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Musical Courier 1892-03-09: Vol 24 Iss 629, 1892
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1Violotta.
2THE NEW STRINGED INSTRUMENT (INVENTED BY DR. ALFRED STELZNER, OF WIESBADEN, GERMANY.
4IT is a well-known fact that all bowed instruments are combined or united to imitate and to accompany the human voices (soprano, alto, tenor and bass), represented respectively by the violin, viola, 'cello and bass. Until the sixteenth century the viola, the gamba and the bass were used as accompaniments for choruses, but yet the instrument to fill in the soprano part was still missing. This difficulty was settled by the invention of the violin. Although in the beginning of the seventeenth century there were no less than nine different tenor and bass viols, to the present day those that remained in active use were the violin, viola, 'cello and bass, while the viola d'amour and the viola pomposa came to nothing. It was stated as above, that by the adding of the violin to the instruments named a soprano part was filled in, but Dr. Stelzner, in his pamphlet, states that this may be, but not in regard to the bass and 'cello. He says, in regard to their being relative to their respective voices is quite false. The bass, he says, may just as well be omitted, as it does not relate to the human voice, and further he says that the 'cello is not relative to the tenor; according to its power of tone and tone color it is nearer to the bass. He says that every human ear can tell this. Every normal bass sings the tones of the first position of the four strings of the 'cello in such a manner that the difference cannot be distinguished; that is, in comparison to the voice. It is the same in regard to the tenor.
6The inventor of the "violotta" claims that until now in our quartet of instruments we did not have the right representative of the tenor voice, and up to the present time either the low notes of the viola or the highest notes of the 'cello took the part. He makes his claim that just as the violin stands relative to the soprano, his violotta will be the right tenor according to its tone, which more closely resembles the tenor voice. It is tuned exactly one octave lower than the violin. We gain by the same a singing and powerful tone of the E string for the ensemble. By using the violotta it would divide the quartet with the violin, then the viola, violotta and 'cello. This would make the violin and violotta in octaves and viola and 'cello in octaves. By this the inventor claims that we gain an even weight more tone color and also height of tone. At the time (Ruhlman's "History of Bow Instruments") the Italian opera composers wrote their scores they allowed the viola to drop out so far as most of the time to play with the bass in unison or octave, which we also can see if we examine the scores of Mozart's serenades and others of his earliest compositions. Even with Rossini the same thing occurred, as well as with the new Italian composers. If we examine several scores we can find that the viola part merely has a series of sustained notes of the harmony.
8It is different with the older French compositions of Mersenne, Lulli, &c., and also where the viola has the name of quinte or haute contre and taille. They are here treated with their own parts. We have it yet better in the words of the German composers. We find as early as in Händel, and yet more with J. S. Bach, who in his No. 6 of the Köthner concerts uses them with magnificent effect as solo instruments. Haydn used them with great effect in his quartet compositions.
10In the beginning of the eighteenth century we find in certain French compositions three violas which were written all in the C clef, although the three had to take the parts of soprano, mezzo and alto. From these we derived the quinte, haute contre and the taille. Dr. Stelzner uses these words when he came to give his new instrument the name of violotta: "I took the last syllable from the Italian otto, feminine etta, meaning large and thick, therefore violotta, meaning a large and thick viola. It is the contrary of the syllable etto, feminine etta, meaning small. Therefore a violotta, a small viola." The discant viola, rebechino or cant viol da gamba, with the highest string A, was also called the violetta piccola. The full viola, v.r. the violetta, viola da braccio or brazzo (according to Matttheson, 1713), is of larger construction and proportions than the violin, and tuned one-fifth lower than the violin. The new violotta does not change in form from the ordinary viola. Dr. Stelzner says that there never existed a four stringed instrument tuned like the violotta. Brossard, in his Dictionnaire de Musique (1702), calls the violetta a small viola da gamba; with this he probably meant gambenart, although at the same time Matttheson called it a violetta. That which Leopard Mozart and Albrechtsberger called the "English violet" was probably one of the older and larger violas d'amour, with seven upper and fourteen lower strings. Another writer (Joh. G. Walther) says that the alto gamba was also called violetta. In Händel's and other compositions of his time the violetta part was written in the alto clef. Matttheson also describes a "violo di spalla," a shoulder viol, a kind of 'cello tuned like the viola. The viola pomposa which was invented by Bach had five strings; four were tuned like the present viola, and the fifth had the E of the violin so that viola and violin were combined in one. In 1732 Händel introduced into the orchestra a "violetta marina," the compass being from e to g, an instrument also higher than the present viola.
12Now we come to the present "violotta." This instrument, as has been described in the earlier part of this writing, is claimed by its inventor to take that part of the human voice which he declares has been missing from the quartet of stringed instruments, namely, the tenor. The instrument is the same length as the viola. It is about twice as thick as the ordinary violin. The four strings consist of the following:
13A violin D string for the E.
14A 'cello D string for the A.
15A spun D string which is somewhat thicker than the C string of the viola, and the lowest a G string of the strength of a 'cello C string. The notation of this instrument is in the G clef, and like the contra bass it sounds one octave lower than the notes are written. The tone of the instrument is dreamy, elegiac and powerful. The low notes are comparatively full, the middle are soft, while the high notes are characteristic and rich, and more adapted for the melody. With this added to our quartets and orchestras we will have an instrument which will fill the necessity of the missing tenor voice among the stringed instruments. Dr. Stelzner has already gained a name and fame in England and on the Continent, and no doubt as soon as our American friends have the opportunity of seeing and hearing this wonderful instrument they will also praise it highly. Concerts are given by which these instruments take a prominent part. The doctor has also a system of constructing violins, violas and 'cellos, which no doubt we will become acquainted with some time in the near future.
17VIENNA, February 15, 1892. CHARLES LÉGER.
19Knabe in Chicago.
21NO better example of consistent, persistent presentation of the merits of a piano holding the position of a leader can be shown than the manner of advertising the Knabe piano that is pursued by Messrs. Lyon & Healy, of Chicago. Every Knabe agent should follow their lead and every Knabe agent should keep posted in the Lyon & Healy work, because it has resulted in success and promises to earn still greater success in the future. The following advertisement, which is offered as a specimen, appeared in the Chicago Sunday "Tribune" of February 28. Read it carefully:
23INSIST UPON A KNABE.
25When you are ready to purchase the piano for a lifetime;—not the makeshift instrument for a few years' use,—but the piano whose sterling qualities will leave absolutely nothing to be desired, then insist upon a Knabe. Its pure singing tone is not an artificial quality soon to wear away, leaving harshness in place of brilliancy, dullness in place of sweetness, but an inherent right of the Knabe. 55 years of patient endeavor upon this very point,—non-deterioration with age—has made the Knabe what it is,—the accepted standard of durability.
27Our Knabe Salesroom is thronged with such a variety of exquisite case designs and fancy woods that those seeking the highest exemplification of art of piano construction will be tempted to purchase from merely superficial excellence. But though we have been served by visitors the beauty of the 1892 styles of Knabe Pianos is not approached in the price or furniture the Knabe Piano may be never outperformed. It is a musical instrument that displays between it and all its competitors so great, even in the beginning, and as the years go by the gulf increases in direct ratio to use. Remember the Knabe Piano is sold only by Lyon & Healy. Any other firm advertising the Knabe in such a way as to give the impression that it is sold by them does so to divert attention to some would be competitor of the Knabe. Do not be deceived.
29INSIST UPON A KNABE.
31State and Monroe sts.
33State and Monroe sts.
35—C. A. Hildredth, Lewiston, Me., manufacturer of ready made clothing and dealer in pianos and sewing machines, has just enlarged his salesroom and completely repaired it, so that now he has as large and handsome a salesroom for pianos and sewing machines as there is in the city. Mr. Hildredth sells the White sewing machine, Wilcox & White's cabinet organs and Jacobs Brothers' pianos. He has sold 8 pianos since January 1. Last year he sold 400 sewing machines. He employs about 200 hands in his clothing business and his business in all directions is constantly increasing.
37—Lawrence A. Subers, inventor of the Subers compound music wire, which promises to do much toward revolutionizing the manufacture of pianos, has been in this city for several days making arrangements with the Washburn & Moen Manufacturing Company for the manufacture of the special sizes of steel wire used in making pianos. Having received flattering offers in regard to the formation of a stock company, Mr. Subers is seriously contemplating locating his business in this city, in which case Worcester will receive a valuable addition to its industries and one that will give employment to a large number of skilled workmen. He intends leaving the city to-night to make arrangements for a public exhibition to be given early in March at 306 East Twelfth street, New York city.—Worcester Ex.
39The Trade.
41—Butler, Pa., has a new music firm called the Butler Music Company.
42—A part of the Bentley piano stool factory at Freeport, Ill., is for rent.
43—W. McElroy is to open a music store at Wadsworth, Ohio, next month.
44—A. B. Smith, piano and organ dealer, Newton Falls, Ohio, has been burned out.
45—The new Lutheran Church at Frederick, Md., is looking about for a suitable organ.
46—Anderson & Co., of Brooklyn, have leased a new and large warehouse at 566 Fulton street.
47—Levi Gann is about to open a store for the sale of musical instruments at Lock Haven, Pa.
48—Burts Brothers, of Asbury Park, N. J., have taken a new, large store for their warerooms.
49—D. H. Baldwin & Co.'s Springfield, Ohio, branch is now located in the Buckingham Building.
50—J. Fred. Metcalf, the Essex, Conn., music dealer, has engaged William J. Treadway as salesman.
51—Mr. E. Story, of the Story & Clark Organ Company, and Mr. Caldwell were in Pittsburgh on March 2.
52—Bracht's music store and stock at Spokane, Wash., have been seriously damaged by fire. Loss about $10,000.
53—H. Ellithorpe, of Colorado City, Col., is doing the best trade in the musical instrument line in his section.
54—C. W. Kennison, music dealer, Middletown, Conn., has removed to a larger wareroom in Ward's new block.
55—B. L. Griswold; a music dealer at St. Joseph, Mo., was recently arrested for doing business without a license.
56—A. C. Chandler, of Brockton, Mass., is doing a fine trade in Story & Clark organs, which he handles as leaders.
57—S. Crain & Son, of Sterlingville, N. Y., have added a line of pianos on their stock of general merchandise.
58—Amos Neuding, dealer in musical instruments, Circleville, Ohio, has been attached by the sheriff. Liabilities and assets unknown.
59—Jonas S. Smith, the piano and organ dealer at St. Johnsville, N. Y., has gone into smaller quarters, having given up his warerooms.
60—The man who is excessively smart is apt to be a little shady. Even in a piano the sharp notes are always dark.—Boston " Transcript."
61—F. A. North, the Philadelphia music and piano man, has made a contract for the erection of a private residence at Collingswood, N. J.
62—H. B. Mathews, a piano and organ dealer of good repute at Aurora, Ill., is about to remove to larger warerooms. Good luck to Mathews!
63—Kennelly & Sylvester, piano and organ dealers, Lawrence, Mass., have leased the large wareroom of the Boston Shoe Company, in that city.
64—Can the mew-sic of a cat be accounted for by the number of fiddle strings that she carries in her "internal economy?"—Seymour, Ind., "Democrat."
65—There is a hitch in the contract given by the managers of the music hall at Middletown, Conn., to Steere & Sons, Springfield, Mass., for the new pipe organ.
66—Mr. Harry L. Mason, of the Mason & Hamlin Organ and Piano Company, was in Baltimore and Washington last week. He is on a Southern business trip.
67—B. F. Clark's piano and organ warerooms at Rome, Ga., are in course of reconstruction and enlargement. Mr. Clarke is considered a wide-awake dealer.
68—Jacob Creveling, formerly superintendent of the Needham Piano Organ Company, Washington, N. J., is now on the road representing a varnish house.
69—Henry M. Buck, a Boston piano maker, left his wife and child at Hyde Park, where he resided, and eloped with his wife's niece, a Miss Tuell. He left his tools at the factory.
70—Miss Anna Richardson, who for some years held a confidential place in Robelen's piano store at Wilmington, Del., has purchased a dry goods business and gone out of music.
71—Mr. Louis James Joscelyn, for several years a member of the office force of Chickering & Sons in New York, has resigned his position upon the entrance of Mr. Meyer as manager.
72—It is not yet settled, so far as known, what make of piano will be used at the Seidel concerts at Brighton Beach next summer, but there is now every indication that it will be the Chickering.
73—The organ for the new Wesley Methodist Church at Minneapolis, to cost $7,000, is in course of construction by the John Bergstrom Organ Company, of that city, located at 1027 Fifth street, Southeast.
74—The new rooms of the A. B. Chase Company at 86 Fifth avenue are being redecorated and fitted out with electric lights. It is expected that they will be ready for occupancy by the 20th of this month.
75—M. R. Slocum, formerly with the United States Organ Company, Cleveland, is traveling for Hallett & Cumston, Boston. L. K. Raymond has taken Mr. Slocum's place with the United States Organ Company.
76—The business at the retail warerooms of the Schubert Piano Company has so far exceeded expectations and the move has become an established success, much of the credit for which must be accorded Mr. Chas. F. Hammerschmidt, the manager of the enterprise.
77WANTED—By a retail house, a country salesman; mostly wagon. Also a first-class tuner and salesman. Address "Cape," care of this paper.
78WANTED—Tuner for retail warerooms and out of door work in New York. Only a first class and experienced man need apply. Address, with references, "A. B. T." MUSICAL COURIER.
79WANTED—A partner with a good character to invest $2,500 in the music business in a town of 16,000 population in the best part of Texas. Only exclusive music house in the city. Highest recommendations given. Address "Hoosier," care MUSICAL COURIER.
80WANTED—A first-class pushing and experienced piano man wants a position with either a good manufacturing or retail firm as manager or salesman; good performer and a hustling salesman; practical in manufacturing and tuning. At present with a manufacturing house where he had experience and acquaintance with the trade and also business training; good references. Address B. A. F. this office.
81TO MANUFACTURERS—A lady stenographer and typewriter, thoroughly familiar with the wholesale and retail piano business of New York, having occupied responsible position with one of the leading houses here, would accept profitable and agreeable place in the office of any New York piano house. Address "Stenographer," care of this office.
82TUNER AND REPAIRER WANTED—A good tuner and general repairer of pianos can secure a permanent situation if properly recommended and his work is satisfactory. Walter D. Moses & Co., Richmond, Va.
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