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 Bass viols. The terms Viola and Violin,[1] were at that time
consequently synonymous. From the foregoing remarks it will be perceived
that it is a question not of one kind, but of a whole family of stringed
instruments. Descriptions and illustrations of them are found in the
following music-authors of the sixteenth century.
SEBASTIAN VIRDUNG: “Musica getutscht,” 1511; HANS JUDENKÜNIG: “Ain
schöne kunstliche Vnderwaisung,” u.s.w., 1523; MARTIN AGRICOLA: “Musica
instrumentalis deutsch,” 1528; HANS GERLE: “Musica Teusch” (Teutsch),
1532; OTTOMAR LUSCINIUS: (Nachtgall), “Musurgia seu praxis Musicæ,”
1536; and GANASSI DEL FONTEGO: “Regola Rubertina,” 1542. Agricola’s and
Gerle’s works appeared in various editions. The work of the former, as
well as Luscinius’ “Musurgia,” are partly reproductions of Virdung’s
“Musica getutscht.”
[Illustration]
According to the descriptions of the above-named authors, violas or
violins were of two kinds.[2] Some of them had no bridge, others, on
the contrary, were provided with one. For the object before us the last
only claim our consideration, of which, as well as of the bridgeless
violins, there were four different examples. The alto and the tenor
were the same size, but of different methods of tuning. The so-called
violas (fiddles) were provided with six strings which were called, like
the six lute chords, Great Bumhardt (Bombarte), middle ditto (tenor);
small ditto (counter-tenor); middle string (great mean); vocal string
(small mean); and quint string (treble). The “Great Bumhardt” was left
out in those instruments provided with five strings only. In Italy the
six strings were called: Basso, Bordone, Tenore, Mezzanella or Mezzana,
Sottanella or Sotana, and Canto. In France, according to Mersennus:
Sixiesme, Cinquiesme, Quatriesme, Troisiesme, Seconde, and Chanterelle.
The same author gives for the violas the names: “Dessus,” “Haut Contre,”
“Taille,” and “Basse Contre.”
In Judenkünig’s and Hans Gerle’s works are found the accompanying
illustrations of stringed instruments provided with a bridge. Their
identity is unmistakable, though they differ from each other in many
peculiarities of form. Both instruments represent the so-called “big
fiddle”[3] or “Basso di Viola.” The tuning was that of the lute, which,
as an older stringed instrument, served in this respect as its model.
Only in regard to the pitch did any difference exist. Judenkünig makes
it thus:--
[Illustration]