Читать книгу The Violoncello and Its History - Wilhelm Joseph von Wasielewski - Страница 6

Violoncello

In the seventeenth century the violoncello still occupied a very subordinate and modest position; during the period mentioned, with very few exceptions, it was employed only as a bass instrument in the orchestra. At the beginning of the eighteenth century, however, there was already a great change; for Mattheson says in his “Neu eröffneten Orchestre,” which appeared in 1713:—

“The prominent Violoncello, the Bass Viol, and the Viola da Spalla are small bass fiddles (viols) similar to the larger ones, with five or six strings, on which can be played all kinds of quick things, variations and movements much more easily than on the larger machines” (Mattheson means the contra-basso).53

It is, therefore, quite conceivable that some time was necessary, before the players, who were unaccustomed to the undivided fingerboard of the cello, were sufficiently confident of a finger technique differing so completely from that of the gamba. They were at first limited to the lower part of the fingerboard, as was the case primarily with the violin.54 The position of the thumb, by means of which the higher and highest positions on the fingerboard could alone be fixed and maintained with certainty, could hardly have been known before the beginning of the eighteenth century. The violoncello at this time, as appears from Mattheson’s account just mentioned, had sometimes a set of five or even six strings like the gamba. On the five-stringed instruments the tuning was:—

The Abbé Tardieu already referred to, who played the violoncello, according to Gerber, had the same tuning on his instrument. About the third decade of the last century, those who used five-stringed instruments gave up the highest string—(the D). From that time the four-stringed instrument with the tuning C, G, D, A came very generally into use. The latter was not altogether a novelty. Prätorius mentions it in his “Syntagma Mus.” as the “Bass Viol de Braccio.”55

In Germany the use of the violoncello as an orchestral instrument ensued later than in Italy, though much sooner than in France. For although it had been introduced into the Parisian Opera in 1727, by the cellist Batistin, to be mentioned later on, it had been already in use since 1680 in the Vienna Hofkapelle. The Saxon Hofkapelle at Dresden next followed by the installation of four violoncellists. Their names are Daniel Hennig, Agostino Antonio de Rossi, Jean Baptiste José du Houbondel, and Jean Prach de Tilloy.56 As two of these players have French names, it is to be assumed that the violoncello had already found representatives in France at the beginning of the eighteenth century.

The example set by Vienna and Dresden was soon imitated also by other German Courts. The band of Duke Charles Ulrich of Holstein-Gottorp affords a case in point. As this prince, the future son-in-law of Peter the Great, found himself obliged, in 1720, to reside at the Russian Imperial Court, his private musicians followed him thither, amongst whom there was a cellist.57

As the gamba enjoyed a great amount of favour58 in Germany, the introduction of the violoncello was not effected without difficulty, to which indeed the gambists, who thought their pretended rights were thereby infringed, not a little contributed. For in a paper which appeared in 1757 in the French language, “Observations sur la Musique,” &c., it is said: “La seule basse de viole a déclaré la guerre au violoncelle qui a remporté la victoire et elle a été si complète que l’on craint maintenant que la fameuse viole, l’incomparable sicilienne ne soit vendue à quelque inventaire à un prix médiocre et que quelque luthier profane ne s’avise d’en faire une enseigne.”59

It was not quite so bad as the last words of the announcement lead one to suppose. Even if the violoncello caused the gamba to be quite superfluous in the orchestra, the latter was cultivated as a solo instrument for some time longer, and many of the good old gambas were in course of time metamorphosed into violoncellos, and made available for further use; while the more insignificant specimens were destroyed, if they were not required for completing instrumental collections and so preserved from destruction.

The art of violoncello playing in the first stages of its development was, as regards the method of treatment, not so much favoured as violin playing. To the latter a definite direction for imitation was early given, as soon indeed as the end of the seventeenth century, by the Roman school founded by Arcangelo Corelli, which was soon followed by the foundation of the Paduan and Piedmontese schools. Violoncello playing lacked such classical parent schools. When a few prominent artists of this instrument had brought it into greater consideration, centres were formed by distinguished masters for the study of the cello, which supplied the want of proper schools, about which we shall have more to say farther on.

It is easy to understand how it followed that the violoncello was first valued in the land of its birth—that is, in Italy, not only as an orchestral instrument but also for solo playing. How this important branch of art was there developed we shall see in the next section.