as players of the Taille Basses,[24] while “Francois Martin” and
“Guillaume Mercer” disported themselves on the “Taille Haute.”[25] In
the beginning of the following century, further names of _instruments
de remplissage_, appear in the Paris Opera orchestra: for instance “2
quintes”[26] “2 tailles,”[27] and “3 haute contres.”
This was the result of Duiffoproucart’s creation of the small viola da
gamba, a size which broke into many degrees and kinds. Then Andrea
Amati made a further step in the right direction by making small-sized
bass instruments in the same form as the violin, which had at that
time assumed the shape now so familiar. The moot question--“Was it
Andrea Amati in Cremona, or Gasparo da Salo in Brescia who first made
violoncellos in the form of the violin?”--is of course unanswerable
at this space of time. Da Salo was a man of progress, ready to fight
for his opinions. He made some fine double-basses and grand tenors
which are sought after to this day, and Herr August Reichers, the
Berlin violin-maker, possessed a small-sized violoncello by this
maker in 1884. If this instrument was not a cut-down bass-viol, or an
exceptionally large tenor, it is apparently a solitary example of a
violoncello by Da Salo, but even though its existence be allowed, the
numerous violoncellos made by Andrea Amati must necessarily admit him
to be--if not the inventor--at least the earliest known _luthier_ to
make violoncellos.
Although Da Salo may be looked upon as no enthusiast where violoncellos
were concerned, he was not neglectful in the matter of other bass
instruments. Signor Dragonetti possessed no fewer than three fine
basses by the Brescian maker, of various sizes, and Mr Hart, in 1875,
owned a small double-bass of Da Salo’s which had been brought from
Italy by Tarisio, and was looked upon as the _ne plus ultra_ of its
kind. A Da Salo viola da gamba, catalogued as of the year 1570, was to
be seen among the sumptuous display of musical instruments shown at the
Special Loan Exhibition held at Fishmongers’ Hall in the summer of 1904.
Public-domain text, read in full here on John Shaqi.
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