Cellone and Sous-Basse
Cellone, side view
torius described seven
tempted to cover a greater compass with new instruments.
Dr. Alfred Stelzner (1852-1906) was not only an instrument maker but also a mathematician and a physicist. With the so-called violotta he tried to close the gap between the viola and
"The "cellone" invented in 1892 by Alfred Stelzner which is one octave lower than the "violotta" and two octaves lower than the violin, constitutes the bass of the so-called "G-fiddles", which are contrasted with the two older "C-fiddles" (viola and violoncello). The name "cellone", by the way, is a
Cellone - Dresden 1893
Although the instrument was not much larger
than a large violoncello, it must be termed a "Halbbass", because of the G-D-A-E tuning.
Some thirty years later, the French violin maker Léo Sir, like Stelzner,
150 cm, this instrument was also tuned in
Eugène Hyard wrote of its sound (Instrumentation et orchestration, Paris 1922): "The instrument sounds in the register of the double bass, but it is not the deep and cavernous voice of the true double bass. It is an intermediate voice, clear and pure, slightly coppery in the lower range, and full and round in the middle."
In the 1960s, renewed attempts were made to create a new order for the bowed string instru-
ments. The leading American violin maker Carleen Hutchins created the well-known
violin octet on the acoustical basis of the violin resonances. The ensemble includes an instru-
ment she named the Small Bass Violin, which resembles the Sous-Basse and was likewise intended to be tuned