Margaret Downie Banks

The violino piccolo and other small violins

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I Comparison of four distinct violin sizes Left to right: 75 per cent size violin (trade terminology, quartersizel by the Brothers Antonio
and Girolamo Amati (Cremona. 1613); 87 5 per cent-size violin (half size) by Lorenzo Storioni (Cremona. 1790): 95 per cent-size violin
(three-quarter-size| by Hieronymus Amati (Cremona. 1609). and. 100 per cent size violin (standard or full-size) by Nicolo Amati |Cremona.
1628) Shrine to Music Museum

David Boyden's aphorism, what even one knew then.
no one knows now',' might be used to characterize the
current state of our understanding of the history,
development, physical characteristics and use of the
violino piccolo from the late 16th to the 18th
centuries. It is ironic that small violins were so
commonplace in the earh 17th century that Michael
Praetonus wasted few words describing them in his
Syntagma musicum (1618 19). noting instead that:
Since everyone is familiar with these instruments it is
unnecessary to deal further with them here.'2 As a
result, most of what constitutes present-day knowledge
about one specific type of small violin, the \iolino
piccolo, is based primarily upon three historic literary
rcferi-iu es." a few pieces of music4 and a generous
suppl\ of opinion There remains untapped one area

588 [• ARLV MLSK M A KMBr.R 1990

of applied research which could provide the significant
additional information needed to address the question
'What did everyone know then9' about small violins
This is, simply, the systematic examination of historic
instruments preserved in both public and private
collections The scientific investigation of small
violins is long overdue, and the results of such study
could, in combination with additional literary, lcono-
graphic and musical research, fill in many of the gaps
in our understanding of the history, characteristics
and use of the violino piccolo as well as other small
violins during the 16th, 17th and 18th centuries
Locating historic examples of small violins should
be a relatively easy task, although the nomenclature
used for these instruments by professional musicians
as well as in many museum and auction catalogues,
checklists and even scholarly texts is far from
standardized It has become common practice, for
example, to apply basically meaningless terms such as
'child's violin' and 'miniature violin' to small pattern
violins which are a mere centimetre or two smaller
than the standard-size instrument The nominal trade
terminology used to describe the instruments in
lllus 1, for example, would be, from right to left, full-
size, three-quarter size, one-half size and something
less than one-quarter size'5 Such terminology is
theoretically incorrect, not to mention misleading,
when used to describe the relative sizes of violins.
From a general survey of instruments preserved in
public and private collections it appears that small
violins were made with at least three distinct body
sizes during the 16th, 17th and 18th centuries 6
Historic instruments from the collections of The
Shrine to Music Museum at the University of South
Dakota in Vermillion, represent these three sizes in
lllus 1, which compares them with the museum's
standard-size violin made by Nicolo Amati in 1628,
which has a body length of 35 5 cm The first group of
distinctly small-size violins built during the 16th—18th
centuries include those with a body length of about 34
cm, which is only 1 or 2 cm less than the standard-size
instrument, and which, theoretically, could be referred
to as 95 per cent of the size of standard violins This
size, sometimes referred to as the small pattern violin,
is represented by an instrument made in 1609 by
Hieronymus Amati7 Although the purpose for which
the 95 per cent-size violins were made remains
unclear,8 it is logical, from an acoustical viewpoint,
that they were not originally built to be tuned a 3rd or a
4th higher than the standard-size violin, as is required
in violino piccolo parts Nevertheless, some modern
performers seem to be satisfied with playing piccolo
parts on instruments of this size, primarily for the
comfort and convenience of playing an instrument
nearly as large as the ordinary violin to which they are
accustomed Notwithstanding this modern usage,
performances using 95 per cent-size violins for violino
piccolo parts certainly cannot be considered histo-
rically accurate
The second distinct size among small violins are
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those with a body length of about 30-31 cm, or about
87 5 per cent of the size of a regular violin This size is
represented in lllus 1 by a Lorenzo Stononi violin
made in Cremona about 1790 Numerous examples of
87 5 per cent-size violins may be found in public and
private collections, including two additional instru-
ments at The Shrine to Music Museum which are
preserved in essentially original condition'
The third distinct size among small violins of the
16th-18th centuries are instruments with a body
length of about 23-27 cm or about 65-75 per cent of
the size of a standard violin, and which will be refered
to as 75 per cent-size violins The Museum's remark-
ably well preserved small violin made by the Brothers
Amati in 1613, seen at the far left in lllusl, is
representative of the numerous surviving instruments
of this type 10 Since this instrument is one of only
three Cremonese instruments which have been
preserved in essentially unaltered condition with most
or all of their original fittings," it is, in addition, a
significant source of primary information concerning
the construction of small violins
A fourth type of small violin, in use primarily during
the 18th century, was the violin-shaped kit or dancing
master's fiddle, represented in lllus 2 by an unsigned,
18th-century English instrument from The Shrine to
Music Museum Although the vibrating string length
of many kits was equal or nearly equal to that of the 7 5
percent-size Brothers Amati violin of 1613 with which
it is compared in illus 2, the diminutive resonating
body of the kit would hardly have been able
acoustically to produce enough sound to compete
with the other instruments with which the violino
piccolo was scored It is justifiable to rule out the kit as
a candidate for use in violino piccolo parts both
because of its acoustical impotence and because 18th-
century sources amply document that its principal use
was as a dance accompaniment instrument (illus 3)
Now come the difficult questions' is it possible to
determine whether it was the 87 5 per cent-size violin
EARLY MUSIC NOVEMBER 1990 589

2 Lett to right violin (75 per rentsi/e| b\ the Brothprs Amali. 1613. unsigned. ISth-centim hnglish dancing master's kit. standard size
violin bv Nirolo Amati |I628| Shrine to Music Museum
or the 7 5 per cent- si/e violin which was the instrument
actuallv called for in violiiio piccolo parts' Or might
both sizes have satisfied the tuning requirements of
violino piccolo parts, but at different periods in
historv 7 Much additional research will be necessary
before these questions can be definitkelv answered.
Some avenues which need tn lie explored include the
systematic stuck of historic examples of both the 7 i
per rent- and 87 S per cent-si/e violins, not o n k with
regard to their bock sizes but also the acoustics of
then resonating boxes, ihe \ arious u pe- and densities
S90 TARI'l \RM< \ ( A 1 \lbir k 199"
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ol strings with which the\ might have been strung, the
location of the bridge on the bellv. the pitch standards
to which the\ might have been tuned, the acoustic
environments in which the\ might have been heard
and even the different Upes of bows with which the\
ma\ have been plaved. lltimatelv. the question to be
answered is simpk this: which instrument of the two
siA-s can more sue cesstulk withstand the stress of
being tuned a 3rd. a 4th or even a Sth higher than the
striiidanl-si/e violin, using us original n « k. bridge
and bass-har ^et-up and snli produce ,i IHUSH a!k
 Downloaded from https://academic.oup.com/em/article/XVIII/4/588/346566 by guest on 01 February 2021
51A

ttr.i*-* far t' fli^r 1-4 S

LE MAITRE ])E DANSE

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3 Le Maitre de Danse' (The Dancing Master) Engraving by J P le Bas (Pans, 1745), after painting by Ph CanoL Haags Gemeentemuseum.
The Hague

EARLY MUSIC NOVEMBER 1990 591


4 The Musicians' Painting by Michelangelo de Caravaggio |Rome. r 1594) Metropolitan Museum of Art. New York
viable tone quality 7 Initial ol).scrvations. based upon
iconographic. literary, musical and basic acoustical
evidence, suggest that it was. in fact. the7S percent-
si/e violin, represented by the 1613 Brothers Amati
instrument, which performed the function of the
\iolino piccolo during the Baroque era
Iconographic sources would, of course, be verv
helpful in verifying the use of the 7S per cent-si/e
instrument in a situation railing for a violino piccolo
rather than a child's violin, for example. Unfortu-
nately, sources depicting any disc ernibh small violins
during the 16th-18th centuries are rare. In adclition. the
relative size of the violins depicted in these sources is.
to a certain extent, debatable from an artistic
viewpoint. A tvpical example is a Dutch engraving
dating Irom 1622. in which ihe \iolin max appear
somewhat smaller than normal, owing to foreshor-
r \RLl Ml s|( \<>Vr\lBI K 1490
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tening.1-' A painting clone in 1594 by Caravaggio
(illus.4). however, includes a distinctly small violin
King on a table." That small violins were in existence
at the time of this painting is corroborated by the
inclusion of rlainedisrant violins in an inventory of the
instrument collection at the Schloss Ambras in
Austria, dating from IS96.' 4
One might presume a similarity between these late
16th-century instruments and the 7S per cent-size
v iolin preserved at The Shrine to Music Museum made
in 1613 in the shop of Antonio and Girolamo Amati
(illus.S). This particular instrument is in an exception-
ally fine state1 of preservation ancl retains its original
scroll, neck, fingerboard, saddle, button and tailpiece
A new nut and new pegs, contemporary with the time
during which the instrument was built, as well as a
minor repair at the junction of ihe bellv and the neck

5 Front back and side views of the violino piccolo (75 per cent-size violin) by the Brothers Amati (1613). Shrine to Music Museum
(illus.6), appear to be the only alterations made to this
instrument, which is otherwise in essentially original
condition.
Five years after this Amati violin was built Michael
Praetorius published his Syntagma musicum, in which
he wrote that the klein diskant Geig had the following
characteristics: (1) it was smaller than the standard-
size violin, having a body length of about 26.8 cm;15 (2)
it was held 'on the arm' like the rest of the members of
the violin family; (3) it had four strings; (4) it was tuned
in 5ths; (5) it was pitched a 4th higher than the ordinary
violin (hence, c'. g'. d". a").16 Except for the curious
scalloped edge depicted in Praetorius's woodcut of the
instrument (no.3 inillus.7). the dimensions of the klein
diskant Geig most closely match those of the 75 per
cent-size violin represented by the Brothers Amati
instrument previously discussed.
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The earliest music to call for the violino piccolo is
Monteverdi's opera, Orfeo, written in 1607. Monte-
verdi's use of the puzzling phrase 'violini piccioli alia
francese' has been the focus of much controversy,
leading to the formulation of several hypotheses as to
the specific instrument intended.17 It remains entirely
feasible that an instrument such as the 75 per cent-
size Amati violin was, in fact, the instrument called for
in Monteverdi's opera.
The best known music written for the violino
piccolo is that composed by J. S. Bach.18 He features
the instrument soloistically as well as coupled with
other solo instruments such as the violin, transverse
flute and recorder. The violino piccolo player is called
upon to execute highly melismatic, rapid and often
highly chromatic lines which would certainly have
demanded the talents of a well trained violinist.
EARLY MUSIC NOVEMBER 1990 593
 I: 4
6 Close-up ot neck and fingerboard of Brothers Amati violino piccolo Shrine to Music Museum
Throughout Bach's three works which specify use of
the violino piccolo, the instrument would variously
have to be pitched a 2nd. a 3rd and a 4th higher than
the standard-size violin in order to accommodate all
the passages in first position (including a fourth finger
extension!. I he logical choice under these circuin-
would be the "5 per cent-size violin which.
S94 EARLY ML SK \OVF\IBrR 1990
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Praetorius wrote, was specifically built to be pitched a
4th higher than the ordinary violin.
One of the main written sources of information
concerning the violino piccolo in the 18th century
appears in the introduction to Leopold Mozart's
Yiolinschule (17S6) Here Mozart brieflv describes all
the bowed stringed instruments known to him. As

7 Praetorius, Syntagma musicum, ii. plate 22
characteristics of the violino piccolo he lists the
following: (1) it is smaller than the ordinary violin; (2) it
is capable of being tuned to a much higher pitch than
other violins; (3) it was once used as a solo instrument
to play concertos; (4) it was often played with the
transverse flute, the harp and other similar instru-
ments; (5) it was no longer needed, by the mid-18th
century, to play the high violin parts since violinists
had been trained and were accustomed to shifting into
higher positions: (6) since it was no longer needed to
play these higher violin parts, it was used to train small
boys to play the violin. It is significant to note,
moreover, that Mozart definitely prefers, 'if [a] boy's
fingers permit, to accustom him to a full-sized violin,
so that he may hold his fingers in a consistently even
position, harden them and learn to stretch them'.19
This admonition suggests that the violino piccolo in
the mid-18th century was significantly smaller than a
full-sized violin. Certainly the 75 per cent-size violin,
represented by the Brothers Amati violin in illus. 1,
fulfils this size requirement
Clearly, the members of the violin family, as they
were developing in Praetorius's day. had their roots in
the Renaissance concept of the balanced consort or
family of instruments of varying sizes. It is entirely-
logical within this already well established system that
the 75 per cent-size violin was developed to fulfil not
only the tonal requirements of a higher voice range
than the standard-size violin, but also to meet the
need for an instrument on which the higher violin
parts could be played, before shifting to higher
positions became a standard part of violin technique.20
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One might say that the violino piccolo represents a
form developed out of the need to discharge a
particular function. The fact that the violino piccolo
persisted in use well into the third quarter of the 18th
century suggests that the technique of shifting may
only slowly have been accepted by performers,
particularly in more conservative circles. At the same
time, it was this very technique which led to the
obsolescence of the violino piccolo as a necessary
form fulfilling a necessary function.
With the combined and continued research efforts
of musicologists, performers, acousticians and luthiers,
it may yet be possible to learn 'what everyone knew
then' about the long neglected small violin, the violino
piccolo.
Margaret Downie Banks is Curator of Musical Instruments
at The Shrine to Music Museum and Center for Study of the
History of Musical Instruments at the Unviersity of South
Dakota
1
D D. Boyden, The History of Violin Playing from its Origins to 1761
(London. 1965). p.2
!
M. Praetorius. Syntagma musicum. ii: De organographia (Wolfen-
buttel. 1619//? 1958). p.48. See also the English translation of this
treatise by H Blumenfeld (New York. 1962//? 1980). p48.
'These references are Praetorius. Syntagma musicum: Leopold
Mozart. Versuch einer grundhchen Violinschule(Augsburg. 1756). trans.
E Knocker as A Treatise on the Fundamental Principles of Violin Playing
(London. 2nd edn, 1951). p 10: and J. von Schlosser, Ambraser
Inventar 1596 (Instrumentenkammer in Ruhelust)'. Die Sammlung
alter Musikmstrumente (Vienna. 1920//? 1984), p.12
4
The music most often cited is J S Bach. Concerto no.l
(BWVI046) in Werke (Leipzig. 1851-1926//? 1968). xix. pp.3ff and
Claudio Monteverdi. LOrfeo. Favola in Musica (Venice. 1609). ed G. F.
Malipiero (Asolo. n.d ). pp.41-3. See also H. M. Brown. Violino
Piccolo'. The New Grove Dictionary of Musical Instruments, ed. S. Sadie
(London. 1984)
'For the conversion of these nrade terms into actual measure-
ments see A Tolbecque.i/mdu/ut/iierlNiort. 1903/R 1969). pp.204-
5
'Only instruments with violin-shaped bodies were included in
this survey In addition, no consideration was given to toy' or
miniature' instruments which cannot produce musically meaning-
ful sounds
'An account of the innumerable surviving examples of 16th-
18th-century 95 per cent-size (small pattern) violins, as well as the
EARLY MUSIC NOVEMBER 1990 595
o t h e r i n u d i s l m i I s i z e s of s m a l l \ i o l i t i s . i s b e v o n d t h e s c o p e of t h i s mien Halfte des IS lahrhundens und unserere heutigen Besev/ung-
stu'K Honever <i f e u a d d i t i o n a l instruments uill b e cued as smojilirhkeuen Konferen/benrht derb \\iss?nsrhufllichen Arbeitstagung
i orroborative evamples Note for i n s t a l l ' e ( h e i n l a i d 9 5 p e r < e n t - Blankenburt/ Han 2J bis 25 Jam 1978. ed f. Thorn IMagdeburg,
s i / e v i o l i n i n a i l f I n A n t o n i o S t r , i d i \ a n i n 1 6 8 3 . p r e s e r v e r ! in t h e Hill I979|. p 16.
( oiler l i o n HI i h e A s h m o l e a n M u s e u m . Oxford, a s well a s h i s 1~36 '''Mo/art, Viohnsihule \i 10 The use of small v lolms I their relative
v i o l i n i n I h e Helle S k i n n e r ( ollei m m .11 Yale 1. n u e r s i t v hor further s i / e unsperifierli for the musical training of fhildren is also
intonn.ilion. i onsult \) IJ Bovden. ( atalogue of Ihe Ilil! I oiler lion of mentioned m Daniel Mer'k. Compendium musirae msirumt'nlulis
MUSKul Instruments in the \shmoleun Museum Oxford KKiord. I964| iheluae I Augsburg. 16951 I dm i n d e b t e d t o M a r i a n n e Kroemer.
pp 2 3 - 4 and pi 1". U Skinner. Ihe Helle Skinner ( nlleitinn nf Old t inversilv of r,xt\/. lor this information
Mutual Instruments IHohoke. Mass 14331. p]i 124-S. and (I K -'"See dis< u s s i o n of Ihe d e v e l o p m e n i of i h e l e t h n i q u e of s h i f t i n g
(loodkmd I inlin h nnuyra}>h\ nf \ntnnni Stradivari (Lar'hmont. X1! in I) I) B o v d e n . 'Violin lei hnique lo i P 8 5 ' . The Xew I,rove
I9~2i. pp 170. 684 Dinionun of MUSKUI Instruments
"See 1. ( \Yi It en II I he Surviving Instruments ol Andrea \inati
I-M \ 119821 p 443 Bov den < learlv dismisses ihe identilH ation of

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the small pattern violin of regular IiinmjJ (bodv length ol Ihineen
and a half i ni ties [34 1 < m|i as the viol mo pic < olo I Bovden. llislor\ of
[ i>>lm Hhn ing p 4 4 |
* l h e s e a r e ,i se( o n d S l o n o n i v i o l i n m a d e in 1 7 9 3 a s well a s a n
I t a l i a n v i o l i n a t t r i b u t e d t o l o m a s s o l.berle. r | 7 8 O EARLY MUSIC
'" I v\o a d d i t i o n a l e x a m p l e s of e v e p n o n a l l v v\ell preserv ed 7 5 per
< e n i - s i / e I t a l i a n v l o l i u s mi h i d e both t h e 17 20 Stradivari v l o h n a n d February 1991
Ihe I 7 3 1 ( , m s e p p e ( . u a r u e r i v lolm in t h e Si h a m b a i li I ollei lion S e e
The St hambuch < ollertiun tif MUSKUI Instruments (( hnlon. \ Y . 1983). The Italian violin school
p p 3 6 . 41
" I h e other two i n s t r u m e n t s are the Andrea 'riiarneri tenor viola
in the 17th century
of 1664, jjreserv ed at The Shrine to MUSK Museum, and the
Stradivari tenor viola. I h e Medii i'. ul 1690. preserved ,H the Museo continues in our next issue
del ( o n s e n atorio di MUSK a I.m^i ( hembini. I loreiu e
'-'Theodor Matham. Phyllis Plavmg the \iolm (Amsterdam. 16221.
re|jr<jdufed in B fieiser. Studien yur Iruhgeschirhle der Violme.
r'ublikahonen der S< Inxei/erisi h e n Mtisiklors< h e n d e n dcsell-
schaft. II. wv (Bern. 1974). Abb 104
" M i c h e l a n g e l o de Caravaggio, The Musicians (Rome, r 1194|, at
the Meliopolitan Museum of Art, New York (Rogers I m i d . 52 81).
IJ
Si hlosser. \ m b r a s e r Inventar I S96 . p 12
'*\ Bessar.iholl. Annem huroprun MUSKUI Instruments (< ambridge.
The tarl> Muvc Shop
Mass 1441). p 301 a n d Appendix A. S t a l i n g of I J r a ( - t o r i u s ' produces <a range ol
I J r a w i n g s . jjj) 3 5 3 - 6 'nnre than 40 kits
" ' I ' l a e t o r m s . [ip,26. 4 8 (riveting «-ve'y aspect n<
1 f'drly music
I h e h v p o t h e s i s d i a l t h e p h r a s e v i o l i n i p i t ( 10I1 a l i a f r a n c e s e '
Balding one o' our kit:
r e l i ' r s l o i h e |)(>< h e l l e i s d e ! e n d e d llV I K l l h l l l l . l M l l . /lir O C M hii luerler i c i on!, an enjoyable
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[mini l'lu\mx<. p p118-14 S e e .ilsii l i I) B o v d e n Monteverdi's -,-warcJing because. A'hen /o*
\wlmi i>un>>h itllu frontier ,md \inlr- ila hru//n \nnali"-. mustto/ngi- • niched. ,c^ ha/e a 'me qua
'lur^ viM4")H-f>"i ( Sai hs ltu-lli\tnr\ of Musii al Instrument s I New
Virk 1 4 4 0 1p Till p r o p o s e s ihai d i e p h r a s e refers l o i h e slaiid.ird-
s l / f V l u l 111 I h e I n p o l h e s ] * * l h a l d i e ~ "> p e t I e n l - ^ l / e V l o l m
4'ft^ \\ i>- i ) i e i n ^ i r M i n e n l l e t c r r e i l rr> i s ^ u n p o r l e i l
lulled in
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