Abstract
T HE FIVE PRINCIPAL GENRES of early Classical Austrian chamber music, exclusive of scorings with obbligato keyboard, were long-familiar sonata for one or more melody instruments and bass; newer string trio, quartet, and quintet; mixed trios, quartets, quintets, and sextets for one or more obbligato winds and strings; cassation for strings or mixed ensemble plus two horns; and partita for winds. No matter what titles music may bear, this repertory seems to have been soloistic (not orchestral) music primarily, without keyboard continuo.1 One important problem relating to scoring of this repertory remains unsolved: instrumentation of bass Often, only indication to appear in sources is Basso. This term was not a name for double bass; it meant simply the bass part. Hence it was compatible with every particular scoring of bass, including solo cello.2 The present study discusses use of cello and double bass as bass instruments in early Classical chamber music in and around Vienna.
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