Double bass precursor, innovator, talented artist and dedicated teacher
低音大提琴的先驅、創新者、才華洋溢的藝術家和盡心盡力的老師

$10/12/2000$$10/12/2000$10//12//200010 / 12 / 2000

Acknowledgments  鳴謝

In the name of all my bass friends, I wish to express my gratitude to Paul Brun who, thanks to his erudition and painstaking research, has offered us a precious reference work and a book of high quality.
我謹以我所有低音結他朋友的名義，向 Paul Brun 表示感謝，感謝他的博學和艱苦的研究，為我們提供了一本珍貴的參考著作和高品質的書籍。
Chapter Page  章節 頁數
Acknowledgments … 4  鳴謝 ... 4
Preface by Jean-Marc ROLLEZ. … 5
Jean-Marc ROLLEZ 的序言。... 5
Contents … 7  目錄 ... 7
… 9 … 18
... 9 ... 18
Chapter I Historical development … 19
第一章 歷史發展...... 19
Chapter notes … 39
章節說明 ... 39
馀住 Chapter II Variations in playing standards … 41
餘住 Chapter II Variations in Playing Standards ... 41
Chapter notes … 64
章節說明 ... 64
Chapter III Variations in size … 67
Chapter notes … 84
章節說明 ... 84
Chapter IV Tuning … 87
第四章 調校 ... 87
Chapter notes … 119
章節說明 ... 119
Chapter V The 16 -foot double bass, past and present … 123
第五章 16 呎低音大提琴的過去與現在...... 123
Chapter notes … 144
章節說明 ... 144
Chapter VI Bowing techniques … 147
Chapter notes … 157
章節說明 ... 157
Chapter VII Biographical … 159
第七章 傳記...... 159
Bibliography … 181  參考書目 ... 181
List of illustrations … 192
插圖清單 ... 192
Index of names … 194
名稱索引 ... 194
Pictures credit … 199
圖片來源 ... 199

Introduction  簡介

A - Tuning changes
A - 調校變更

The spread of the fingers when stopping on the double bass is obviously proportional to the size of the instrument; in the first position, the index and the little finger (first and fourth fingers) barely suffice to cover one whole-tone interval! Thus, if we compare an identical interval played on the violin and the double bass, we find that what can be done with no change of position on the violin requires the bassist to make a shift of ten positions, a good $40\mathrm{cm}{}^3$$40\mathrm{cm}{}^3$40cm^(3)40 \mathrm{~cm} \mathbf{}^{3}
在低音大提琴上停止時，手指的張開度顯然與樂器的大小成正比；在第一個位置時，食指和小指（第一和第四指）勉強足以覆蓋一個全音程！因此，如果我們比較用小提琴和低音大提琴演奏一個相同的音程，我們會發現在小提琴上無須改變位置就可以完成的演奏，需要低音大提琴手做十個位置的移動，這是一個很好的 $40\mathrm{cm}{}^3$$40\mathrm{cm}{}^3$40cm^(3)40 \mathrm{~cm} \mathbf{}^{3} 。

• This fact might explain Johann Mattheson’s edifying statement that playing the double bass was “labour fit for a horse”.
  約翰‧馬特森 (Johann Mattheson) 曾說，彈奏低音大提琴是「適合馬匹的勞動」。
  frequently been made, but do not seem to have found much favor, the reason being that a cello-shaped bass is, for most players, a very awkward and fearsome beast to handle, owing to the absence of sloping shoulders and to the swell of the form" ${}^{\prime \prime }{}^7$${}^{\prime \prime }{}^7$^('')^(7){ }^{\prime \prime}{ }^{7}

• The same quest for greater ease of performance led to the curvature of the back toward the base of the neck and the consequent reduction of the ribs in the upper part of the bass, as an excessive thickness of the instrument’s body at the musician’s chest level made playing very difficult, especially in the higher positions. F.A. Echlin reported in “The Strad” magazine that “a few old basses were made without any slope in the back and were very awkward to play, so they have been rebuilt with the slope”…${}^{\ast }$${}^{\ast }$^(**)^{*}
  同樣地，為了追求演奏上的簡便性，貝斯的背板向琴頸底部彎曲，並隨之減少了上半部的肋骨，因為琴身在樂手胸部的厚度過大，使得演奏變得非常困難，尤其是在較高的位置。F.A. Echlin 在 "The Strad 「雜誌中報導：」一些舊的低音大提琴在製作時，琴背並沒有任何斜度，彈奏起來非常彆扭，因此在重建時加入了斜度"... ${}^{\ast }$${}^{\ast }$^(**)^{*} 。

• The problem of flat versus carved (also called round, swelled or arched) backs is an altogether different matter. Flat backs are easier to build and cheaper in terms of material, but are of ten plagued with maintenance problems. Carved backs are more difficult to fashion, but they are less affected by temperature changes, as they can expand and contract with relative freedom.
  平背板與雕花背板（也稱為圓背板、脹背板或拱形背板）是完全不同的問題。平背較容易製作，材料也較便宜，但卻有保養的問題。雕花靠背較難製作，但受溫度變化的影響較小，因為它們可以相對自由地膨脹和收縮。
  the wood at different points; ${}^{10}$${}^{10}$^(10){ }^{10} also, the archings on all the oldest English viols were quite different from the ones on instruments of the violin family. On viols, there was no groove at all around the edge in which the purfling is placed. Lengthwise, between top and bottom blocks, the arching was absolutely convex, which made it tremendously strong. The oldest viols had no wooden linings: linen linings were the order of the day, freedom of response being then considered so vital. For additional lightness, the neck of viols were often made of linden, with a simple ebony veneer.
  ${}^{10}$${}^{10}$^(10){ }^{10} 此外，所有最古老的英國提琴上的拱形飾紋與小提琴家族樂器上的飾紋截然不同。在中提琴上，放置鑲邊的邊緣完全沒有溝槽。從長度來看，在上塊和下塊之間，拱形飾板是絕對凸起的，這使得它非常堅固。最古老的提琴沒有木質的襯裡：亞麻布襯裡是當時的主流，因為反應的自由度在當時被認為是非常重要的。為了增加輕盈感，提琴的琴頸通常以椴木製成，再加上簡單的黑檀木飾面。
  A lack of understanding of the fundamental differences in the stucture and construction of these two distinct instrumental families led the first inexperienced instrument-makers of the 20th century revival of ancient music to .“make viols which were simply violins and cellos with a different outline”."1 In the 18th century, one could also find viols constructed like cellos, but which any estate lawyer of the time would have recognized as viois. . Conversely, some instruments having a more or less pronounced viol outline are nevertheless true double bass violins.
  由於不了解這兩種不同樂器在結構與構造上的根本差異，導致二十世紀復興古樂的第一批經驗不足的製琴師............ 「製作的小提琴，只是小提琴與大提琴不同的輪廓 」1。相反地，有些具有或多或少明顯中提琴輪廓的樂器卻是真正的低音大提琴。

• See inventory of the estate drawn subsequent to the decease of Miss Jeanne Zeltener, May 12, 1770: “Two viols in cello-form, estimated 24 pounds” ${}^{12}$${}^{12}$^(12){ }^{12}.
  請參閱 Jeanne Zeltener 小姐逝世後的遺產清單，1770 年 5 月 12 日：「兩把大提琴形狀的小提琴，估價 24 磅」 ${}^{12}$${}^{12}$^(12){ }^{12} 。
  

  

A Mittenwald double bass from the early 18th century, now housed in the Basel Museum in Switzerland, is still fitted with this mechanism. Chronicles of the period explain that the tuning of these instruments was such an enormous undertaking that the special
18 世紀早期的 Mittenwald 低音大提琴，現藏於瑞士的巴塞爾博物館，仍然裝有這種裝置。當時的歷史記載指出，為這些樂器調音是一項艱鉅的工作，因此必須使用特殊的調音器。

nionter. Les chevilles help of luthiers was required on location before each performance ${}^{14}$${}^{14}$^(14){ }^{14}.
......。Les chevilles 在每次演出前都需要製琴師到場幫忙 ${}^{14}$${}^{14}$^(14){ }^{14} 。
It was not until the 1770 's* that a decisive solution was found, when Karl Ludwig Bachmann (1748-1809), a viola player at the Berlin court and part-time luthier, had the brilliant idea of replacing the catch by a wormscrew. ${}^{15}$${}^{15}$^(15){ }^{15} Here was an astute juxtaposition of two elements that had been know and in use for
直到 1770 年代*，柏林宮廷的中提琴演奏家兼製琴師卡爾-路德維希-巴赫曼（Karl Ludwig Bachmann，1748-1809 年）發現了一個絕妙的主意，用蝸牛螺絲取代了夾板，才找到了決定性的解決方案。 ${}^{15}$${}^{15}$^(15){ }^{15} 將兩種已知的元素巧妙的並置在一起。

• In 1764, however, the following surprising advertisement appeared in the Parisian journal “Annonces,Affiches et Avis divers”: “Fine double bass with screws, case and fittings for the price of 240 pounds”.
  然而在 1764 年，巴黎雜誌「Annonces,Affiches et Avis divers」刊登了以下令人驚訝的廣告：「精美低音大提琴，附螺絲、琴盒及配件，售價 240 磅」。
  centuries. Its advantages were a perfect precision and stability as well as a very helpful gearing down of the string tension.
  幾個世紀。它的優點是完美的精確度和穩定性，以及非常有用的琴弦張力齒輪。
  Strings can hardly be regarded as accessories, so vital is their role in the acoustical system of the instrument. The earliest bassists used thick, uncovered sheep’s gut strings which were plagued with continual pitch distortions caused by the insufficient twist of their threads. With advances in the technology of string twisting, the strings became more elastic and the pitch distortion was considerably reduced.
  琴弦很難被視為配件，因為它們在樂器的聲學系統中扮演著如此重要的角色。最早的低音大提琴手使用的是厚而無蓋的羊腸弦，由於弦線的捻度不足，導致音高持續失真。隨著捻弦技術的進步，琴弦變得更有彈性，音高失真也大大減少。
  In the second half of the 17th century, the invention of wound strings (also called overspun or covered strings) allowed an increase in the linear mass of the strings (mass per unit length) while retaining their elasticity: the total mass of the material creates the low pitch, but only
  在十七世紀下半葉，繞線琴弦（也稱為過紡琴弦或包覆琴弦）的發明使得琴弦的線性質量（每單位長度的質量）增加，同時保留了彈性：材料的總質量創造了低音，但只有
  

  

The terminology used over the centuries for the double bass, and particularly the term ‘violone’, is especially puzzling to the historical researcher. Until the end of the 18th century, the word ‘double bass’ was rarely used, whereas, ‘violone’ was
幾個世紀以來，低音大提琴所使用的術語，尤其是「violone」一詞，尤其讓歷史研究者感到困惑。直到 18 世紀末，「低音大提琴 」這個詞都很少被使用，而 "violone 「則是 」低音大提琴 "的代名詞。
employed indiscriminately to designate all of the large instruments of both the viol and the violin family. ${}^{19}$${}^{19}$^(19){ }^{19} Nikolaus Harnoncourt rightly points out that, to confuse matters even further, some 17th century German writers used the term ‘violone’ only for the six-stringed double bass viol. ${}^{20}$${}^{20}$^(20){ }^{20} One can only agree with this author when he deplores the use of the same terminology by a number of contemporary writers: this confusing word has become devoid of meaning and a less ambiguous vocabulary should henceforth be preferred if we do not want to
${}^{19}$${}^{19}$^(19){ }^{19} "violone "一詞被不加選擇地用於稱呼中提琴和小提琴家族的所有大型樂器。 ${}^{19}$${}^{19}$^(19){ }^{19} 尼古拉斯-哈農庫特 (Nikolaus Harnoncourt) 正確地指出，為了使問題更加混亂，一些 17 世紀的德國作家只將「violone」一詞用於六弦低音提琴。 ${}^{20}$${}^{20}$^(20){ }^{20} 當這位作者對許多當代作家使用相同的術語感到惋惜時，我們只能同意他的看法：這個混亂的詞彙已經變得毫無意義，從今以後如果我們不想
complicate investigations further.
使調查進一步複雜化。
In France, the terms most frequently used for the double bass were ‘Large Bass Violin’ (Grande Basse de Violon), ‘Big Bass Violin’ (Grosse Basse de Violon), ‘Octava Bass Violin’ (Basse de Violon à l’Octave), and a few other variations on this model.
在法國，低音大提琴最常用的術語是「大低音小提琴」(Grande Basse de Violon)、「大低音小提琴」(Grosse Basse de Violon)、「八度低音小提琴」(Basse de Violon à l'Octave)，以及這個模式的一些其他變體。

Chapter notes  章節說明

1. Bunting, Christopher: “The violoncello”, Musical instruments through the ages, (ed. by A. Baines), London, 1961.
   Bunting, Christopher：《大提琴》，《歷代樂器》，(A. Baines 編輯)，倫敦，1961 年。
   2 . Ed. Heron-Allen: Violin making as it was and is, London, 1885.
   2 .Ed. Heron-Allen: 小提琴製作的過去與現在，倫敦，1885 年。
   3 . Vondrak, A.: “The tuning of the double bass”, The Strad, Feb.-Jul. 1911.
   3 .Vondrak, A.: 'The tuning of the double bass', The Strad, Feb.-Jul.1911.
   4 . Gelinck: “Remarks on the double bass”, The harmonicon, Dec. 1829. Also: La Revue Musicale, 1828.
   4 .Gelinck：「低音大提琴評論」，The harmonicon，1829 年 12 月。另：La Revue Musicale，1828 年。
   5 . Nanny, Edouard: cited in. ‘Mustque pour contrebasse’, ed. Leduc, Paris.
   5 .Nanny, Edouard: cited in.Mustque pour contrebasse》，Leduc 編，巴黎。
   6 . Fétis, François-Joseph: “Concerning W. Hause’s method”, La Revue Musicale, Febr.Jul. 1828.
   6 .Fétis, François-Joseph: 'Concerning W. Hause's method', La Revue Musicale, Febr.Jul.Hause's method"，La Revue Musicale，Febr.Jul.1828.

As early as the 16 th century, the French Valois Kings, acquired the habit of
早在 16 世紀，法國的瓦羅亞國王就養成了騎馬的習慣。

recruiting the capital’s finest violinists to play for the royal balls. The figure opposite portrays just such a Ball at the King’s court around the 1580’s. One notes that the band is composed of violins held at the breast, which was
招募首都最優秀的小提琴家為皇室舞會演奏。對圖描繪的正是 1580 年代左右國王宮廷的一次舞會。我們注意到，樂隊是由胸前的小提琴組成的，這是

The neck of this double bass is set upright and has no backward angle in relation to the main soundboard plane (angle of neck to body). It was not until the beginning of the 17 th
這種低音大提琴的琴頸是直立的，與主音板平面（琴頸與琴身的角度）沒有向後的角度。直到十七世紀初，這種低音大提琴才開始出現。

Entry "violone" from Brossard's dictionnary (1702).

According to Cyprien Desmarais, Louis XIV, the Sun King (1661-1715), was the first member of French royalty to bring the complete violin family to his chapel for religious service. The same author informs us that Jean-Baptiste Lully was in the 1860’s.
根據 Cyprien Desmarais 的說法，太陽王路易十四 (1661-1715) 是第一位將完整的小提琴家族帶到他的小教堂進行宗教儀式的法國皇室成員。同一作者告知我們，讓-巴蒂斯特-呂利 (Jean-Baptiste Lully) 在 1860 年代。

Two years after the death of cardinal Mazarin, a double bass player was appointed to the newly-organized music of the Chapel Royal; we have his name from the account book kept by court administrator L. Trabouillet:
馬沙林紅衣主教逝世兩年後，一位低音提琴演奏家被任命到新組織的皇家禮拜堂演奏音樂；我們從法院管理人 L. Trabouillet 的帳簿中得知他的名字：

It made such an impression on the musical world that the double bass was thereafter considered indispensable for all other tempest scenes, but also for all evocations of magicians, demons etc., in operas as well as in smaller chamber
它給音樂界留下了深刻的印象，從此之後，低音提琴被認為是所有其他暴風雨場景中不可或缺的樂器，同時也是歌劇和小型室內樂中所有喚起魔術師、惡魔等場景的樂器。

The musical landscape familiar to Johann-Sebastian Bach was quite different, as he clearly had several types of double basses at his disposal: some of them seem to have been violins and others violas da gamba. Contemporary written evidence of the time* clearly show that these two types of instruments were known and used in German speaking countries. One of them, alternately called “Violone” or “Violone Grosso”, was fitted with four strings and tuned in fifths an octave below
約翰‧薩巴斯蒂安‧巴赫所熟悉的音樂風景相當不同，因為他顯然有數種低音大提琴可供使用：其中一些似乎是小提琴，另一些則是中提琴da gamba。當時當代的書面證據*清楚顯示，這兩種樂器在德語國家都很有名且被使用。其中一種樂器，又稱為「Violone」或「Violone Grosso」，配有四根弦，以低八度的五分音調音。
*
Stössel, 1737; Barnickel, 1737; Eisel, 1738; etc…
Stössel, 1737; Barnickel, 1737; Eisel, 1738; 等等...
the cello (C G d a). The other, called “Violone” by some and “Contrabass da Gamba” by others, had six strings tuned in fourths with a central third as with the other viols (D G c e a d’). Another type of German six-stringed double bass or “violone” tuned G c f a d’ g ’ is also mentioned by James Talbot in 1697.
大提琴 (C G d a)。另一種則有人稱之為「Violone」，也有人稱之為「Contrabass da Gamba」，六根弦以四度調音，中央的三度則與其他中提琴一樣（D G c e a d'）。James Talbot 在 1697 年也提到了另一種德國六弦低音大提琴或「violone」，其調音為 G c f a d' g '。

Fig. 1.  圖 1.
Distribultion: de l’orchestre ite l’oper’ra de Dreate.
Distribultion: de l'orchestre ite l'oper'ra de Dreate.

1. (Lumain du Ihaire de Chapilli

2 (%nscan dítiammpedrnement
2 (%nscan dítiammpedrnement)
3 Jölonicller
7 limbre buscor

Seating plan of the Orescen Opera, Rousseau: “dictionnary”, 1768.
Orescen 歌劇院的座位圖，盧梭：「字典」，1768 年。
Fig p. 32 illustrates the lay-out of the King’s orchestra at the Grand Theater of Versailles in 1773: the cellos of the Great Choir are placed to the right and left of the orchestra, with four double basses situated in the four corners of the orchestra pit. Other illustrations in this book show the baroque arrangement of the basses around the harpsichord, an arrangement which lasted until the complete disappearance of the thorough bass. At that time began the development of the ‘Beethovian’ orchestra, in which the conductor was more and more expected to direct orchestral concerts without an instrument in his hands. It was roughly during the first thirty years of the 19th century that the modern practice of conducting with a baton superseded the old style of direction by the joint efforts of concertmaster and keyboard/bass-double bass players.
第 32 頁的插圖展示了 1773 年凡爾賽大劇院的國王管弦樂團的佈局：大合唱團的大提琴被放置在樂團的左右兩側，四架低音大提琴則分佈在樂池的四個角落。這本書中的其他插圖展示了巴洛克時期低音大提琴圍繞大鍵琴的排列方式，這種排列方式一直持續到徹底的低音大提琴完全消失為止。從那時起，「貝多芬式」樂團開始發展，越來越多的人期望指揮家在沒有樂器在手的情況下指揮管弦樂音樂會。大約在十九世紀的前三十年，現代的指揮棒指揮方式取代了舊式的由首席與鍵盤手/低音提琴手共同指揮的方式。

• Two of these pairs played with harpsichords placed at strategic points within the orchestra.
  其中兩對樂手使用大鍵琴演奏，而大鍵琴則放置在樂團中的戰略位置。
  of having a conductor at the piano, which had been preserved at the Philharmonic Concerts. ${}^{21}$${}^{21}$^(21){ }^{21} This person would typically pound out piano chords, in no way required by the composers, in overtures as well as in symphonies. It was the Belgian musicologist’s opinion that such rattling performances produced an altogether deplorable effect. Still, the great Giovanni Bottesini himself obtained as late as 1846 an appointment at the Theater Tacon, Havana, both as principal double bass and as Maestro al piano.
  ${}^{21}$${}^{21}$^(21){ }^{21} 這位指揮通常會在序曲和交響曲中敲出作曲家完全沒有要求的鋼琴和弦。在比利時音樂學家看來，這種嘎然而止的演奏產生了完全令人惋惜的效果。然而，偉大的 Giovanni Bottesini 本人早在 1846 年就在哈瓦那的 Tacon 劇院獲得任命，擔任首席低音提琴和鋼琴大師。
  

  

In 1881, when the Boston Symphony Orchestra was founded, Berlioz’ seating plan was adopted for the basses: four bassists were placed on the right side of the orchestra and four on the left side behind an equal number of cellists. One bassist stood alone with his cello stand partner in the very back of the ensemble
1881 年，當 Boston Symphony Orchestra 成立時，Berlioz 採用了低音提琴的座位設計：四位低音提琴手被安排在樂團的右側，四位在左側，後面是同等數量的大提琴手。一位低音大提琴手獨自站在樂團的最後，而他的大提琴伴則站在樂團的最後。
and far away from all the others.
並遠離所有其他人。
With the development of conducting technique in the 19th century, important advances were made in the precision of the baton. The scattering of the basses throughout the space occupied by the orchestra then proved unnecessary and even harmful to the general quality of sound; for this reason, the cellos and double basses were then grouped into two distinct sections.
隨著 19 世紀指揮技術的發展，指揮棒的精確度也有了重大進步。當時，低音提琴分散在樂團所佔的整個空間中被證明是不必要的，甚至對整體音質有害；因此，大提琴和低音提琴被分成兩個不同的區域。

The composition of the orchestra which Handel found at the Haymarket theater on his arrival in London in 1770 is quite surprising with regard to modern criteria. Its string section consisted of 6 first and 5 second violins, 2 violas, 6 cellos and only 1 double bass, plus 1 harpsichord. However, there appears to have
Handel 於 1770 年抵達倫敦時，在 Haymarket 劇院所發現的管弦樂團的組成，以現代標準來看是相當令人驚訝的。它的弦樂組包括 6 把第一小提琴和 5 把第二小提琴、2 把中提琴、6 把大提琴和 1 把低音提琴，以及 1 把大鍵琴。然而，似乎有
been a redistribution in the balance of the lower string parts, for Pierre-Jacques Fougeroux describes in 1728 the same orchestra as having 28 violins, 3 cellos and 2 basses. The reduction in cellos was thus compensated for by an increased from 1 to 2 double basses. ${}^{24}$${}^{24}$^(24){ }^{24}
在 1728 年，Pierre-Jacques Fougeroux 描述同一樂團有 28 把小提琴、3 把大提琴和 2 把低音大提琴。因此，大提琴的減少是由低音提琴從 1 個增加到 2 個所彌補。 ${}^{24}$${}^{24}$^(24){ }^{24}

The same remark could have been made concerning all the ensembles playing in the French capital, as the notion then prevailed that, in any case, the music of
在法國首都演奏的所有樂團都可以有同樣的評論，因為當時普遍的觀念是，無論如何，法國的音樂都是搖滾樂。

The seating plan according to the instructions left by Hector Berlioz in 1844.
根據 Hector Berlioz 於 1844 年留下的指示所繪製的座位表。

Above: Philharmonic Society Orchestra seating plan of 1846 Next page: The Boston Symphony Orchestra in 1882.
上頁：1846 年 Philharmonic Society 樂團座位圖 下頁：1882 年的波士頓交響樂團。

L.A. Jullien conducting on November 7, 1846.
L.A. Jullien 於 1846 年 11 月 7 日主持。
the bass part could not be overdone. The priority given to cellos was excessive everywhere, as the following chart will show:
低音部分不能過分。如下圖所示，大提琴的優先地位在各處都過分突出：

• 12 violins require violas, 3 cellos and another double bass somewhat larger than the first."
  12 把小提琴需要中提琴、3 把大提琴和另一把比第一把大一些的低音提琴"。
  Some orchestras, however, apparently did not follow these suggestions. In 1772, for example, the orchestra of Stuggart employed 3 cellos and 5 double basses, while that of Wurtenberg counted 4 cellos and 3 double basses. ${}^{29}$${}^{29}$^(29){ }^{29}
  然而，有些樂團顯然沒有遵循這些建議。例如，在 1772 年，Stuggart 的樂團使用了 3 把大提琴和 5 把低音提琴，而 Wurtenberg 的樂團則使用了 4 把大提琴和 3 把低音提琴。 ${}^{29}$${}^{29}$^(29){ }^{29}

Chapter notes  章節說明

• Shain, Steve: “The c. 1825 Abraham Prescott double bass”, I.S.B. Magazine, vol 10, $n^{\circ }3$$n^{\circ }3$n^(@)3n^{\circ} 3, Spring 1984.
  Shain, Steve：「The c. 1825 Abraham Prescott double bass」，I.S.B. Magazine，vol 10， $n^{\circ }3$$n^{\circ }3$n^(@)3n^{\circ} 3 ，Spring 1984。

9. Desmarais, Cyprien: Archéologie du violon… Paris, 1836.
   Desmarais, Cyprien: Archéologie du violon... Paris, 1836.
10. Jacquot, Albert: La lutherie lorraine et française, Paris, 1912.
11. Trabouillet, L.: Etat de la France, year 1702.
12. Warnecke, Friedrich: Ad Infinitum, der Kontrabass, Hamburg, 1909.
    Warnecke，Friedrich：Ad Infinitum，der Kontrabass，漢堡，1909 年。
13. Détail de la régie actuel (sic) de l’Académie Royale de Musique… en 1738, MS, Bibliothèque de l’Opéra, Paris.
    Détail de la régie actuel (sic) de l'Académie Royale de Musique... en 1738, MS, Bibliothèque de l'Opéra, Paris.
14. Milliot, Sylvette: Documents inédit sur les luthiers parisiens au ${18}^{\circ }$${18}^{\circ }$18^(@)18^{\circ} siècle, Paris, 1970.
15. Brossard, Sébastien de: Dictionnaire de musique, Paris, 1703.
    Brossard, Sébastien de：Dictionnaire de musique，巴黎，1703 年。
16. Clément, abbé de la Porte: Anecdotes dramatiques, 1775.
17. Corrette, Michel: Méthodes pour apprendre à jouer de la Contre-Basse à 3, à 4 et à 5 cordes, Paris, 1781.
18. Diderot, Denis: “Table du rapport de l’étendue des voix et des instruments de musique comparés au clavecin”, Plate XXIL, Encyclopédie, Paris, 1750-80.
    Diderot, Denis：「Table du rapport de l'étendue des voix et des instruments de musique comparés au clavecin」，Plate XXIL，Encyclopédie，Paris，1750-80。
19. Rousseau, Jean-Jacques: Dictionnaire de musique, Paris, 1768.
20. Deldevez: L’art du chef d’orchestre.
    Deldevez: L'art du chef d'orchestre.
21. Fétis, François Joseph: “On the state of music in London”, The Harmonicon, 1829.
    Fétis、François Joseph：《論倫敦的音樂狀況》，The Harmonicon，1829 年。
22. Elwart, Antoine: Histoire de la Société des Concerts du Conservatoire, Paris, 1860.
23. Berlioz, Hector: Grand traité d’orchestration et d’instrumentation modernes, Paris, 1844.
    Berlioz, Hector：Grand traité d'orchestration et d'instrumentation modernes，巴黎，1844 年。
24. Burrows, Donald: “Handel’s London theatre orchestra”, Early Music, Aug. 1985.
    Burrows, Donald：「Handel 的倫敦劇院管弦樂團」，《早期音樂》，1985 年 8 月。
25. Rousseau, Jean-Jacques: Le lettre sur la musique française, 1753.
26. Raguenet, François: Parallèle des Italiens et des français… Paris, 1702.
    Raguenet, François: Parallèle des Italiens et des français... 巴黎，1702 年。
27. Berlioz, Hector: Mémoires, I, Paris c. 1831.
28. Galeazzi, Francesco: Elementi teorico-pratici, Rome, 1791.
29. Burney, Charles: The present state of music in Germany, the Netherlands and the United Provinces, London, 1775.
30. Mozart, W.A.: “Letters”, Ed. Emily Anderson, London, 1966.
    莫扎特，W.A.：《信札》，Emily Anderson 編輯，倫敦，1966 年。
31. Lavignac, Albert: La musique et les musiciens, Paris, 1898.
32. Rimsky-Korsakov, Andrei: Principles of orchestration, 1922.
    Rimsky-Korsakov，Andrei：Principles of orchestration，1922 年。
33. Debussy, Claude: Monsieur Croche et autres écrits, Paris, 1971.
34. Walter, David: “Ginastera and the double bass”, I.S.B. Magazine, vol 5, $n^{\circ }2,1979$$n^{\circ }2,1979$n^(@)2,1979n^{\circ} 2,1979.
    Walter, David：「Ginastera 與低音提琴」，I.S.B. Magazine，第 5 冊， $n^{\circ }2,1979$$n^{\circ }2,1979$n^(@)2,1979n^{\circ} 2,1979 。
35. Walter, David: “Rostropovitch and the double bass”, I.S.B. Magazine, vol 3, $n^{\circ }4$$n^{\circ }4$n^(@)4n^{\circ} 4, Spring 1977.
    Walter, David：「Rostropovitch 與低音提琴」，I.S.B. Magazine，第 3 卷， $n^{\circ }4$$n^{\circ }4$n^(@)4n^{\circ} 4 ，1977 年春。
    

    

II。Variations in playing standards
二、演奏標準的變化

• Frets were generally made of pieces of glued gut tied round the neck at intervals, so as to form ridges on the fingerboard.
  音格通常是由一塊塊黏合的內襯在琴頸上，每隔一段時間綁一圈，以便在指板上形成脊線。
  while the higher tones were too difficult to play. ${}^5$${}^5$^(5){ }^{5} They consequently settled for a rather narrow register such as that employed in Prague in 1701:6
  ${}^5$${}^5$^(5){ }^{5} 他們因此選擇了相當狹窄的音域，例如 1701 年在布拉格使用的音域。 ${}^5$${}^5$^(5){ }^{5} 因此，他們選擇了相當狹窄的音域，例如 1701 年在布拉格使用的音域：6
  

  

• the absence of any instruction book,
  沒有任何說明書、
• the lack of incentive to choose the double bass, neglected as it was by those believing themselves capable of a greater success with a less awkward instrument,
  低音大提琴缺乏選擇的誘因，因為它被那些認為自己有能力在較不笨拙的樂器上取得更大成功的人所忽視、
• the frustration of the bass players over their subordinate position in the orchestra and over the lack of recognition of their skill by the audience,
  低音提琴演奏者對於他們在樂團中的從屬地位以及觀眾對於他們的技巧缺乏認同的挫敗感、
• the lack of foresight of the less competent music directors and teachers, public as well as private, who suggested that their least gifted students take up the double bass. ${}^{10}$${}^{10}$^(10){ }^{10}
  無論是公立還是私立學校，那些能力較低的音樂指導和教師都缺乏遠見，建議他們資質最差的學生學習低音提琴。 ${}^{10}$${}^{10}$^(10){ }^{10}
  The double bass long remained the ‘lame duck’ of the music schools. The virtuosos Giovanni Bottesini and Serge Koussevitzky both took up the study of the double bass because it was the only instrument they could afford, as double bass students were then ultimately offered a scholarship intended to stimulate applications.
  低音提琴長期以來都是音樂學院的 「跛腳鴨」。演奏家 Giovanni Bottesini 和 Serge Koussevitzky 學習低音提琴都是因為這是他們唯一負擔得起的樂器，因為當時低音提琴學生最終會獲得獎學金，以刺激報名。

Corrette felt that those who tried to play all of the notes only made a nuisance of themselves; on the other hand, since several musicians each simplifying his part as he saw fit could also lead to general bedlam, this author consequently advised bass players to limit themselves to playing the harmonic root. With regard to the execution of rapid passages, he recommended that they only play the first of a group of even notes and the first note on each beat when a run occurred. ${}^{11}$${}^{11}$^(11){ }^{11} Similarly, Quantz explained that, if a passage occurred which the bassist was not able to play distinctly on account of great speed, he might, out of a group of two or three eighth notes, choose to play only the first, third or last note. Quantz illustrates his point as follows (the notes of the simplified bass part are written with downward stems, as was then customary usage): ${}^{12}$${}^{12}$^(12){ }^{12}
Corrette 認為那些嘗試演奏所有音符的人，只會為自己帶來麻煩；另一方面，由於幾位樂手各自簡化他認為合適的部分，也可能會導致整體的混亂，因此這位作者建議低音結他手僅限於演奏和聲根音。至於快速樂段的演奏，他建議他們只演奏偶數音符中的第一個音符，以及發生跑音時每一拍的第一個音符。 ${}^{11}$${}^{11}$^(11){ }^{11} 同樣地，Quantz 解釋說，如果低音結他手因為速度太快而無法彈奏出清晰的段落，他可以在一組兩個或三個八分音符中，選擇只彈奏第一個、第三個或最後一個音符。Quantz 以下列方式說明他的觀點 (簡化低音聲部的音符是以向下的豎線書寫，這是當時的習慣用法)： ${}^{12}$${}^{12}$^(12){ }^{12} .

The simplification of double bass parts according to Quantz (1752)
根據 Quantz (1752) 對低音提琴聲部的簡化
Still, with the exception of the very rapid passages which not everyone could be expected to play flawlessly, bassists were expected to play all of the notes. The least scrupulous among them did not apply this principle and too often chose the easier way. Hector Berlioz strongly reproved the conduct of the laziest or least skillful bassists who would simplify difficult passages without even trying to play all of the notes. ${}^{13}$${}^{13}$^(13){ }^{13} As for the other, more conscientious, bass players, Berlioz considered that, in any case, no two musicians ever had the same ideas as to the importance of the different notes in the same passage. Even when they had some knowledge of composition, and this was not always the case, they rarely agreed on the same simplification of the part. The Leipzig Allgemeine Musicalisches Zeitung for 1816 is more specific with regard to this important issue, giving the following example:
然而，除了並非每個人都能完美無瑕地彈奏出非常快速的樂段之外，貝斯手都必須彈奏出所有的音符。他們中最不嚴謹的人卻沒有遵守這個原則，而常常選擇較容易的方式。柏遼茲（Hector Berlioz）強烈譴責最懶惰或技巧最差的低音提琴手，他們甚至不試著彈奏所有音符，就將困難的段落簡化。 ${}^{13}$${}^{13}$^(13){ }^{13} 至於其他較為認真的低音提琴演奏家，柏遼茲認為，無論如何，沒有兩位音樂家會對同一段落中不同音符的重要性有相同的想法。即使他們對作曲有一定的認識（但這並非經常如此），他們也很少能在相同的簡化部分上達成一致。1816 年的《萊比錫音樂報》 (Leipzig Allgemeine Musicalisches Zeitung) 對於這個重要的問題有更明確的說明，並舉出以下的例子：

“It can easily happen that one (of the bassists) plays every other sixteenth note, which he believes to be the principal notes, and consequently plays a G# on the fourth eighth note. The other one, however, has noticed the chord of A major which started the bass line, giving the G# a mere value of passing note, and confidently plays a A over the G# of the first one and the cellist”. ${}^{14}$${}^{14}$^(14){ }^{14}
"很容易發生的情況是，其中一位 (低音結他手) 每隔一個十六分音符就彈一次，他認為那是主音，結果在第四個八分音符上彈了一個 G#。然而，另一位注意到 A 大調和弦是低音的起始音，因此 G# 的音值僅為經過音，並自信地在第一位與大提琴手的 G# 上彈出 A。 ${}^{14}$${}^{14}$^(14){ }^{14} 。
The result, for Berlioz, was a dreadful state of confusion and disorder:
對 Berlioz 來說，結果是一種可怕的混亂和無序狀態：
“This buzzing chaos (that of the simplifying bassists), full of odd noises and hideous grumblings, was completed and further augmented by the other double bass players, more zealous or more confident in their skillfulness, who wore themselves out in useless efforts to play every note of the written passage”. ${}^{15}$${}^{15}$^(15){ }^{15}
"這種嗡嗡作響的混亂（簡化貝斯手的混亂），充滿了奇怪的噪音和可怕的怨言，由其他貝斯手完成並進一步擴大，他們更熱衷於或更自信於自己的技巧，他們在無用的努力中累得筋疲力盡，以演奏所寫段落的每個音符。 ${}^{15}$${}^{15}$^(15){ }^{15}
This unfortunate custom was linked to the use of the double bass tuned in fifths, three- and four-stringers alike, and disappeared with its rejection in favor
這個不幸的習俗與低音大提琴使用五度調音有關，三弦與四弦的低音大提琴都是如此。

of the instrument in modern fourth tuning. For a while, both German and French orchestras employed mixed double bass sections (Berlioz wrote in approval of these) in which the powerful three-stringer tuned in fifths heavily stressed changes of harmony while the more nimble four-stringer in modern tuning played all of the notes. But the Germans soon ousted the basses in fifth tuning and retained only the easier, more practical instruments that we know today. In contrast, the French bassist, who kept the other type of double bass well into the 19th century, at the same time carried on what had by then become an obsolescent method. A text dated 1828 skillfully pleaded for this out-dated practice:
在這段期間，德國與法國的管弦樂團都採用了混合低音提琴聲部（Berlioz 在其著作中表示同意）。有一陣子，德國與法國的管弦樂團都採用了混合低音提琴聲部 (Berlioz 曾寫信稱讚)，其中強而有力的五度調三弦樂手強調和聲的變化，而較靈巧的四度調四弦樂手則演奏所有的音符。但德國人很快就摒棄了五度調音的低音大提琴，只保留了我們今天所知的較容易、較實用的樂器。相反地，法國的低音大提琴手將另一種低音大提琴一直保留到十九世紀，同時也延續了當時已經過時的演奏方法。1828 年的一篇文章巧妙地為這種過時的做法辯護：
“Their skill with the instrument is altogether different from that of foreign double bass players. French bassists play with strength, precision and exactitude all of the notes written for the bass/double bass part… To these high playing standards, the double bassists of whom I have just spoken add another talent which, in our opinion, raises the proper manner of playing the double bass to the summits of excellence: that of, in some cases, playing only the notes which best set off the mass of the orchestra. These harmonizing double bassists and even composers are more familiar with the effect of their instrument than many authors and opera composers and thus, because of the habit and talent they have of judging the general effect made by the orchestra in which they play, they know that if, in a fast movement, they played all of the notes belonging to the same chord, this multitude of low tones would only result in a muffled noise producing an indistinct overall effect”.16
"他們的演奏技巧與外國的低音提琴演奏家完全不同。法國的低音提琴演奏家能有力、精準、準確地演奏低音提琴/低音大提琴聲部的所有音符......除了這些高水準的演奏之外，我剛才提到的低音提琴演奏家還具有另一種才能，在我們看來，這種才能將低音提琴的正確演奏方式提升到了卓越的頂峰：在某些情況下，他們只演奏最能襯托樂團整體的音符。這些和聲低音提琴演奏家甚至作曲家比許多作家和歌劇作曲家更熟悉他們樂器的效果，因此，由於他們有判斷他們演奏的樂團所產生的整體效果的習慣和天賦，他們知道，如果在快速的樂章中，他們演奏屬於同一和弦的所有音符，那麼這些眾多的低音只會造成一種嘈雜的噪音，產生模糊不清的整體效果"。
The solution to this problem, already thought out by Corrette in the previous century, was of course to give each bass player a written simplified bass part: “When several bass players are employed in an orchestra, each of them should be given the same simplified part on which the principal notes of the chords would be indicated; the effect would thus be more beautiful and more correct”. ${}^{17}$${}^{17}$^(17){ }^{17}
科雷特 (Corrette) 在上一世紀已經想出解決這個問題的方法，當然是讓每位低音提琴演奏者都有一個書面的簡化低音聲部：「當樂團中有幾位低音提琴演奏者時，應該讓他們每人都有相同的簡化聲部，並在上面標示和弦的主音；這樣效果會更美麗、更正確」。 ${}^{17}$${}^{17}$^(17){ }^{17}
In 1807, G. Weber complained that it had become fashionable among composers to overload the bass parts and to write passages that were hardly within the capacity of a few violin players. Because of this, he thought, bass players had no other choice than simplify their part:
1807 年，G. Weber 抱怨說，作曲家之間已經習慣將低音聲部寫得太重，而且寫出的段落幾乎不在幾個小提琴手的能力範圍之內。他認為，正因如此，低音提琴演奏者除了簡化他們的聲部之外，別無選擇：
“Would it not be justified to solve this indisputable problem? This would be easy if the composers went more often to the trouble of separating the double bass voice from that of the cello into two different parts, thus of writing clearly the notes that are to be played in the passage. In case one or the other player thought himself sufficiently capable, he could join in the passage (the use of the
"要解決這個無可爭議的問題，難道不是理所當然的事嗎？如果作曲家多花點心思，將低音提琴的聲部與大提琴的聲部分為兩個不同的部分，並清楚地寫出在樂段中要演奏的音符，這就很容易解決這個問題。如果其中一位演奏者或另一位演奏者認為自己有足夠的能力，他可以加入樂段（使用低音大提琴）。
tenor key would be a sign that this was not allowed). On the other hand, the weaker of the cello players could in all cases play the lightened double bass voice and thus prove more efficient than when they spoil a passage which they are unable to simplify”. ${}^{18}$${}^{18}$^(18){ }^{18}
在大提琴演奏中，低音大提琴的演奏者可以在任何情況下都能演奏出輕鬆的低音大提琴聲部，這比他們在無法簡化的樂段中破壞樂章更有效率。）另一方面，大提琴演奏者中的弱者在任何情況下都能演奏出輕化的低音提琴聲部，因此證明比他們破壞無法簡化的段落時更有效率'。 ${}^{18}$${}^{18}$^(18){ }^{18}
Berlioz was one of the first in France to take a public stand against the simplification of parts. Like G. Weber, he did not criticize the musicians who practiced it and blamed instead those composers who wrote for the heaviest of instruments passages so fast that they were already difficult to play on the much lighter cello. Berlioz considered that no bass player could be expected to play every note distinctly unless composers went to the trouble of writing playable parts for this instrument. Respect for the score was thus closely linked to the composer’s understanding of the possibilities of the instrument:
柏遼茲是法國第一批公開反對簡化聲部的人。像 G. Weber 一樣，他沒有批評實行簡化的音樂家，反而責怪那些作曲家為最重的樂器寫出太快的段落，以至於在輕得多的大提琴上已經很難演奏。柏遼茲認為，除非作曲家費盡心思為低音提琴寫出可演奏的部分，否則無法期望低音提琴手能清楚地演奏每個音符。因此，對樂譜的尊重與作曲家對樂器可能性的理解息息相關：
“When the fault is on the composer’s side, it is the composer himself, and the listeners, who bear the consequenses, and the player is in no way answerable”. ${}^{19}$${}^{19}$^(19){ }^{19}
當錯誤出在作曲家一方時，是作曲家本人和聽眾要承擔後果，而演奏者是無須負責的。 ${}^{19}$${}^{19}$^(19){ }^{19}
This was apparently not the opinion of French conductor Charles-Marie Widor who condemned the simplifiers on the ground that “these people did not deserve to be called artists; they were no more than water carriers”…${}^{20}$${}^{20}$^(20)^{20}
這顯然不是法國指揮家 Charles-Marie Widor 的看法，他譴責簡化派，理由是「這些人不配被稱為藝術家；他們不過是運水員」... ${}^{20}$${}^{20}$^(20)^{20} ${}^{20}$${}^{20}$^(20)^{20}。

The Golden Age of Virtuosity
美德的黃金時代

Because he believed that 20th century “double bass players, with few exceptions, play out of tune and thus spoil the orchestra”, Arnold Dolmetsch thought it most desirable that the
Arnold Dolmetsch 認為 20 世紀的「低音提琴演奏家，除了少數例外，都會演奏走音，因而破壞樂團」，因此他認為最可取的是

A. Dall’Occa, 1763-1846 modern double bass should regain its lost frets. He asserted that they “would give clearness to many rapid passages which at present only make a rumbling noise” and consequently concluded that “a conductor with enough power and determination to force his double bass players to fret their instruments would deserve the thanks of all; but he would have a hard fight with his men, whose principal ambition is to emulate the violoncellists just as the latter imitate the violinists”.26*
A.Dall'Occa，1763-1846 現代低音大提琴應該重拾失去的音格。他堅稱，「它們會使許多快速的樂段變得清晰，而現在這些樂段只會發出隆隆的噪音」，並因此得出結論，「一個有足夠能力和決心迫使他的低音提琴演奏家為他們的樂器上弦的指揮家將值得所有人的感謝；但他將會與他的樂手們有一場艱苦的鬥爭，因為他們的主要志向是模仿大提琴手，就像後者模仿小提琴手一樣」。

The existence of this concerto, the manuscript of which was long in the possession of Prince Esterhàzy and was later lost, is known to us through his catalogue of themes which give the first few bars:
這首協奏曲的手稿長期由 Esterhàzy 王子擁有，後來遺失了，我們是透過他的主題目錄得知這首協奏曲的存在，而他的主題目錄則提供了這首協奏曲的前幾小格：

• This remarkable figure was most likely Ignaz Woschitka, qualified by C. Schubart (1739-1796) as the greatest bassist of his time, but whose contract with the Wurtenberg court had been cancelled owing to “incompatibility”.
  舒巴特 (C. Schubart，1739-1796 年) 認為他是當時最偉大的低音大提琴家，但他與 Wurtenberg 宮廷的合約卻因為「不協調」而被取消。