[1]At Wagner's instigation, the wind-instrument-maker, W. Heckel of Biebrich-am-Rhein, made bassoons with an extra key, extending the compass downwards to A.[2]Macrobius inSomn. Scip.lib. ii. cap. 4. 5.[3]Gottfried Weber, "Verbesserungen des Fagotts," inCacilia(Mainz, 1825), vol. ii. p. 123.[4]SeeTraité sur le perfectionnement du basson, avec 2 tableaux, par Charles Almenräder(Mayence, Schott), and also the above mentioned article by Gottfried Weber inCacilia, whose explanations are clearer than those of the inventor.[5]For a description of the modern instrument see Victor Charles Mahillon,Catalogue descriptif et analytique du musée instrumental du Conservatoire Royal de Musique(Bruxelles, 1896), vol. ii. pp. 275-276, No. 999.[6]As far as is known only three of these curious instruments are in existence; two in the museum of the Conservatoire, Paris, and one in Brussels; all three bear a trefoil as maker's mark; the smallest, in F, is reproduced in theCatalogue of the Musical Instruments exhibited at the Royal Military Exhibition, London, 1890, by Capt. C. R. Day (London, 1891), pl. iv. F. It is also described (without illustration) in Mahillon'sCatalogue, p. 201, No. 189. The two flutes in Paris, measuring 73 cm. and 94 cm., are described by Gustave Chouquet,Le Musée du Conservatoire National de Musique—Catalogue descriptif et raisonné(Paris, 1884), Nos. 409 and 410, p. 106.[7]An Italian translation of the description is given by Count L. F. Valdrighi inMusurgiana, No. 4 (Milano, 1881), "Il Phagotus di Afranio," p. 40 et seq. (without illustration). An illustration of the phagotus is given by W. J. von Wasielewski inGesch. d. Instrumentalmusik im XVI. Jahrh.(Berlin, 1878), pl. v. and vi., text p. 74.[8]SeeL'Harmonie universelle(Paris, 1636), part ii. p. 305.[9]Ibid., illustrated and described, bk. v. p. 293.[10]See Edm. van der Straeten,Hist. de la musique aux Pays-Bas, vol. vii. pp. 433, 436, 448.[11]J. J. Quantz, Frederick the Great's flute-master, gives France the credit of transforming the bombard (pommer) into the bassoon, and the schalmey into oboe, seeVersuch einer Anweisung die Flote traversière zu spielen(Berlin, 1752), p. 24 and again p. 241, § 6.[12]J. G. Doppelmaier,Historische Nachricht von den Nürnbergischen Mathematicis und Künstlern(Nürnberg, 1730), p. 293.[13]See "Nachrichten von Künstlern und Werkleuten Nürnbergs aus dem Jahre 1549," in R. Eitelberger von Edelberg'sQuellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters(Vienna. 1875), vols. viii.-x.[14]See J. J. Eisel,Musicus autodidactus oder der sich selbst informierende Musicus(Erfurt, 1738), pp. 104 and 100, and also J. Mattheson,Das neu-eröffnete Orchester(Hamburg, 1713), "Basson," from whom Eisel borrowed.[15]See theNew English Dictionary, and Bateman upon Bartholinus, 423, 1, margin.[16]British Museum, Harl. MS. 2034, fol. 207b, a reference communicated by Augustus Hughes-Hughes from his valuable appendix to part iii. (Instrumental Music and Works on Music) of aCatalogue of MS. Music in the British Museum(London, 1908-1909). The Appendix contains a list of typical musical instruments represented in illuminated MSS., or described in other MSS. in the British Museum, with a brief description and full references.[17]Compare Randle Holme'sdouble curtailwith the dolcian in C, pl. vi. H. of Capt. C. R. Day's catalogue, and with a dolcian or single curtail by J. C. Denner in Paul de Wit'sKatalog des Musikhistorischen Museums von Paul de Wit(Leipzig, 1903), p. 127, No. 380, and illust. p. 121 (Collection now transferred to Cologne). Consult also Mersenne,op. cit., and Michael Praetorius,Syntagma Musicum(Wolfenbüttel, 1618), both of whom describe and figure these forms of early bassoons.[18]Op. cit. vol. vii. p. 38.
[1]At Wagner's instigation, the wind-instrument-maker, W. Heckel of Biebrich-am-Rhein, made bassoons with an extra key, extending the compass downwards to A.
[2]Macrobius inSomn. Scip.lib. ii. cap. 4. 5.
[3]Gottfried Weber, "Verbesserungen des Fagotts," inCacilia(Mainz, 1825), vol. ii. p. 123.
[4]SeeTraité sur le perfectionnement du basson, avec 2 tableaux, par Charles Almenräder(Mayence, Schott), and also the above mentioned article by Gottfried Weber inCacilia, whose explanations are clearer than those of the inventor.
[5]For a description of the modern instrument see Victor Charles Mahillon,Catalogue descriptif et analytique du musée instrumental du Conservatoire Royal de Musique(Bruxelles, 1896), vol. ii. pp. 275-276, No. 999.
[6]As far as is known only three of these curious instruments are in existence; two in the museum of the Conservatoire, Paris, and one in Brussels; all three bear a trefoil as maker's mark; the smallest, in F, is reproduced in theCatalogue of the Musical Instruments exhibited at the Royal Military Exhibition, London, 1890, by Capt. C. R. Day (London, 1891), pl. iv. F. It is also described (without illustration) in Mahillon'sCatalogue, p. 201, No. 189. The two flutes in Paris, measuring 73 cm. and 94 cm., are described by Gustave Chouquet,Le Musée du Conservatoire National de Musique—Catalogue descriptif et raisonné(Paris, 1884), Nos. 409 and 410, p. 106.
[7]An Italian translation of the description is given by Count L. F. Valdrighi inMusurgiana, No. 4 (Milano, 1881), "Il Phagotus di Afranio," p. 40 et seq. (without illustration). An illustration of the phagotus is given by W. J. von Wasielewski inGesch. d. Instrumentalmusik im XVI. Jahrh.(Berlin, 1878), pl. v. and vi., text p. 74.
[8]SeeL'Harmonie universelle(Paris, 1636), part ii. p. 305.
[9]Ibid., illustrated and described, bk. v. p. 293.
[10]See Edm. van der Straeten,Hist. de la musique aux Pays-Bas, vol. vii. pp. 433, 436, 448.
[11]J. J. Quantz, Frederick the Great's flute-master, gives France the credit of transforming the bombard (pommer) into the bassoon, and the schalmey into oboe, seeVersuch einer Anweisung die Flote traversière zu spielen(Berlin, 1752), p. 24 and again p. 241, § 6.
[12]J. G. Doppelmaier,Historische Nachricht von den Nürnbergischen Mathematicis und Künstlern(Nürnberg, 1730), p. 293.
[13]See "Nachrichten von Künstlern und Werkleuten Nürnbergs aus dem Jahre 1549," in R. Eitelberger von Edelberg'sQuellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters(Vienna. 1875), vols. viii.-x.
[14]See J. J. Eisel,Musicus autodidactus oder der sich selbst informierende Musicus(Erfurt, 1738), pp. 104 and 100, and also J. Mattheson,Das neu-eröffnete Orchester(Hamburg, 1713), "Basson," from whom Eisel borrowed.
[15]See theNew English Dictionary, and Bateman upon Bartholinus, 423, 1, margin.
[16]British Museum, Harl. MS. 2034, fol. 207b, a reference communicated by Augustus Hughes-Hughes from his valuable appendix to part iii. (Instrumental Music and Works on Music) of aCatalogue of MS. Music in the British Museum(London, 1908-1909). The Appendix contains a list of typical musical instruments represented in illuminated MSS., or described in other MSS. in the British Museum, with a brief description and full references.
[17]Compare Randle Holme'sdouble curtailwith the dolcian in C, pl. vi. H. of Capt. C. R. Day's catalogue, and with a dolcian or single curtail by J. C. Denner in Paul de Wit'sKatalog des Musikhistorischen Museums von Paul de Wit(Leipzig, 1903), p. 127, No. 380, and illust. p. 121 (Collection now transferred to Cologne). Consult also Mersenne,op. cit., and Michael Praetorius,Syntagma Musicum(Wolfenbüttel, 1618), both of whom describe and figure these forms of early bassoons.
[18]Op. cit. vol. vii. p. 38.