Divertimento Sextet
(2023)
author(s): Robert Franenberg
published in: KC Research Portal
In 2000, I took part in a project performing all of W.A. Mozart’s (1756-1791) Salzburg divertimentos for strings and winds in the quaint town of Delft in the Netherlands. In attempting to keep true to authentic performance practices we played on period instruments with one player to a part and most significantly the bass line was to be performed solely on the double bass; thus, no cello and no cello/double bass doubling of the bass line.1 Some of my colleagues involved in this project found this to be quite a ‘radical’ idea, for in chamber music settings many musicians are accustomed to the cello as the bass instrument of choice, and depending on the repertoire, a double bass might double the line, but double bass alone…impossible! Indeed most recordings I have heard of these pieces have been performed by a chamber orchestra or as chamber music with the bass line performed by a cello and double bass.
The Viennese violone : A "Viennoiserie" with 5 spices
(2023)
author(s): Isaline Leloup
published in: KC Research Portal
This research examines if the Viennese tuning was used in the orchestral works of Beethoven, Schubert, and Mendelssohn and whether it is possible to link the composers and the use of this tuning in their writing style for the 16’ instrument.
The Viennese tuned violone is a particular 5-stringed 16’ fretted instrument tuned to “F, A, d, f#, a”. This instrument appeared in the region of Lower-Austria and Moravia in the late 17th century and was played until the middle of the 19th century. Considered a member of the viola da gamba family by its name “violone”, it also has similarities in its thirds and fourths tuning, flat back, sloping shoulders, and frets.
I have found no clear evidence of a date, or of a composer, who made specific use of Viennese tuning in orchestras after the solos of Haydn's six symphonies. The Viennese tuning disappeared progressively towards the middle of the 19th century. The last clear evidence we found in the music is Beethoven’s Septet op. 20, the first performance of Beethoven’s 1st symphony, and Schubert’s Trout quintet. We also have the performance on 2nd November 1800 of Sperger’s last symphony “Erbprinzessin-sinfonie”. We also know that instruments of this tuning were built until at least 1820. For Mendelssohn, analysis of his works has shown that its classical characteristics come out clearer with the Viennese tuning. This research is done in the form of an exposition to highlight the musical extracts of the different composers.
Fingering of the Viennese Double Bass
(2016)
author(s): Feng Zhou
published in: KC Research Portal
ame: Zhou Feng
Main Subject: Violone
Research supervisor(s): Kate Clark
Title of Research:
Fingering of the Viennese Double Bass
Research Question:
What was the historical fingering of the Viennese double bass? Which different effects it would have on different fingerings? What’s the modern solution of fingerings and its influence?
Summary of Results:
The Viennese Double Bass was a dominant type of double bass used in the Classical Period in Vienna. It usually has 5 string, tuned in F1-A1-D-F#-A, with frets. Unfortunately, we can barely find any historical material that was written down on the fingering of this instrument. Through the analysis of the history of fingerings on various double basses documented in historical methods, I can find the pattern of fingering that is often related to the tuning intervals of the instrument. The Viennese double bass was possibly using a '1-2-4' fingering system. In my research paper, I give the suggestions of specific fingerings, including basic fingerings (scales, arpeggios), exception fingerings (chordal fingering, octave fingering). For octaves, I find the possible solutions by using basic, chordal, extension fingerings and shifting strategy. With excerpts of solo works and orchestral parts, I give further explanation of the fingerings. Finally, I try to point out that the modern tuning of the Viennese double bass could cause alteration of the historical fingerings. Furthermore, it would also change the timbre.
Biography:
Master student of Violone (Koninklijk Conservatorium, Den Haag)
Artist Diploma of Double Bass (China Central Conservatory, Beijing)
Master Degree of Journalism (Tsinghua University, Beijing)