The orchestra and its instruments . religious and uniquecharacter. These ideas, so new when they were written in theearly days of the Nineteenth Century, set composersthinking. They began to realize that they had a colorand quality of tone on their orchestral palette of whichthey had been unaware. The question was how topaint with it. Wagner boldly dashed forth with theVenusberg motive and showed how agile and fancifulthe viola could be. To-day the violas beautiful tone is perfectly under-stood. Every skilful violinist can in a few weeksacquire the ability to play the viola fairly well; butthe
The orchestra and its instruments . religious and uniquecharacter. These ideas, so new when they were written in theearly days of the Nineteenth Century, set composersthinking. They began to realize that they had a colorand quality of tone on their orchestral palette of whichthey had been unaware. The question was how topaint with it. Wagner boldly dashed forth with theVenusberg motive and showed how agile and fancifulthe viola could be. To-day the violas beautiful tone is perfectly under-stood. Every skilful violinist can in a few weeksacquire the ability to play the viola fairly well; butthe true virtuoso of the viola must study his instru-ment long and carefully. In like degree as the violinis biting, incisive and masterful, the viola is humble,wan, sad and morose. Besides using it to fill in theharmony composers take advantage of those qualitiesto obtain expressions of melancholy and resignationfor which the instrument is incomparable; for its rangeof sentiment runs from sad reverie to agonized 1 VIOLA DA GAMBA By Gaspard Duijfoprugcar CHAPTER III THE VIOLONCELLO The viola da gamba; violin responsible for the development of the violoncello;instruments of the Seventeenth Century distinguished for their delicacy of tone;Italians the first to appreciate the possibilities of the violoncello; instrumentsof Andreas Amati; Franciscello, the first great violoncellist; Berteau andDuport; anecdote of Voltaire; Servais; Boccberini; use of the violoncelloby great composers; instruments of Bergonzi, Maggini, and, Amati; compassof the violoncello; Lavignac and Berlioz on the instrument and its capacities. ^HE violoncello is not a big violin; it is a littledouble-bass; and that is why the name is spelledvioloncello and not violincello. Its parent wasthe violone; and, if we remember that the violoncellois the little violone in the Viol Family, we will nevermake the mistake of writing violincello for everyone speaks of this instrument as th
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmusicalinstruments
