Page:A Dictionary of Music and Musicians vol 4.djvu/317

VIOLONCELLO-PLAYING.  effective in legato and tenuto passages. The Cello affords less scope than the Violin for displaying skill in bowing, the bow being shorter than that of the Violin, though the instrument itself is very much larger: while the bowing is to some extent reversed, because in the Violin the bow points in the downward direction of the scales, i.e. towards the lowest string, while in the Cello, which is held in a reversed position, the bow points in the upward direction, towards the highest string. The rule of the old Viola da gamba players, however—to bow strictly the reverse way to the Violin, i.e. to commence the bar with an up-bow—is not applicable to the Cello.

The principal Methods for the Violoncello are those by B. Romberg, Kummer, Dotzauer, Lee, and Piatti. The Studies of Stiastny, Grützmacher, and Lee, are usually recommended. Perhaps the best known among special writers for the instrument is Goltermann, who wrote many sonatas, and concertos with alternative orchestral or pianoforte accompaniment, as well as a very large number of lighter solos. Many of his works possess considerable musical as well as technical interest. Besides Goltermann, there may be mentioned Popper, a living violoncellist of good repute, Dunkler, and Signor Piatti, who, besides being the author of several original compositions, has rendered good service to the musical world by his admirable editions, with pianoforte accompaniments, of the Sonatas of Marcello and Boccherini. The principal classical compositions for the Violoncello and Piano are Beethoven's Four Sonatas, Hummel's Sonata, Sterndale Bennett's Sonata, Schumann's Concerto and 'Stücke im Volkston,' Molique's Concerto in D, op. 45. Mendelssohn's predilection for the Cello is well known. His orchestral works abound in melodious and effective solos for the instrument (Allegros of Italian and Scotch Symphonies, Meeresstille Overture, etc.), and in addition his Sonatas in B♭ and D, and his Air with Variations in D, all for Cello and Piano, are among the finest works in the repertoire of the cellist. The obbligato part to the air Be thou faithful unto death' (St. Paul), is a masterpiece in its kind which will probably never be surpassed. It is a pity that his intention of writing a Concerto for Cello and Orchestra was frustrated by his death, as it would undoubtedly have been a fine and effective composition, which, with all its merits, Schumann's Concerto fails to be. [See vol. ii. p. 285a.] Onslow's Sonatas are esteemed by some amateurs of the instrument. Some effective duets for two Violoncellos have been written by Dotzauer, Gross, Kummer, Lee, Viotti, and Offenbach. The Violin and Violoncello concertante duets of the Bohrers, the Rombergs, and Léonard and Servais, are brilliant works, suitable for advanced performers: the less ambitious duets for Violin and Violoncello by Hoffmeister, Hoffmann, and Reicha should also be mentioned. [ E. J. P. ]

VIOLONE (i.e. Double-bass). An organ stop of 16 ft. pitch, with open pipes of smaller scale than those of the Open Diapason. Generally in the Pedal organ. [ W. Pa. ]

VIOLONS DU ROY. [See, p. 266.]

VIOTTI,, celebrated violin-player and composer for the violin, was born March 23, 1753, at Fontanetto, a village in Piedmont. His first musical instruction he got from his father, a blacksmith, and from an itinerant musician of the name of Giovannini. In 1766 a bishop, who had been struck by the cleverness of the boy's performance, sent him to Turin, where Prince Pozzo de la Cisterna placed him under Pugnani. He soon developed into a fine player and entered the Royal band. In 1780 he left Turin, and travelled with Pugnani through Germany to Poland and Russia, meeting with great success, especially at St. Petersburg, and winning the favour of the Empress Catherine, who endeavoured to attach him to her court. But Viotti did not remain long in Russia, and proceeded with Pugnani to London, where his success was so great as completely to throw every other violinist into the shade. From London he went to Paris, and there parted from Pugnani, who returned to Italy. He made his first appearance at the Concert Spirituel in 1782, and was at once acknowledged to be the greatest living violinist. He happened to be less successful on one occasion, while in the next concert a very inferior player earned a great success. This is said to have disgusted him so much that he altogether ceased to play in public. In 1783 he visited his native town and bought some property for his father. Returned to Paris, he occupied himself with teaching and composing, giving at his residence regular private performances, and playing his concertos as he finished them with the accompaniment of his pupils. After some time he accepted the leadership of the orchestra at private concerts which had been established By the Princes Conti, Soubise, and other members of the aristocracy. He also frequently played at the Royal Court, but kept to his resolve not to appear in public. In 1788 he was induced to undertake the artistic management of the Italian Opera, a licence for which had been granted to the Queen's hairdresser Léonard. He succeeded in bringing together a brilliant company of singers, and also secured Cherubini's services as composer. From 1789 to 1792 the Italian Opera gave performances in the Tuileries, but on the return of the Court from Versailles to Paris, had to be transferred to the Theatre Feydeau. On the outbreak of the revolution however the enterprise quickly collapsed, and Viotti, having lost almost everything he possessed, went to London. Here he renewed his former successes—appearing frequently at Salomon's concerts in Hanover Square Rooms and in the drawing-rooms of the aristocracy. London soon filled with refugee French noblemen. Owing probably to the circumstance that he had had some personal dealings with the Duc d'Orléans (Philippe Egalité) Viotti fell under