ABSTRACT
By the middle of the eighteenth century, the older term basse de violon had become synonymous with violoncelle, but basse de violon originally covered several bass instruments of different sizes and tunings belonging to the violin family. The basse de violongradually declined with the increasing use of the contrebasse in France and also with the advent of solo literature for the violoncelle, and many players had their instruments converted to the smaller and more fashionable cello. Throughout the first quarter of the eighteenth century, several types of bass instruments of different sizes and tunings played together in the Paris Opéra orchestra. The bass viol was much appreciated for its remarkable tone qualities, an evenness of sonority throughout its entire range, and an ability to produce chords. The treble viol was also valued for its expressive qualities, especially in melodic playing, where its tender and delicate affect was much appreciated.
