The Baroque Double Bass Violone

In the nineteenth century, use of the violone, a bass instrument with many sizes and variations, was nearly eliminated from musical repertoires, and its traditional parts were parceled out to other instruments such as the violoncello. The following phases of revival of the double-bass have been hampered by a lack of physical evidence and diligent research into the historical uses of the instrument. The Baroque Double Bass Violone is a comprehensive study that examines a cross-section of standard works to enhance contemporary violone research, and provide information for musicologists, music publishers, ensemble leaders, and revivalists, all of whom have been unable to reconstruct an essential part of Baroque music.

This translation finally makes the most exhaustive study of the double bass violone accessible to English-speaking musical enthusiasts. The book includes lists of terminology, the most comprehensive bibliography to date, and 48 illustrations that make this a compendium of string bass research.

CONTENIDO:

List of illustrations

Foreword

Preface

1. A short survey concerning the development of the string bass during the Sixteenth and Seventeenth centuries. Polemics. Derivation. Geige/Bassgeige. Contradictions

2. The violone in Italy. "Violoni ovvero contrabassi". Michael Praetorius. Notation in 16' and 8'. Baritone clef

3. Trio sonata. Jakob Stainer's violone

4. The violone in France

5. Violone/Contrabbasso. Low range of "C"

6. Corelli's use of the violone. Violone and violoncello

7. Terminology in the Eighteenth century. "Subjects of the highest necessity"

8. The violone as a concert instrument. The three-string double bass

9. The violone/double bass since the Nineteenth century

10. Concluding remarks concerning violone and double-bass making

Bibliography
Appendix
Index
About the author
About the translator