The Violoncello And Its History
Wilhelm Joseph von Wasielewski
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The Violoncello And its History.
The Violoncello And its History.
The Violoncello And its History BY Wilh. Jos. v. Wasielewski RENDERED INTO ENGLISH BY Isobella S. E. Stigand WITH ILLUSTRATIONS, MUSICAL EXAMPLES AND Portrait of Robert Lindley ( From the Original Oil Painting ).   London: NOVELLO AND COMPANY, Limited AND NOVELLO, EWER AND CO., NEW YORK. 1894. ALL RIGHTS RESERVED. THIS TRANSLATION IS INSCRIBED TO My dear Sisters....
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AUTHOR’S PREFACE.
AUTHOR’S PREFACE.
In the following pages I present to the musical world the History of the Violoncello and Violoncello playing. I have preceded it by the History of the Viola da Gamba, for the reason that this instrument must be considered the precursor of the Violoncello. For my work I have made use of the musical dictionaries extant, especially Gerber’s old and new musical Lexicon as well as Fétis’s “ Biographie Universelle des Musiciens .” What has been borrowed from other works will be indicated in the course
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TRANSLATOR’S PREFACE.
TRANSLATOR’S PREFACE.
It may be that we are not a musical people, but if so the encouragement and appreciation which the sister Art to painting has of late years received in England is not a proof of the truth of the assertion frequently made. Our Concert-rooms are always crowded to overflowing; foreign artists think it worth while to come year by year to England; schools of music are multiplying, and eagerly attended by amateurs as well as professionals; and I think it may now be taken for granted that a musical edu
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Viol da Gamba.
Viol da Gamba.
The history of the Violoncello and Violoncello playing is connected in its early stages up to a certain point with that of the Viola da Gamba and its forerunner, “the Basso di Viola,” of the sixteenth century. This last-named instrument formed the bass in the string quartets of that time, to which also belonged, according to the Italian designation, the “Discant-Viola” or “Violetta,” as well as the “Viola d’Alta” and “di Tenore.” In Germany these instruments were called Diskant, Alto, Tenor, and
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I.—ITALY.
I.—ITALY.
Italy has the claim of priority in violoncello as well as violin playing. It was the birthplace of the violin and of the cello, and from thence emanated the artistic executive development of both instruments. The first famous Italian cellist of whom we have any notice is— Domenico Gabrieli , with the surname of Menghino del Violoncello , born about 1640 at Bologna, died in 1690. This artist found a sphere of work in the church of San Petronio in his native town. Then he entered the service of Ca
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II.—GERMANY.
II.—GERMANY.
The Violoncello had already found its place as an orchestral instrument about the year 1680 at Vienna, and in 1709, in the Dresden Royal orchestra, as we saw. Towards 1720 it had penetrated also into Northern Germany, since the band of the Duke of Holstein-Gottorp evidently possessed one. At the same period this stringed instrument must have been extensively used in other parts of Germany—otherwise Joh. Seb. Bach would scarcely have conceived the idea of composing for it his solo sonatas, which
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III.—FRANCE.
III.—FRANCE.
Amongst the first noteworthy French violoncellists the brothers Abbé must be mentioned. They were music masters of the parish church of Agen under their own names of Philipp Pierre and Pierre de Saint Sevin. As such, in conformity with the regulation of that time, they had to wear the “collet” of the Catholic priests over their dress, on account of which they were called shortly Abbé, or l’Abbé. They retained this name, with the addition of “l’Aîné” and “Cadet,” after they had given up their pos
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IV.—ITALY.
IV.—ITALY.
The most important epoch of Italian violoncello playing came to a close with Boccherini. His early withdrawal from his native land caused a loss all the more sensibly felt because there was no one of equal importance to compensate for him in the further development of the art, from the point to which he had attained both in its executive and productive aspect. This task fell principally to Germans, French, and Belgians, whilst Italy was deprived of the position of pre-eminence in regard to violo
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V.—GERMANY
V.—GERMANY
German violoncello playing had, during the second half of last century, found unusual opportunities for expansion in consequence of the demand for numberless competent artists for the various princely households, as well as for the larger towns. Amongst the cellists mentioned in the second part of this work, there were already some specially prominent personages to distinguish. The branch of art, however, to which this book is devoted first received a really important and sustained impulse throu
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VI.—FRANCE, BELGIUM, AND HOLLAND.
VI.—FRANCE, BELGIUM, AND HOLLAND.
The prominent position which the French attained in respect to Violoncello playing in the second half of the last century was maintained by them subsequently. They exercised, however, with few exceptions, no real influence in Germany after the period signalised by Romberg’s appearance. On the contrary, this master influenced in a certain way French Cello playing, as appears from a remark in Baudiot’s school, mentioned on page 104 , that Romberg had introduced the use of the fourth finger in the
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VII.—England and Scandinavia.
VII.—England and Scandinavia.
The special attention which had been devoted to the Viola da Gamba in England during the seventeenth century [134] was not paid, in similar measure, to the Violoncello. This instrument, like the Gamba, was introduced into musical circles in London by Italians. Ariosti, Bononcini, Cervetto, and Caporale—all contributed to make it familiar in the English capital and other places. But it does not appear that Violoncello playing was taken up by English artists at first with the same alacrity as it w
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VIII.—THE SLAV STATES AND HUNGARY.
VIII.—THE SLAV STATES AND HUNGARY.
The Violoncello was brought to Russia, as already pointed out (p. 67 ), by means of the Duke of Holstein-Gottorp’s private band. Joh. Adam Hiller’s Wöchentliche Nachrichten die Musikbetreffend of May 21, 1770, contains the following: “When the Duke Carl Ulrich of Holstein-Gottorp (Peter the Great’s future son-in-law) fled to the Russian Imperial Court, during the distressed condition of his country, in the year 1720, he conveyed with him the members of his small private band. It consisted of abo
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SUPPLEMENTARY.
SUPPLEMENTARY.
At p. 107 , I said that only Johann Baptist Baumgärtner’s tutor (p. 76 ) could give an explanation concerning the method practised in Germany, with regard to the fourth finger in the thumb position, during the second half of the last century. It was only after this was in the press that the title of a second German Violoncello School of that time became known to me. It is that of Kauer, who was formerly distinguished as an operetta composer in Vienna—“Concise explanation how to play the Violonce
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A.
A.
In England, the best violoncello as well as violin bow-maker was John Dodd, who lived and died at Kew; indeed, his cello bows are considered superior to his violin bows. See Ed. Heron Allen “On Violin-making, &c.”...
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B.
B.
Bartholomew Johnson. The Gentleman’s Magazine of 1814 records his death thus in the Obituary, February 14: “At Scarborough, in his 104th year, Mr. Barth. Johnson, a celebrated musical character. He possessed to the last a vigorous mind and strong retentive memory.” In the “History of Scarborough from the earliest date,” by Joseph Brogden Baker, among the biographical notices, is the following:— “ Johnson, Bartholomew. “Johnson, Barth., was born at Wykeham, near Scarborough, October 3rd, 1710. He
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C.
C.
Reinagle. A whimsical circumstance, which I cannot forbear mentioning, happened to Reinagle:— The celebrated Mr. Curran introduced himself to Reinagle and invited him to dine with some musical friends at his country house, five miles from Dublin. Reinagle, anxious to embrace the opportunity of enjoying that great man’s society, most willingly assented, upon which Curran, being in great haste, would not permit our musician to seek for any conveyance, but requested him to ride double on his horse.
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Viola da Gamba, &c.
Viola da Gamba, &c.
Gerle, Hans. — Musica Teusch, auf die Instrument der grossen vnnd kleinen Geygen, auch Lautten , &c. Nürnbergk, 1532. Danoville, Le Sieur. — L’Art de toucher le dessus et basse de Viole , &c. Paris, 1687. Ganassi del Fontego, Silvestro. —Part I. Regola Rubertina che insegna sonar la Viola d’archo tastada. Venezia, 1542. Playford, John. —Breefe Introduction to the skill of Musick for song and Viol. London, 1654. ---- Introduction to the playing on the Viol de Gambo (or Consort Vio
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Violoncello.
Violoncello.
From the middle of the Eighteenth Century up to the present time. [144] Alexander, Joseph. — Anleitung zum Violoncellspiel . Leipzig, 1802. Aubert, Pierre François Olivier. — Méthode pour le Violoncelle. Texte français et espagnol. Paris, c . 1800. Azaïs, Pierre Hyacinthe. — Méthode de Violoncelle. Paris, c. 1820 (?) Baillot, Levasseur, Catel et Baudiot. — Méthode de Violoncelle adoptée par le Conservatoire. Paris, 1805. ---- Method for the Violoncello. Translated by A. Merrick. London, 1850. Ba
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