Cello C 3298F Bedienungsanleitung

TheViola da GambaSocietyJournalVolume Two(2008)

6the violin – a tenor violin – was also in use in the Catajo Palace.33In one instance in the Obizzilibrary, however, ‘viola’ does mean viol: in the ‘S

95The following corrections need to be made to the introductions:Score, p. iii: Fuller’s History of the Worthies of England was edited by his son John

96Harp, p. vi: ‘Cormac MacDermott was appointed to the Royal Musick of Elizabeth I in1605, and continued under James I until his death in 1618’. Here

97(natural) here because of the c' (natural) on the repeat strain in the bass viol (although theedition allows other instances of chromatic clash

98the g. / 48 H t3: Commentary says this is a minim D, perhaps referring to the minim Ethat presumably is intended to go on the second minim beat of t

Bettina HoffmannDie Namen der Gambe in ItalienEine Stimme im Bassschlüssel mit der Instrumentalangabe „Viola”;ein vierstimmiger Satz für „Viole”, der

Viola da gambaViolaViolettaViolottoVioloneViola d’arcoViola d’arco tastataViolone d’arcoViolone da tasto e da arcoBasso di violaBasso da gambaViola (a

musica antica et della moderna,4Girolamo Dalla Casa, Claudio Monteverdi,Lodovico Zacconi usw. Bei Francesco Rognoni lesen wir sogar den seltenenAusdru

Violinfamilie handelt, was auch ein allgemeiner Rundblick über dieSammlung bestätigt. Noch deutlicher steht der Sachverhalt in der schonerwähnten flor

gamba’. Nur der musikalische oder historische Kontext kann alsoentscheiden, welches Instrument gemeint ist.Mit dem Jahrhundertwechsel verliert sich di

Vorganges, der alles andere als geradlinig verläuft und erst überverschiedene Umbenennungen und Überschneidungen zu einer allgemeingültigen Terminolog

7In summary, in Italian ‘viola’ was used to describe a variety of bowed instruments, and in theRenaissance also plucked instruments. It was a generic

Martinelli werden in den Verwaltungsschriften als Viola-Spielerinnenbezeichnet.27Bernardo Aliprandi wird in seinem ersten Vertrag mit demWaisenhaus de

Darstellung bei Filippo Bonanni im Gabinetto Armonico (Abb. 2); diedazugehörige Erklärung lautet: „Auf dem folgenden Bild wird einInstrument gespielt,

also deutlich anders als zum Beispiel in England und Frankreich, wowenigstens zeitweise und in bestimmten Zusammenhängen „Viol” bzw.„Viole” als eindeu

Jahrhunderts vollständig in allen Stimmlagen ausgebildet war;43das oftabgebildete Fresco von Gaudenzio Ferrari in der Kathedrale von Saronnovon circa

Abb. 3. Athanasius Kircher, Musurgia Universalis, Rom, 1650Ausschnit aus S. 487.Natürlich ist „Violone” ausserdem einer der Namen einesKontrabass-Stre

4. Basso di viola / Basso violaAus der französischen Sprache der Barockzeit sind wirterminologisch ein wenig verwöhnt: Zwei Termini, „Basse de viole”

„Canto viola” (was aber oft durch „Violino” ersetzt wird). Diese Angabenbeziehen sich ausschließlich auf die Stimmlage und enthalten an sich keineInfo

Il Secondo libro de Ricercate von Giovanni Maria Trabaci sind Violinen und„Viole d’arco” offensichtlich zwei verschiedene Instrumentengruppen.58Dies i

all’inglese” um eine Art „Viola da gamba d’amore” gehandelt haben, wiesie schon John Playford kannte.64Abb. 4. Antonio Vivaldi, L’Incoronazione di Dar

Traktat Sopra la viola da sei, o sette corde von 1747 Viola d’amore und „Violaangelica”, beides Instrumente, die „da braccio” gespielt werden.677. Lir

8of Stephen Bonta has shown.45The first clear evidence comes in a motet by Giovanni Ghizzolofrom 1624, which may be accompanied by a ‘Violone da Brazz

Abb. 5. Fabio della Cornia, Portrait der Sängerin Leonora BaroniÖl auf Leinwand, Castello di Pieve del Vescovo, Corciano, Scuola Edile di Perugia8. Vi

Jahrhunderts lässt sich dieser Gebrauch von „Viola bastarda” nachweisen.74Davon mag wiederum ein Echo nach Italien gedrungen sein: In der reichenNatur

Carissimi in Köln und Konstanz herausgegeben.79Im Verhältnis zu denfrüheren römischen Drucken dieser Werke bieten die deutschen Ausgabenund einige zei

Abb. 6. Carlo Pallavicino, Akt III, Szene 12, Beginn der „Arie con Viola” (c.117v)Bibliothek des Konservatoriums S. Pietro a Majella, Neapel, Rari 6.5

All dies kann dem Gambisten, der gerne italienische Barockmusikspielt, nicht lieb sein. Was wir zum Trost bieten können, ist wenig aberdoch historisch

9viola’, did it become an abbreviated instrument name, without however acquiring any particularattachment to a four-stringed fretless instrument en ro

10known descriptions of the tuning of string instruments, and was already confirmed in 1645 byGasparo Zannetti in his work Il scolaro.55It has to do w

11triumphans RV 644, and in the two concertos for several instruments, RV 579 und RV 555, arealso viols. And it means that Vivaldi himself played the

12strings.65On the other hand, however, there are five ‘viole inglesi da gamba’ by the Italian violinmaker Niccolò Amati in the collection of Count Ca

13Fig. 5. Fabio della Cornia, Portrait of the Singer Leonora Baroni,oil on canvas, Castello di Pieve del Vescovo, Corciano, Scuola Edile di Perugia.Vi

14Italy: in the rich collection of natural history specimens, antiquities, curiosities and musicalinstruments of the Milanese nobleman Manfredo Settal

15maestro di cappella at Florence Cathedral, published Sinfonie a due violini, e liuto, e basso di viola in1688. ‘Basso di viola’ was, however, the ev

iiThe Viola da Gamba Society of Great Britain2008-9PRESIDENTAlison CrumCHAIRMANMichael FlemingCOMMITTEEElected Members: Michael Fleming, Robin Adams,

16Ruspoli household. This information very probably stems from a misleading translation of‘violone’ as ‘bass viol’.86None of this is good news for tho

17Fig. 1. John Leyden (1775-1811)John Leyden’s Lyra Viol Manuscript in NewcastleUniversity Library and George Farquhar Graham’s Copy inthe National Li

18John LeydenJohn Leyden was born in 1775 at Denholm, in the parish of Cavers near Hawick,Roxburghshire, and was educated at Edinburgh University betw

19books from an early age, and during 1823 he attended a tutor in Newcastle upon Tyne tostudy Latin grammar and Roman classics. From 1825 he struggled

20Fig. 2.stub before folio 1with signs of additional missing pages. The manuscript was rebound and a number ofnew front and rear flyleaves added in 19

21is not known why this title was written in French.Music is copied onto only the first 64 ruled folios (ff. 7-70), and the remainder compriseblank st

22on adjacent pages at frequent intervals throughout the folios ruled with staves. The formof this second watermark is the common ‘Grapes’ motif found

23Glasgow musician Andrew Adam, who also copied the manuscript inscribed ‘MargaretSinkler aught this musick book, written by Andrew Adam at Glasgow, O

24Telfer had acquired the manuscript from John Leyden’s brother in Roxburgshire,34andthat Maxwell then returned it to Telfer. Although there is no rec

25Tablature in Doctor John Leyden’s Manuscript Lyra-Viol Book,’ an introduction on ff.6r-8v (transcribed in App. 5). There is an index numbered 1-81 o

iiiCONTENTSEditorial ivThe Nomenclature of the Viol in Italy – BETTINA HOFFMANNtranslated by RICHARD CARTER and JOHN STEEDMAN 1John Leyden’s Lyra Viol

26Appendix 1Transcript of contents list in seventeenth-century hands from ff. 2r-2v [index 1]. List inleft and right hand columns are in two different

27Appendix 2Transcript of the incomplete instructions on ff. 3r-5r of the Leyden manuscript:[f. 3r] ‘And are to be stopt according to exact distances

28have a crotchet or Quaver, or any other note, / over a letter ; and there follow three orfour letters which have no / Notes over them, then those le

29Appendix 3Transcript of contents in seventeenth-century hands from ff. 112r-112v [index 2]. Titlesafter ‘/’ in a different hand. The corresponding n

30Appendix 4A transcript of four loose leaves that remain associated with the Leyden manuscript. Thefirst is inserted between ff. 14 and 15, and the r

31Appendix 5Transcript of Graham’s prefatory text on ff. 6r-8r of his copy of the Leyden manuscript:‘I have here to state how the Leyden M. S. Lyra-Vi

32Scottish Lowlands, but after that aera, scarcely any vestige of them can be traced.” etc.I have only to add, that, from internal evidence, Doctor Le

33Fig. 3. Hand A (f. 9r)Fig. 4. Hand B (f. 47v)

34Fig. 5. Hand B (f. 50v)Fig. 6. Hand C (f. 56v)Fig. 7. Hand D (f. 58v) Fig. 8. Hand E (f. 70r)Fig. 9. Hand F (f. 70v)

35Table 1: Inventory with Concordances and Cognates.1No. fol.Leydenfol.GrahamLeyden title[Graham title]concordances/cognates hand- flyleaf r - Blank -

ivEditorialWelcome to vol. 2 of The Viola da Gamba Society Journal, the on-line replacementfor Chelys, the Society’s Journal from 1969 to 2004. The jo

36Cittern: US-CA, Mus. 181, f. 23r The King enjoys his own; Playford1652c, p. 14 29 When the K. enjoyes his own again; Playford 1666, sig.C4v 29 THe K

37cf. battle of Killiecrankie, 16896 9v 21v / Saraband [Saraband] A7 10r 22r / A jigg[A jigg]A8 10v 22v / Corant[Corant]A9 11r 23r over the Mure to Ma

38119 Four Pence Half Penny Farthing; Simpson, pp. 655-65715 14r 26r The Ladys Goune[The Ladys Goune]Lute: GB-En, Acc. 9769, p. 80 My Ladys night gown

39the[e][Maggie I must lovethe]Lute: GB-En, Acc. 9769, pp. 92-93 Peggie I must loue the, Mastermclachlands way, by mrBeck; GB-En, Acc. 9769, p. 129 Pe

40Even, a Scotch-measure; cf. GB-En, 21720, f. 23r Hallow Een[different tune]27 19r 31r / Mackbeth[Mackbeth]Lyra viol: GB-DU, Mus. 10455, p. 5 Mack Be

4133 22r 34r / Celia that I once wasblest [Celia that I oncewas blest][Henry Purcell]Lute: GB-En, Acc. 9769, p. 12 Celia, that once was blest, with th

42Playford 1695, p. 172 Valiant Jockey; Walsh 1718, p. 186 ValiantJockey; Walsh 1731, p. 125 Valiant JockeyFlageolet: Clarke 1690, p. 5 a new Scotch t

43Cittern: US-CA, Mus. 181, f. 17v Tantarra, or Lashley’s MarchGittern: Playford 1652d, p. 7 14 Tantarra, or Lashleyes MarchViolin: GB-NTsa, Sant 1, p

44147 The Nightingale; US-NYp, 5612, pp. 150-151 The nightingallViolin: GB-Och, 1114, f. 28v The nightingaleRecorder: Eyck 1644, ff 32r-32v Engels Nac

45Violin: GB-En, 9454, f. 14r Gather your Ross budsDay & Murrie 1109; Simpson, pp. 247-24861 37r 49r Come Love lets walkharp flat[Come Love lets w

1The Nomenclature of the Viol in ItalyBETTINA HOFFMANNTranslated by RICHARD CARTER and JOHN STEEDMANA part in bass clef marked ‘viola’; a four-part pi

46sharp [The watter ofBoyne harp sharp]68 40v 52v / Sweet willie[Sweet Willie]Lyra viol: GB-DU, Mus. 10455, p. 1 Sweet Willie; GB-DU, Mus.10455, p. 1

47[oh the bonny ChristChurch Bells][Dean Aldrich]Violin: GB-En, 21716, p. 42 The bonny Christ Church bells; Playford1675, p. 17 Christchurch BellsFlag

48Mugg / harp sharp[The King’s health ina Mugg]81 47r 59rFullfamy eyes[full fa’ my eyes]A82 47v 59v A Minuit flat[A Minuit flat]B83 48r-48v 60r-60v /

492085, p. 213 Love is the Cause of my mourning; GB-En, 3298, f. 53vLove is the cause of my Mourning; GB-En, 21714, f. 6v Love is theCaues of My morne

5098 56r - fowll take the warss /foull take the warsC99 56r - The milkeine pell Lyra viol: GB-En, Dep. 314/24, p. 14 the Milken Peal harp sharp;GB-Eu,

51113 61v-62r - Jollie Breez[John Eccles]cf. no. 108;Violin: GB-En, 21716, p. 53 Jolly Breeze; Playford 1701b, pp. 284-285 The Jolly BreesRecorder: GB

52Flageolet: Greeting 1682, sig I3v 77 Sawney and Iockey; Clarke 1690,p. 4 Saney and Jockey130 69v-70r - The following / Chickensand Sparrow GrassGras

53GB-En, Adv. 5.2.15: Edinburgh, National Library of Scotland: John Skene of Hallyards mandora book, c.1625.GB-En, Adv. 5.2.17: Edinburgh, National Li

54Duke of Perth By Dav[id] Young’ and ‘Collection of the Best Highland Reels Written by David Young’, for violin and dated1734.GB-En, 21716: Edinburgh

55violin manuscript, c.1690 to the first quarter of the eighteenth century.GB-Ob, Mus. Sch. F.576: Oxford, Bodleian Library: French lute manuscript, s

2LiraViola bastardaThe list is worryingly long, but the real difficulty is that not one of these terms was reservedexclusively for the viol. Only the

56for flageolet.Hare 1697: Youth’s Delight On the Flagelet, the Third Part (London: John Hare, 11/1697), for flageolet.Mace 1676: Thomas Mace, Musick’

57Playford 1728: The English Dancing Master, vol., 1 (London: John Playford, 1728), for violin.Walsh 1718: Compleat Country Dancing Master, vol. I (Lo

57aAddendumJOHN H ROBINSONSince on-line publication of the article ‘John Leyden’s Lyra Viol Manuscript in NewcastleUniversity Library and George Farqu

58Laurence Sterne the MusicianPETER HOLMANLaurence Sterne (1713-1768), the author of The Life and Opinions of Tristram Shandy, Gentleman(1759-1767) an

59us into company, to the wearing off that rust and moroseness which are toooften contracted by a long continuance in college? And though these meetin

60probably in the music club that met at the George in Coney Street.9Several references inTristram Shandy suggest that he had an intimate working know

61Cremona’ – a common contemporary English way of referring to violins made by Stradivariusand his contemporaries in the Italian city.The evidence tha

62Illus. 1: Joshua Steele, *Prosodia rationalis* (London, 2/1779), 16.The cellist Robert Inchbald was referred to as ‘With fingers large and fat / On

63Nevertheless, it is possible that Sterne’s ‘bass viol’ was a gamba. He certainly hadconnections with known gamba players. During his period of fame

64the prevailing and beautiful characteristic of his compositions. – He was the Sterne of Music. –The one wrote, and the other composed to the soul’.3

3belonging to Ferdinando, Granprincipe dei Medici.13This is an important point which should benoted: an unambiguous label was available for anyone who

65always in his house, and a full set of players; and gives concerts and playsalternately to the grandees of this metropolis; he is the richest of all

66The new type of Spanish guitar (the ancestor of the modern instrument), was just beginningto be introduced to England and France at the time, though

67Laurence Sterne, Charles Frederick Abeland the ViolCLAIRE BERGETAll of Laurence Sterne’s biographers describe Sterne as a keen gamba player. However

68gamba deserve a closer look. Sterne’s writing is polyphonic, and is built as a series of‘divisions’ stemming from a central theme. It also demonstra

69La Fleur’s prevenancy (for there was a passport in his very looks) soon set everyservant in the kitchen at ease with him; and as a Frenchman, whatev

70inevitable; a sound is thus never unified, but always multiplied in a sonorous halo. Sterne cantherefore use it as an efficient analogy for the empa

71The idea of a harmonic vibration uniting men crosses Sterne’s writings. Can we thus say thathis conception of music is closer to an ancient contrapu

72concept, is presented by Laurence Sterne as something desirable because it opens anauthentic window onto the nature of the individual. On that subje

73The viol does not obscure the meaning of the story, it seems that it both communicates andelucidates it.What Abel plays is not strictly music, that

74His manner of playing an adagio soon became the model of all our youngperformers on bowed-instruments: Barthelemon, Cervetto, Cramer, and Crosdill,w

4Allegri wrote: ‘I have set these Sinfonias in score, for the benefit of the perfect instruments, suchas the lute, organ, and in particular the double

75rhythm of which is often coordinated to the rhythm of the human pulse. It is undoubtedlythe most appropriate expressive mood to depict Le Fever’s de

76REVIEWSIndex of ManuscriptsDAVID PINTOThe Viola da Gamba Society Index of Manuscripts Containing Consort Music, Volume II, comp.Andrew Ashbee, Rober

77foreign music as well as suites by Jenkins for three trebles (apparently violins) andMatthew Locke. In the same group owned by Marshall light is she

78too small for most sorts of manuscript addition. It is The Division-Viol that seems to haveinvited expansion most, no doubt because of its apt folio

79largest, about two fifths; Lowe himself wrote roughly 35%, and a third hand the rest.Two of the distributed quires have a variant form of its fleur-

80A couple of other comments, as they arise. On p. xiv, where reference to printed sourcesis said to be based on RISM conventions, the RISM sigla for

81covered, but also William Lawes, John Hingeston, Christopher Gibbons, Matthew Lockeand Purcell himself, much of it in score-form with numerous quest

82to handle pitch ambiguities, though they seem to have had no impact on the copying ofsources for the most thorough key-exploration of the age, Alfon

83The essays on Rameau include one on his ‘Cantate pour la fête de Saint Louis’,discovered in the late 1970s. This leads to ‘Performing Rameau’s Canta

84performers and scholars alike. It might not make it onto many private bookshelves,though I hope that most libraries will acquire it to make it avail

5Fig. 1. Domenico Gabrielli, two excerpts from the aria ‘Se il tiranno caderà’,Il Rodoaldo, I-MOe ms. F. 418, ff. 85r and 86v.In the records of the Ve

85decision to place the theorbo part below the harp in the score. This was done becausethe theorbo (with the bass of the harp) acts as the fundamental

86It is not clear why the harp parts in nos. 1-8 are described as ‘Reconstructed’ as there isno element of reconstruction (except in the most philosop

87Otterstedt.8However, this appears to have been a descriptive use of the viol’s functionrather than a specifically smaller-sized bass viol, as implie

88Despite the fact that this is the first complete edition of the Harp Consorts – Fulton callsit ‘an important contribution to the published literatur

89procedures’ (S, p. ix). In describing one of Lawes’s large autograph scorebooks now inthe Bodleian Library, she notes that it ‘has many mistakes and

90and added the violin part (often transposed) as a quasi-tenor part. The second only addedtreble and bass outlines closely derived from the string pa

91However, Achtman fails to mention Holman’s suggestion that Lawes was working froma now-lost consort piece by Coprario. If one was attempting to debu

92chromatic),23she notes that ‘someone used to an ordinary diatonic Irish harp would notnecessarily easily be able to shift to playing all those chrom

93LeFlelle including [the singer-lutenist Nicholas] DuVal seems more likely to refer to theHarp Consort ensemble rather than only to the masque’ (H, p

94In her conclusion Fulton does not resolve the issue of the type of harp. Nevertheless,she raises some interesting possibilities that could perhaps h