Books › The violin and its music, 1881 › scan 60
Scan 60
The violin and its music, 1881
4 lines. Read by computer on 10 September 2026. Printed page 40. See the scan on archive.org.
1renders it historically peculiarly interesting. What the position of the Viol was in relation to this music is uncertain; that it was used in connection with it there is every reason to believe, though in a manner precluding its recognition by the learned composers. The character of the instrument at this important period in the history of chamber music was probably but little changed from that of the Viol of the Mastersingers, and accompanied the voice with the same degree of licence. In this state it most likely remained for a considerable length of time, ultimately; however, as the home music of the Netherlanders was advanced, certain changes were effected in the form and construction of Viols, rendering them capable of taking parts of more importance in such music. Whatever these variations in form and shape may have been, I am disposed to think that they were not of a trivial kind, even when thought of beside those effected in Italy after the musicians of the Netherlands had succeeded in making the Madrigal a great power in music.
3I have before remarked that the earliest steps in Art are for the most part pre-historic, and therefore do not think we should hastily conclude that it was in Italy where Viols were first made—in their relation to the Madrigal—to conform to the tones of the different voices, by dividing and sub-dividing the length of string, until each voice had its representative Viol. It is certain such divisions were rendered complete in Italy, and are traceable to the Italian
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