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Scan 30
The violinist, 1903
12 lines. Read by computer on 3 September 2026. Printed page 8. See the scan on archive.org.
1The Violinist
3the sound-waves produced in the body of the instrument. The last, but not least important, difference between these and older instruments, is to be found in the shape of the sound-holes. The latter, turning at each end into a scroll, leave a small piece of the table standing between the parts that have been cut out (Fig. 1 and 2, B), so that the former is connected only on one side with the body of the table. This piece is a vibrating tongue and, therefore, an important agent in strengthening the tone emitted through the sound-holes. Dr. Stelzner was, however, the first to regard it in that light and to treat it accordingly, by altering the shape of the sound-hole in such a manner that this vibrating end, from an insignificant little piece, was changed into a powerful tongue (Fig. 1, B) with about six times the surface.
5Dr. Stelzner's merit, however, does not end by thus fixing the standard for a model for all instruments of the violin family; he has also added two new instruments to their number. The modern string quartet consists of two violins, instruments of equal compass, the viola, which stands a fifth lower, while a full octave divides the latter from the violoncello. The result is that there is no proper bass whenever the violoncello takes up the melody. The disposition of the old viols was far better, as it showed treble, alto, tenor and bass viols. In the modern violin family the intermediate instruments received no attention and their want has been often felt by the great composers. Bach, in fact, constructed the "viola pomposa," which was intended to fill that want, but that instrument did not survive its inventor. Then again comes the double bass, tuned in sundry ways, which is too heavy in its tone quality to serve effectively as bass instrument in chamber music. To give a suitable equivalent to both these latter instruments Dr. Stelzner constructed the "Violotta" and the "Cellone." Violotta (Italian for "big viola") is an instrument of the size of an ordinary, big viola, but deeper in the ribs. It is tuned an octave lower than the violin, thus keeping the middle between viola and violoncello, while the cellone (Italian for "big cello") is slightly bigger—about one inch all round—than the violoncello and tuned a fifth lower. The result is a combination of instruments which are divided by equal distances, the lowest note being: Cellone, G below the bass cleff; cello, C below the bass cleff; violotta, low G on bass cleff; viola, C on bass cleff; violin, G below treble cleff.
7This gives us three instruments in G and two in C at regular intervals of a fourth and a fifth respectively, covering three octaves and a sixth in open strings, and both the new additions are as easy and comfortable to handle as the older members of the family.
9A competition for new compositions which was written out by Dr. Stelzner resulted in the production of several sextets and quartets, among which three sextets by A. Krug, Julius Major and Otto Kaletsch, stand out most favorably. The latter work, in fact, is an exceedingly fine composition which should prove of lasting value. Felix Draesecke wrote a very interesting string quintet for two violins, viola, violotta and violoncello. There is also a short Christmas cantata, by the writer of these lines, for chorus of sopranos, altos and tenors, with accompaniment of two violins, viola, violotta, cello, cellone and pianoforte (harp and celesta ad lib.), which was produced with success at the St. John's Wood Art Club, London, under the presidency of Sir Lawrence Alma Tadema, and at the Tonal Art Club, London, under the presidency of Mr. Emile Sauret. Max Schillings has also written an important obligato for these instruments in his opera "Der Pfeifertag."
11A closer acquaintance will no doubt soon win a larger circle of friends for these instruments, and composers who have once heard this combination will not fail to avail themselves of its possibilities.
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