Though America had gained its independence 13 years prior to the letter, the colonies still relied heavily on European merchants for their musical needs. The New World, including Franklin’s home, was full of music, from classical pieces and folk songs to sacred works. Franklin owned popular instruments like the guitar and the harp. But, his prized possession was a unique and elusive stringed instrument with a soulful, commanding sound.
Now referred to as the “viola da gamba,” or “viol” for short (this term rhymes with the word “smile”), the instrument was mysterious due to its niche audience in Europe and the difficulty of getting it overseas to the New World.
The viol is sometimes underrated as an instrument of Colonial America due to limited information about its history. But based on what musicologists and historians know now, the viola da gamba had a significant impact on music lovers like Franklin who set out to establish their own culture of the arts in the newly independent nation.
An Intimate Connection Between Viol and Gambist
In the late 18th century, America lacked supply for a growing demand for musical instruments. Without native luthiers, many colonists who procured violins, flutes, or other popular instruments had to buy them overseas in England and ship them to America. This process required patience and significant motivation, both of which Franklin possessed, no matter his endeavor.
The viol’s body is shaped much like a cello, and it has a flat back. Though it is played like a cello, it shares similarities to the “lute” family (a term used to describe guitar-shaped instruments during the Renaissance period) due to its frets and tuning. The viola da gamba experienced its first wave of admiration during the Renaissance. The name is Italian for “viol for the leg,” and viol players, who are also called “gambists,” rest the fretted instrument in an upright position between their legs while playing.
From Solo Act to Small Band
The viol’s unique features thrilled amateur musicians like Franklin, who remains one of America’s earliest known viola de gamba owners. Was he one of the first to bring the Spanish born instrument to the colonies? Perhaps.
In the historical record, the first mention of Franklin’s viola da gamba was actually by his son. Sometime around 1779, during the height of the Revolutionary War, Franklin’s son wrote to him from their Philadelphia home to tell him British forces had taken several instruments from their residence, including Franklin’s “welch harp, bell harp, the set of tuned bells which were in a box, [and the] Viol de Gambo.” During this time, the statesman was thousands of miles away in Paris serving as a diplomat in charge of fostering support from the French for American independence.
Although the viola da gamba could be found in the homes of America’s upper-class families, the instrument was most popular among European royals in the 18th century. Its emotive, rich sounds could be heard in palaces, on estates, and in symphony halls. The viol was often hired as entertainment for political functions and cultural events of great significance.
Viols and the Classical Era
Widespread use of the viola da gamba in Europe experienced waves of popularity. Maybe Franklin heard its yearning strings at times while conducting business in France, keeping the absence of his own viol in the back of his mind, ultimately inspiring him to contact his friend in London.
As more people appreciated the sound of the viol throughout the Classical era, several composers created compositions with the instrument in mind. Both Handel and Bach wrote sonatas in the early-to-mid-1700s for the viola da gamba, and the pieces were meant to be played alongside the in-demand harpsichord.
Though the viol was at times popular in Europe, the instrument was always hard to find in America, making its impact that much more profound when a listener did stumble upon someone playing it.
The Annual Viola da Gamba Conclave
Though the viol experienced acclaim in the Renaissance and Classical periods, its popularity waned in the 1800s. As symphony halls grew bigger and orchestras grew louder, the viol was slowly phased out in favor of instruments with a more powerful sound. The violin became the preferred option over the viola da gamba.
Although mainstream love of the instrument weakened, interest in it eventually reignited. In the 20th century, a group of dedicated musicians with a powerful love of classical music created a grassroots effort to reintroduce the viol into the classical music landscape. From performing historic compositions written for the instrument to creating new ones, a love for the viola da gamba was reborn.
