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Scan 842
Dictionary of music, 1900
16 lines. Read by computer on 3 September 2026. Printed page 834. See the scan on archive.org.
1of the Guarneri family, and Antonio Stradivari; and it must also be noted that, during the period of development, the art of violin-making was restricted to a very small sphere (Tyrol and Upper Italy). The V., like those instruments allied to it, has four strings; after all kinds of experiments, lasting during centuries, with a smaller or greater number of strings, this number was selected as the most fitting; for, with moderate arching of the bridge, the fingers lie comfortably over each string. They are tuned as follows: and as in all other bowed instruments, are counted from the highest, downwards, because the highest is the one nearest to the bow.
3The first string is named in Germany Quinte, in France Chanterelle, ("song-string," cf. QUINT); the 4th (G) string is over-spun. By its nature the V. is an instrument for monodic playing; by the reduction of the number of strings in viols and lyres, chord-playing was given up; though, within certain limits, that is still possible. Chords composed of fifths, fourths, and sixths, are fairly easy of execution, provided the change from one chord to another has not to be taken at too rapid a rate; by using one or more open strings, very many chords are easy to play. It is, of course, self-evident that no double stopping can take place below the of the V., as there is only one string tuned lower. The timbre of the 3rd and 4th strings of the V. has something akin to that of the alto voice, especially in the higher registers. Besides the ordinary full tone, special sounds can be produced on the violin: (1) by touching the nodal points of harmonic overtones, the so-called harmonics or Flageolet (q.v. 3) tones; (2) by plucking with the finger, instead of playing with the bow: the Pizzicato (q.v.), the only substitute in the modern symphonic orchestra for the instruments whose strings were plucked (Lute, Theorbo, etc.), and which at one time were so richly represented. The V. rightly occupies an exceptional position among all instruments, and at the present day only the pianoforte surpasses it in general circulation and popularity.
5Violin literature is exceptionally rich, and a great number of distinguished virtuosi who delighted their contemporaries by their masterly handling of the most expressive of all instruments, were for the most part also composers. The most celebrated are:—17th–18th century—Bassani, Vitali, Biber, Torelli, Ant. Veracini, Corelli, Matteis, Vivaldi, Strungk, Volumier, Baptiste, Birkenstock; 18th century—Aubert Babbi, Franz Benda, Berthaume, Brunetti, Cannabich, Castrucci, Treu, J. Fränzl, Festing, Fiorillo, Gaviniés, Geminiani, Giardini, Leclair, Linley, Locatelli, Lolli, Mestrino, Nardini, Pisendel, Pugnani, Somis, Stamitz (2), Tartini, Tessarino, Töschi, Fr. M. Veracini,; 18th–19th century—Campagnoli, Cartier, F. Fränzl, Rolla, Täglichsbeck, Viotti; 19th century—Adelburg, Alard, Artôt, Baillot, de Bériot, Böhm, Ole Bull, David, Ernst, Kreutzer (2), Lafont, Laub, Léonard, Lipinski, Massart, Maurer, Mayseder, Mazas, Meerts, Molique, Paganini, Polledro, Prume, Rode, Sainton, Saloman, Sauzet, Schuppanzigh, Sivori, Spohr, Strauss, Vieuxtemps, Wieniawski. Of living players may be named:—Auer, Dancla, Joachim, Lauterbach, Marsick, Rappoldi, Remenyi, Sarasate, Sauret, Singer, Thomson, Wilhelmj, Ysaye, etc. The most notable violin methods are: the Méthode of the Paris Conservatoire (Kreutzer, Rode and Baillot), and the violin methods of Baillot, Spohr, Alard, David, Dancla, Singer. The number of important educational works is very great; those most worthy of mention are: Tartini's "Arte dell' arco," David's "Hohe Schule des Violinspiels" (selection of classical violin works); cf., besides, the biographies of Corelli, Vivaldi, Gaviniés, Locatelli, Nardini, L. Mozart, Viotti, etc.
7Violin Clef, cf. the articles "G" and Clef
9Violin diapason, also crisp-toned diapason (Ger. Geigen prinzipal), usually of 8, rarely 4 ft. In "scale" and tone it stands midway between the diapason and gamba stops. It is an open flue-stop of somewhat "bowy," soft tone.
11Violino piccolo (Ital.), a small violin, Kit or Pochette.
13Violon (French), violin; the term V. has also been used, in error, for Violone (q.v.) or double-bass.
15Violoncello, abbr. 'cello. (from Violone [double-bass viol], really "small Violone"), is a bass instrument, constructed on the model of the violin by the master-makers of Upper Italy, soon after the shape of the violin had been established. The Amatis, Gasparo da Salo, Maggini, etc. (1550–1600), already made 'celli, but at first the instrument only occupied a subordinate place; as a solo instrument, likewise as a concertante instrument, it only supplanted the Gamba very gradually; and it was specially employed for the execution of simple accompaniment bass (in violin and in flute sonatas, arias, etc), and for the most part, was indicated merely as "Bass" (basso, basso). In ensemble works from the 17th century, by "Bass" is therefore to be understood the V. The size of the sound-box varied at first, and, as a rule, was somewhat larger than the one now in general use, which was definitely fixed by Stradivari; the accordatura, however, of four strings, C G d a, had been already settled. The treatment of the 'cello is quite analagous to that of the violin; but the instrument, like the Gamba, is held between the knees. Harmonics
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