[53] Mattheson expresses himself about this in his original manner as
follows: “The growling Violone (French, Basse de Violon; German, Grosse
Bass Geige) is quite twice the size of the former, sometimes even more,
consequently the strings, in thickness and length, are in proportion.
They are of sixteen-feet tone, and most useful on the stage as a solid
foundation for polyphonous pieces, such as choruses and similar things,
as well as for airs and recitatives; its deep humming tone penetrates
farther than the clavier and other bass instruments. It must, however,
be heavy work if one has to practise this monster for three or four
hours unceasingly.”
[54] Concerning this, I refer to my work “The Violin and its Masters,”
second edition, 1883. (Breitkopf and Härtel, Leipsic.)
[55] Michael Corrette in the preface to his Violoncello Tutor refers
to a stringed instrument in general use before the introduction of the
violoncello into France with the tuning B, F, C, G, which he calls Basse
de Violon. The instrument must be identical with the one described by
Mattheson as Basse de Violon.
[56] Fürstenau: “On the History of Music and the Theatre at the Court of
the Princes of Saxony.”
[57] Hiller, _Weekly News_ of May 21, 1770.
[58] Mattheson says, in his “Neu eröffneten Orchestre,” that this
instrument (Basse de Viole) was singularly prized and cultivated.
[59] H. Leblanc published a “Défense de la Basse de Viole contre les
entreprises du Violon et les prétentions du Violoncel.” Amsterdam,
1740.--(_Tr._)