Books › A descriptive catalogue of the musical instruments in the South Kensington museum, preceded by an essay on the history of musical instruments, 1874 › scan 282
Scan 282
A descriptive catalogue of the musical instruments in the South Kensington museum, preceded by an essay on the history of musical instruments, 1874
16 lines. Read by computer on 13 September 2026. Printed page 262. See the scan on archive.org.
17360. '61.
3VIOLA-DA-GAMBA. Wood, the head carved with foliated scrollwork, and terminating in a female bust. The finger-board inlaid with marquetry of ivory, &c. Six tuning-peggs. Italian. About 1600. L. 4 ft., W. 1 ft. 2 in. (Bought, 4l. 11s.)
5The viola da gamba (French, bass de viole; German, kniegeige), derives its name from its being held between the knees of the performer. It was the predecessor of the violoncello, and was made with frets. It usually had six strings which gave the following tones:—
7[Music notation]
9Towards the end of the seventeenth century a seventh string was added, said to have been first used by the French virtuoso, Marais, who also had the three lowest strings covered with wire. His innovations were, however, not generally adopted.
11The viola da gamba was a favourite instrument in England at the time of Queen Elizabeth, and even ladies played it occasionally. In England it was called base viol, and also viol-de-gambo. Sir Toby Belch, in Shakespeare's 'Twelfth Night,' says of Sir Andrew Aguecheek:—
13"He plays o' the viol-de-gamboys, and speaks three or four languages word for word without book, and hath all the good gifts of nature."
15Among the English public performers on the viola da gamba are recorded a Mrs. Sarah Ottey, in the year 1723, and a Miss Ford in 1760. Carl Friedrich Abel, a German, who lived in London during the latter half of the eighteenth century, was the last performer of celebrity on this instrument. Johann Sebastian Bach has employed it in his admirable 'Passionsmusik des Matthæus'; and there are some fine 'Suites,' still occasionally to be met with, composed for it by M. de Caix d'Herveloix, published in the year 1710. The tone of the viola da gamba is rather nasal, but sweet and expressive; indeed, it is to be regretted that this charming instrument has fallen into disuse. There is, however, a gamba stop in the organ, which resembles the famous vox humana stop, and which has recently been much favoured by organ builders.
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