Chats on Violoncellos

CONTENTS

CHAT THE FIRST
	PAGE
Fog—The South Kensington Museum—The Ravanastron—Arabia—The Kemangeh À Gouze—Egypt and the Rabab	1

CHAT THE SECOND
Lunch, and the Emperor Albinus—The Crwth—The immature Bow Instruments which preceded the Fifteenth-century Viol—M. Coutagne and Gaspard Duiffoproucart	43

CHAT THE THIRD
The Renaissance—The Influence of the Netherlands School—A brief Outline of the growing Use of the Viol in Germany, Italy, England, France	81

CHAT THE FOURTH
Andrea Amati—“The King” and its History—Gasparo da Salo—Woods employed by Ancient Luthiers—Paolo Maggini and the “Dumas” Bass—Monsieur Savart’s Experiments—Freaks—Stradivarius Violoncellos—Signor Piatti’s Violoncellos—The Bass of Spain—Davidoff’s Violoncello—Herr Klengel’s Amati—A neat Swindle—Stradivarius’ Contemporaries—Owners of Rugger Violoncellos—George IV.’s pseudo Stradivarius—The earliest Treatise on the Violoncello as a Solo Instrument—Mr Andrew Forster’s Gamba—The Prince Consort’s “Ancient Instruments” Concert—Development of the Technique of Violoncello Playing	109

CHAT THE FIFTH
Two Eighteenth-century Women Players of the Viola da Gamba	185

CHAT THE SIXTH
An Eighteenth-century Violoncello Prodigy	211

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