Gerber remarks concerning it: “The limited way in which the violoncello in Bach’s time was handled compelled him, for the quick basses in his works, to the invention of the so-called viola pomposa, which, rather longer and higher than a tenor, had a fifth string, e, in addition to the four lower strings of the violoncello, and was placed on the arm. This convenient instrument enabled the player to execute more easily the high and rapid passages which occurred.”
It may be seen from Bach’s Suites for Violoncello Solo, which were originally written for the viola pomposa, the compass of this instrument extended from the great octave C
to the thrice-accented G
However, the “Viola pomposa” did not attain to general use. It scarcely survived its inventor, and disappeared, as it seems, even before the gamba, out of the musical sphere.
Bach’s eldest son, Philipp Emmanuel, also wrote for the gamba. Amongst other things a sonata in three movements, with the clavier, in G minor,[34] which was apparently composed about 1759. The three-part movement in this is solid, though somewhat meagre and dry.
Amongst the gamba compositions of the previous century, which have lasted up to our time, there is also to be noted an unpublished Concerto by Joseph Tartini, the famous founder of the old Paduan violin school, with accompaniment for four stringed instruments and two horns.[35] Possibly Tartini wrote it during his three years’ residence in Prague (1723-1726) for a German gambist, as about that time the gamba was still cultivated in Germany with great enthusiasm, though it had been, in Italy, thrust into the background of music by the violoncello. The Concerto bears all the marks of the author’s manner of expression, but it is in the main quite as antiquated as all his violin concertos. The introduction and Finale are in G; the “Grave” between the two movements is in D minor. The single part theme of the solo, with the exception of a few double-stoppings and chords, is throughout written in tenor and bass clef. It is worthy of remark that all the pieces are provided before the full close with cadences, written at full length, for the solo instrument, after Tartini’s usual manner in all his violin concertos.
As a contemporary of Schenk, the War Minister of Hesse-Darmstadt, Ernst Christian Hesse, who was born on the 14th April, 1676, in the Thuringian town of Grossengottern, distinguished himself. Gerber says of him, that he was the first and most famous gambist of his time in Germany. Having spent his school years at Langensalza and Eisenach, he entered the Darmstadt chancery service as supernumerary and followed the Court of his new master in 1694 to Giessen. At the Academy there he continued his work and also his legal studies. In 1698 he had permission from the Court to go to Paris in order to perfect himself there on the viol da gamba, which he had already begun to study in early life. He remained there three years and had instruction at the same time from the two famous masters, Marais and Forqueray. As privately they were at enmity with each other he was compelled to give his name to one as Hesse and to the other as Sachs. Both were delighted with his skill and progress, and severally boasted of the excellent pupil whom he had taught. At last they challenged each other to put to the test, in a concert arranged for that object, the proficiency of their pupil. But what was their astonishment on Herr Hesse’s appearance to find he was the pupil of both! He did his two masters, each in his own manner, special credit, but immediately after the occurrence left Paris.
After his return to the Darmstadt Court, in the year 1702, Hesse was named Secretary of the War Department and Foreign Office. In the following year he married.