Chats on Violoncellos

FOOTNOTES:

Olga Racster

[1] “History of the Violin,” by Sandys and Forster.

[2] Monteclair first introduced the double-bass into the Paris Opera orchestra in 1730.

[3] “Memories of Music.”

[4] Vide “Flowers from a Persian Garden,” by W. A. Coulston. London, 1890.

[5] Samuel Butler in “Hudibras” says—that brave Crowdero’s

“Grizzely beard grew long and thick
From whence he strung his fiddlestick.”

[6] Vide A. Christianowich: “Exquise Historique de la Musique Arabe.” Cologne, 1883.

[7] “The Troubadours and Courts of Love,” J. F. Rowbottham. London, 1895.

[8] “The Manners and Customs of the Modern Egyptians,” Edward W. Lane.

[9] Persian Treatise on “The Reasons of Modulations in Chants,” by Abd-ul-cadir, 1418. This MS. is in the University of Leyden.

[10] An interesting and authentic rebec, is to be seen in the Donaldson Museum, at the Royal College of Music.

[11] “Lettres de Remission,” quoted by Laurent GrillÉt, “AncÊtres du Violon.”

[12] This play was first performed at Chambord, 14th October 1670.

[13] There is a fine Kerlino viola included in the Donaldson Collection, dated 1452. This was shown at the South Kensington Special Loan Exhibition in 1872. A similar example of the maker’s work, though not in such a high state of preservation, is in the MusÉe of the Conservatoire de Musique in Brussels.

[14] A facsimile representation of this viol and the title-page is included in Mr Heron Allen’s “De Fidiculis Bibliographia,” and “The Violin,” No. 5, a monthly, edited by Mr J. M. Fleming.

[15] I lived in the woods, until I was slain by the relentless axe. Whilst I was alive I was silent, but in death my melody is exquisite.

[16] Reproduced in Von Wasielewski “Die Violoncelle.”

[17] All trace of this composition is apparently lost.

[18] Play the Crwth.

[19] “The Nursery Rhymes of England,” edited by James Orchard Halliwell.

[20] The “Archives Curieuses,” by Cimber et Danjou records the gift of 300 livres to De BÄif by Charles IX., “en consideration des services qu’il lui a de longtemps faits en sondict État.”

[21] By Cimber et Danjou.

[22] Mr Betts made a copy of “The King,” which is now in the possession of a lady of title in Scotland.

[23] Contralto-viol.

[24] Low tenor-viol.

[25] High tenor-viol.

[26] Tenor-viol, which later became the tenor violin or viola.

[27] Tailles were tenor and contralto viols.

[28] “The Violin.” Fifth Edition. Bernard Goodwin. Glasgow, 1895.

[29] Vide “Gio. Paolo Maggini,” by Lady Huggins, published by Messrs Hill & Sons.

[30] These letters have been collected into a neat little volume, entitled “Readiana,” by Chatto & Windus. London, 1882.

[31] “Das Neu erÖffnete Orchestre.” Hamburg, 1713.

[32] Henry C. Lunn, in his “Musings of a Musician” (London, 1846), admirably describes the way “to make a Fashionable Ballad” in his “Proposals for a Musical Cookery Book”: “Having procured some words, pick them to pieces and pare them down to your liking. Then spread them out upon a sheet of paper, and take a handful of sweet passages (which all good cooks keep by them in a drawer) and sprinkle them over the paper. Add as much spice as will lie upon two shillings, and garnish with any little embellishments you can think of.”

[33] Daily Courant of 17th February 1722/3.

TRANSCRIBER’S NOTE:

Obvious typographical errors have been corrected.

Archaic or alternate spelling that may have been in use at the time of publication has been retained from the original.

Inconsistent use of diacritical marks has been retained from the original.

Illustrations have been moved to paragraph breaks, thus resulting in changes to some page references in the List of Illustrations.

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