Page:EB1911 - Volume 28.djvu/121

Rh relief in the bass, and the additional pressure caused by the higher tuning in the treble, gave it greater brilliancy, without destroying the pure, ready and sympathetic tone which characterizes the viol. While the tendency in the case of the discant and tenor was to lighten and brighten them, the reverse process took place in that of the bass. The richer and more sonorous tones of the viola da gamba were extended downwards by the addition of a string tuned to double bass A. Marais, a French virtuoso, is usually credited with this improvement; and this extended compass is recognized in the classical viola da gamba writings of Sebastian Bach and De Caix d'Hervelois. The result, however, was not universally satisfactory, for Abel used the six-stringed instrument; and the seven strings never came into general use in England, where the viola da gamba was more generally employed and survived longer than elsewhere. The chief defect of the viols was their weakness of tone; this the makers thought to remedy in two ways: first by additional strings in unisons, fifths and octaves; and secondly by sympathetic strings of fine steel wire, laid under the finger-board as close as possible to the belly, and sounding in sympathy with the notes produced on the bowed strings. The sympathetic strings were attached to ivory pegs driven into the bottom block, and, passing through the lower part of the bridge, or over a very low bridge of their own, were stretched to pitch either by means of additional pegs or by wrest pins driven into the sides of the head, and tuned with a key. Originally six, seven or eight wire strings were used, tuned to the diatonic scale of the piece to be performed. Later on a chromatic set of twelve was employed, and occasionally viols were made with twenty-four wire strings, two for each semitone in the scale. This system of reinforcement was applied to all the various sizes of viols in use during that period.

The improvements which resulted in the production of the violin proceeded on different lines. They consisted in increasing the resonance of the body of the instrument, by making it lighter and more symmetrical, and by stringing it more lightly. These changes transformed the body of the viol into that of the violin, and the transformation was completed by rejecting the lute tuning with its many strings, and tuning the instrument by fifths, as the fiddle had been tuned. The tenor viol appears to have been the first instrument in which the change was made, and thus the viola or tenor may probably be claimed as the father of the modern violin family. Violas were used in church music before the modern violin period, and violins as we know them were at first called "Piccoli Violini" to distinguish them from the earlier and larger instruments. A tenor viol of date 1500 is still extant, bearing in general outline the typical features of the violin, as distinct from the viol family. This instrument was exhibited in 1872 in the Loan Exhibition of Musical Instruments at South Kensington with the label "Pietro Zanure, Brescia, 1509." From existing specimens we know that a bass violin, precursor of the violoncello, with a tuning an octave below the tenor, appeared shortly after that instrument. A double bass violin, tuned a fourth below the violoncello and usually known as the "basso da camera," completed the set of instruments in violin shape; but from the difficulty attending its manipulation it never came into general use. The celebrated double bass player, Dragonetti, occasionally used the basso da camera, and an English player named Hancock, who dispensed with the highest or E string, is still remembered for his performances on this unusual instrument.

The tenor and violoncello are made on the same general model and principles as the violin, but with modifications. Both are, relatively to their pitch, made in smaller proportions than the violin, because, if they were constructed to dimensions having the same relation to pitch and tension of strings as the violin, they would not only have an overpowering tone but would be unmanageable from their size. These relatively diminished dimensions, both in the size of the instrument and in the thickness of the wood and strings, give to the tenor and violoncello a graver and more sympathetic tone. To some extent the reduced size is compensated by giving them a greater proportional height in the ribs and bridge; an increase hardly perceptible in the tenor, but very noticeable in the violoncello. To lighten the tension and thus allow greater freedom of vibration to the belly on the bass side, as with the lowest string of the violin, the two lowest of the tenor and violoncello are made of thin gut, covered with fine metal wire; thus providing the necessary weight without inconvenient thickness. If the tension of the lowest string, or the two lowest strings, be increased, not only will they be elevated in pitch, but the violin will produce a more powerful tone; if the bass string be lowered, the contrary will take place. By adapting the music to this altered tuning (scordatura) some novel effects are produced. The following are the principal scordature which have been occasionally employed by various players:—

The violoncello is less amenable to the scordatura than the violin; the only classical instance is the tuning employed by Bach in his fifth sonata, which consists in lowering the first string by a tone.

The early Italian school is chiefly represented by the Brescian makers, Caspar da Salò, Giovanni Paolo Maggini, Giovita Rodiani and Zanetto Peregrino. It is, however, somewhat misleading to denominate it the Brescian school, for its characteristics are shared by the earliest makers of Cremona and Venice. To eyes familiar with the geometrical curves of the later Cremona school, most of the violins of these makers have a rude and uncouth appearance. The height of the model varies; the pattern is attenuated; the f-holes share the general rudeness of design, and are set high in the pattern. Andreas Amati of Cremona, the eldest maker of that name, effected some improvements on this primitive model; but the violin owes most to his sons, Antonio and Geronimo, who were partners. They introduced the substantial improvements which developed the Brescian violin into the modern instrument. These improvements were in their inception probably of an artistic rather than a scientific nature. Painting and inlaying had long been employed in the decoration of stringed instruments; but the brothers Amati were the first who applied to the violin the fundamental law of decorative art, that the decorative and constructive elements should be blended in their conception: in other words, the construction should be itself decorative and the decoration itself constructive. Nicholas Amati (1596–1684), son of Geronimo, made some slight improvements in the model, and his pupil Antonio Stradivari (1644–1737) finally settled the typical Cremona pattern, which has been generally followed; for the majority of violins since made, whether by good or bad makers, are copies of Stradivari. Besides the last-named, the following makers worked generally on the Amati model—Cappa, Gobetti, the Grancino family, Andreas Guarnieri and his son Giuseppe, the Ruggieri family and Serafin of Venice. The Bergonzi family, Alessandro Gagliano, the earlier members of the Guadagnini family, and Panormo were either pupils or followers of Stradivari. But excepting Carlo Bergonzi and Stradivari's two sons, Omobono and Francesco, there is no evidence of 