Appendices.

A. [Chronological and Biographical.]

B. [Glossary of Terms.]

Appendix A.
Chronological and Biographical.

1510. Caspar Duiffoprugcar (Bologna); about 1510. The reputed inventor of the violin, although there can be no doubt that this instrument was a slow growth from earlier forms.

1533. V. Galilei (Florence), 1533-1600. Violin and lute player. Member of the celebrated circle of artists who met at the residence of Count Bardi in Florence.

1535. Andreas Amati (Cremona), 1535-1611. Head of the family of celebrated violin makers.

1543. Ganassi, a Venetian writer, mentions three varieties of violins as Viola di Soprano, di Tenore, e di Basso; and Castiglione alludes to a composition for “Quattro Viole da Arco,” which may of course be taken for the String Quartett.

1557. Thomas Morley (London), 1557-1604. Famous English composer, who wrote certain instrumental pieces, after the manner of chamber music, for lute, citterne, flute, treble and bass viol. He also wrote some excellent vocal music.

1567. Claudio Monteverdi (Cremona), 1567-1643. A composer of decided originality, who introduced a number of new effects. The tremolo for strings is first met with in his works. He was, however, chiefly a composer of the earliest form of opera.

1586. J. Hermann Schein (Grünhain), 1586-1630. One of the predecessors of J.S. Bach as cantor of the St. Thomas School at Leipzig. His compositions include a number of works for strings, notably twenty Partitas with five movements each. An edition of his works is now being issued by Breitkopf & Härtel.

1592. John Jenkins (Maidstone), 1592-1678. Chamber musician to King Charles I. and King Charles II. Composer of chamber music, among which is twelve sonatas for two violins and bass.

1598. Salomon Rossi (Mantua), 1598-1623. Italian musician who published various early forms of chamber music for strings.

1600. G. Bassani (Venice), about 1600. Violinist and teacher of Corelli. He composed chamber music suites which were highly esteemed.

1621. Biagio and Carlo Marini (Brescia), about 1621. Two chamber music composers, well known in their time.

1625. G. Legrenzi (Venice), 1625-90. Eminent composer, who wrote various chamber music works for strings. Lotti was his pupil.

1625. Carlo Farino (Mantua), about 1625. Composer of chamber music, and one who considerably developed the form. (See Wasielewski’s The Violin and its Masters.)

1628. Tarquinio Merula (Cremona), about 1628. One of the early composers of sonatas for the violin, and of other forms of chamber music.

1636. John Banister (London), 1630-79. Violinist and director of chamber music concerts.

1630. G.B. Fontana (Brescia), —— d. 1630. Composer who did much for the development of the chamber music of his time.

1632. Matthew Locke (Exeter), 1632-77. Celebrated English musician; chiefly remembered by his “Macbeth” music, but he also wrote chamber music for viols and violins.

1641. Johann Vierdank (Stralsund), about 1641. Organist at Stralsund. He wrote a number of works for two violins and bass.

1644. G.B. Vitali (Cremona), about 1644. Important violist, and composer of chamber music during the period leading up to the time of Corelli.

1644. Antonio Stradivari (Cremona), 1644-1737. The great Cremona violin maker.

1649. Johann P. Krieger (Nuremberg), 1649-1725. German chamber music composer. Twenty-four of his sonatas for two violins and bass have survived.

1650. Guarneri (Cremona), 1650-1745. Name of the famous family of violin makers.

1650. N. Hasse (Rostock), about 1650. He wrote dances (courantes, etc.) for strings and theorbo, a bass instrument of the lute order.

1650. Nicolaus Kempis (Florence), about 1650. He resided in Brussels in the middle of the seventeenth century. His chamber music was regarded as among the best written during his time.

1653. Corelli (Fusignano), 1653-1713. Eminent violinist and composer of important chamber music.

1655. J.H. Schmelzer (Vienna), about 1655. Chamber musician at the court of Vienna, who published various sonatas for strings and wind.

1655. Steffani (Castelfranco), 1655-1730. Venetian composer of high rank, who lived chiefly in Germany. His vocal chamber duets are his more important works, but he also wrote chamber music for strings.

1655. J. Christoph Denner (Nuremberg), 1655-1707. A musical instrument maker, to whom is attributed (about the year 1700) the invention of the clarinet.

1658. Henry Purcell (London), 1658-95. A composer of great and original genius, among whose works, in many styles, are various interesting chamber music compositions.

1659. Alessandro Scarlatti (Trapani), 1659-1725. Although not pre-eminently distinguished as an instrumental composer, it is claimed for him that he was the first to publish a genuine string quartett for two violins, viola, and ’cello. Copies of such compositions by him are, it is stated by Mr. E.J. Dent, to be found in the Santini Library at Münster in Westphalia.

1660. Ariosti (Bologna), 1660-1740 (about). Italian composer, who for a short time taught Handel. He, Buononcini, and Handel wrote an opera, each taking an act. Ariosti left some chamber music for the viola d’amore, on which he himself was a performer.

1662. E.F. del Abaco (Verona), 1662-1726. Italian composer, who wrote some noteworthy sonatas for two violins and continuo (figured bass).

1662. Henri Desmarets (Paris), 1662-1741. Chamber musician to Louis XIV.

1668. François Couperin, 1668-1733. French organist and composer of works for the clavecin which are of historic importance. He also wrote some trios for two violins and bass.

1669. Johann Pezel (Leipzig), 1669-86. A German composer who published various works for strings in chamber music style.

1674. C.H. Abel (Hanover), about 1674. Composer of various instrumental pieces for strings; other members of the Abel family were composers of chamber music.

1674. T. Albinoni (Venice), 1674-1745. Composer of chamber music. J.S. Bach esteemed his music, and wrote two fugues on themes by him.

1675. Antonio Vivaldi (Venice), 1675-1743. Italian violinist and composer of great distinction who wrote important chamber music.

1680. F. Geminiani (Lucca), 1680-1762. Violinist and composer. His sonatas, trios, etc., are of importance for their time.

1685. Gottfried Finger (Olmütz), about 1685. He came to England in 1685, and was appointed chapel-master to King James II. In conjunction with John Banister he published chamber music for various instruments.

1685. F.M. Veracini (Florence), 1685-1750. Celebrated violinist composer and chamber-music virtuoso.

1685. John Sebastian Bach (Eisenach), 1685-1750.

1685. G.F. Handel (Hallé), 1685-1759.

1685. Domenico Scarlatti (Naples), 1685-1757. Composer and performer of clavier music of great distinction. He leads us up to P.E. Bach, Haydn, and others of that period.

1685. Johann Schenck (Wiener-Neustadt), about 1685. He published during 1685-95 sonatas for two violins, gamba (a kind of ’cello), and continuo (figured bass), and many other works in chamber music form. One set of these he called (anticipating the Beethoven Scherzo) Scherzi musicali.

1685. Torelli (Verona),—about 1685. Famous violinist, who wrote some important chamber music for strings.

1686. N.A. Porpora (Naples), 1686-1766. Opera composer of great fame. He also wrote a number of chamber music works, including six so-called chamber symphonies for two violins, ’cello, and continuo.

1687. J.M. Leclair (Paris), 1687-1764. Eminent violinist and composer of chamber music. Two of his sonatas are included in Ferdinand David’s High School of Violin Playing.

1689. P. Castrucci (Rome), 1689-1769. Composer of violin and other sonatas, and inventor of a stringed instrument called the Violetta Marina, which Handel used in his operas Orlando and Sosarme.

1690. Testore (Milan), 1690-1745. The name of a renowned Italian family of violin makers.

1690. C. Tessarini (Urbino),—born 1690. Celebrated violinist, and composer of trios for two violins and bass, and other chamber music. Pupil of Corelli.

1692. Antonio Veracini (Florence), about 1692. Distinguished composer of chamber music. His brother, F.M.V., was also a violinist and composer of distinction.

1692. G. Tartini (Padua), 1692-1770. Violinist, composer, and theorist. He wrote much chamber music, and developed a high school of violin playing. Amongst his pupils were Nardini and Pasqualino. To him is ascribed the discovery of combination, or resultant, tones, although this is also claimed for his contemporary, G.A. Sorge.

1693. Pietro Locatelli (Bergamo), 1693-1764. A distinguished violinist; pupil of Corelli. One of the first to use double stopping, and different modes of tuning the violin. He published chamber music for strings.

1696. Robert King (London), about 1696. Chamber musician and composer to King William III. of England.

1696. G.M. Ruggieri (Venice), 1696-1732. Venetian opera composer, who wrote some chamber music sonatas, etc., for strings.

1697. J.J. Quantz (Oberscheden), 1697-1773. Chamber musician to Frederick the Great of Prussia. Famous flute player. He wrote many chamber duets, trios, quartetts, etc., for that instrument.

1698. Johann G. Graun (Wahrenbrück), 1698-1771. Brother of the more celebrated Karl H. Graun. He wrote many string quartetts, trios, etc.

1703. G.A. Sorge (Mellenbach), 1703-78. German organist and theorist. It is claimed that he discovered “combination tones” before Tartini, to whom their discovery is usually attributed.

1707. Gottfried Keller (German), about 1707. Composer and teacher, who lived chiefly in London, where he published six sonatas for two flutes and bass, and six for two violins, trumpet, viola, and bass.

1709. William Flackton (London), 1709-98. The English publisher Walsh issued six trios for strings by this composer in 1758.

1710. Charles Avison (Newcastle-on-Tyne), 1710-70. Organist and chamber music composer. Browning refers to him in his “Parleyings.”

1710. G.B. Pergolesi (Naples), 1710-36. A composer of great distinction, who wrote many operas, a well-known “Stabat-mater,” and chamber music, including thirty trios for two violins and bass.

1711. Ignaz Holzbauer (Vienna), 1711-83. He wrote many string quartetts and other chamber music. Mozart is said to have esteemed his compositions.

1712. Frederick the Great, King of Prussia, 1712-86. Amateur composer and flautist of distinction.

1714. Philipp Emanuel Bach (Weimar), 1714-88.

1714. Gluck (Wiedenwang), 1714-87. Opera composer. He wrote no chamber music.

1715. G.C. Wagenseil (Vienna), 1715-77. Composer and chamber musician to the court. His works, which include much chamber music, were held in high favour during his life-time.

1716. F. de Giardini (Turin), 1716-96. Violinist (who resided for some time in London), and composer of chamber music.

1717. J.K. Stamitz (Deutsch-Brod), 1717-61. Violinist and composer, who wrote a number of trios, etc., for strings. His sons, Karl and Anton, were also distinguished violinists and composers.

1722. P. Nardini (Florence), 1722-93. Pupil of Tartini. Composer of string quartetts, sonatas, and other chamber music.

1724. C.G. Töschi (Munich), 1724-88. Violinist and composer of chamber music, including twenty-four quartetts for strings and flute, and three sextetts for flute, oboe, bassoon, and string trio.

1724. Pierre van Malder (Brussels), 1724-68. Violinist, composer, and chamber musician to Prince Charles of Lorraine.

1730. G.B. Sammartini (Milan), 1730-70. Composer of distinction, who worked, prior to Haydn, at chamber music and orchestral composition. He wrote a great deal, including string quartetts, trios, etc. Gluck was his pupil.

1730. J.T. Goldberg (Königsberg), about 1730. J.S. Bach wrote for him the celebrated “Goldberg” variations for clavier. He himself composed chamber music.

1731. G. Pugnani (Turin), 1731-98. Renowned violinist, who composed a number of chamber works for strings. He resided for some time in London. Viotti was one of his pupils.

1732. Joseph Haydn (Rohrau), 1732-1809.

1732. J.C. Friedrich Bach (Leipzic), 1732-95. The third of J.S. Bach’s sons. He composed, among other works, some chamber music, but it is not so important as that of his brother, P. Emanuel.

1734. F.J. Gossec (Paris), 1734-1829. Prolific composer in all styles. His chamber music, and especially his quartetts, were held in high esteem.

1734. Antonio Sacchini (Pozzuoli), 1734-86. Italian opera composer, who also wrote some excellent chamber music.

1736. J.L. Dussek (Bohemian), 1736-99. A distinguished pianist, who, as well as excellent piano sonatas, composed some chamber music.

1736. Albrechtsberger (Vienna), 1736-1809. Celebrated theorist who composed many chamber music works. Beethoven was a pupil of his.

1737. J. Michael Haydn (Rohrau), 1737-1806. Brother of Joseph Haydn. His compositions in various styles are numerous, and by no means unimportant. They include string quintetts and quartetts. One of the latter was recently played by the Rosé Vienna Quartett.

1739. Carl von Dittersdorf (Vienna), 1739-99. A distinguished chamber music composer. He was during his life-time popularly regarded as a rival of Haydn.

1739. William Forster (Brampton, Cumberland), 1739-1808. An English violin maker of repute. He also published Haydn’s string quartetts.

1739. F.W. Rust (Wörlitz), 1739-96. A violinist whose compositions, and especially his violin and piano sonatas, are of much importance.

1739. J.B. Wanhal (Neu-Nechanitz), 1739-1813. Bohemian composer, who wrote a great deal of chamber music, which was popular in his life-time.

1741. Grétry (Liège), 1741-1813. Celebrated French opera composer. He also wrote a number of string quartetts and piano sonatas.

1741. G. Paesiello (Taranto), 1741-1816. Italian opera composer of note, who also published some chamber music.

1741. W. Pichel (Vienna), 1741-1805. Chamber musician to Duke Ferdinand. A very prolific composer of chamber music. He has left several hundreds of such works.

1741. L. Tomasini (Pesaro), 1741-1808. Violinist and composer. He acted as leader and chamber musician to Prince Esterhazy, under Haydn, who was his friend. He published various string quartetts, etc.

1743. Boccherini (Lucca), 1743-1805. Esteemed Italian composer, who wrote a great deal of chamber music, including ninety-one string quartetts.

1744. Giuseppe Giordani (Naples), 1744-98. A composer of merit, who wrote much chamber music.

1744. M.A. Guénin (Mauberge), 1744-1814. His chamber works, which were very numerous, were at the time popularly regarded as equal to Haydn’s, a view, it is hardly necessary to add, which time has not confirmed.

1745. J.P. Salomon (Bonn), 1745-1815. Violinist and director of concerts in London, at which Haydn’s symphonies were produced. Salomon was an excellent chamber music leader. Haydn’s last quartetts were written for him.

1746. G. Cambini (Leghorn), 1746-1825. Among the chamber music of this now unknown composer are found no less than one hundred and forty-four string quartetts.

1747. J.W. Hässler (Erfurt), 1747-1822. A German composer, chiefly for the piano, of the period between Bach and Beethoven. His works certainly have a historic interest.

1747. F. Tourte (Paris), 1747-1835. The famous violin-bow maker.

1748. J.W. Stich (Prague), 1748-1803. A celebrated horn player, who also wrote many chamber music compositions, in which that instrument took part. Beethoven thought highly of him, and wrote for and played with him the sonata op. 17, for pianoforte and horn.

1749. The Abbé Vögler (Würzburg), 1749-1814. A distinguished organist and composer, the list of whose works include a piano quartett called “The Matrimonial Quarrel,” and other chamber music.

1751. B. Campagnoli (Bologna), 1751-1827. Violinist and chamber music composer.

1752. Muzio Clementi (Rome), 1752-1832. Pianist and composer.

1752. Leopold Kotzeluch (Bohemian), 1752-1818. A prolific if not profound composer, of fame during his life-time. Amongst other of his chamber music works are fifty-seven piano trios.

1753. F. Fiorillo (Naples), about 1753. Violinist and composer. Some of his works were edited by Spohr.

1753. G.B. Viotti (Fontanetto), 1753-1824. Italian composer and violinist, who has been called the father of modern violin playing. He wrote many important chamber music works.

1754. Peter von Winter (Mannheim), 1754-1825. Famous opera composer, who also wrote some interesting chamber music.

1754. William Shield (Swalwell, Durham), 1754-1829. English opera and chamber music composer. He was also of repute as a musical theorist.

1756. Paul Wranitzky (Vienna), 1756-1808. A composer of a large quantity of chamber music. He was violinist in Haydn’s Esterhazy Band. His brother Anton was also a distinguished violinist and composer.

1756. Mozart (Salzburg), 1756-91.

1757. Ignaz J. Pleyel (Rupertsthal), 1757-1831. Pupil of Haydn. He wrote a great quantity of chamber music (forty-five string quartetts, and other works), which is, however, hardly now remembered.

1760. Franz Krommer (Vienna), 1760-1831. Among other chamber music he wrote sixty-nine string quartetts, but these were overshadowed by the works of his contemporaries, Haydn, Mozart, and Beethoven.

1760. Cherubini (Florence), 1760-1842. Eminent composer in various styles. His string quartetts are noteworthy.

1763. A. Gyrowetz (Vienna), 1763-1850. A distinguished personality, and prolific composer of chamber music (sixty string quartetts, etc.), which was not, however, of an enduring character.

1764. Regina Strinasacchi (Ostiglia), 1764-1839. Noted lady violinist, for whom Mozart wrote the well-known violin and clavier sonata in B♭ (No. 454, Köchel). When first performed by her and the composer (in public), no clavier part had as yet been written, Mozart playing it from memory.

1765. D. Steibelt (Berlin), 1765-1823. Solo pianist, and composer of a great deal of chamber music which is now almost forgotten. As a performer he is said to have competed in public with Beethoven, and was popularly considered not inferior to that master.

1766. Anton Eberl (Vienna), 1766-1807. Pianist, composer of chamber music, and the friend of Mozart and Gluck.

1766. Rudolph Kreutzer (Versailles), 1766-1831. Beethoven dedicated to him the piano and violin Sonata op. 47. He was chamber musician to Napoleon and to Louis XVIII. The large quantity of chamber music which he wrote is now practically forgotten, but his forty violin studies are still highly esteemed.

1767. Andreas Romberg (Vechta), 1767-1821. Composer of distinction, if not of genius. He wrote many chamber music works. His son Bernard (’cellist) was also somewhat distinguished as a performer and composer.

1769. J.F. Rochlitz (Leipzig), 1769-1842. Literary musician, who edited the Allgemeine Musikalische Zeitung during the period when Beethoven’s works began to appear. His discriminating and sympathetic notices were among the first to call world-wide attention to these works, and are indeed of much historic importance.

1769. Martin Marin (Bayonne), born 1769. Celebrated harpist, for which instrument he composed (and such works are rare) quintetts with strings and other chamber music, which M. Fétis says are “truly classical.”

1770. Anton Reicha (Prague), 1770-1836. Theorist and composer. Friend and associate of Albrechtsberger, Haydn, and Beethoven. He wrote many chamber music works.

1770. Beethoven (Bonn), 1770-1827.

1771. P.M. Baillot (Paris), 1771-1842. Celebrated violinist and teacher, who also wrote some chamber music.

1771. J.B. Cramer (Mannheim), 1771-1858. Pianist, composer, and teacher.

1772. Joseph Wolff (Salzburg), 1772-1812. Pianist and composer, who studied under Michael Haydn. In extemporisation on the piano he was popularly considered superior to Beethoven. He published many chamber music works, but his career was not successful. He died in London forgotten, and, it is said, almost destitute.

1772. Prince Louis Ferdinand of Prussia (Friedrichsfelde), 1772-1806. Distinguished amateur musician and composer of interesting chamber music.

1776. Ignaz Schuppanzigh (Vienna), 1776-1830. He, as leader, with Mayseder, Weiss, and Lincke, constituted the celebrated string quartett which first performed Beethoven’s works, under the composer’s own direction.

1778. J.N. Hummel (Pressburg), 1778-1837. Distinguished musician. Pupil of Mozart. Composer of chamber music, of which it may be said that while good, it was but superficial in feeling.

1780. Luigi Borghi, violinist and composer, who resided in London about 1780. He wrote some excellent sonatas for violin, and for viola d’amore and double bass.

1781. Antonio Diabelli (Mattsee), 1781-1858. A prolific but by no means great composer. He was a pupil of Michael Haydn, but afterwards became a music publisher in Vienna. He published Schubert’s works, and, it is said, did not pay that master well.

1782. J.F. Mazas (Béziers), 1782-1849. Violinist and composer of chamber music.

1782. John Field (Dublin), 1782-1837. Chiefly known as a pianist, and for his nocturnes for piano. He also wrote some chamber music.

1782. N. Paganini (Genoa), 1782-1840. Probably the greatest of violin virtuosi. As a player in classical quartetts he was said to have been a failure. He did not subordinate himself sufficiently to the general meaning and effect of the music.

1783. Joseph Lincke (Vienna), 1783-1837. Violoncellist in the Rasumowsky and Schuppanzigh Quartetts, with whom Beethoven’s name was so much associated.

1783. Graf von Gallenberg (Vienna), 1783-1839. Beethoven is said to have been in love with the Countess Guicciardi (who eventually became the Countess Gallenberg), and he dedicated his so-called moonlight sonata to her. Beethoven wrote a set of variations on a theme of Gallenberg’s.

1784. Ferdinand Ries (Bonn), 1784-1838. Pianist, composer, and teacher. Was an intimate friend of Beethoven, and wrote a biography of that master.

1784. François J. Fétis (Mons, Belgium), 1784-1871. Distinguished literary musician, who wrote also some chamber music of interest, if not of genius.

1784. George Onslow (Clermont-Ferrand), 1784-1852. The grandson of Lord Onslow. Voluminous writer of chamber music, to which he almost devoted his life. He played ’cello in the soirées which were constantly held at his French residence, Clermont-Ferrand (Puy de Dôme). His chamber music has considerable artistic value.

1784. Ludwig Spohr (Brunswick), 1784-1859. Distinguished violinist and composer. His chamber music, as well as many works in all styles, are of great importance.

1786. F. Kuhlau (Hanover), 1786-1832. He is chiefly known by his chamber music quartetts, trios, and duets for flutes.

1786. Weber (Eutin), 1786-1826. The famous German opera-composer (Der Freischutz, etc.). He also wrote some important chamber music. His piano sonatas especially are noteworthy.

1787. Antonio Leite (Oporto), 1787-1826. Portuguese composer, whose works include sonatas for the curious combination—guitar, violin, and two trumpets.

1788. Aloys Schmitt (Erlenbach), 1788-1866. Pianist and teacher. His trios and quartetts for strings are interesting.

1789. Joseph Mayseder (Vienna), 1789-1863. Violinist of importance and composer of chamber music. He was a member of the Schuppanzigh Quartett. It is said that Paganini thought highly of him.

1790. C. Urhan (Paris), 1790-1845. Violinist and composer of chamber music, and belonged to Baillot’s Quartett. He, like his contemporary Michael Woldemar (1750-1816), who wrote a concerto for the instrument, constructed a larger violin with a fifth string (low C), and called it the violin alto.

1791. Karl Czerny (Vienna), 1791-1857. Eminent pianist and teacher. He was for a while a pupil of Beethoven.

1792. Anton B. Fürstenau (Münster), 1792-1852. Flautist of distinction, who was much connected with chamber music performances. His works in this form for flute and strings, etc., are important.

1794. L. Jansa (Vienna), 1794-1875. Celebrated as a quartett leader, especially of the works of Haydn and of Beethoven, whose Kreutzer Sonata he played first to Beethoven, with Czerny at the piano.

1794. Ignace Moscheles (Leipzig), 1794-1870. A pupil of Albrechtsberger, and associated with Beethoven, Mendelssohn, and other great artists. He wrote chamber music, which is now, however, practically forgotten. Some of his piano works are of value.

1795. Kaspar Kummer (Erlau), 1795-1870. Eminent flautist, who wrote chamber music for that instrument, with strings.

1795. H.A. Marschner (Zittau), 1795-1861. Opera composer of distinction, whose works may be regarded as the link between Weber and Wagner. He also wrote some chamber music which had little vitality, and is now forgotten.

1796. Anton Schindler (Medl.), 1796-1864. May be called Beethoven’s “Boswell.” He lived on intimate terms, under the same roof, with the great master, helped him during his life-time, and afterwards faithfully chronicled his doings. Schindler was an educated musician, played the violin, and was for some time Cathedral Capellmeister at Münster.

1797. Schubert (Lichtenthal), 1797-1828.

1798. J.B. Villaume (Mirecourt), 1798-1875. Celebrated French violin maker. He also invented a large kind of viola which was called “contralto,” and a monster double bass called “octo-bass.”

1798. Karl G. Reissiger (Belzig), 1798-1859. German composer of operas, etc. He also wrote a considerable amount of chamber music, which had its vogue. But although facile in expression, his music is lacking in character and depth. Such music is useful as showing us what not to do.

1800. Edward A. Grell (Berlin), 1800-86. A somewhat distinguished musician, who held the view that vocal music was the only real music. Instrumental was decadent!

1802. W. Bernhard Molique (Nuremberg), 1802-69. Esteemed composer, solo violinist, and quartett leader. His chamber music is of high merit.

1802. John Ella (Thirsk, Yorkshire), 1802-88. Violinist and promoter of high-class chamber concerts in London. His audiences were supplied with analytical programmes, a custom, however, which had already been in use at like concerts given in Edinburgh.

1803. Glinka (Nowospask), 1803-57. Distinguished Russian composer, who also wrote some chamber music.

1803. Franz Lachner (Munich), 1803-90. A somewhat important German composer. Intimate friend of Schubert. His chamber music includes string and piano quartetts and larger works.

1803. Karl F.E. Schafhautl (Ingolstadt), 1803-90. Acoustical musician, who assisted Boehm in his improvements of the flute and other instruments. His investigations into the causes of the various tone-tints of musical instruments is said to have shaken the Helmholz theory.

1805. The Brothers Sebastian and Louis Lee (Hamburg), 1805 and 1819. Both ’cellists of repute. Louis, along with Hafner, established in Hamburg chamber music concerts. He also composed some chamber music.

1806. H.W. Veit (Repnic), 1806-64. Bohemian composer of repute, who wrote some interesting chamber music.

1807. H.N. Reber (Paris), 1807-80. French composer of distinction. His chamber music is worthy of attention.

1807. J.L. Ellerton (London), 1807-73. An amateur who wrote a large quantity of chamber music, including forty-four string quartetts.

1808. M.W. Balfe (Dublin), 1808-70. The well-known opera composer (Bohemian Girl, etc.). His piano trio in A major is an exceptional but quite interesting work. It was played at the Monday Popular Concerts, with Joachim as leader.

1808. Prince Rasumowsky (Russian), about 1808. [Transcriber’s Note: Rasumowsky was born in 1752, per Wikipedia.] He carried on from 1808 to 1816 the string quartett known by his name, and in which he played second violin. Afterwards it was called, after its leader, the Schuppanzigh Quartett. Beethoven dedicated his quartett op. 59 to Rasumowsky.

1809. E. Sauzay (Paris), born 1809. Violinist and pupil of Baillot, in whose quartett he played second violin, and afterwards viola. He took an active part in matters connected with chamber music.

1809. Felix Mendelssohn (Hamburg), 1809-47.

1810. Chopin (Zelazowa-Wola), 1810-49. Celebrated Polish pianist and composer. He wrote some chamber music, but is best known by his works for piano solo.

1810. Ferdinand David (Hamburg), 1810-73. Violinist of fame as performer and teacher. Joachim and Wilhelmj were among his pupils. He was much associated with the best chamber music doings of his time. During its composition Mendelssohn conferred with him as to his (Mendelssohn’s) Violin Concerto.

1810. Felicien David (Cadenet), 1810-76. French composer, known now chiefly by his ode “The Desert.” His string quartetts were also held in high esteem during his life-time.

1810. Schumann (Zwickau), 1810-56.

1811. Ferdinand Hiller (Frankfurt-a-M.), 1811-85. German composer of repute. His chamber music possesses a certain degree of interest.

1811. Henry G. Blagrove (Nottingham), 1811-72. Eminent English violinist. Pupil of Spohr.

1811. Franz Liszt (Raiding), 1811-86. One of the world’s great pianists, but more devoted to solo than to ensemble playing. Wagner (whose devoted friend Liszt was) has left it on record that he never knew the full power and majesty of Beethoven’s piano sonatas, especially the later ones, until he heard them played by Liszt, in private, at Wahnfried, Wagner’s residence in Bayreuth.

1811. C.L. Ambroise Thomas (Metz), 1811-96. Distinguished French opera composer, who also wrote a string quartett, a quintett, a piano trio, and other chamber music.

1812. Karl Grädener (Rostock), 1812-83. Chamber music composer of some distinction, ’cellist, and quartett player.

1812. Flotow (Mecklenburg), 1812-83. Opera composer, who is best known by his work Marta. He also wrote some chamber music, not, however, of distinction.

1813. Sir G.A. Macfarren (London), 1813-87. Composer, and Principal of the R.A. Music, London. He published a number of works in chamber music form, also on musical theory.

1813. G. Verdi (Roncole), 1813-1901. The well-known Italian opera composer, who in 1873 published a quartett for strings, his only instrumental chamber music work.

1815. Stephen Heller (Paris), 1815-88. A composer (chiefly for the piano) whose works, although written in the smaller forms, rise above most of his contemporaries in character, and especially in poetic expression. He, with the violinist Ernst, published some interesting piano and violin pieces.

1815. F. Robert Volkmann (Lommatzsch), 1815-83. Eminent modern composer, who wrote many chamber music works of interest.

1815. E.C. Sivori (Genoa),—1815-94. Famous violinist and quartett leader.

1816. Sir W. Sterndale Bennett (Sheffield), 1816-75. Distinguished English composer, especially for piano. His trio op. 26 is a charming chamber music work.

1817. Niels W. Gade (Copenhagen), 1817-90. Danish composer. Amongst his chamber music, a piano trio in F and the violin and piano sonatas are noteworthy.

1817. M. Gustav Nottebohm (Lüdenschied), 1817-82. A well-known German writer on music, especially on Beethoven, whose interesting sketch books he published.

1817. Alex. W. Thayer (South Natick, U.S.A.), 1817-97. An American writer who devoted much of his life to a biography of Beethoven, which has, however, only as yet in part been issued in German.

1818. Antonio Bazzini (Brescia), 1818-97. Italian violinist and composer of chamber music. His string quartetts and a quintett are much esteemed.

1819. W. Sharfenberg (Kassel), 1819-95. German violinist and pianist, who resided chiefly in New York, U.S.A. He at one time played second violin in Spohr’s string quartett.

1819. Sir Charles Hallé (Hagen), 1819-95. Distinguished pianist and conductor, who resided chiefly in Manchester, and did much for chamber music in the country of his adoption.

1820. C. Gurlitt (Altona), 1820-1901. A composer of sincere and pleasing, if not profound, chamber music. He also wrote much piano music for young people and children.

1820. Jules Armingaud (Paris), born 1820. Leader of a famous string quartett. He is said to have introduced Beethoven’s quartetts to Paris.

1821. Friedrich Kiel (Berlin), 1821-85. Important modern composer, who wrote a considerable amount of chamber music.

1822. Alfred Piatti (Bergamo), 1822-1901. Celebrated violoncellist, which instrument he played for many years at the leading chamber music concerts in London, where he resided.

1822. J. Joachim Raff (Lachen), 1822-82. A versatile and highly-gifted composer, many of whose chamber music works are of great interest. A Piano Trio in C minor, op. 102, may be specially mentioned.

1822. L.T. Gouvy (Gaffontaine), 1822-98. A composer who wrote a large quantity of chamber music in style somewhat Mendelssohnian. He resided chiefly in Paris.

1822. César August Franck (Liège), 1822-90. A composer whose works, and more especially some of his chamber music, are highly esteemed by many connoisseurs. A quintett for piano and strings in F minor is highly regarded.

1823. Edward Lalo (Paris), 1823-92. Violinist and composer. He was early in his career connected with chamber music, and has left some interesting works in that style.

1823. Theodore Kirchner (Neukirchen), 1823-1903. A German composer who has written chamber music of a delightful character, especially in the smaller forms: novelletten, etc., for piano, violin, and ’cello.

1824. Anton Bruckner (Vienna), 1824-96.

1824. Carl H.C. Reinecke (Altona), 1824. Composer of much charming chamber music, also in other forms. He was conductor for many years of the Gewandhaus Concerts in Leipzig, and is one of the leading German musicians.

1824. F. Smetana (Leitomischl), 1824-84. Bohemian composer of importance. Dvořák was one of his pupils. His string quartetts and piano trio are of interest.

1827. Eduard Silas (Amsterdam), 1827. Of Dutch nationality, but settled in London. Has composed chamber music as well as in various other styles.

1829. Joseph Hellmesberger (Vienna), 1829-93. Leader of the celebrated quartett called by his name.

1829. Albert H. Dietrich (near Meissen), 1829. A pupil of Schumann. His piano trios and other chamber music are of considerable merit.

1830. Carl Goldmark (Vienna), 1830. Interesting composer, of Hungarian origin. His chamber music is worthy of attention.

1830. Anton Rubinstein (Wechwotynez), 1830-94. One of the great pianists, and a composer of distinction. Some of his chamber music is of a high order.

1830. Hans Von Bülow (Dresden), 1830-94. A pianist of great distinction, who exercised a marked influence on the performance of chamber music. He was also a remarkable conductor, and musical critic.

1831. Joseph Joachim (Kittsee), 1831. Distinguished violinist and composer, to whom, as the exponent of the best chamber music, the world of music is deeply indebted. The string quartett called after him consists of Herren Karl Halir, E. Wirth, R. Hausmann, and Dr. Joachim himself.

1831. Ludwig Nohl (Iserlohn), 1831-85. German musical littérateur, who has written a good deal concerning Beethoven and Mozart. He has also published a booklet on The Historical Development of Chamber Music.

1831. Joseph Bennett (Berkeley), 1831. Prominent English musical writer, whose insight and distinguished literary style have contributed much to the spread of good taste in our national music. He was among the first to recognise the high worth of Dvořák’s chamber music.

1833. Hermann Dieters (Bonn), 1833. A critic and writer on musical matters, especially he has written on Brahms and Beethoven.

1833. F.E. Bache (Birmingham), 1833-58. Pianist and composer of great promise, who unfortunately died young.

1833. Johannes Brahms (Hamburg), 1833-97.

1833. Jean Becker (Mannheim), 1833-84. Eminent violinist who established the well-known “Florentine” quartett.

1834. Nicolai von Wilm (Riga), 1834. Pianist and composer of interesting chamber music. A sextett, op. 27, for strings is well spoken of.

1835. Ebenezer Prout (Oundle), 1835. In the front rank of living musical theorists. Among his compositions are a number of chamber music works.

1835. Felix A.B. Draeseke (Coburg), 1835. Composer whose later works in chamber music style are highly spoken of in Germany.

1835. C. Camille Saint-Saëns (Paris), 1835. Versatile French composer of high standing. Has written in all styles. His chamber music is very interesting.

1837. J. Francis Barnett (London), 1837. Pianist and composer, who, among other and larger works, has written some chamber music.

1838. Max Bruch (Cologne), 1838. His best known works are the violin concertos. He has also written some chamber music.

1839. Lady Hallé (Madame Neruda) (Brünn), 1839. Solo violinist of high standing, and one of the quartett leaders at the London Monday Popular and other high-class English concerts.

1839. Joseph G. Rheinberger (Vaduz), 1839-1901. A distinguished German composer, whose chamber music is of high merit, notably the E♭ Piano Quartett and the C minor String Quartett.

1839. J. Knowles Paine (Portland, U.S.A.), 1839. American composer of high aim, who has written in various forms, including chamber music.

1840. P.I. Tschaïkovsky (Wotkinsk), 1840-93. Famous Russian composer. His chamber music is of much importance.

1840. Hermann Goetz (Königsberg), 1840-76. German composer of genius, who unfortunately died young. His Piano Trio in G minor and other chamber music works are highly esteemed.

1840. Johann S. Svendsen (Christiania), 1840. Norwegian violinist and composer of a fresh and delightful talent. He has written a good deal of chamber music.

1841. Anton Dvořák (Nelahozeves), 1841. The well-known composer, who has written works of the utmost importance in all styles, including chamber music.

1842. Victor Duvernoy (Paris), 1842. French composer and pianist, who, along with M. Leonard the violinist, established important chamber music soirées in Paris.

1843. Edvard H. Grieg (Bergen), 1843. Charming Norse composer. His piano and violin sonatas are well known, or should be.

1843. G. Sgambati (Rome), 1843. Italian composer, who has written some chamber music. Some laudatory expressions of Richard Wagner’s first drew attention to him.

1843. J.S. Shedlock (Reading), 1843. Musical critic and littérateur, who has also published some musical works. His articles on Beethoven’s Sketch Books, Cramer’s Piano Studies, with Beethoven’s notes, which he discovered; his work on the Sonata, and on Kuhnau’s Biblical Sonatas, are of great interest, bearing, as they do in part, on the subject of chamber music.

1844. Edward Dannreuther (Strasburg), 1844. Pianist and teacher, who resides in London. His influence has been of the highest value to the cause of chamber music in England.

1844. Rimsky-Korsakoff (Tichwin), 1844. Russian composer of distinction. His works include some interesting chamber music.

1844. Hugo Heeymann (Frankfurt), 1844. Violinist and leader of the quartett known by his name, one of the best in Germany.

1845. Friedrich Niecks (Düsseldorf), 1845. Professor of Music in the University of Edinburgh, where he has done much to promote the culture of chamber music.

1845. Gabriel Fauré (Pamiers), 1845. French composer, whose works include some chamber music.

1847. August Klughardt (Cöthen), 1847. Scholarly German composer, who, as well as chamber music, has written a good deal in the larger forms.

1847. Sir Alex. C. Mackenzie (Edinburgh), 1847. Principal of the Royal Academy of Music. A distinguished composer in all styles.

1847. Benno Walter (Munich), 1847. Violinist, and distinguished German quartett leader.

1847. Agnes Zimmermann (Cologne). Pianist of distinction, who has written chamber music, and also edited the piano works of Mozart, Beethoven, and Schumann. Miss Zimmermann has chiefly resided in London.

1847. Robert Fuchs (Vienna), 1847. German composer, who has written a good deal of music, chiefly in classical form. His chamber music possesses a certain interest.

1848. Sir C. Hubert H. Parry (London), 1848. Principal of the Royal College of Music, London. Has written with distinction in every form save opera. His chamber music is of great interest, although he has chiefly occupied himself with larger works.

1848. G.J.R. Heckmann (Mannheim), 1848-91. Violinist and founder of the quartett which was known by his name.

1848. Count Franchi-Verney (Turin), 1848. Italian writer on music. He established at Turin in 1875 a society for the culture of chamber music. The celebrated violinist Teresina Tua is the Countess Verney.

1848. F.G. Gleason (Chicago), 1848. An American chamber music composer.

1849. Benjamin Godard (Paris), 1849-95. French composer of some note. He was awarded the chamber music prize by the Institute of France.

1850. F.X. Scharwenka (Samter), 1850. Pianist, and composer of chamber music of an interesting character.

1850. Hans Sitt (Prague), 1850. Violinist, composer, and conductor. Is on the staff of the Leipzig Conservatoire. He played viola in the Brodsky Quartett.

1850. Ludwig Stiehle (Frankfurt), 1850. Violinist, pupil of Joachim; member of Hubay’s Quartett at Basel. He also played in the Hochberg Quartett, in Alard’s Paris Quartett, and in that of Baron von Derwies at Nice.

1850. Zdenko Fibich (Bohemian), 1850; A somewhat distinguished composer, known in England by his Piano Quartett in E minor, op. 11.

1851. Adolph Brodsky (Taganrog), 1851. Now resident in Manchester as Principal of the School of Music, and where he has formed a quartett called by his name. He was formerly a member of the Hellmesberger Quartett in Vienna.

1851. Vincent d’Indy (Paris), 1851. French composer of modern tendencies. Amongst his chamber music is a suite for trumpet, two flutes, and string quartett.

1852. Hans Huber (Schönewerd), 1852. His compositions include a considerable amount of chamber music.

1852. Dr. Frederic Cowen (Kingston, Jamaica), 1852. Distinguished English composer and conductor. He has written chamber music, some of which is not yet published.

1852. Benedetto Junck (Turin), 1852. Italian composer of talent. Has published a string quartett, and piano and violin sonatas.

1852. Sir C. Villiers Stanford (Dublin), 1852. British composer of distinction in all styles.

1853. Gustave Dannreuther (Cincinnati, U.S.A.), 1853. Violinist. Has been specially associated with quartett playing and chamber music in New York. He is brother to Edward Dannreuther (London).

1853. Arthur W. Foote (Boston, U.S.A.), 1853. American composer, who has written string quartetts and other chamber music.

1854. G.W. Chadwick (Lowell, U.S.A.), 1854. One of the leading American composers. His chamber music works include a Piano Quintett in E♭, five string quartetts, and a string trio.

1855. Julius Röntgen (Leipzig), 1855. Pianist and chamber music composer of merit.

1856. G. Martucci (Bologna), 1856. Italian composer, whose chamber music is of considerable interest.

1856. Christian Sinding (Kongsberg), 1856. Norwegian composer, who studied at Leipzig. His chamber music is of importance.

1856. Herbert Thompson (Leeds), 1856. Musical and art critic to the Yorkshire Post, a leading provincial daily journal. His numerous articles and critiques have very beneficially influenced the condition of music, including that of chamber music, in the North of England.

1856. Edward Schütt (St. Petersburg), 1856. Pianist and composer, who has written some interesting chamber music, i.e. Walzer-Märchen Trio, and Trio in C minor for piano, violin, and ’cello.

1856. J.A. Fuller-Maitland, M.A. Cantab. (London), 1856. Pianist and musical critic of The Times. Has, among other important musical work, edited Purcell’s twelve sonatas for strings.

1858. T. Adamoffski (Warsaw), 1858. He organised the string quartett called after his name in Boston, U.S.A. This quartett gave about thirty concerts annually in the chief American cities.

1858. Nicolas Sokoloff (St. Petersburg), 1858 (? 1847). Russian composer of high rank. His string quartett and quintett are noteworthy.

1858. Eugene Ysaye (Liège), 1858. Distinguished violinist and leader of the Ysaye Quartett in Brussels. Has more recently resided in London.

1859. Willy Hess, 1859. Well-known violinist, and leader of the Cologne Quartett, consisting of himself and Herren Körner (second violin), Schwarz (viola), and Grützmacher (’cello), which from 1895 to 1903 played frequently in all the chief German cities. In 1904, when he entered on the duty of violin professor at the Royal Academy of Music, London, he established the “Willy Hess” Quartett, the other artists being H. Fellowes (second violin), L. Tertis (viola), and H. Withers, ’cello.

1859. W.H. Hadow (Ebrington), 1859. Musical writer of distinction. His work, Studies in Modern Music, occupies a high place among current musical literature. He has also composed among other chamber music a string quartett, a piano trio, two sonatas for piano and violin, and a sonata for piano and viola.

1859. Algernon Ashton (Durham), 1859. Composer of chamber music, who has also written a good deal of music in the larger forms. He has published two quintetts, two quartetts, and three trios for piano and strings, and some ten sonatas for various instruments.

1859. Arthur S. Chappell (London), 1859. Director of the celebrated Monday Popular Chamber Concerts in London, and head of the firm of Chappell & Co.

1860. Felix Woyrsch (Troppau), 1860. Austrian composer whose works are said to be characterised by freshness and energy. He has, among others, written a string and a piano quartett and a violin and piano sonata.

1862. A.S. Arensky (Novgorod), 1862. Russian pianist and composer. Some of his chamber music (Piano Trio in D minor) has been performed recently in London.

1863. Miss Fanny Davies (Guernsey). Eminent pianist, who has taken part in most of the important chamber music concerts in England. Miss Davies was a pupil of Madame Schumann.

1863. Arnold J. Rosé (Vienna), 1863. Solo violinist and leader of the well-known Rosé Quartett.

1864. Eugen D’Albert (Glasgow), 1864. Composer and pianist of high rank. He has especially distinguished himself as a chamber music performer. His compositions in this style, too, are noteworthy.

1864. Richard Strauss (Munich), 1864. Important modern composer. His later works are chiefly orchestral, but he wrote chamber music, in classical form, in his earlier years.

1865. A. Glazounoff (St. Petersburg), 1865. Russian composer of distinction, who has written some chamber music.

1865. Robert Kahn (Mannheim), 1865. Composer of somewhat interesting chamber music.

1866. F.B. Busoni (Florence), 1866. Eminent solo pianist and chamber music composer.

1866. Prince Nicholas Galatzin (Russian), died 1866. Amateur musician and ’cellist, to whom Beethoven dedicated some of his last string quartetts.

1868. Leonard Borwick (Walthamstow), 1868. Solo and chamber music pianist of distinction. Mr. Borwick was a pupil of Madame Schumann, and has played in the chief concerts, both English and continental.

1873. S.V. Rachmaninoff (Novgorod), 1873. A Russian pianist and composer. Among his chamber music is a Trio Élégiaque, op. 9.

1874. Josef Suk (Křečovic), 1874. Bohemian violinist and composer of some excellent chamber music. He is a member of the Bohemian Quartett.

1875. S. Coleridge-Taylor (London), 1875. One of the most promising of the young composers of to-day. He is, on his father’s side, of West African descent. Among much interesting music he has written some in chamber music style.

1875. Donald F. Tovey (Eton College), 1875. Pianist and composer of high aim. His works include a quintett and a quartett for piano and strings; trios for piano, clarinet, and horn; piano, violin, and cor Anglais; and piano, violin, and ’cello. Sonatas for piano and violin, piano and clarinet, and duets for oboe and piano.

Other contemporary composers and performers of chamber music are:—

Appendix B.
Glossary of Terms.

Absolute Music, music per se without relation to the arts, or to any presentation whatever outside of it.[43]

Chamber Music Pitch. Formerly absolute pitch did not exist. During the sixteenth and seventeenth centuries the pitch was high. This we find according to the old organs, which are some of them a tone higher than our present French diapason. Chamber pitch in olden times differed from church pitch. The adoption of a uniform pitch is very much to be desired at the present time.

Divertimento, a kind of chamber music suite, or combination of pieces of a pleasing and diverting kind.

Gudok, a violin-like Russian instrument with drones.

Volte Subito, or Vide Sequens, written usually V.S. It means turn over quickly, or see what follows.

Violone, the Italian name for the double bass.

Musica da Camera, chamber music (Italian). The term came into use about the beginning of the seventeenth century.

Chrotta (Latin), Crwth (British), probably the oldest of European stringed instruments. Historically it is found mentioned so far back as the year 609. The word chrotta means literally “a bulging box.” The rebec was the same as the crwth, or nearly so. The geige is a like instrument.

Kit (French Pochette), a small violin which was carried in the pocket; used by teachers of dancing.

Early Instrumental Music. Brass instruments in the very early times were not used for musical purposes, but only as an accompaniment to military and other such affairs. At festivals and weddings of the middle ages stringed instruments came into use, and here we have the beginnings of instrumental music. The earliest traces of the use of violin-like instruments is found about the ninth century.

Baryton, an instrument of the violoncello type. Haydn wrote much for the instrument, which was played by his patron, Prince Esterhazy.

Chanterelle, the highest string on instruments of the violin family. Usually associated with the E string of the violin.

Concerto da Camera, chamber concerto. The title was introduced by Torelli, about 1686.

The String Quartett. The instruments which form this combination, viz.: the two violins, viola, and violoncello, are, as to their construction, the result of a slow development of probably 1000 years, the fully-developed violin dating from about the end of the fifteenth century. Music for the string quartett came into vogue about the middle of the eighteenth century. Earlier than this such music usually took the form of the sonata a tre, viz.: two violins and bass.

Arpeggione, an instrument after the kind of the gamba (a small ’cello). First made in Vienna, about the year 1823. Schubert wrote a sonata for this instrument.

Bassett, the old German name for the violoncello.

Modern Violins. In the year 1891 a certain Dr. Stelzner, a German, made public his method of constructing new violins, for which it was claimed that they would outstrip the old Italian instruments. Stelzner inserted vibrating tongues in the f holes, and made other so-called improvements. The claims made for these instruments have not, however, been sustained. Another attempt of this kind, called the “Stroh” violin, does not seem to have been successful.

Violin Tone. The players on the viol in England in the seventeenth century did not welcome the violin. Its stronger and, to their ears, harsh tone was said to destroy the delicate balance of the viols.

Alto Violoncello, a smaller instrument than the ordinary one. Boccherini directs, in some of his chamber music, that the ’cello part is to be played on this instrument. The unusual difficulty of some of his ’cello parts may be explained, in part, by this direction.

Viol. This instrument preceded the violin. Its shape, which is still in use as the ordinary double bass of the orchestra, has been thus described by Mr. Payne:—“It differs from the violin in having deeper ribs, and a flat back, which is sloped off at the top. The shoulders curve upwards, joining the neck at a tangent instead of at right angles, as in the violin. The neck is broad and thin, the number of strings being five, six, or seven. The viol was made in four sizes.”

Fiddle. This word has its origin in “fides,” the Latin name for any kind of string. Its diminutive is “fiducula.”

The Strings. By this is usually meant the violins, violas, ’cellos and double basses collectively. The Germans use the term “bowed instruments,” which is better than “the strings,” seeing that the guitar, harp, piano, etc., are stringed instruments. Another German authority claims that an accurate description is “bow-stringed instruments.”

The Violin is constructed of fifty-seven different pieces of wood, which are glued together, the most numerous of these parts being the linings and purfling. Its movable fittings (bridge, pegs, etc.) number thirteen, making in all seventy different parts.

François Francœur (1715). This French composer and violinist is said to have used the thumb in playing the violin, so as to produce certain chords, as is done in ’cello playing.

Lute. An old instrument whose descendants are the guitar and mandoline. The chiterna (citerne) was of the same order.

Theorbo belongs to the lute family. It was a bass instrument, and had a double neck with two sets of strings.

Taille. An alto oboe (J.S. Bach). Sometimes used to describe the viola.

Urh-heen. The Chinese violin. It differs very much from the European instrument, has a different bow, and no fingerboard.

Viola-pomposa. A kind of small violoncello, invented by J.S. Bach.

Rebec. Probably the oldest stringed instrument played with a bow. Whether Spain got it from Arabia, or vice versâ, is a yet unsettled historical point.