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Before proceeding with the remarks which I am about to make on the subject of the Viola da Gamba, I ought to say that I propose on the present occasion to treat the subject in its popular rather than its scientific aspect. In doing so, I am possibly taking a course not strictly in accordance with the practice of a society the objects of which I quite understand to be of a scientific rather than a popular character. But I have a reason for doing so, which is, that so little is generally known about the Viola da Gamba, and so completely has this once common instrument passed out of the region of popular use and knowledge, that without some general description, any scientific description and investigation of its nature and properties would be scarcely intelligible. A great deal might be said, and I may perhaps have an opportunity of saying it on some other occasion, on the Viola da Gamba from a scientific point of view—dealing with the nature and quality of its tone, as contrasted with instruments of the violin type, the scope for execution afforded by its mechanism, and the facilities which it offers to the composer for musical purposes generally, as well as for the production of particular effects.
∗ Mr. Henry Musgrave, of Lincoln's Inn and Beech Hill, Bucks, a well-known amateur violoncellist, who recently died at an advanced age.Google Scholar
∗ From a copy in the composer's autograph in the British MuseumGoogle Scholar
∗ Abel's instrument, as represented in the Gainsborough portrait, appears to have been a large German one, having a “rose” under the fingerboard.Google Scholar
† Edited for violoncello and piano by Burchard (Berlin Simrock)Google Scholar
∗ Printed with pianoforte accompaniment in “Handel's Opera Songs,” by W. T Best. (Boosey & Co.)Google Scholar
∗ Edited for pianoforte and violoncello, by F Grūtzmacher (Leipzig Senff)Google Scholar