and with it also gamba music, and in its place only violoncello compositions were in request. In many ways this change was as much lamented as was the case at the banishment of the lute to cabinets of curiosities or the lumber room.
After Abel there were no German gambists of conspicuous importance to mention. From the middle of the last century the gamba was more and more neglected, in consequence of the violoncello being brought forward, and the younger geniuses devoted themselves by preference to this instrument, which approached more nearly to the violin, then at the summit of all instrumental music.
Amongst stringed instruments, which had shared the same fate as the gamba, belong the Viola bastarda and the Viola di Bordone (English, Barytone). The first instrument was in shape somewhat thicker than the gamba and was provided with six or seven strings.[38] In order to increase the resonance, as many steel strings were introduced under the fingerboard and bridge, which were tuned to the same pitch as those above, like the Viola d’amore. Another variety of the gamba was the barytone, which was cultivated in the last century.
In Leopold Mozart’s violin tutor is found the following description of it: “This instrument has from six to seven strings like the gamba. The neck is very broad and the back part hollow and open, down which nine or ten brass or steel strings are run beneath, which are touched and pinched by the thumb; so that, at the same time as the principal part is played with the bow on the upper cat-gut strings, the thumb by striking the strings stretched under the neck of the instrument can play the bass; and therefore the music must be arranged specially for it. Moreover, it is a most agreeable instrument.” From this description it is evident that the barytone was a bass instrument resembling the Viola d’amore. The barytone in its time was much liked in Austria. Several Austrian composers, as Cybler, Weigl, and Pichl, and at their head Joseph Haydn, composed for this instrument. The latter was incited to it by his benefactor, the Prince Esterhazy, who looked with particular favour on the barytone. Haydn wrote no less than 175 pieces for it.[39] The tuning of the strings on the fingerboard of the barytone was on the same principle as that of the gamba.
The Viennese, Anton Lidl, who was born about 1740, was much esteemed as a most distinguished barytone virtuoso. Gerber says of him, “that he rendered still more perfect his instrument, which had been invented about the year 1700. It is in shape like the Viola da gamba, except that it has brass strings at the back, which are played at the same time with the thumb. These lower strings he increased to twenty-seven and the semitones were played with them.” He must have been an extraordinary artist on this instrument. The author of the Almanack of 1782 says: “His performance united the most charming sweetness to German vigour, the most surprising syncopations with the most harmonious melody.” According to Burney, Lidl was no longer living in 1789. Up to 1783 he had published, in Amsterdam and Paris, Duets, Quartets, and Quintets—altogether seven works. His compositions for the gamba were not published.
The barytone disappeared with the gamba, in the course of the second half of the last century, from musical practice.
The same change took place in Italy about the same time or somewhat earlier, when a lively interest in the violoncello was aroused there by Franciscello, of whom we shall speak farther on. It appears, indeed, that in the land of the arts, as the quotations already given from Maugars’ papers inform us, no predilection had prevailed for the higher study of the gamba, either for the reason that among stringed instruments the cultivation of the violin—which from the seventeenth century had decidedly usurped the first place in the study of music—was chiefly pursued, or that the Italian composers did not specially concern themselves with the gamba. As a matter of fact, so far as can be perceived, with the exception of Tartini, no noteworthy Italian composer considered it worth his while to bring it into the field of creative activity. Besides Ferabosco, of whom mention has already been made, there are amongst famous Italian bass violin players and gambists to be named: Allessandro Romano with the cognomen “della Viola,” and Teobaldi Gatti. Romano was born about 1530 at Rome, and in 1560 was a singer in the Papal (Sixtine) Chapel. He later became a monk of the monastery of Mount Olivet, under the name of Giulio Cesare. But he did not find his sojourn there agreeable, for he was at strife and contention with one or other of the monks of his order through incompatibility of temper. His compositions, published between the years 1572–1579, consist of “Canzone alla Napolitana” for five voices and a book of Motets in five parts.