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If the Bass Viol Could Only Talk by Richard Martner Who Better to Speak for the Bass Viol (More Technically Known As the Bass Vi

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If the Bass Viol Could Only Talk by Richard Martner Who Better to Speak for the Bass Viol (More Technically Known As the Bass Vi MARTNER 1 If the Bass Viol Could Only Talk by Richard Martner Who better to speak for the bass viol (more technically known as the bass viola da gamba or “with the leg”) than the instrument itself? The following is an imagined interview I had with a seven-stringed, French bass viol born around 1690 (hereto referred to as “BV”). The answers she gives are as historically accurate as can be researched for the purposes of this paper. 1 ME: Thank you for taking the time for this interview. I am sure you have gotten questions like mine many times in the past. BV: Oui, I imagine so, but it has been quite some time since anyone has asked any of me. 2 ME: To your recollection, when was the last time you gave an interview? BV: This is easy. I was approached by director Alain Corneau for the 1991 film “ Tous les Matins du Monde ” to play the viol of young Marin Marais, but I had to turn him down for a few reasons. First, to be historically accurate, Monsieur Marias played a six-stringed viol at that point in his career. Secondly, I was vehemently against the stunt where Monsieur Jean de Sainte- Colombe would throw me against a wall and stomp on my shattered pieces. ME: Sounds painful. BV: Do not worry. He assured me that the special effects department would see to it no harm would befall me. I was against it for ideological reasons out of respect for Monsieur de Sainte- Colombe, his daughters, and Monsieur Marais, so I respectfully declined Monsieur Corneau’s kind offer. ME: Did you ever get to meet Sainte-Colombe or Marais? BV: Non, not personally, but I had family members that were played by Monsieur Marais and his colleagues at court. 3 Monsieurs Marais and Sainte-Colombe were both well respected players of and composers for the viola da gamba in the Baroque period. MARTNER 2 ME: The bass in your title as “bass viol” implies that you are a low-pitched or perhaps a “soft” instrument. Are you related to the modern double bass? BV: Non! From that famille merdique, the scélérat of closest proportions would be the violoncello, or cello as your modern people call it! It is true, we are bowed underhand, but it is not this “German” style bowing that your modern people are used to. Our bowing technique is much more refined. The player must use the fingers of their bow hand to manipulate the hairs of our bow, a technique it would take too long for me to explain to you at this time. ME: Instead, let us talk about your family. Where is your family from? BV: My [viol] family originates from the kingdom of Aragon in Spain, bordering Occitanie, France to the northeast, in the late fifteenth century.4 ME: Occitanie? Land of the troubadour and trobairitz? BV: Oui. Those folks played a distant ancestor, the medieval vielle , not to be confused with the later vielle à roue or as you Américains call it, the “hurdy-gurdy”. Before and during this time, there were a few, odd relatives about, the rebec and rebab, both of Arabic ancestry, in the area but I am unsure of our familial relationship except that they, too, were bowed and sometimes played in the da gamba style.5 In the late 1400s, my ancestors, the vihuelas, were living and thriving there at the time, but were also having a family dispute about playing style. ME: What was the issue? BV: The Vihuela de Arco [bow] side preferred their strings bowed, while Vihuela de Mano [hand] liked to be strummed or plucked with the fingers. Both had waists shaped like the guitar of today. I am descended from de Arco side of the family.6 ME: If they were shaped like guitars, were they tuned likewise? MARTNER 3 BV: Oui. My six-stringed viola da gamba cousins are also tuned in fourths with the middle strings tuned a third apart, like the modern guitar, showing our similar progeny. My French five- stringed viol cousins are tuned in fourths throughout, like that double bass chose you mentioned earlier. We [bass viols] are not to be confused with my lowest sounding gamba mate, the violone. Never mistake us for the violin family ancêtre of the modern double bass, the French basse de violon or its alto cousin, the modern instrument you call the viola.7 In our family, we call them the bassesse de violon , a little French blague. 8 ME: Besides the violone, who are your other closest relatives? BV: I am glad you asked this question. You Americans and your English relatives have many misnomers for my kind. 9 My direct gamba siblings, from smallest to largest, are: Pardessus, Treble, Alto, Tenor, Lyra, my half-brother Division (he spends most of his time in England, around here, he is known as Viola Bastarda ), myself, and Violene. 10 [see also; Figures 1, 2, 3] ME: How do you differ from the cello? BV: Mon dieu! Again, you mention that vile family in my presence! ME: Forgive my ignorance. Why do you so vilify the violin family? BV: Je suis désolé.11 How could you have known of our bitter rivalry? À la fin de la journée , their kind caused our virtual extinction. 12 As Monsieur Michel Corrette said: The elderly viol, after having shone at court and in town… saw the cello preferred to it, …and was only too glad to retire to a little lane on the Champs Elysees, …without being missed by a single amateur. 13 ME: What did he mean by that comment? BV: He meant that not only did professional musicians prefer the cello, but also the amateur ones. To survive as a species, an instrument must have music written for it. At that time, as it is now, and forever shall be, music that thrives is usually based upon popular demand. Ergo, as MARTNER 4 composers wrote less solo music for us, we began to only find gigs in basso continuo groups, then were relegated to obscurity. ME: How did you survive until now? BV: I spent most of my life in the cachot of small château in southern France. I was first put away by my original owner and was kept as an heirloom by his family. ME: Are there internal structural differences between your family and the cello? BV: Oui. My early viol family were constructed with no sound post. 14 The lack of this simple piece of engineering made their lifespan much shorter than viols of my generation and the cello, most of whom had this. The sound post reinforces our top near the bridge where the most pressure is exerted by our bow. Without it, over time, the front of them would weaken and eventually break causing death to that instrument. Réposez en paix, frères! ME: [after a moment of silence] Is there any difference between your and their strings? BV: We have more strings, of course! Another major difference between our families is the tension of our strings. The violin family’s construction makes their string tension much higher than ours making it easier for a player to get a louder sound. Beginning in the 1660s, string technology changed, to our detriment, by wrapping the lower sounding gut string with wire 15 . Our innate structure could not support the increased tension necessary to produce a viable sound with the new strings. After the advent of the cello, many of my family were given “cello makeovers” by instrument makers like the Stradivari [family], but, in my opinion, that is like giving a human an unnecessary breast implant. 16 By the time my bass viol family received our seventh string, the technology had passed us by. Had we kept up with contemporary string technology, we may have continued to flourish. 17 ME: I did notice you have seven strings. Where did your seventh string come from? MARTNER 5 BV: The French composer and viol player Sainte-Colombe purportedly added our seventh string, but as with most legends, this may or may not be true. 18 ME: What was the difference in the quality of sound produced by these “new”, wire-wrapped strings? BV: In my opinion, the sound was more brash whilst our gut string is sweeter. I was not alone in this feeling. In 1740, a certain French lawyer and music connoisseur, Monsieur Hubert Le Blanc, wrote an entire 164-page treatise in my family’s defense, “Defense de la Basse de Viole Contre les Entréprises du Violon et les Prétentions du Violoncel” . In it, he writes: The Violin, therefore, cannot dispute at the Viol the delicacy of his touch, and his fine Harmony of resonance in the places proper to closely examine its attractions, and allow them to make an impression, [the Violin] thinks of transporting the scene to a hall of immense space, where there would be many effects as harmful to the Viol as favorable to the violin. 19 ME: Did the public embrace the new sound? BV: Oui. One thing to remember is my family was designed for chamber music, meaning smaller spaces. With the cellos’ ability to fill large halls, they took many of our jobs away. In France, as the musical compositions got longer and more involved, like the sonata form, for example, composers wanted greater range of dynamics from soft to loud. When Italian music became in vogue , French composers became less interested in nationalism in orchestration, and called for Italian style instrumentation.
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