diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 23:46:39 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 23:46:39 -0800 |
| commit | 4fb516453b910ab1a2e8066069ac121d96b83a24 (patch) | |
| tree | 434e8a3b800e5fab9833f51e23749d9657f86574 | |
| parent | b9dd21e6d28070f5b7b3956b374af560e3abd5e8 (diff) | |
| -rw-r--r-- | 40289-0.txt | 397 | ||||
| -rw-r--r-- | 40289-0.zip | bin | 311543 -> 0 bytes | |||
| -rw-r--r-- | 40289-8.txt | 13322 | ||||
| -rw-r--r-- | 40289-8.zip | bin | 310133 -> 0 bytes | |||
| -rw-r--r-- | 40289-h.zip | bin | 1092026 -> 0 bytes | |||
| -rw-r--r-- | 40289-h/40289-h.htm | 377 | ||||
| -rw-r--r-- | 40289.txt | 13322 | ||||
| -rw-r--r-- | 40289.zip | bin | 309735 -> 0 bytes |
8 files changed, 5 insertions, 27413 deletions
diff --git a/40289-0.txt b/40289-0.txt index 54e2ddc..471f76d 100644 --- a/40289-0.txt +++ b/40289-0.txt @@ -1,39 +1,4 @@ -The Project Gutenberg eBook, The Violin, by George Dubourg - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: The Violin - Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc. - - -Author: George Dubourg - - - -Release Date: July 21, 2012 [eBook #40289] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -E-text prepared by Linda Cantoni, Turgut Dincer, Bryan Ness, and the -Online Distributed Proofreading Team (http://www.pgdp.net) from page -images generously made available by the Google Books Library Project -(http://books.google.com) - - +*** START OF THE PROJECT GUTENBERG EBOOK 40289 *** Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. @@ -12951,362 +12916,4 @@ eighteen-pence each hank; and his Patent Rosin, one shilling the box. ROBERT COCKS & Co. NEW BURLINGTON STREET, _Music Publishers, by Special Warrant, to the Queen_. - - -***END OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -******* This file should be named 40289-0.txt or 40289-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/0/2/8/40289 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 40289 *** diff --git a/40289-0.zip b/40289-0.zip Binary files differdeleted file mode 100644 index 4d5839b..0000000 --- a/40289-0.zip +++ /dev/null diff --git a/40289-8.txt b/40289-8.txt deleted file mode 100644 index f380f47..0000000 --- a/40289-8.txt +++ /dev/null @@ -1,13322 +0,0 @@ -The Project Gutenberg eBook, The Violin, by George Dubourg - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: The Violin - Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc. - - -Author: George Dubourg - - - -Release Date: July 21, 2012 [eBook #40289] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -E-text prepared by Linda Cantoni, Turgut Dincer, Bryan Ness, and the -Online Distributed Proofreading Team (http://www.pgdp.net) from page -images generously made available by the Google Books Library Project -(http://books.google.com) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 40289-h.htm or 40289-h.zip: - (http://www.gutenberg.org/files/40289/40289-h/40289-h.htm) - or - (http://www.gutenberg.org/files/40289/40289-h.zip) - - - Images of the original pages are available through - the the Google Books Library Project. See - http://books.google.com/books?vid=7y0DAAAAQAAJ&id - - -Transcriber's note: - - A carat character is used to denote superscription. A - single character following the carat is superscripted - (example: M^r). Multiple superscripted characters are - enclosed by curly brackets (example: Mad^{lle.}). - - Unmatched double quotation marks appear as they did in - the original book. - - - - - -THE VIOLIN: - -Some Account of That Leading Instrument, and Its Most -Eminent Professors, from Its Earliest Date to the -Present Time; with Hints to Amateurs, Anecdotes, etc. - -by - -GEORGE DUBOURG. - -FOURTH EDITION, - -Revised and Considerably Enlarged. - - - - - - - -LONDON: - -Robert Cocks and Co. -Publishers to the Queen, -New Burlington Street; -Simpkin, Marshall and Co. Stationers'-Hall Court. - -MDCCCLII. - -London: -Printed by J. Mallett, -Wardour Street. - - - -PREFACE - -TO THE PRESENT EDITION. - - -After a lapse of nearly sixteen years since this little work first -appeared in print, I have been called upon to prepare it anew for the -press, incorporating with it the additional matter necessary for the -extension of the subject to the present time. - -My new readers may like to know, at the outset, what is the intended -scope of the following pages. This is soon explained. My object has been -to present to the cultivators of the Violin, whether students or -proficients, such a sketch (however slight) of the rise and progress of -that instrument, accompanied with particulars concerning its more -prominent professors, and with incidental anecdotes, as might help to -enliven their interest in it, and a little to enlarge what may be called -their _circumstantial_ acquaintance with it. This humble object has not -been altogether, I trust, without its accomplishment;--and here, while -commending my renovated manual to the indulgent notice of the now -happily increasing community of violin votaries, I would not forget to -acknowledge, gratefully, the liberal and generous appreciation with -which, when it first ventured forth, it was met by the public press, and -introduced into musical society. - - G. D. - - _Brighton, August, 1852._ - - - - -CONTENTS. - - - CHAPTER I. - - ORIGIN AND EARLY HISTORY OF THE VIOLIN. - - The Fiddle Family--the Epigonion--the Semicon--the Plectrum--the - Magadis and Sambuce--Orpheus and the lyre--the Plectrum an implement - of percussion, not a bow--the Egyptian Chelys--Orpheus at - Versailles--the fidicula of the Latin Dictionary--Welch claims--Crowd - and Crowder--Instrument of the Saxon Glee-men--Strutt's sports and - pastimes--Italy--Successive stages of the invention--the - Sounding-board--the neck--the bow--the Rebec--the viol--conversion of - the viol into the violin--the tenor viol, &c.--chest of - viols--Cremona fiddles--Hieronymus Amati--Galilei's dialogues--claim - of the Neapolitans--violins and organs in Verona in 1580--Corelli's - Violin, and Annibale Caracci--Piccoli Violini alla - Francese--Monteverdi's _Orfeo_--Mersennus--the Barbiton--the Kit--the - Musurgia of Luscinius--the Rebec and Viol-di-Gamba--Violars - accompanying the troubadours--Saxon word Fidle, German Videl, - Icelandic Fidla, &c.--Fythelers of the old English romances--passage - from the Life of St. Christopher--Chaucer and the Canterbury - Tales--Absolon, the parish clerk--the ribible--the violin in low - esteem before the Restoration--minstrels included among rogues, - vagabonds, and sturdy beggars--Percy's reliques--King of the - minstrels--Butler's Hudibras--Crowdero--France--sculptures on the - portal of Notre Dame, in Paris--the Decameron--Michele Todini--the - first to introduce the Double Bass--Arms of the Town of - Alzei--Inhabitants called Fiddlers--Cushion Dance described--Hone's - table book--Miss Hutton's Oakwood Hall--Punch and the fiddler--'a - regularly educated Zany'--Purcell's catches--Epigram upon Young, - father and son--Anthony à Wood's Autobiography--the Restoration - favourable to music--the Violin introduced at Court--Matthew Lock, - master to the Court band--Cambert, Lulli's predecessor--the music of - the drama: act tunes--arrival of Nicolo Matteis--first - music-engraving in England--'Musick's Monument,' and Thomas - Mace.--_pp. 1, et seq._ - - - CHAPTER II. - - THE ITALIAN SCHOOL. - - The Italians the first to develope the powers of the violin--the - old and modern schools--BALTAZARINI the early violin - player--GIUSEPPE GUAMI--AGOSTINO AGGAZZARI introduced instrumental - concertos into churches--CARLO FARINA--MICHAEL-ANGELO - ROSSI--GIAMBATTISTA BASSANI--violin master of Corelli-- - TORELLI--VALENTINI--ARCANGELO CORELLI--Lulli's jealousy of - him--publishes his first twelve sonatas--his solos--becomes - acquainted with Handel--visits Naples--anecdotes--sickens and - dies--anniversary performance in the Pantheon--his private - character--anecdotes--his will--contemporary performers--DON ANTONIO - VIVALDI--FRANCESCO GEMINIANI--visits Naples--comes to England--visits - Ireland--his death in Dublin--his character--anecdotes--LORENZO - SOMIS--his Suonate printed at Rome in 1722--STEPHANO - CARBONELLI--resides with the Duke of Rutland--leads the opera-band, - &c.--becomes a wine-importer--dies in 1772--epigram--PIETRO - LOCATELLI--Arte di nuova modulazione--dies in 1764--GIUSEPPE - TARTINI--marries, and is discarded by his family--settles at - Venice--his appointment at the church of St. Anthony of Padua--his - Suonate and Concerti--his Adagios--dies at Padua--the Devil's - sonata--the dream--a legend in verse--FRANCESCO MARIA VERACINI, the - younger--anecdotes--an excellent contrapuntist--PIETRO NARDINI--a - favourite pupil of Tartini--visits Tartini in his last - illness--Thomas Linley one of his pupils--LUIGI BOCCHERINI--settles - in Spain--dies at Madrid in 1806--his compositions--FELICE - GIARDINI--studies at Milan and Turin--visits Rome and Naples--arrives - in London--visits St. Petersburg, and dies at Moscow--his - character--ANTONIO LOLLI--dies at Naples--anecdote--GAETANO - PUGNANI--founds a school at Turin--his style--his - compositions--anecdotes--dies at Turin--GIOVANNI MANE GIORNOVICHI - (_Jarnowick_) pupil of Lolli--loses his popularity--dies of - apoplexy--anecdotes--GIOVANNI BATTISTA VIOTTI--eclipses - Giornovichi--quits public life--anecdotes--ordered to quit - England--embarks in the wine trade--loses his fortune--proceeds to - Paris--retires on a pension--dies in England in 1824--his character - and compositions--FRANCESCO VACCARI--his early proficiency--performs - in England--MASONI--leaves Italy for South America--goes to - India--visits England, 1834--an invitation in rhyme--SPAGNOLETTI--his - enthusiasm--his liberality--his quarrel with Ambrogetti.--_pp. 37, et - seq._ - - - CHAPTER III. - - PAGANINI. - - Birth and parentage--surmises and false rumours--his early - education--his public début at Genoa--begins to travel on his own - account--his father's rapacity--youthful excesses--a bidding for his - violin--renounces gaming--his favorite Guarnerius--enters the service - of the Princess of Parma--origin of his performances on one and two - strings--follows the Princess to Florence--his intense - application--his "Studies"--revisits Leghorn--anecdote--visits Turin - and Ferrara--attacked with disease--the story of his uniform--his - friendship with Rossini--contends with Lafont--remarks of M. Fétis - and others--Paganini's tribute to the excellence of Louis - Spohr--gives two concerts at Pavia--remarkable announcement--invited - to Vienna in 1828, by Prince Metternich--the Pope confers on him - the order of the Golden Fleece--Mayseder's despair--absurd and - injurious rumours--Paganini's manifesto--his great popularity at - Vienna--concert for the benefit of the poor--anecdotes--visits - Prague, Dresden, Berlin, and Warsaw--opinions of the Berlin - journalists--declines to compete with Praun--epigram--visits - Frankfort--mimicked on the stage--goes to Paris--description of - Paganini's performance from _La Globe, (with cuts)_--attempts to - explain his method--M. Guhr's Treatise--manner of tuning the - instrument--management of the bow--use of the left - hand--harmonics--double effects--Paganini's wonderful gains--his - letter to the _Révue Musicale_--what occurred at Padua--the devil - seen at his elbow--foundation of the rumours--comes to - England--quotation from the "Athenæum"--stringing a gridiron--raising - the prices of admission--the Claqueurs--his first English - concert--Mr. Gardner's description--quotations--Mori's joke and - Cramer's thankfulness--harmonic notes and staccato runs--farewell - concert--revisits Italy--purchases the Villa Gajona--proposes to - publish--decorated by Maria Louisa--want of health--gambling - speculation--serious illness--his last moments at Nice--his son - Achilles--his burial refused--superstitious rumours--his - will--bequeaths his favorite violin to the city of Genoa--his - personal habits and peculiarities--his mode of travelling--his - habits at home--his desire of repose--anecdote of an - amateur--Paganini's slender general knowledge--his projects--mistrust - of friends--his visitors--invitations--habits in company--aversion to - light--recollection of names--preparation for a - concert--rehearsal--his physical conformation--his influence on the - art--a "farewell"--his compositions--critical remarks of M. - Fétis--conclusion.--_pp. 110, et seq._ - - - CHAPTER IV. - - THE FRENCH SCHOOL. - - Italian and French Schools compared--state of instrumental - performance at the present time--style of Kreutzer, Rode, Baillot, - and Lafont--the _Conservatoire de Musique_--its origin and - effects--epigram--BALTAZARINI (M. de Beaujoyeux)--JEAN BAPTISTE DE - LULLY--becomes scullion to Mdlle. de Montpensier--elevated to the - rank of Court Musician--his career at Court--Louis the Fourteenth's - taste in music--the establishment of an Opera--Lulli's Te Deum for - the King's recovery--an accident--his death--anecdote of his last - score--his style--JEAN MARIE LE CLAIR (Lecler)--born at Lyons--style - deviating from the Italian school--appointed Symphonist to Louis - XV--assassinated in the streets of Paris--JEAN BAPTISTE - SENAILLÉ--goes to Italy--returns to Paris, 1719--his pupils--JEAN - PIERRE GUIGNON--his sonatas, duetts, trios, and concertos--instructs - the Dauphin--dies at Versailles--GABRIEL GUILLEMAIN--loses his - faculties and destroys himself--PIERRE GAVINIÈS--appointed Professor - at the Conservatoire--his works--FRANÇOIS JOSEPH GOSSEC--founds the - Concert of Amateurs--his symphonies--Pagin--instructed by - Tartini--jealousy of the French musicians--their revenge--PIERRE - LAHOUSSAYE--plays at the _Concert Spirituel_ when nine years - old--Pagin undertakes his instruction--goes to Italy--hears Tartini - at church--spends three years in London--appointed Professor of the - first class at the Conservatoire--PAISIBLE--makes a progress through - several parts of Europe--dies by his own hand in 1781--SIMON - LEDUC--his extant compositions--anecdote of the Chevalier St. - George--F. HIPPOLITE BARTHÉLÉMON--serves as a midshipman--comes to - England--engaged at Vauxhall--MONDONVILLE, and others--Viotti's - influence on the French School--CASTELS DE LABARRE--_premier violon_ - at the Théâtre François--VACHER--pupil of Viotti--performs at the - Vaudeville Theatre, &c.--PIERRE RODE--shipwrecked on the English - coast--obliged to quit England--appointed Professor of the Violin at - the Conservatoire--travels--his death from paralysis in 1830-- M. - Fétis on his style--RODOLPHE KREUTZER--his mode of instruction--dies - at Geneva--his compositions--CHARLES PHILIPPE LAFONT--appears at - Paris as a vocalist--studies under Kreutzer and Rode--his residence - at St. Petersburg--his contest with Paganini--PIERRE - BAILLOT--Professor at the Conservatory--his System for the - violoncello--ALEXANDRE JEAN BOUCHER--his likeness to - Napoleon--LIBON--first violinist to the Empress Josephine, to Marie - Louise, and to Charles X--BELLON--his performance at the - Philharmonic Concert--FRANÇOIS-ANTOINE-HABENECK--appointed Director - of the Opera, and Inspector General of the Conservatoire--M. - TOLBECQUE and his brother--PROSPER SAINTON--admitted Bachelor of - Letters--enters the Conservatory--appears at the Philharmonic - Concerts in London--Belgian Artists--CHARLES AUGUSTE DE BÉRIOT--early - development--visits England--his marriage with - Malibran--anecdotes--HENRI VIEUXTEMPS--his success at Vienna, &c.--his - sojourn at St. Petersburg--crosses the Atlantic--JOSEPH ARTOT--pupil - of the Kreutzers.--_pp. 176, et seq._ - - - CHAPTER V. - - THE GERMAN SCHOOL. - - The Schools of Germany, Italy, and France, compared--early - performers--DAVID FUNK--a capital performer and general scholar--the - irregularity of his life--his visit to the Castle of Schleitz--found - dead--THOMAS BALTZAR--first taught the _whole shift_ in - England--buried in Westminster Abbey--HENRY JOHN FRANCIS BIBER--his - solos--GODFREY FINGER--his style--Chapel-Master to King James II--JOHN - GOTTLIEB GRAUN--Concert-Master to the King of Prussia--FRANCIS - BENDA--acquaintance with the Hebrew, Löbel--engaged by the Prince - Royal of Prussia--JOHN STAMITZ--his works--LEOPOLD MOZART--appointed - _Valet-de-Chambre Musicien_--publishes his "Method" for the - Violin--travels with his son and daughter--his symphonies--WILLIAM - CRAMER--leads at the Commemoration of Handel--succeeded at the Opera - by Viotti--his two sons--TASSENBERG--JOHN PETER SALOMON--his concerts - in 1791--treaty with Mozart--engagement with Haydn--his compositions, - &c.--his pupil Pinto--CHARLES STAMITZ--JOHN FREDERICK ECK--ANDREAS and - BERNARD ROMBERG--their works--FRANÇOIS CRAMER--his character as a - leader--FRIEDRICH ERNST FESCA--his quartetts--CHRISTOPH GOTTFRIED - KIESEWETTER--his last performances at Leicester--LOUIS - SPOHR--patronized by the Duke of Brunswick--travels--becomes - Concert-Master, &c. to the Duke of Saxe Gotha--visits England in - 1820--his style criticised--the Norwich Musical Festival in 1839--his - "Violin-Schule"--his compositions--CHARLES WILLIAM FERDINAND - GUHR--his work on Paganini's mode of playing--JOSEPH - MAYSEDER--BERNHARD MOLIQUE--his appointments--his reception in - Paris--his compositions--ERNST-OLE BULL, the Norwegian artist--his - arrival in Paris during the prevalence of the cholera--his life and - history--gives a concert--his successes detailed--his style--The - BROTHERS LABITSKY.--_pp. 222, et seq._ - - - CHAPTER VI. - - THE ENGLISH SCHOOL. - - State of the musical art in England--Purcell's Sonatas and - Trios--JOHN BANISTER--DAVIS MELL--described by Anthony à Wood--Sonatas - published by John Jenkins--history of JOHN BANISTER the elder--JOHN - BANISTER, jun.--OBADIAH SHUTTLEWORTH--HENRY ECCLES--assisted in the - second part of the "Division Violin"--Purcell's Airs composed for - the Theatre--the arrival of Geminiani and Veracini, forming an - epoch--WILLIAM CORBETT--resides in Rome--political suspicions--his - works--his bequest to Gresham College--MICHAEL CHRISTIAN - FESTING--founds the Royal Society for the support of Decayed - Musicians--succeeded by Abraham Brown--THOMAS PINTO--joint leader - with Giardini at the Opera--MATTHEW DUBOURG--pupil of - Geminiani--appointed Master and Composer of the State Music in - Ireland--instructs the Prince of Wales and the Duke of - Cumberland--his odes--his solos and concertos--his intimacy with - Handel--anecdotes--JOHN CLEGG--promoted by Handel--confined in - Bedlam--THOMAS COLLET--remarkable accident--_Francis - Hackwood_--convivial anecdotes--ABEL and the Viol-da-Gamba--RICHARD - CUDMORE--his early distinction--instances of his versatile talent--G. - F. PINTO--the victim of dissipation--THOMAS LINLEY, jun.--taught by - Dr. Boyce and Nardini--his death from the upsetting of a pleasure - boat--THOMAS COOKE--his career--anecdotes and _bon mots_--NICHOLAS - MORI--his precocious performances--becomes a Director of the - Philharmonic Concerts, and Professor at the Royal Academy of - Music--becomes affected with cerebral disease--his character and - ability--Mr. LODER, of Bath--HENRY GATTIE--ANTONIO JAMES OURY--his - early career in arms and art--marries Mdlle. Belleville, with whom - he makes the tour of Europe--his pupils--JOSEPH HAYDON BOURNE - DANDO--introduces public quartett-playing in England--music in the - City--a _jeu d'esprit_--the several Quartett Societies--HENRY C. - COOPER--EDWARD WILLIAM THOMAS--BREAM THOM--CHARLES FREDERICK - HALL--remarks on Chamber Concerts, and the Royal Academy of - Music--NEIL GOW.--_pp. 258, et seq._ - - - CHAPTER VII. - - AMATEURS. - - The amateur compared with the professor--the witty DUKE of - BUCKINGHAM--a saying of Dr. Johnson's--Dr. Cooke giving a lesson--The - BARON BACH--characteristic sketches--amateur quartett-parties--a - story, with a _mistake_!--Sir WILLIAM HAMILTON--Epigrams--on an aged - musical trifler--_Ralph Rasper_--advice to amateurs--the - scales--Corelli's solos--Spohr's Violin-School--no real self-taught - violinists--epigram--self-knowledge necessary--qualities necessary to - the leader of an amateur party--opera music--listening to classical - quartetts--a story--friendly advice in rhyme.--_pp. 312, et seq._ - - - CHAPTER VIII. - - FEMALE VIOLINISTS. - - (_See Addendum, page 397_). - - Objections to ladies playing the violin, answered--Queen ELIZABETH - and her violin--Madame MARA--her early practice on the - violin--MADDALENA LOMBARDINI SIEMEN--reprint of a letter from - Tartini to her--REGINA SCHLICK--her maiden name Sacchi--a particular - friend of Mozart--anecdote of Mozart and the Sonata in B flat - minor--LOUISE GAUTHEROT--Minerva and the flute--LUIGIA GERBINI--pupil - of Viotti--Signora PARAVICINI--patronized by the Empress - Josephine--her reverses and subsequent success--her graceful mode of - bowing--CATARINA CALCAGNO--receives instructions from - Paganini--Madame KRAHMEN--Mdlle. SCHULZ--Mdlle. ELEANORA - NEUMANN--Madame FILIPOWICZ--Horace Walpole's visit to St. Cyr--Mrs. - SARAH OTTEY. - - - CHAPTER IX. - - ON THE CONSTRUCTION OF THE VIOLIN. - - The subject stated--Otto's treatise--the component parts of the - violin--the _Cremonas_ and their makers--HIERONYMUS AMATI--ANTONIUS - AMATI--NICHOLAS AMATI--ANTONIUS STRADUARIUS--JOSEPH - GUARNERIUS--distinguishing characteristics of these makers--Tyrolese - instruments--JACOB STEINER--later Tyrolese makers--KLOTZ--STATELMANN, - of Vienna, and others--repairers--the principles of construction--the - bass-bar, sound post, bridge, _f_ holes, &c.--strings (called - Roman) from Milan--means of producing a smooth, clear tone--ANDREAS - AMATI--GASPAR DE SALO--GIOVANNI GRANZINO--GIOVANNI PAOLO - MAGINI--career of ANTONIO STRADIVARI, GIUSEPPE GUARNERI, and of - JACOB STEINER--notable sums offered for - instruments--imitators--RICHARD DUKE and the London makers--M. - CHANOT'S investigation into the true form of the violin--result--M. - SAVART'S experiments--M. VUILLAUME'S copies--his adventures in - search of materials--copies Paganini's Guarnerius--his - probity--specimens at the Great Exhibition of All - Nations--construction of bows--Beware of Vampers!--_pp. 341, et seq._ - - - CHAPTER X. - - MISCELLANEOUS ANECDOTES, COLLECTED SCRAPS, ECCENTRIC VARIETIES, - &C. - - Characteristics of the fiddle species--a caricature - repudiated--ambition let down--a new resource in difficulty--a - prejudice overcome--fifty years' fiddling--another fifty years of - it--glory made out of shame--discrimination--the Cremona fiddle--an - apt quotation--the leading instrument victorious--sending for - time-keepers--musical exaction--a device for a dinner--a 'practising' - coachman--a footman to match--a royal 'whereabout'--precocious - performers--fiddlers' tricks--eccentric varieties of the violin - kind--the fiddle of Ireland--of Tartary--African fiddle--Greek - fiddle--an eight-stringed violin--an intermediate - instrument--something _more_ than a violin--an air violin--automaton - violinist--the street-fiddler--epigrams.--_pp. 364, et seq._ - - - - - THE VIOLIN, - - ETC. - - - - -CHAPTER I. - -ORIGINAL AND EARLY HISTORY OF THE VIOLIN. - -First seat him somewhere, and derive his race.--DRYDEN. - - -The Fiddle Family, like other tribes that have succeeded in making a -noise in the world, has given exercise to the ingenuity of learned -theorists and time-seekers, who have laboured to discover for it an -origin as remote from our own era, as it is, I fear, from any kind of -truth. It has probably been conceived that the Fiddle, associated as he -has been, from generation to generation, with jigs, country-dances, -fairs, junketings and other rusticities, had descended too low in the -scale of society--that he had rendered himself, as Shakspeare for a -while did his own genius, "stale and cheap to vulgar company"--and that -he required to be reminded of his primitive dignity, and of his very -high ancestral derivation--if he _had any_. This latter point was of -course to be first established; but, as your zealous antiquary is a -wholesale dealer in time, and is never at a loss for a few centuries to -link his conjectures to, the matter was easy enough; indeed, the more -doubtful, the better, since doubt is the very life of theory. -Accordingly, we have been invited to fall back upon "the ancients," and -to recognize the _Epigonion_ as the dignified and classic prototype of -our merry and somewhat lax little friend, the Fiddle. To certain ancient -Greek tablets relative to music, which have been somewhere brought to -light, Professor Murchard has minutely assigned the date of 709 years -before the Christian era; and the following passage, Englished from his -translation, is stoutly alleged by the antiquarian advocates of the -glories of the violin race:--"But Pherekydes began the contest, and sat -himself down before all the people, and played the _Epigonion_;--for he -had improved the same; and he stretched four strings over a small piece -of wood, and played on them with a smooth stick. But the strings sounded -so, that the people shouted with joy." - -This is plausible enough, but far from conclusive. It is but the outline -of a description, and admits of various modes of filling up. _If_ the -instrument partook _at all_ of the violin character, it might seem, from -the reference which its name bears to the _knees_, to have been the rude -progenitor of either the double-bass or the violoncello, which have -both, as is well known, their official post between the knees: but then, -the prefix of [Greek: epi] would denote that it was played _upon_ the -knees of the artist. "Very well," says the antiquarian; "it was a fiddle -_reversed_." "Nay, Dr. Dryasdust, if you yourself _overturn_ what you -are about, I have no need to say more." _Au reste_, let any body stretch -four strings over a small piece of wood, and play on them with a smooth -stick, and then take account of what it comes to. No, no; whatever the -_Epigonion_ may have been to the Greeks, he is nothing to _us_: he may -have been a respectable individual of the musical genus of _his_ day, -when people blew a shell or a reed, and called it music; but we cannot -for a moment receive him as the patriarch of the Fiddle Family. As soon -should we think of setting up Pherekydes against Paganini. - -Dismissing the Epigonion, we come to the _Semicon_, another pretender of -Greek origin. This also, we are farther told, was a _kind of violin_: -but we deny that he was father to the _violin kind_. The Semicon is said -to have been played on with a bow; and yet a learned German (Koch), in -the fulness of his determination to have _strings_ enough to his bow, -has claimed no less than thirty-five, as the complement of the Semicon. -How could any bow pay its devoirs distinctly to thirty-five strings? -Here, then, the dilemma is this: either to translate the thing in -question into a _bow_ is to _traduce_ the term, or else the _strings_ -are an impertinence. _Utrum horum mavis, accipe._ - -If the word _plectrum_ could, by any ingenuity, be established to mean -_a bow_, quotations enough might be accumulated to prove that -instruments played with bows had their origin in a very remote period. -But the translation of the word into _a bow, or such like thing_, as we -find it in the Dictionaries, arises simply from the want of a known -equivalent--a deficiency which makes it necessary to adopt any term that -offers even the shadow of a synonym. - -It has been stated, on the authority of a passage from Euphorion's book -on the Isthmian Games, that there was an ancient instrument called -_magadis_, which was surrounded by strings; that it was placed upon a -pivot, upon which it turned, whilst the performer touched it with _the -bow_ (or, at least, the _plectrum_); and that this instrument afterwards -received the name of _sambuce_. - -The hieroglyphics of Peter Valerian, page 628, chap. 4, present the -figure of a muse, holding, in her right hand, a kind of bass or -contra-violin, the form of which is not _very_ unlike that of our -violins or basses. - -Philostratus, moreover, who taught at Athens, during the reign of Nero, -gives a description of the lyre, which has been thus translated:-- - -"Orpheus," he says, "supported the lyre against his left leg, whilst he -beat time by striking his foot upon the ground; in his right hand he -held _the bow_, which he drew across the strings, turning his wrist -slightly inwards. He touched the strings with the fingers of his left -hand, keeping the knuckles perfectly straight." - -From this description (if _bow_ it could be called, which bow was none), -it would appear as if the lyre to which Philostratus alludes were, -forsooth, the same instrument which the moderns call the -_contra-violin_, or _viola di gamba_! To settle the matter thus, -however, would be _indeed_ to beg the question. - -As before observed, the word _plectrum_ is, in the dictionaries, -translated by _bow_; but, even if this were a warranted rendering of the -word, it remains to be ascertained not only whether the bows of the -ancients were of a form and nature corresponding with ours, but also -whether they were used in the modern _way_. Did the ancients strike -their bow upon the strings of the instrument--or did they draw forth the -sound by means of friction? These questions are still undecided; but -opinions preponderate greatly in favor of the belief that the plectrum -was an implement of _percussion_, and therefore not at all a bow, in our -sense. - -A recent French writer, Monsieur C. Desmarais, in an ingenious inquiry -into the Archology of the Violin, takes us back to the ancient -Egyptians, to whom he assigns the primitive violin, under the name of -the _chélys_, and suggests that its _form_ must have resulted from a -studious inspection of one of the heavenly constellations! - -M. Baillot, in his Introduction to the _Méthode de Violon du -Conservatoire_, speculating on the origin of the instrument, has a -passage which, in English, runs thus:-- - -"It is presumed to have been known from the remotest times. On ancient -medals, we behold Apollo represented as playing upon an instrument with -three strings, similar to the violin. Whether it be to the God of -Harmony that we should attribute the invention of this instrument, or -whether it claim some other origin, we cannot deny to it somewhat that -is divine. - -"The form of the violin bears a considerable affinity to that of the -lyre, and thus favors the impression of its being no other than a lyre -brought to perfection, so as to unite, with the facilities of -modulation, the important advantage of expressing prolonged sounds--an -advantage which was not possessed by the lyre." - -This is pretty and fanciful, but far too vague to be at all -satisfactory. Apollo might appear to play on an instrument, in which -antiquarian ingenuity might discover some latent resemblance to the -violin; but where was his _bow_? M. Baillot has not ventured to assert -that he had one--and we may safely conclude that he had _not_, if we -except the bow that was his admitted attribute. As for the affinity to -the lyre, it is indeed as faint as the most determined genealogist, -studious of an exercise, could wish. - -It has been remarked, by some curious observer, that, among the range -of statues at the head of the canal at Versailles, an Orpheus is seen -(known by the three-headed dog that barks between his legs), to whom the -sculptor has given _a violin_, upon which he appears scraping away with -all the furor of a blind itinerant. But is the statue, or its original, -an antique? We may rest in safe assurance that it is a modern-antique; -as much so, as the ingenious figment of Nero's _fiddling_ a capriccio to -the roaring accompaniment of the flames of Rome! - -As for the _fidicula_ of the Romans (or rather, of the Latin -Dictionary), it is evidently, as far as it has been made to apply to the -fiddle, no legitimate family name. The _violin_ very positively disowns -all relationship with it, and leaves it to settle its claims with the -_guitar_. - -As far as the _mere name_ goes, however, it is not impossible that a -connection may exist, and that the word-hunting Skinner may be right in -deriving the Anglo-Saxon word _fithele_ from the older German _vedel_, -and thence from the Latin _fidicula_, which, it is hardly necessary to -state, was any thing but a fiddle, and therefore "had no business" to -lend its appellation in the way here noticed. - -On the whole, as regards the pretensions alleged on the side of the -ancients for the honor of having had the violin in existence among them, -it may be safely remarked, that, if nothing like the _bow_, which is -obviously connected most essentially with the expression and character -of the violin, can be traced to their days, the violin itself, _à -fortiori_, cannot be said to have belonged to them; and all those -questionable shapes which have been speculatively put forward as -possible fiddles, must be thrown back again into the field of -antiquarian conjecture, to await some other appropriation. The -following remarks by Dr. Burney may be taken as a fair summary of all -that needs to be observed on this head: - -"The ancients seem to have been wholly unacquainted with one of the -principal expedients for producing sound from the strings of modern -instruments: this is the _bow_. It has long been a dispute among the -learned whether the violin, or any instrument of that kind, as now -played with a _bow_, was known to the ancients. The little figure of -Apollo, playing on a kind of violin, with something _like_ a bow, in the -Grand Duke's _Tribuna_ at Florence, which Mr. Addison and others -supposed to be antique, has been proved to be _modern_ by the Abbé -Winkelmann and Mr. Mings: so that, as this was the only piece of -sculpture reputed ancient, in which any thing like a bow could be found, -nothing more remains to be discussed relative to that point."--(_Hist. -of Music_, 4to. vol. i, p. 494.) - -The Welch, who are notoriously obstinate genealogists, have not failed -to mark the Fiddle for _their_ own, and to assign him an origin, at some -very distant date, among their native mountains. In support of this -pretension, they bring forward a very ugly and clownish-looking fellow, -with the uncouth name of _crwth_. This creature certainly belongs to -them, and is so old as to have sometimes succeeded in being mistaken, in -this country, for the father of the violin tribe--a mistake to which the -old English terms of _crowd_ for fiddle, and _crowder_ for fiddler, seem -to have lent some countenance. A little investigation, however, shows us -that it was merely the name, and not the object itself, that we -borrowed, for a time, from our Welch neighbours; and that, by a -metonymy, more free than complimentary, we fastened the appellation of -_crowd_ upon the _violin_, already current among us by transmission from -the continent. The confusion thence arising has occasioned considerable -misapprehension: nor has the effect of it been limited to our own island -boundaries; for a French writer, M. Fétis, in one of his Letters on the -State of Music in England, reports the error, without any apparent -consciousness of its being such. Let us quote his passage in English: - -"The _cruth_ is a bowed instrument, which is thought to have been the -origin of the viola and violin. Its form is that of an _oblong square_, -the lower part of which forms the body of the instrument. It is mounted -with four strings, and played on like a violin, but is more difficult in -the treatment, because, not being hollowed out at the side, there is no -free play for the action of the bow." - -"What!" exclaims the enquiring virtuoso, "is this box of a thing, this -piece of base carpentry, this formal oblong square, to be supposed the -foundation of that neat form and those graceful inflections which make -up the 'complement externe' of what men call the violin? Can dulness -engender fancy--and can straight lines and right angles have for their -lineal descendant the 'line of beauty?'" The soberest person would -answer, this is quite unlikely; the man of taste would deny it to be in -the nature of things. No, no; our Cambrian codger _may_ have been a -tolerable subject in his way--a good fellow for rough work among the -mountains, and instrumental enough in the amusement of capering -rusticity--but he must not be allowed, bad musician though we freely -admit he may have been, to give himself _false airs_, and to assume -honors to which his form and physiognomy give the lie. Let him be -satisfied to be considered "_sui generis_," unless he would rashly -prefer illustrious illegitimacy, and be styled the _base violin_.[1] - -If we were disposed, in England proper, to get up a claim for the first -local habitation afforded to the violin, we might put together a much -better case for the instrument that was familiar to the Anglo-Saxon -gleemen, as early as the 10th century, than can be shown in behalf of -the candidate just dismissed. We could produce an individual that should -display a far better face, and should appear with, at least, no great -disgrace to the Fiddle Family, though bearing about him none of the -refinements of fashion. It may be as well to exhibit him at once:-- - -[Illustration] - -In this representation (borrowed from "Strutt's Sports and Pastimes of -the People of England") we discern something which it is possible to -call a fiddle, without much violence to our notions "de rerum natura." -There is grotesqueness, but not deformity: there is much of the general -character of the true violin, though some of its most particular -beauties are wanting. It is true that the sound-holes look as if no -notes save _circulars_ were to be permitted to issue through them--that -the tail-piece seems forced to do duty for a bridge--that the sides have -no indented middle, or waist, to give the aspect of elegance, and -accommodate the play of the bow over the two extreme strings--that the -finger-board is non-existent--and that the scroll, that crowning charm -of the fiddle's form, is but poorly made amends for by the excrescent -oddity substituted at the end of the neck. With all this, however, there -_is_ visible warrant for calling it a _sort_ of fiddle. Though even a -forty-antiquary power might fail to prove it the origin of the stock, it -has claims to be regarded as exhibiting no very remote analogy to the -violin; and thus far, therefore, it may defy the competition of the -_Crwth_. Whether it was really born in Saxon England, however, or -introduced from Germany, might be a point for nice speculation, were it -worth while to agitate the enquiry. - -Whither, then, are we to turn, after all, for the solution of this -problem in musical genealogy? That the violin is of a respectable age, -though not so old as what is commonly called antiquity, is a fact -apparent to the least laborious of enquirers; and it seems to have been -the practice, with those who have had occasion to touch on this point, -either to announce the said fact simply, and leave the reader to make -the most of it, or to mix up with it, by way of elucidation, some -general remark about the absence of light on the matter. "The origin of -the violin," observes one of these authorities, "like that of most of -the several musical instruments, is involved in obscurity. As a species -of that genus which comprehends the viola, violoncello, and violone, or -double-bass, _it must be very ancient_." Similarly indefinite are the -conclusions of others who have approached the subject; so that it -becomes necessary to dispense with such embarrassing aid, and to _help -oneself_ to the truth, if it is, peradventure, to be gathered. To me, -much meditating on this matter (if I may borrow Lord Brougham's classic -form of speech), there seems reason to fix on Italy as the quarter to -which we must look for the "unde derivatur" required. Say, thou soft -"Ausonia tellus," mother of inventions and nurse of the arts, say, soft -and sunny Italy, is it not to _thee_ that belongs the too modest merit -of having produced and cherished the infancy, even as thou hast -confessedly supported and developed the after-growth and advancement, of -the interesting musical being whose history, in its more secret -passages, we are here exploring? Is it a world (as Sir Toby feelingly -asks), is it a world to hide virtues in? Well, if we cannot obtain -_direct_ satisfaction, let us pursue the investigation of our point a -little more circuitously. - -The perfect instrument which we now delight to honor by the name of the -violin--the instrument complete in form and qualities--"totum in se -teres atque rotundum"--appears to have been the result of a highly -interesting series of improvements in the art of producing musical -sounds from strings. How long a duration of time was occupied by the -elaboration of these improvements respectively, is not readily to be -ascertained, nor, perhaps, would the enquiry repay the trouble--but the -general order of progression in the improvements themselves, is as clear -as it is agreeable to contemplate. The first great advancement consisted -in the _sounding-board_, by means of which invention a tone was -produced, through the vibration of the wood, that was incomparably -better and fuller than what was previously procured, through the mere -vibration of the strings. As the human voice is evolved from the mouth -under a concave roof, which serves it as a sounding-board, and gives -additional grace and vigour to its inflections, so does the upper shell -of the violin add a power of its own to the language of the strings. The -next improvement in the instrument, thus extended in capability, was the -_neck_ or _finger-board_, which increased the range and variety of the -sounds, by giving to each string the power of producing a series of -notes. The _bow_ was the next great step of advancement; and this, like -other important inventions, has provoked much learned dispute as to the -time and place of its origin, which however we shall not here more -particularly revert to, for indeed, "non nostrum tantas componere -lites." With all these additions and appliances, we come not yet to the -instrument _par excellence_, the true violin; for an intermediate and -inferior state remains to be gone through. The consideration of that -state brings us to the regular construction of the several instruments -known by the general name of _viol_ (for we pass by the _rebec_, as -being only a spurious or illegitimate kind of fiddle), that were in the -most common use during the 16th, and till about the middle of the 17th, -century. These were similar to each other in form, but in size were -distinguished into the treble-viol, tenor-viol, and bass-viol. They had -six strings, and a finger-board marked with frets, like that of the lute -or guitar[2]. Finally, as the crowning change, the glorious -consummation, came the conversion of the _viol_ into the _violin_, -effected by a diminution of size, a reduction of strings, from six to -four, and the abolition of those impediments to smoothness, and helps to -irritation, the _frets_. The same reformation attended the other -instruments of the viol tribe, which now became, _mutato nomine_, the -viola and the violoncello. - - In former days, we had the _viol_ in, - 'Ere the _true_ instrument had come about: - But now we say, since _this_ all ears doth win, - The _violin_ hath put the _viol out_. - -Thus, through a considerable tract of indefinite time, and a succession -of definite changes, we reach the matured and accomplished instrument, -the _Violin proper_; and then, if we recur to the question, to _whom_ -does it belong? the answer becomes less difficult. It is to this -instrument, this perfected production, that the Italians may, I think, -exultingly point as their own; and, in doing so, they may well afford to -be indifferent to all disputes about the title to those earlier -apparitions, those crude and half-made-up resemblances to the fiddle, -that were but as the abortions which, in human experience, sometimes -precede a perfect birth. It is of sufficient notoriety that the earliest -instruments _of excellence_, bearing the name of Violin, as well as the -earliest players of eminence, were Italian. The Cremona fiddles of -Hieronymus Amati (to go no farther back) were sent into this breathing -world about two centuries and a half ago; and Baltazarini, the earliest -great player of the genuine Violin on record, is known to have been -imported as a curiosity from Italy, by Catherine de Medicis, in 1577. It -is tolerably clear, too, that, as a _court_ favourite, the Violin began -its career in Italy--its progress, in that capacity, having been, as -Burney observes, from Italy to France, and from France to England. - -But the tie of Italian connection may be drawn more closely than this. -Galilei, in his Dialogues (p. 147), states that both the Violin and the -Violoncello were _invented_ by the Italians; and he suggests more -precisely the Neapolitans, as the rightful claimants of this honor. Dr. -Burney, who does not attempt to settle the point, quotes the passage, to -the above effect, from Galilei, and admits his own inability to confute -it. Montaigne, whose travels brought him to Verona in 1580, has -recorded, that there were _Violins_ as well as organs there, to -accompany the mass in the great Church. Corelli's Violin, an instrument -specially Italian, which afterwards passed into the possession of -Giardini, was made in 1578, and its case was decorated by the -master-hand of Annibale Caracci, probably several years _after_ the -instrument was finished; as Caracci at that date had numbered but eight -of his own years. - -Towards the end of the 16th century, the Violin is found indicated in -some Italian scores, thus:--_piccoli Violini alla Francese_; which -circumstance has been sometimes alleged as rendering it probable, that -the reduction of the old viol or viola to the present dimensions of the -Violin took place in _France_, rather than in Italy: but the fact does -not seem to offer a sufficient basis for the conjecture, when it is -considered that no instruments of French construction, corresponding -with the Violin in its present form, and of as early a date as those -which can be produced of Italian make, are known to exist. It is -reasonable to suppose, therefore, that these _piccoli Violini_, or -little Violins, were not identical with the Violin proper;--although Mr. -Hogarth[3] (from whose respectable authority I am rather loth to differ) -quotes the phrase as one tending to the support of the French claim. The -term in question, which occurs, particularly, in Monteverde's Opera of -_Orfeo_, printed at Venice in 1615, seems to me to imply merely some -French modification of the already invented Italian model--a -modification applying to the size, and possibly also to some minor -details in the form. - -The French writer, Mersennus, who designates all instruments of the -violin and viol class under the term _barbiton_, describes one of them, -the least of the tribe, as the _lesser barbiton_. This latter was a -small violin invented for the use of the dancing-masters of France, and -of such form and dimensions as to be capable of being carried in a case -or sheath in the pocket. It is the origin of the instrument which in -England is called a _Kit_, and which is now made in the form of a -violin.--Is it too great a stretch of conjecture, to hint, that this -may, possibly, have been the kind of thing intended by the term above -quoted? - -That curious enquirer, Mr. Gardiner, in his "Music of Nature," assigns -to Italy the local origin of the Violin, but without placing the date as -near to exactness as it might have been. He makes it to have been "about -the year 1600." He might safely have gone thirty or forty years farther -back, at least, notwithstanding that the shape of the instrument, -towards the end of the 16th century, has been supposed, by Hawkins, to -have been rather vague and undetermined[4]. The transition from the old -shapes to the new _had_ occurred, though it was as yet far from -universal. It is sufficient that the change had commenced. - -Admitting the genuine and perfect violin to be rightfully assignable to -the Italians, it may be of some interest, now, to present a few more -records relating, principally, to the instrument in its _imperfect_ -character, when it bore only that sort of analogy to the true -instrument, that the 'satyr' is said to have borne to 'Hyperion.' - -The "Musurgia, seu Praxis Musicæ," of the Benedictine Monk Luscinius, -published in 1542, represents (coarsely cut in wood) as the bowed -instruments then in use, the _rebec_, or three-stringed violin, and the -_viol di gamba_. The instruments of the viol tribe, however, which are -supposed to have been those that led more immediately to the -construction of the true violin, considerably precede the above period -in their date of origin. _Violars_, or performers on the viol, whose -business it was to accompany the Troubadours in their singing of the -Provençal poetry[5], were common in the 12th century; and, in a treatise -on music, written by Jerome of Westphalia in the 13th century, there is -particular mention made of the instrument known by the name of viol. - -Under various modifications of the term _fiddle_, there are to be found -many very early allusions to an instrument, such as it was, bearing some -resemblance to the violin. _Fidle_ is a Saxon word of considerable -antiquity; and from the old Gothic are traced the derivations of - - - 1. Middle High German. _Videl_ (noun), _Videloere_ (noun - personal), _Videln_ (verb, to fiddle), _Videl-boge_ - (fiddle bow). - - 2. Icelandic. _Fidla._ - - 3. Danish. _Fedel._ - -Then we have _Vedel_, _Veel_, _Viool_ (Dutch); _Vedel_, _Vedele_ -(Flemish), _Fiedel_, _Fidel_, _Geige_ (Modern German). - -_Fythele_, _Fithele_,--and _Fythelers_ (fiddlers) are alluded to in the -Old English Romances. In the legendary life of St. Christopher, written -about the year 1200, is this passage:-- - - . . . . . . . . . . . . . Cristofre hym served longe; - The Kynge loved melodye of _fithele_ and of songe. - -The poet Lidgate, at the beginning of the 15th century, writes of - - Instrumentys that did excelle, - Many moo than I kan telle: - Harpys, _Fythales_, and eke Rotys, &c. - -Chaucer, in his "Canterbury Tales," says of the Oxford Clerk, that he -was so fond of books and study, as to have loved Aristotle better - - Than robes rich, or _fidel_, or sautrie-- - -and his Absolon, the Parish-Clerk, a genius of a different cast, and -exquisitely described, is a spruce little fellow, who sang, danced, and -played on the species of fiddle then known. An instrument remotely -allied to the fiddle--the _ribible_, a diminutive of _rebec_, a small -viol with three strings--is also alluded to by Chaucer. Referring to a -later period, there is evidence to show that an instrument of the violin -kind was used in England before the dissolution of monasteries, in the -time of our eighth Henry, in the fact that something similar to it in -shape is seen depicted upon a glass window of the chancel of Dronfield -church, in the county of Derby; an edifice which was erected early in -the sixteenth century. - -At what period the _legitimate_ violin may have found its way from Italy -into this country, it would, I fear, be very difficult to ascertain with -exactness; but it is easy to suppose that, when once that event had -occurred, the neater shape and superior qualities exhibited by the new -comer, would speedily render him the model for imitation, and lead to -the multiplication of his species here, and to the displacement of the -baser resemblances to him. The true instrument, however, was for a long -while among us, ere its merits came into just appreciation. Until the -period of the Restoration, it was held, for the most part, in very low -esteem, and seldom found in less humble hands than those of fiddlers at -fairs, and such like itinerant caterers of melody for the populace[6]. -Its grand attribute, the superior power of expressing almost all that a -human voice can produce, except the articulation of words, was at first -so utterly unknown, that it was not considered a gentleman's instrument, -or worthy of being admitted into "good company." The lute[7], the harp, -the viol, and theorbo, were in full possession of the public ear, and -the poetic pen; nor has this latter authority ever been thoroughly -propitiated by the later-born child of Melos, whose first screams on -coming into the world may perhaps have irrecoverably alarmed the -sensitive sons of Apollo. Moreover, poetry is ever apt to prefer the old -to the new, and often recoils with distaste from what is modern. -"Though the violin surpasses the lute," says a recent ingenious writer, -"as much as the musket surpasses the bow and arrow, yet Cupid has not -yet learned to wound his votaries with a bullet, nor have our poets -begun to write odes or stanzas to their violins." - -In the 39th Queen Elizabeth, a statute was passed by which "Ministrels, -wandering abroad," were included among "rogues, vagabonds, and sturdy -beggars," and were adjudged to be punished as such. "This act," says -Percy, in his Reliques of English Poetry, "seems to have put an end to -the profession." That writer suggests, however, that although the -character ceased to exist, the appellation might be continued, and -applied to fiddlers, or other common musicians; and in this sense, he -adds, it is used in an ordinance in the time of Cromwell (1656), wherein -it is enacted that if any of the "persons commonly called _Fiddlers_ or -_Minstrels_ shall at any time be taken playing, fiddling, and making -music in any inn, alehouse, or tavern, or shall be taken proffering -themselves, or desiring or intreating any ... to hear them play or make -music in any of the places aforesaid," they are to be "adjudged and -declared to be rogues, vagabonds, and sturdy beggars[8]." By a similar -change or declension, according to Mr. Percy, John of Gaunt's _King of -the Minstrels_ came, at length, to be called, like the _Roi des Violons_ -in France, _King of the Fiddles_--it being always to be borne in mind, -nevertheless, that it was only as yet a baser kind of instrument which -brought its professors into such _scrapes_[9]. - -The term _crowd_, as well as that of _fiddle_, was commonly used in -England before the appearance of the perfect Violin, but appears to have -been soon disused (along with the barbarous instrument it designated) -after that period. Butler, in his "Hudibras," employs both terms -indiscriminately, and seems to find enjoyment in linking them with mean -and ludicrous associations--a tendency which must be allowed to have -been quite in keeping with the feeling of the times he describes. His -motley rabble, whom he puts in the way of the knight and his squire, -were special affecters of the instrument he delights to dishonour, - - And to _crack'd fiddle_, and hoarse tabor, - In merriment did drudge and labor. - -He makes contemptuous allusion, also, to certain persons - - That keep their consciences in cases, - As fiddlers do their _crowds_ and bases. - -Crowdero, the fiddle-noted agent in the story, is made to cut, on the -whole, a very sorry figure. Thus, as to his instrument, and his manner -of calling it into exercise: - - A _squeaking engine_ he applied - Unto his neck, on north-east side, - Just where the hangman does dispose, - To special friends, the knot of noose. - -When the knight, in the outset of his career, meets the aforesaid -rabble, with the aggravating accompaniment of the bear and fiddler, and -counsels them to peace and dispersion, he says - - But, to that purpose, first surrender - The fiddler, as the prime offender! - -It is true that the mettle put forth by Crowdero, in the ensuing general -fight, raises him a little out of the mire of meanness: but then, the -weapon with which he batters the cranium of the prostrate Hudibras--to -wit, his own wooden leg--has the effect of disturbing the small dignity -which his gleam of valour might have shed over him; and, besides, he is -speedily exhibited in reverse, being vanquished in turn by Ralpho the -Squire, and forced into the ignominious confinement of the stocks; while -Ralpho exultingly says to Hudibras, the fiddle is your _trophy_, - - And, by your doom, must be allow'd - To be, or be no more, a crowd. - -In France, certain ancient and respectable monuments, and particularly -a figure on the portico of the venerable Cathedral of Notre Dame at -Paris, representing King Chilperic with a sort of Violin in his hand, -have been referred to as proofs that an instrument of this nature was -very early held in esteem in that country; and the minstrels in the -highest estimation with the public, were at all times the best -_Violists_ of their age. Among the instruments represented in the -beautiful illuminations of the splendid copy of the _Roman d'Alexandre_, -in the Bodleian library at Oxford, are Viols with three strings, played -upon with a clumsy bow. - -In Italy, as in France, the viol appears to have enjoyed earlier favour -than in England, where the fiddle or _crowd_ (the descendant, probably, -of the Welsh instrument _crwth_) was its predecessor. The instruments -chiefly used by the ladies and gentlemen in the Decameron, are the lute -and the viol--upon which latter some of the _ladies_ are represented as -performing. - -An ingenious Piedmontese, Michele Todini, published a pamphlet at Rome, -1676, wherein are described various musical inventions of his own, "of -special merit, though of little note." Amongst them were two Violins, -the pitch of one of which could, by an adroit mechanical contrivance, be -at once heightened a whole tone, a third, or even a fifth; while the -other, under the usual strings, had a second set of strings, like those -of a kit, tuned in the octave above, and was so contrived that the -Violin and kit might either be played separately, or both together, at -the pleasure of the performer. In the 23rd Chapter of this little tract -is a description of a _Viola di gamba_, so constructed, that, without -shifting the neck, all the four kinds of Violins, namely, the treble -Violin, the contralto (or _Viola bastarda_), and the tenor and bass -viol, could be played upon it. Todini had originally given the bass of -this instrument an unusual depth; but he abandoned that, when he -invented the _double bass_,--which instrument he was the first to -introduce and play upon in oratorios, concerts, and serenades. - -The arms and seal of the town of Alzei, in the neighbourhood of Worms, -consist of a crowned lion rampant, holding a _fiddle_ in his paws. The -_fiddle_ alone appears to have been the original bearing; for the -palatine lion was first joined to the _fiddle_ when Duke Conrad of -Hohenstauffen was enfeoffed by the Emperor Frederick I with the -Palatinate of the Rhine. His son-in-law, the Palsgrave Henry, calls the -Steward (_Trucksess_) of Alzei, his vassal, in a bill of feoffment, -dated in 1209, and in another document, 1211. This Steward, however, and -Winter of Alzei, bore the _fiddle_ as their arms. On account of these -arms, the inhabitants of Alzei are mockingly called _fiddlers_ by their -neighbours[10]. - -Connected with the history of the instrument in England, there is a -curious old custom, now "invisible, or dimly seen," and I know not when -commenced, which is thus described in Hone's Table Book:-- - -"The concluding dance at a country wake, or other general meeting, is -the 'Cushion Dance;' and if it be not called for, when the company are -tired with dancing, the _fiddler_, who has an interest in it, which will -be seen hereafter, frequently plays the tune to remind them of it. A -young man of the company leaves the room, the poor young women, -uninformed of the plot against them, suspecting nothing; but he no -sooner returns, bearing a cushion in one hand and a pewter pot in the -other, than they are aware of the mischief intended, and would certainly -make their escape, had not the bearer of cushion and pot, aware of the -invincible aversion which young women have to be saluted by young men, -prevented their flight by locking the door, and putting the key in his -pocket. The dance then begins. - -"The young man advances to the fiddler, drops a penny in the pot, and -gives it to one of his companions. Cushion then dances round the room, -followed by pot, and when they again reach the fiddler, the cushion -says, in a sort of recitative, accompanied by the music, 'This dance it -will no farther go.' - -"The fiddler, in return, sings or says (for it partakes of both), 'I -pray, kind Sir, why say you so?' - -"The answer is, 'Because Joan Sanderson won't come to.' - -"'But,' replies the fiddler, 'she must come to, and she _shall_ come to, -whether she will or no.' - -"The young man, thus armed with the authority of the village musician, -recommences his dance round the room, but stops when he comes to the -girl he likes best, and drops the cushion at her feet. She puts her -penny in the pewter pot, and kneels down with the young man on the -cushion; and he salutes her. - -"When they rise, the woman takes up the cushion, and leads the dance, -the man following, and holding the skirt of her gown; and, having made -the circuit of the room, they stop near the fiddler, and the same -dialogue is repeated, except that, as it is now the woman who speaks, -it is _John_ Sanderson who won't come to, and the fiddler's mandate is -issued to _him_, not to her. - -"The woman drops the cushion at the feet of her favourite man: the same -ceremony and the same dance are repeated, till every man and woman (the -pot-bearer last) have been taken out, and all have danced round the room -in a file. The _pence_ are the perquisite of the _fiddler_. There is a -description of this dance in Miss Hutton's 'Oakwood Hall.'" - -Then follows, in Hone's Book, a further illustration of this curious -custom, in "numerous verse"--but the prose account is here sufficient. - -The dialogue in the old puppet dramas (says Strutt) were mere jumbles of -absurdity and nonsense, intermixed with low immoral discourses passing -between Punch and the fiddler, for the orchestra rarely admitted of more -than one minstrel; and these flashes of merriment were made offensive to -decency by the actions of the puppet. In the reign of James II, there -was a noted merry-andrew named Philips; "This man," says Granger, "was -some time fiddler to a puppet-show; in which capacity he held many a -dialogue with Punch, in much the same strain as he did afterwards with -the mountebank doctor, his master upon the stage. This zany, being -regularly educated, had confessedly the advantage of his brethren." - -The following may be seen in volume the 1st of Purcell's Catches, on two -persons of the name of Young, father and son, who lived in St. Paul's -Churchyard--The one was an excellent instrument-maker, and the other an -excellent performer on the fiddle. - - You scrapers that want a good fiddle, well strung, - You must go to the man that is old, while he's Young; - But if this same fiddle you fain would play bold, - You must go to his son, who'll be Young when he's old. - There's old Young and young Young, both men of renown, - Old sells, and Young plays, the best fiddle in town; - Young and old live together, and may they live long, - Young, to play an old fiddle; old, sell a new song! - -The zealous, ingenious, minute and gossiping Anthony Wood, to whose -journalizing propensity we are indebted for a free insight into the -state of music at Oxford, during the time of the Civil War (when musical -sounds were scarcely any where else to be heard in the kingdom), was an -ardent admirer of the violin, while its admirers were yet scarce; and -has left us, in his life, written by himself, some particulars relating -to the instrument, that are too pleasant, as well as curious, to be here -passed by. Let me introduce this quaint worthy, speaking of himself in -the third person, and under the abridged designation of A. W. - -In 1651, "he began to exercise his natural and insatiable genie to -music. He exercised his hand on the violin, and, having a good eare to -take any tune at first hearing, he could quickly draw it out from the -violin, but not with the same tuning of the strings that others used. He -wanted understanding, friends and money, to pick him out a good master; -otherwise he might have equalled in that instrument, and in singing, any -person then in the University. He had some companions that were musical, -but they wanted instruction as well as he." - -The next year, being obliged to go into the country, for change of air -and exercise, with a view to rid himself of an ague, he states that -"while he continued there, he followed the plow on _well_-days, and -sometimes plowed: and, having had, from his most tender years, an -extraordinary ravishing delight in music, he practised there, without -the help of an instructor, to play on the Violin. It was then that he -tuned his strings in fourths, and _not_ fifths, according to the manner; -and having a good eare, and being ready to sing any tune upon hearing it -once or twice, he could play it also in a short time, with the said way -of tuning, which was never knowne before. - -"After he had spent the summer in a lonish and retired condition, he -returned to Oxon; and, being advised by some persons, he entertained a -Master of Musick to teach him the usual way of playing on the violin, -that is, by having every string tuned _five_ notes lower than the one -going before. The master was Charles Griffith, one of the musicians -belonging to the City of Oxon, whom he then thought to be a most -excellent artist: but when A. W. improved himself on that instrument, he -found he was not so. He gave him 2_s._ 6_d._ entrance, _and so -quarterly_. This person, after he had extremely wondered how he could -play so many tunes as he did by _fourths_, without a director or guide, -tuned his violin by _fifths_, and gave him instructions how to proceed, -leaving then a lesson with him to practice against his next coming. - -"Having, by 1654, obtained a proficiency in musick, he and his -companions were not without silly frolicks, not now to be -maintained."--What should these frolics be, but to disguise themselves -in poor habits, and, like country fiddlers, scrape for their livings! -After strolling about to Farringdon Fair, and other places, and gaining -money, victuals and drink for their trouble, they were overtaken, in -returning home, by certain soldiers, who forced them to play in the open -field, and then left them - - But if this same fiddle you fain would play bold, - You must go to his son, who'll be Young when he's old. - There's old Young and young Young, both men of renown, - Old sells, and Young plays, the best fiddle in town; - Young and old live together, and may they live long, - Young, to play an old fiddle; old, sell a new song! - -The zealous, ingenious, minute and gossiping Anthony Wood, to whose -journalizing propensity we are indebted for a free insight into the -state of music at Oxford, during the time of the Civil War (when musical -sounds were scarcely any where else to be heard in the kingdom), was an -ardent admirer of the violin, while its admirers were yet scarce; and -has left us, in his life, written by himself, some particulars relating -to the instrument, that are too pleasant, as well as curious, to be here -passed by. Let me introduce this quaint worthy, speaking of himself in -the third person, and under the abridged designation of A. W. - -In 1651, "he began to exercise his natural and insatiable genie to -music. He exercised his hand on the violin, and, having a good eare to -take any tune at first hearing, he could quickly draw it out from the -violin, but not with the same tuning of the strings that others used. He -wanted understanding, friends and money, to pick him out a good master; -otherwise he might have equalled in that instrument, and in singing, any -person then in the University. He had some companions that were musical, -but they wanted instruction as well as he." - -The next year, being obliged to go into the country, for change of air -and exercise, with a view to rid himself of an ague, he states that -"while he continued there, he followed the plow on _well_-days, and -sometimes plowed: and, having had, from his most tender years, an -Proctor, a young man and a new comer:--John Packer, one of the -university musitians. But Mr. Low, a proud man, could not endure any -common musitian to come to the meeting, much less to play among them. Of -this kind I must rank Joh. Haselwood, an apothecary, a starch'd formal -clister-pipe, who usually played on the base-viol, and sometimes on the -counter-tenor. He was very conceited of his skill (though he had but -little of it), and therefore would be ever and anon ready to take up a -viol[11] before his betters; which being observed by all, they usually -called him _Handlewood_. The rest were but beginners. Proctor died soon -after this time; he had been bred up by Mr. John Jenkins, the mirrour -and wonder of his age for musick, was excellent for the lyra-viol and -division-viol, good at the treble-viol, and violin, and all comprehended -in a man of three or four and twenty yeares of age. He was much admired -at the meetings, and exceedingly pitied by all the facultie for his -loss." - -"A. W. was now advised to entertain one William James, a dancing-master, -to instruct him on the violin, who, by some, was accounted excellent on -that instrument, and the rather because it was said that he had obtained -his knowledge in dancing and music in France. He spent, in all, half a -yeare with him, and gained some improvement; yet at length he found him -not a compleat master of his facultie, as Griffith and Parker were not: -and, to say the truth, there was no compleat master in Oxon for that -instrument, because _it had not been hitherto used in consort_ among -gentlemen, only by common musitians, who played but two parts. The -gentlemen in private meetings, which A. W. frequented, played three, -four, and five parts with viols[12]--as treble-viol, tenor, -counter-tenor, and bass, with an organ, virginal, or harpsicon joined -with them; and they esteemed _a violin_ to be an instrument only -belonging to a _common fiddler_, and could not endure that it should -come among them, for feare of making their meetings to be vain and -fiddling. But, before the restoration of King Charles II, and -_especially after_, viols began to be out of fashion, and only violins -used, as treble violin, tenor, and base violin; and the King, according -to the French mode, would have _twenty-four violins_ playing before him -while he was at meals, as being more airie and brisk than _viols_." - -Under the year 1658, he tells us that "Tho. Baltzar, a Lubecker borne, -and the most famous artist for the violin that the world had yet -produced (!), was now in Oxon, and this day, July 24, A. W. was with -him, and Mr. Ed. Lowe, at the house of Will. Ellis. A. W. did then and -there, to his very great astonishment, heare him play on the violin. He -then saw him run up his fingers to the end of the finger-board of the -violin, and run them back insensibly; and all with alacrity and _very -good tune_, which he nor any in England saw the like before. A. W. -entertained him and Mr. Low with what the house could then afford, and -afterwards he invited them to the taverne; but they being engaged to goe -to other company, he could no more heare him play or see him play at -that time. Afterwards he came to one of the weekly meetings at Mr. -Ellis's house, and he played to the wonder of all the auditory, and -exercising his finger and instrument several wayes to the utmost of his -power. Wilson thereupon, the public Professor, the greatest judge of -musick that ever was, did, after his humoursome way, stoope downe to -Baltzar's feet, to see whether he had a huff (hoof) on, that is to say, -to see whether he was a devil or not, because he acted beyond the parts -of man." - -"About this time it was that Dr. John Wilkins, warden of Wadham, the -greatest _curioso_ of his time, invited him (Baltzar) and some of the -musitians to his lodgings in that Coll. purposely to have a consort, and -to see and heare him play. The instruments and books were carried -thither, but none could be persuaded there to play against him in -consort on the violin. At length the company perceiving A. W. standing -behind in a corner neare the dore, they haled him in among them, and -play, forsooth, he must against him. Whereupon he, being not able to -avoid it, took up a violin, as poor Troylus did against Achilles[13]. He -abashed at it, yet honour he got by playing with and against such a -grand master as Baltzar was." - -The restoration of monarchy and episcopacy in England (observes Dr. -Burney) seems to have been not only favorable to sacred music, but to -secular; for it may be ascribed to the particular pleasure which Charles -II received from the gay and sprightly sound of the violin, that this -instrument was introduced at Court, and the houses of the nobility and -gentry, for any other purpose than country-dances, and festive mirth. -Hitherto there seem to have been no public concerts; and, in the music -of the chamber, in the performance of _Fancies_ on instruments, which -had taken place of vocal madrigals and motets, the violin had no -admission, the whole business having been done by _viols_. Charles II, -who, during the usurpation, had spent a considerable time on the -continent, where he heard nothing but French music--upon his return to -England, in imitation of Louis XIV, established a band of violins, -tenors and bases, instead of the viols, lutes and cornets, of which the -Court Band used to consist. Soon after the establishment of this band, -Matthew Lock held the appointment of master to it; and the same title -was conferred, about 1673, on Cambert, a French musician, who had -preceded Lulli in composing for, and superintending, the Opera at Paris, -and who came over to England after Lulli had obtained the transfer of -his patent. - -From this time, the Violin Family began to rise in reputation among the -English, and had an honorable place assigned them, in the music of the -Court, the theatres and the chamber; while the succession of performers -and compositions, with which the nation was afterwards supplied from -Italy and elsewhere, stimulated the practice and established the -character of this class of instruments, which have ever since been -universally acknowledged to be the pillars of a well-ordered orchestra, -and more capable of perfect intonation, expression, brilliancy, and -effect, than any other that have ever been invented. It should be -observed, however, that, although the revival of the theatres at the -Restoration was followed by the introduction of what were termed -_act-tunes_ (short compositions played betwixt the acts of the drama), -whereby the public services of the violin were brought into requisition, -yet the state of dramatic music was, for some years, too low to admit of -those services being very important. The music of the drama had attained -scarcely any separate development, but was still confounded with that of -the church, to the disadvantage of both. All the most noted composers -for the theatre, for several years after the Restoration, were members -of cathedral and collegiate churches--a circumstance which encouraged a -jester, Tom Brown, to remark that "men of the musical profession hung -betwixt the church and the play-house, like Mahomet's tomb betwixt two -load-stones." - -A general passion for the violin, and for pieces expressly composed for -it, as well as a taste for Italian music, seem to have been excited in -this country about the _end_ of Charles the Second's reign, when French -music and French politics became equally odious to a great part of the -nation. The hon. Mr. North, who listened attentively to every species of -performance, says that "the decay of French music, and favor of the -Italian, came on by degrees. Its beginning was accidental, and -occasioned by the arrival of _Nicola Matteis_; he was an excellent -musician; performed wonderfully on the violin. His manner was singular; -but he excelled, in one respect, all that had been heard in England -before: his _arcata_, or manner of bowing, his shakes, divisions, and -indeed his whole style of performance, was surprising, and every _stroke -of his bow_ was _a mouthful_. When he first came hither, he was very -poor; but not so poor as proud, which prevented his being heard, or -making useful acquaintance, for a long time, except among a few -merchants in the City, who patronized him; and, setting a high value on -his condescension, he made them indemnify him for the want of more -general favor. By degrees, however, he was more noticed, and was -introduced to perform at Court. But his demeanor did not please, and he -was thought capricious and troublesome, as he took offence if any one -whispered while he played; which was a kind of attention which had not -been much _in fashion_ at our Court. It was said that the Duke of -Richmond would have settled a pension upon him, though he wished him to -change his manner of playing, and would needs have one of his pages show -him a better. Matteis, for the sake of the jest, condescended to take -lessons of the page; but learned so fast, that he soon outran him in his -own way. But he continued so outrageous in his demands, particularly for -his _solos_, that few would comply with them, and he remained in narrow -circumstances and obscurity a long while; nor would his superior talents -ever have contributed to better his fortune, had it not been for the -zeal and friendly offices of two or three dilettanti, his admirers. -These, becoming acquainted with him, and courting him in his own way, -had an opportunity of describing to him the temper of the English, who, -if humoured, would be liberal; but, if uncivilly treated, would be -sulky, and despise him and his talents; assuring him that, by a little -complaisance, he would neither want employment nor money. By advice so -reasonable, they at length brought him into such good temper, that he -became generally esteemed and sought after; and, having many scholars, -though on moderate terms, his purse filled apace, which confirmed his -conversion. After this, he discovered a way of acquiring money which was -then perfectly _new_ in this country: for, observing how much his -scholars admired the lessons he composed for them (which were all -_duos_), and that most musical gentlemen who heard them wished to have -copies of them, he was at the expense of having them neatly engraved on -copper plates, in oblong octavo, which was the beginning of engraving -music in England; and these he presented, well bound, to lovers of the -art and admirers of his talents, for which he often received three, four -and five guineas. And so great were his encouragement and profits in -this species of traffic, that he printed four several books of _Ayres -for the Violin_, in the same form and size." - -Of the jealousy which attended the progress of the violin in public -favor among the English, there occurs some amusing evidence in the -"_Musick's Monument_" of that rich, exuberant and right pleasant -egotist, Thomas Mace, published in 1676. This worthy, who exalted the -lute and viol, his own peculiar instruments, looked with distrust on the -growing importance and credit of that which had been before so -imperfectly understood and insufficiently employed. In speaking of the -instruments till then in chief use, and the propriety of balancing their -relative proportions of sound in concerted pieces, he remarks, -complainingly--"_the scoulding violins will out-top them all_." In a -sort of dialogue, in rhyme, between the author and his lamenting lute, -he makes the latter exclaim:-- - - The world is grown so slight! full of new fangles, - And takes its chief delight in jingle-jangles, - With _fiddle-noises_, &c. - - - - -CHAPTER II. - -THE ITALIAN SCHOOL. - - "Oh! known the earliest, and esteemed the most" - - BYRON. - - -Having shown, on such evidence as I have been able to adduce, that the -Italians are, most probably, the rightful claimants of the distinction -which attaches to the _invention_ of the modern or _true_ violin, it is -now to be considered by what bright array of names, by what successive -efforts of skill and genius, they have likewise become entitled to the -greater distinction of having been the first to develop the wonderful -powers of the instrument, and the chief agents through whom its charming -dominion in the realms of music was diffused, ere the great German -composers, in more recent days, applied their powers to the extension -and enrichment of the field for stringed instruments. - -In casting a glance over the catalogue of bright Italian names, we find -two, that demand to be especially noted for their great influence in -advancing the progress of the "leading instrument," and that serve -indeed to mark two main epochs in its history. These are Corelli and -Viotti--the first constituting the head of the old school, the last that -of the modern; and each (it may be parenthetically said) almost as -interesting to contemplate in personal character, as in professional -eminence. The intermediate names, most entitled to attention, are -Tartini, Geminiani and Giardini. These, with others of considerable -celebrity, though of less effective influence in the formation of what -we have designated the Italian School, will be here noticed critically -and biographically, according to their several pretensions and -proceedings. Before we come to Corelli, however, there are some few to -be treated of in the character of his predecessors, and as having -prepared the way for his more dignified and important career. - -BALTAZARINI has been already designated as the earliest violin-player of -real eminence that the annals of music present to notice. His celebrity -was much extended by the transplanting of his talent into France, where -he acquired the new appellation of De Beaujoyeux, by virtue of the -delight he afforded to a people whose natural gaiety of temperament -could not but assort happily with the lighter range of sounds so readily -evoked from the violin. It was in 1577, that Baltazarini, with _a band -of violins_, was sent from Piedmont by Marshal Brissac to Queen -Catherine de Medicis, who appointed him her "Premier Valet de Chambre," -and Master of her Band. France has reason to be grateful to his memory, -and Italy may fairly be proud of it. - -GIUSEPPE GUAMI, organist of Lucca Cathedral, who published, in 1586, -some voluminous compositions belonging to the class of _cantiones -sacræ_, or motetts, is cited by Draudius, in his "Bibliotheca Classica," -as an excellent performer on the violin. - -Another early violinist, AGOSTINO AGGAZZARI, born of a noble family at -Siena, and a scholar of Viadana, appears to have been the first who -introduced instrumental Concertos into the Church; though Dr. Burney -supposes that these Concertos must only be understood in the very -qualified sense of _Salmi Concertati_, or psalms accompanied with -violins; and he adds, that Concertos _merely_ instrumental, either for -the church or chamber, seem to have had no existence till about the time -of Corelli. - -CARLO FARINA, of Mantua, who published, in 1628, a Collection of "Pavans -and Sonatas" for the violin, is recorded by Walther (in his Musical -Lexicon), as having figured in the service of the Elector of Saxony, as -a celebrated performer on the instrument. - -MICHAEL ANGELO ROSSI, a composer, as well as an able violinist, -signalized himself somewhat oddly at Rome, in 1632, by performing the -part of Apollo, in a musical drama, with the violin as the expressive -symbol and exponent of his melodial powers, _instead_ of the classically -attributed lyre. The strangeness of the anomaly was doubtless lost sight -of amidst the enjoyment it was the means of conferring: nor would the -example, were it taken up in our own times, by a competent artist, be -likely to fail in producing a similar subserviency of taste to pleasure. - - If, in _these_ days, the man who plays Apollo - Like charms could conjure from the fiddle's hollow, - _We_, too, should find the heaven-descended lyre - Omitted "by particular desire!" - And Phoebus, fitted with a fiddle so, - Would dart fresh wonders from his newer _bow_! - -Though there was only one violin employed (observes Dr. Burney) in the -first operas by Jacopo Peri and Monteverdi, yet, as the musical drama -improved, and the orchestra was augmented, the superiority of that -instrument was soon discovered by its effects, not only in the theatre, -but in private performances; and the most eminent masters, without -knowing much of its peculiar genius or powers, thought it _no -degradation_ to compose pieces expressly for the use of its votaries. -Among the most early of these productions, may be ranked the _Suonate -per Chiesa_ of Legrenzi, published at Venice, 1655; _Suonate da Chiesa e -Camera_, 1656; _Una Muta di Suonate_ (a Variety of Sonatas), 1664; and -_Suonate a due Violini e Violone_, 1677. - -The next individual of eminence in connexion with the instrument is -GIAMBATTISTA BASSANI, of Bologna, whose name derives additional lustre -from his having been the violin-master of Corelli. Bassani was a man of -extensive knowledge and abilities in his art, having been a successful -composer for the church, the theatre and the chamber, between the years -1680 and 1703, as well as an excellent performer on the violin. His -sonatas for that instrument, and his accompaniments for it to his -masses, motetts, psalms and cantatas, manifest a knowledge of the -finger-board and the bow, which appears in the works of no other -composer anterior to Corelli; and the lovers of the pure harmony and -simple melody of that admirable master, would still receive great -pleasure from the performance of Bassani's sonatas for violins and a -bass. Specimens of Bassani's music may be found in Latrobe's and -Stephens's Selections. - -The names of TORELLI, VALENTINI, and the elder VERACINI, may be -dismissed with a brief mention; because, though of eminence in their -day, they are not connected with any very marked influence on the art; -and the published works which they have given to the world have long -since attained a dormant state. It should be observed, however, as -illustrating the very capricious nature of _fashion_, that Valentini for -a while eclipsed Corelli himself in popularity. - -ARCANGELO CORELLI, under whose able direction the violin may be said to -have first acquired the definite character and regulated honors of _a -school_,[14] was a native of Fusignano, a town situated near Imola, in -the territory of Bologna, and was born in the month of February, 1653. -His first instructor was Matteo Simonelli, by whom he was taught the -rudiments of music, and the art of practical composition; but, the -genius of Corelli leading him to prefer secular to ecclesiastical music, -he afterwards became a disciple of Bassani. - -Corelli entertained an early propensity for the violin, and, as he -advanced in years, laboured incessantly in the practice of it. It has -been said, though without authority, that, in the year 1672, he went to -Paris, and was driven thence by the jealousy and violence of Lully, who -could not brook so formidable a rival. - -In 1680, he visited Germany, and met with a reception suitable to his -merit, from most of the German princes, but particularly from the -Elector of Bavaria, in whose service he was retained, and continued for -some time. After a few years' residence abroad, he returned to Rome, and -there pursued his studies with assiduity. It was at Rome that he -published (about 1683) his first _twelve Sonatas_. In 1685, the second -set appeared, under the title of _Balletti da Camera_. In 1690, he gave -to the press the third "Opera" of his Sonatas; and in 1694, the fourth, -which, consisting of movements fit for _dancing_, like the second, he -called _Balletti da Camera_. This species of instrumental composition, -the sonata, first imagined in the course of the 17th century, has been -fixed, in many respects, by Corelli. - -The proficiency of Corelli on his favourite instrument became so great, -that his fame was extended throughout Europe, and the number of his -pupils grew very considerable; for, not only his own countrymen, but -even persons from distant kingdoms, resorted to him for instruction, as -the greatest master of the violin that had, at that period, been heard -of in the world. It does not appear, indeed, that he had attained a -power of _execution_ in any degree comparable to that of later -professors. The style of his performance was, however, learned, elegant, -and occasionally impressed with feeling; while his _tone_ was firm and -even. Geminiani, who was well acquainted with it, used expressively to -compare it with that of a sweet trumpet. One of those who heard him -perform, has stated that, during the whole time, his countenance was -distorted, his eyes were as red as fire, and his eye-balls rolled as if -he were in agony. This was the enthusiasm of genius--the influence of -the "præsens divus," Apollo--the exalted state so well characterized by -the poet's exclamation, - - "Est Deus in nobis--agitante calescimus illo!" - -About the year 1690, the Opera had arrived at a flourishing state in -Rome, and Corelli led the band as principal Violin[15]. It was not till -ten years after this date, that he published his _Solos_,[16] the work -by which he acquired the greatest reputation during his life-time, and -to which, in its established character of a text-book for students, the -largest share of attention on the whole has been directed. It was the -fifth in the series of his publications, and was issued at Rome under -the following title:--"Sonate a Violini e Violone o Cimbalo: Opera -Quinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, -Gighe, Sarabande, Gavotte, e Follia." This work was dedicated to Sophia -Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that -the author himself was accustomed to perform on particular occasions. - -Corelli's great patron at Rome was Cardinal Ottoboni, the distinguished -encourager of learning and the polite arts, to whom, in 1694, he -dedicated his Opera Quarta,[17] and in whose palace he constantly -resided, "col spezioso carrattere d'attuale Servitore" of his Eminence, -as he expresses himself in the dedication--with more of the humility of -gratitude, by the by, than of the independence of genius. Crescembini, -speaking of the splendid and majestic "Academia," or Concert, held at -Cardinal Ottoboni's every Monday evening, observes that the performance -was regulated by Arcangelo Corelli, that most celebrated professor of -the violin--"famosissimo professore di violino." Another title, -expressive of the high consideration in which he was held by his -contemporaries, is that applied to him by Francesco Gasparini, who calls -him "Virtuosissimo di violino, e vero _Orfeo_ di nostro tempo." - -It was at Cardinal Ottoboni's that Corelli became acquainted with -Handel, of whom the following anecdote is related. On one of the musical -evenings given there, a Serenata, written by the latter, entitled _Il -Trionfo del Tempo_, was ordered to be performed, out of compliment to -this great composer. Whether the style of the overture was new to -Corelli, or whether he attempted to modify it according to his taste and -fancy, does not appear[18]; but Handel, giving way to his natural -impetuosity of temper, snatched the violin from his hand. Corelli, with -that gentleness which always marked his character, simply replied:--"Mio -caro Sassone, questa musica è nello stile Francese, di che io non -m'intendo."--"My dear Saxon, this music is in the French style, with -which I am not acquainted." - -The biography of Corelli has received the accession of several -interesting anecdotes, through one of his most illustrious pupils, -Geminiani, who was himself an eye and an ear witness of the matters he -has related. These may find a fitting place here. - -At the time when Corelli was at the zenith of his reputation, a royal -invitation reached him from the Court of Naples, where a great curiosity -prevailed to hear his performance. The unobtrusive _Maestro_, not a -little loth, was at length induced to accept the invitation; but, lest -he should not be well accompanied, he took with him his own second -violin and violoncello players. At Naples he found Alessandro Scarlatti -and several other masters[19], who entreated him to play some of his -concertos before the king. This he, for a while, declined, on account of -his whole band not being with him, and there was no time, he said, for a -rehearsal. At length, however, he consented, and, in great fear, -performed the first of them. His astonishment was very great to find -that the Neapolitan band executed his concertos almost as accurately at -sight as his own band after repeated rehearsals, and when they had -almost got them by heart. "_Si suona_ (said he to Matteo, his second -violin) _a Napoli_!"--"They _play_, at Naples!" - -After this, he being again admitted into his Majesty's presence, and -desired to perform one of his sonatas, the king found the adagio so long -and dry, that, being tired of it, he _quitted the room_, to the great -mortification of Corelli. Afterwards, he was desired to lead, in the -performance of a masque composed by Scarlatti, which was to be executed -before the king. This he undertook, but, owing to Scarlatti's very -limited acquaintance with the violin, Corelli's part was somewhat -awkward and difficult; in one place it went up to F, and when they came -to that passage, Corelli failed, and could not execute it; but he was -astonished, beyond measure, to hear Petrillo, the Neopolitan leader, and -the other violins, perform with ease that which had baffled his utmost -skill. A song succeeded this, in C minor, which Corelli led off in C -major. "_Ricomminciamo_" (let us begin again), said Scarlatti, -good-naturedly. Still, Corelli persisted in the major key, till -Scarlatti was obliged to call out to him, and set him right. So -mortified was poor Corelli with this disgrace, and the deplorable figure -which he imagined he had made at Naples, that he stole back to Rome, in -silence. Soon after this, a hautboy-player (whose name Geminiani could -not recollect) acquired such applause at Rome, that Corelli, disgusted, -would never again play in public. All these mortifications, superadded -to the success of Valentini, whose Concertos and performance, though -infinitely inferior to those of Corelli, were become fashionable, threw -him into such a state of melancholy and chagrin, as was thought to have -hastened his death. - -The account thus furnished by Geminiani, of Corelli's journey to Naples, -is something beyond mere personal anecdote; for, as Dr. Burney fitly -observes, it throws light upon the comparative state of music at Naples -and at Rome in Corelli's time, and exhibits a curious contrast, between -the fiery genius of the Neapolitans, and the meek, timid and gentle -character of Corelli, so analogous to the style of his music. To this -reflection it might have been added, that the latter part of the -narrative forms a painful contribution to the catalogue of instances in -which public caprice has done the work of ingratitude, and consigned the -man of genius to a neglect which his sensitive nature must render the -worst of cruelties. - -In 1712, the _Concertos_ of Corelli were beautifully engraved, at -Amsterdam, by Etienne Roger, and Michael Charles La Cène, and dedicated -to John William, Prince Palatine of the Rhine. The author survived the -publication of this admirable work but six weeks; the Dedication bearing -date at Rome, the 3rd of December, 1712, and he dying on the 18th of -January, 1713. - -Corelli was interred in the church of the Rotunda, otherwise called the -Pantheon, in the first chapel on the left hand of the entrance of that -beautiful temple. Over the place of his interment, there is a sepulchral -monument with a marble bust, erected to his memory, at the expense of -Philip William, Count Palatine of the Rhine, under the direction of -Cardinal Ottoboni. The monument bears an inscription in tributary Latin, -and the bust represents him with a music-paper in his hand, on which are -engraved a few bars of that celebrated air, the _Giga_, in his 5th -Sonata. It is worthy of remark, that this monument is contiguous to -that of the greatest of painters, Raffaelle[20]. - -During many years after Corelli's decease, a solemn service, consisting -of selections from his own works, was performed in the Pantheon by a -numerous band, on the anniversary of his funeral. This custom was not -discontinued, until there were no longer any of his immediate scholars -surviving to conduct the performance. Sir John Hawkins and Dr. Burney, -who have both cited testimony as to this practice, concur in -representing, that the works of the great master used to be performed, -on this occasion, in a slow, firm and distinct manner, just as they were -written, without changing the passages in the way of embellishment: and -this, it is probable, was the manner in which he himself was wont to -play them. - -Of the private life and moral character of this celebrated musician, no -new information is now likely to be obtained; but the most favorable -impression on this head is derived from analogy, in addition to what we -possess of fact. If we may judge of his natural disposition and -equanimity by the mildness, sweetness and even tenor of his musical -ideas, the conclusion must be that his temper and his talents had pretty -equal share in the office of endearing him to all his acquaintance. It -appears, moreover, that his facile habit did not always render him -insensible of that respect which was due to his character as well as to -his skill. It is said that, when he was once playing a solo at Cardinal -Ottoboni's house, he observed the Cardinal and another person in -discourse, on which he laid down his instrument; and, being asked the -reason, answered that he "feared the music interrupted the -conversation"--a reply in which modesty and dignity were nicely blended. -He is related, also, to have been a man of humour and pleasantry. Some -who were acquainted with him have censured him for parsimonious habits, -but on no better ground than his accustomed plainness of dress, and his -disinclination to the use of a carriage. - -His taste, which was not limited to the circle of his own art, evinced -itself enthusiastically in favor of pictures; and he lived in habits of -intimacy with Carlo Cignani and Carlo Maratti. It seems that he had -accumulated a sum equal to £6000. The account that is given of his -having bequeathed the whole of this amount, besides a valuable -collection of pictures, to his patron, Cardinal Ottoboni, has been -observed to savour more of vanity than of true generosity; and, indeed, -the Cardinal evinced the most considerate appreciation of the bequest, -by reserving only the pictures, and distributing the remainder of -Corelli's effects among his indigent relations. - -In regard to the peculiar merits of Corelli's productions, it may be -briefly said, that his Solos (or _Opera Quinta_), as a classical book -for forming the hand of a young practitioner on the violin, has ever -been regarded, by the most eminent masters of the instrument, as a truly -valuable work; and it is said, of this elaborate work (on which all good -systems for the instrument have since been founded), that it cost him -three years to revise and correct it. Indeed, all his compositions are -said to have been written with great deliberation, to have been -corrected by him at many different times, and to have been submitted to -the inspection of the most skilful musicians of his day. Of his Solos, -the second, third, fifth, and sixth are admirable; as are the ninth, -tenth, and, for the elegant sweetness of its second movement, the -eleventh. The ninth is probably the most perfect, as a whole; and the -Solos, generally, seem to have been drawn from the author's native -resources, more extensively than any of his other productions. The most -emphatic evidence of the value of these Solos lies in the fact of their -adoption by the highest instructors. Tartini formed all his scholars on -them; and it was the declaration of Giardini, that, of any two pupils of -equal age and abilities, if the one were to begin his studies by -Corelli, and the other by Geminiani, or any other eminent master -whatever, the first would become the better performer. Let it be -observed, however, that it is not from Corelli, that the niceties and -dexterities of _bowing_, which characterize the modern state of the art, -are derived. The qualities he is capable of imparting are tone and time: -or, in other words, he teaches the full extraction of sound, and the -utmost steadiness of hand. - -The _Concertos_ of Corelli (the sixth and last of his works) appear to -have withstood the attacks of time and fashion with more firmness than -any of his other productions. The harmony is so pure; the parts are so -clearly, judiciously, and ingeniously disposed; and the effect of the -whole, from a large band, is so majestic, solemn and sublime, that they -nearly preclude all criticism, and make us forget that there is any -other music of the same kind existing. They are still performed, now -and then, at the Philharmonic Concerts. Though composed at a time when -the faculties of the author might be supposed to have been on the -decline, they exhibit the strongest proof of the contrary. To speak more -definitely of their merits, nothing can exceed, in dignity and majesty, -the opening of the First Concerto, nor, for its plaintive sweetness, the -whole of the Third; and that person must have no feeling of the power of -harmony, or the effects of modulation, who can listen to the Eighth -without rapture. - -The following further comments on them are from the pen of a sensible -anonymous writer in a periodical work:--"Though they are no longer -calculated to show off the bow and fingers of the principal -violin-player, yet their effect, as symphonies for a numerous orchestra, -is excellent, and never fails to delight the audience. Their melody is -flowing and simple, and of a kind which is independent of the changes of -fashion: the harmony is pure and rich, and the disposition of the parts -judicious and skilful. The Eighth of these Concertos, composed for the -purpose of being performed on Christmas Eve, has probably had more -celebrity than any piece of music that ever was written. It is -exquisitely beautiful, and seems destined to bid defiance to the attacks -of time. The whole is full of profound religious feeling; and the -pastoral sweetness of the movement descriptive of the 'Shepherds abiding -in the fields,' has never been surpassed--not even by Handel's movement -of the same kind in the 'Messiah.' If ever this music is thrown aside -and forgotten, it will be the most unequivocal sign of the corruption of -taste, and the decay of music, in England." - -The compositions of Corelli, taken altogether, are celebrated for the -harmony resulting from the union of all the parts; but the fineness of -the airs is another distinguishing characteristic of them. The -Allemande, in the Tenth Solo, is as remarkable for spirit and force, as -that in the Eleventh is for its charming delicacy. His _jigs_ are in a -style peculiarly his own; and that in the Fifth Solo was, perhaps, never -equalled. In the gavot movements, in the Second and Fourth Operas, the -melody is distributed, with great judgment, among the several parts. In -his Minuets alone, he seems to fail; Bononcini, Handel, Haydn, Martini -and others, have excelled him in this kind of air. - -The music of Corelli is, generally speaking, the language of nature. It -is equally intelligible to the learned and to the unlearned. Amidst the -numerous innovations which the love of change had introduced, it still -continued to be performed, and was heard with delight in churches, in -theatres, and at public solemnities and festivals, in all the cities of -Europe, for nearly forty years. Persons remembered and would refer to -passages of it, as to a classic author; and, even at this day, the -masters of the science do not hesitate to pronounce, of the compositions -of Corelli, that, for correct harmony, and for elegant modulation, they -are scarcely to be exceeded. Yet there is one deficiency, that should -not be passed over in a review of the compositions of this master: and -it is one that may suggest itself from what has been already said of -him. They want that stirring quality of passion, which ministers so -importantly to the life of a production, whether in the world of music, -of poetry, or of painting. They lose, through this omission, nearly all -the benefits of the principle of contrast, on which effect, in so -material a degree, depends. Their beauties, wanting this relief, are -scarcely able, sometimes, to escape the charge of insipidity. The -absence of intensity in the works of Corelli, seems to be partly a -consequence of the natural character of the man: but it is doubtless -also partly owing to the state of musical taste at that period. There -was little or no melody in instrumental music before his time; and -although, considering how much slow and solemn movements abound in his -works, they display but a slender portion of the true pathetic, yet has -he considerably more grace and elegance in his _Cantilena_, more -vocality of expression, than his predecessors. Indeed, when we recollect -that some of his productions are more than a hundred and fifty years -old, we must regard, with some admiration and astonishment, the healthy -longevity of his fame, which can only be accounted for on the principle -of the ease and simplicity that belong characteristically to his works. - -The following summary of the character of Corelli's music has been given -by Geminiani. Dr. Burney's remark, that it seems very just, may be very -fairly assented to.--"His merit was not depth of learning, like that of -his contemporary, Alessandro Scarlatti; nor great fancy, nor a rich -_invention_ in melody or harmony; but a nice ear, and most delicate -taste, which led him to select the most _pleasing_ melodies and -harmonies, and to construct the parts so as to produce the most -delightful effect upon the ear." - -An extensive and rapidly diffused impression in favor of the Violin, and -the larger homogeneous instruments, was produced in Europe by the -publication of the works of Corelli, who indeed must be considered as -the author of the greatest improvements which music, simply -instrumental, underwent at the commencement of the 18th century. As a -consequence of the impulse thus communicated, there was scarcely a town -in Italy, about that period, where some distinguished performer on the -violin did not reside. Dr. Burney enumerates about a dozen of these, in -one paragraph; but the apparent similarity of their merits, which does -not encourage any circumstantial commemoration, may serve to bring to -the mind of the classical reader the "fortemque Gyan fortemque -Cloanthum" of Virgil. One of these locally great individuals, Nicola -Cosimo, who came to England about 1702, has derived some little -accession of fame, from the fact of his portrait having been painted by -Kneller, and _coppered_ by Smith. It is probable, that he is now more -known to print-collectors than to musicians, although his _Twelve -Solos_, published in this country, possess considerable merit, for the -time--a merit not free, however, from pretty large obligations to -Corelli. - -Don ANTONIO VIVALDI, Chapel-master of the _Conservatorio della Pietà_, -at Venice, seems to have enjoyed, in his day, a popularity of the most -animated and unhesitating kind, both as composer and performer. Besides -a number of dramatic compositions, in the form of Opera, he published -eleven instrumental works, exclusively of his pieces called -_Stravaganze_, which, among flashy players, whose chief merit was the -novelty of rapid execution, occupied the highest place of favor. To be -loud and brisk, appears to have been the chief ambition of this -exhibitor; no bad method of ensuring a predominance of applause in all -"mixed company." His _Cuckoo Concerto_ was once the wonder and delight -of all frequenters of English country concerts; and Woodcock, one of the -Hereford _Waits_, was sent for, far and near, to perform it. If -Vivaldi's musical fame were to rest on this production, it would figure -but poorly; for the thing, though reprinted in London a few years ago, -is indeed, when put to the test, "full of sound and fury, signifying -nothing." It is just of the order of stuff that might serve to agitate -the orchestral elbows in a pantomime. Doubtless, it found a fitting -exponent in "Mr. Woodcock, of the Hereford Waits:" Vivaldi's _own_ -playing must have been too good for it. Of the pieces styled his -_Solos_, it has been critically remarked, that they are extremely tame -and vapid, while the characteristic of his _Concertos_ is a singular -wildness and irregularity, in which he oftentimes transgresses the -bounds both of melody and modulation. Though, in some of his -compositions, the harmony and the artful contexture of the parts are -their least merit, there is one (the eleventh of his first twelve -concertos) which is esteemed a solid and masterly composition, and is an -evidence that the writer possessed a greater portion of skill and -learning than his works in general discover. To account for the -singularity of Vivaldi's style, it should be observed that he had been -witness to the dull _imitations_ of Corelli that prevailed among the -masters of his time; and that, for the sake of variety, he unfortunately -adopted a style which had little but novelty to recommend it, and could -serve for little else but "to please the itching vein of idle-headed -fashionists." - -The title of Don, prefixed to Vivaldi's name, was derived from the -_clerical_ character which belonged to him; and he must, indisputably, -have been one of the most lively of priests. Mr. Wright, in his "Travels -through Italy, from 1720 to 1722," has a passage indicative of this -union of the clerical and musical functions:--"It is very usual to see -priests play in the orchestra. The famous Vivaldi, whom they call the -_Prete Rosso_, very well known among us for his concertos, was a topping -man among them at Venice." - -Vivaldi, together with Albinoni, Alberti, and Tessarini, is to be -classed among the light and irregular troops. For the more disciplined -and efficient forces, we must look to the Roman school, formed by -Corelli, in which were produced the greatest composers and performers -for the violin that Italy could boast, during the first half of the 18th -century. - -FRANCESCO GEMINIANI, the ablest of Corelli's scholars, and who forms one -of the brightest parts in the chain of Violinists - - "In linked sweetness long drawn out," - -was born at Lucca, about the year 1680[21]. His first instructions in -music were derived from Alessandro Scarlatti; and his study of the -violin was commenced under Lunati (surnamed Il Gobbo), and completed -under the great archetype, Corelli. - -On leaving Rome, where Corelli was then flourishing, Geminiani went to -Naples, preceded by a degree of fame which secured his most favorable -reception, and placed him at the head of the orchestra. If, however, we -are to credit Barbella, the impetuosity of his feelings, and the fire of -his genius, too ardent for his judgment, rendered him, at this period, -so vague and unsteady a _timeist_, that, instead of guiding, combining, -and giving concinnity to the performers under his direction, he -disordered their motions, embarrassed their execution, and, in a word, -threw the whole band into confusion. - -In the year 1714, he came to England, where his exquisite powers, as a -solo performer, commanded universal admiration, and excited, among the -nobility and gentry, a contention for the honor of patronising such -rare abilities. The German Baron, Kilmansegge, was then chamberlain to -George the First, as Elector of Hanover, and a great favorite of the -King. To that nobleman Geminiani particularly attached himself, and, -accordingly, dedicated to him his first work--a set of Twelve Sonatas, -published in 1716. The style of these pieces was peculiarly elegant; but -many of the passages were so florid, elaborate and difficult of -execution, that few persons were adequate to their performance; yet all -allowed their extraordinary merit, and many pronounced them superior to -those of Corelli. They had, indeed, such an effect, that it became a -point of eager debate, whether skill in execution, or taste in -composition, constituted the predominant excellence of Geminiani; and so -high was the esteem he enjoyed, among the lovers of instrumental music, -that it is difficult to say, had he duly regarded his interest, to what -extent he might not have availed himself of public and private favor. -Kilmansegge, anxious to procure him a more effective patronage than his -own, represented his merits to the notice of the King, who, looking over -his works, became desirous to hear some of the pieces performed by their -author; and soon after, accompanied, at his own earnest request, by -Handel on the harpsichord, Geminiani so acquitted himself, as at once to -delight his royal auditor, and to give new confirmation of the -superiority of the violin over all other stringed instruments. - -In 1726, he arranged Corelli's first six _Solos_, as _Concertos_; and, -soon after, the last six, but with a success by no means equal to that -which attended the first. He also similarly treated six of the same -composer's _Sonatas_, and, in some additional _parts_, imitated their -style with an exactitude that at once manifested his flexible ingenuity, -and his judicious reverence for his originals. Encouraged, however, as -he might be considered, by the success of this undertaking, to proceed -in the exercise of his powers, six years elapsed before another work -appeared--when he produced his own first set of _Concertos_; these were -soon followed by a second set; and the merits of these two productions -established his character as an eminent master in that species of -composition. The opening Concerto in the first of these two sets is -distinguished for the charming minuet with which it closes; and the last -Concerto in the second set is esteemed one of the finest compositions -known of its kind. - -His second set of Solos (admired more than practised, and practised more -than performed) was printed in 1739: and his third set of Concertos -(laboured, difficult and fantastic), in the year 1741. Soon after this, -he published his long-promised, and once impatiently-expected work, -entitled "_Lo Dizionario Armonico_." In this work, after giving due -commendation to Lully, Corelli and Bononcini, as having been the first -improvers of instrumental music, he endeavours to refute the idea, that -the vast foundations of universal harmony can be established upon the -narrow and confined modulation of these authors; and makes many remarks -on the uniformity of modulation apparent in the compositions that had -appeared in different parts of Europe for several years previously. - -This didactic production possessed many recommendatory qualities; many -combinations, modulations and cadences, calculated to create, and to -advance the science and taste of a _tyro_; but it appeared too late. -Indolence had suffered the influence of his name to diminish, and his -style and ideas (new as, in some respects, they were) to be superseded -by the more fashionable manner, and more novel conceptions, of fresh -candidates for favour and fame. - -This work was succeeded by his "_Treatise on Good Taste_," and his -"_Rules for playing in Good Taste_;" and, in 1748, he brought forward -his "_Art of Playing on the Violin_;" at that time a highly useful work, -and superior to any similar publication extant. It contained the most -minute directions for holding the instrument, and for the use of the -bow; as well as the graces, the various shifts of the hand, and a great -number of applicable examples. - -About 1756, Geminiani was struck with a most curious and fantastic idea; -that of a piece, the performance of which should represent to the -imagination all the events in the episode of the thirteenth book of -Tasso's Jerusalem. It is needless to say, that the chimera was too -extravagant, of attempting to narrate and instruct, describe and inform, -by the vague medium of instrumental sounds. Musical sounds may possibly, -according to a conjecture sometimes entertained, constitute the language -of heaven; but as we, on earth, are possessed of no _key_ to their -meaning in that capacity, we must be content to employ, for our purposes -of intercommunion, the _articulate_, which alone is, to us, the -_definite_. - -In 1750, Geminiani went to Paris, where he continued about five years; -after which, he returned to England, and published a new edition of his -first two sets of Concertos. In 1761, he visited Ireland, in order to -spend some time with his favourite and much-attached scholar, Dubourg, -master of the King's band in Dublin. Geminiani had spent many years in -compiling an elaborate Treatise on Music, which he designed for -publication; but, soon after his arrival in Dublin, by the treachery of -a female servant (who, it has been said, was recommended to him for no -other purpose than that she might steal it), the manuscript was -purloined out of his chamber, and could never afterwards be recovered. -The magnitude of this loss, and his inability to repair it, made a deep -impression on his mind, and seemed to hasten fast his dissolution. He -died at Dublin on the 17th of September, 1762, in the eighty-third year -of his age.[22] - -Endowed with feeling, a respectable master of the laws of harmony, and -acquainted with _some_ of the secrets of fine composition, Geminiani can -hardly be said to have been unqualified either to move the soul, or to -gratify the sense: yet truth, after being just to his real deserts, will -affirm that his bass is not uniformly the most select; that his melody -is frequently irregular in its phrase and measure; and that, on the -whole, he is decidedly inferior to Corelli, with whom, by his admirers, -he has been too frequently and too fondly compared. - -For what was deficient in his compositions, as well as for what was -unfavourable in his fortune, the unsettled habits of his life, and his -inherent inclination for rambling, may perhaps partly account. His -fondness for pictures (a taste very strongly developed in him) was less -discreetly exercised than it had been by his prototype, Corelli. On the -contrary, to gratify this propensity, he not only suspended his studies, -and neglected his profession, but oftentimes involved himself in -pecuniary embarrassments, which a little prudence and foresight would -have enabled him to avoid. To gratify his taste, he bought pictures; -and, to supply his wants, he sold them. The consequence of this kind of -traffic was loss, and its concomitant, necessity. Under such -circumstances, the concentration of thought, requisite for giving to his -productions the utmost value derivable from the natural powers of his -mind, was almost impossible. - -A trait creditable to his character, on a graver score, presents itself -in the following transaction. The place of Master and Composer of the -state-music in Ireland became vacant in the year 1727, and the Earl of -Essex obtained from Sir Robert Walpole, the minister, a promise of it. -He then told Geminiani that his difficulties were at an end, as he had -provided for him a place suited to his profession, which would afford -him an ample provision for life. On enquiry into the conditions of the -office, Geminiani found that it was not tenable by a member of the -Romish communion. He therefore declined accepting, assigning this as a -reason, and at the same time observing that, although he had never made -any great pretensions to religion, yet to renounce that faith in which -he had been first baptized, for the _sake_ of temporal advantages, was -what he could in no way answer for to his conscience. The post was given -to Matthew Dubourg, who had formerly been the pupil of Geminiani, and -whose merits were not excluded by similar grounds for rejection. - -LORENZO SOMIS, chapel-master to the King of Sardinia, was recorded in -Italy as an imitator of Corelli, but in a style somewhat modernized, -after the model of Vivaldi. - -He printed, at Rome, in 1722, his "_Opera Prima di Sonate à Violino e -Violoncello, o Cembalo_," the pieces contained in which are much in -Corelli's manner; some of them with double-stopped fugues, like those of -his model, and some without. Somis was one of the greatest masters of -the violin of his time; but his chief professional honour,--"the pith -and marrow of his attribute,"--is the having formed, among his scholars, -such a performer as Giardini. - -STEFANO CARBONELLI, who had studied the violin under Corelli, was one of -the Italian Artists who contributed to diffuse the celebrity of the -instrument in this country. About the year 1720, he was induced by the -Duke of Rutland to come to England, and was received into the house of -that nobleman. During his residence there, he published _Twelve Solos -for a Violin and Bass_, which he frequently played in public with great -applause. In each of the first six of these, there is a double-stopped -fugue; and the rest, it has been observed, have pleasing melodies, with -correct and judicious counterpoint. In the progress of his success in -England, Carbonelli was placed at the head of the opera band, and soon -became celebrated for his excellent performance. - -About the year 1725, he quitted the opera orchestra for an employment in -Drury Lane Theatre, where he also led, and frequently played select -concert pieces between the acts. After continuing there some time, he -engaged himself with Handel, as a performer in his oratorios. For -several years, he played at the rehearsal and performance at St. Paul's, -for the benefit of the Sons of the Clergy. - -In the latter part of his life, he in a great measure neglected the -profession of music, having become a merchant, and an importer of wine -from France and Germany. He obtained the place of one of the purveyors -of wine to the King; and died in that employment in the year 1772. - -At the time of Carbonelli's relaxing in his homage to Apollo, for the -sake of becoming a minister of Bacchus, the following lines (which have -been admirably set, for two voices, by Dr. Cooke) were made up for the -occasion:-- - - Let Rubinelli charm the ear, - And sing, as erst, with voice divine,-- - To Carbonelli I adhere; - Instead of music, give me wine! - But yet, perhaps, with wine combin'd, - Soft music may our joys improve; - Let both together, then, be join'd, - And feast we like the gods above![23] - -PIETRO LOCATELLI, another of Corelli's pupils, but one who made the -boldest innovations upon the manner of that great master, and deviated, -exploringly, into remarkable paths of his own, was born at Bergamo, -about 1693. Being still a youth, at the time of Corelli's decease, and -full of ardent impulses in relation to the art he had embraced, -Locatelli gave way to these, and soon became conspicuous for a boldness -and originality which, even in our own days, would not pass -unacknowledged. He developed new combinations, and made free use of -arpeggios and harmonic sounds. The compositions of this master, as well -as those of Mestrino, who flourished somewhat later, and was the more -graceful of the two in his style of playing, are supposed to have -furnished hints of no small profit to the penetrating genius of -Paganini. - -Locatelli died in Holland, in 1764. The crabbed passages in which he -delighted to display his force, are to be found in his work entitled -"Arte di nuova Modulazione," or, as it is termed in the French editions, -"Caprices Énigmatiques." - -We now approach one of those names on which the biographer may fairly -delight to dwell, for its association not only with the great and -beautiful in art, but with the interesting in personal character, and -the romantic in incident. - -GIUSEPPE TARTINI, of Padua, the last great improver (save Viotti) of the -practice of the violin, was born in April, 1692, at Pirano, a sea-port -town in Istria. His father had been ennobled, in recompense of certain -substantial benefactions, exercised towards the Cathedral Church at -Parenza. Giuseppe was originally intended for the law; but, mixing the -more seductive study of music with the other objects of his education, -it soon gained the ascendant over the whole circle of the sister -sciences. This is not so surprising as another strong propensity, which, -during his youth, much fascinated him. This was the love of fencing--an -art not likely to become necessary to the safety or honor of one -possessed of the pious and pacific disposition that belonged to him, and -one engaged, too, in a civil employment: yet he is said, even in this -art, to have equalled the master from whom he received instructions. In -1710, he was sent to the University of Padua, to pursue his studies as a -civilian; but, before he was twenty, having committed the sin of -sacrificing prudence to love, in a match which he entered into without -the parental _fiat_, he was forsaken, in return, and reduced to wander -about in search of an asylum. This, after many hardships, he found in a -convent at Assisi, where he was received by a monk, his relative, who, -commiserating his misfortunes, let him remain there till something -better might be done for him. While thus secluded and sorrowful, he took -up the violin, to "manage it against despairing thoughts"--an expedient -which the devotion of his soul to music must have lent some efficacy to. -Not only his solace, but, by a singular turn of fortune, his rescue -also, was connected with his violin. On a certain great festival, when -he was in the orchestra of the convent, he was discovered, through the -accident of a remarkably high wind, which, forcing open the doors of the -church, blew aside the orchestral curtain, and exposed all the -performers to the sight of the congregation. His recognition, under -these circumstances, by a Paduan acquaintance, led to the accommodation -of differences; and he then settled with his wife, for some time, at -Venice[24]. This lady proved to be of that particular race which has -never been wholly extinct since the time of Xantippe; but as, -fortunately, poor Tartini was more than commonly Socratic in wisdom, -virtue and patience, her reign was unmolested by any domestic war, or -useless opposition to her supremacy. - -His residence at Venice was rendered memorable to him, by the arrival of -the celebrated Veracini (the younger) in that city. The performance of -this "homme marquant" awakened a vivid emulation in Tartini, who, though -he was acknowledged to have a powerful hand, had never heard a great -player before, nor conceived it possible for the _bow_ to possess such -varied capabilities for energy and expression. Under this feeling, he -quitted Venice with prompt decision, and proceeded to Ancona, in order -to study the use of the bow in greater tranquillity and with more -convenience than at Venice, as he had a place assigned him in the -operatic orchestra, of that city. In the same year (1714), his studious -application enabled him to make a discovery--that of the phenomenon of -the _third sound_--which created a great sensation in the musical world, -both in his own time and long afterwards, though it has led to no -important practical results. This phenomenon of the third sound is the -sympathetic resonance of a third note, when the two upper notes of a -chord are sounded. Thus, if two parts are sung in thirds, a sensitive -ear will feel the simultaneous impression of a bass or lower part. This -effect may be more distinctly heard, if a series of consecutive thirds -be played on the violin perfectly in tune. "If you do not hear the -bass," said Tartini to his pupils, "the thirds or sixths which you are -playing are not perfect in the intonation[25]." This mysterious -sympathy, by which sound is enabled to call up a fellowship of sound, -may be fancifully expressed in a line from the old poet, Drayton:-- - - "One echo makes another to rejoice!" - -His diligence and exemplary devotion to his art, while at Ancona, led -also to another prominent occurrence in his career--the appointment, in -1721, to the distinguished place of first violin, and master of the -band, to the church of St. Anthony, of Padua. To St. Anthony, as his -patron saint, he consecrated himself and his instrument, with a species -and a constancy of attachment, that may find not only their excuse, but -their credit, in the nature and sentiment of the times he lived in. His -extending fame brought him repeated offers from Paris and London, to -visit those capitals; but, holding to his conscientious allegiance, he -uniformly declined entering into any other service, and was, like St. -Anthony himself, a pattern of resistance to temptation. - -By the year 1728, he had made many excellent scholars, and established a -system of practice, for students on the violin, that was celebrated all -over Europe, and increased in reputation to the end of his life. Great -numbers of young men resorted to Padua from different countries, in -order to receive instruction from him in music, but chiefly in the -practice of the violin. - -In the early part of his life, he published "_Sonate a Violino e -Violoncello, o Cembalo, Opera Prima_." This, and his Opera Seconda, of -_Six Sonatas_ or _Solos_ for the same instrument, and another work -entitled "_XVIII Concerti a cinque Stromenti_," were all published by Le -Cène, of Amsterdam, and prove him to have been a truly excellent -composer. Such, however, was the ascendancy of Corelli's name, and so -ambitious was Tartini of being thought a follower of the precepts and -principles of that master, that, during the zenith of his own -reputation, he refused to teach any other music to his pupils, till they -had studied the _Opera Quinta_, or _Solos_, of Corelli; and the -excellence of this foundation was made manifest by the result. His -favorite pupils were Bini and Nardini. These, as well as others of -Tartini's _élèves_, formed, in their turn, scholars of great abilities, -who contributed to spread his reputation and manner of playing all over -Europe. - -Tartini's own first master was an obscure musician, of the name of -Giulio di Terni, who afterwards made a fitting change of position, and -descended into the pupil of his own scholar--a circumstance related by -Tartini himself, who used to say that he had studied very little till -after he was thirty years of age[26]. At the age of fifty-two, Tartini -made a marked alteration in his style of playing, from extreme -difficulty (or what was _then_ so considered) to grace and expression. -His method of executing an adagio has been represented by his -contemporaries as inimitable, and was almost, in their idea, -supernatural--an impression to which the idea of the patron saint must -have not a little conduced. - -The particulars that have been preserved respecting his scholar, -Pasquale Bini, are not without interest. Recommended to him at the age -of fifteen, by Cardinal Olivieri, Tartini found him a youth after his -own heart, possessing excellent moral dispositions, as well as musical; -and he accordingly cherished a very marked regard for him. This young -musician practised with such assiduity, that, in three or four years, he -vanquished the most difficult of Tartini's compositions, and executed -them with greater force than the author himself. When he had finished -his studies, his patron, Cardinal Olivieri, took him to Rome, where he -astonished all the Professors by his performance,--particularly -Montagnari, at that time the principal violinist there; and it is -generally believed, that Montagnari was so mortified by the superiority, -as to have died of grief! When informed that Tartini had changed his -style and taste in playing, Bini returned to Padua, - - "Nil actum reputans, si quid superesset agendum,"-- - -and placed himself for another year under that excellent and worthy -master; at the end of which period, so intense had been his application, -that he played with a degree of certainty and expression truly -wonderful. - -On a certain occasion, in recommending a scholar to him, after his -return to Rome, Tartini expressed his sense of Bini's powers and -character, and gave evidence of his own modest and ingenuous -disposition, in the following words:--"Io lo mando a un mio scolare chi -suona più di me; e me ne glorio, per essere un angelo di costume, e -religioso."--"I recommend him (the applicant) to a scholar of mine, who -plays better than myself; and I am proud of it, as he is an angel in -religion and morals." Such praise has its value enhanced by the source -whence it proceeds; for it was truly "laudari a laudato viro." - -The death of Tartini occurred at Padua, on the 26th of February, 1770, -to the general regret of the people of that city, where he had resided -nearly fifty years, and not only was regarded as its most attractive -ornament, but, owing to the serious and contemplative turn of his mind, -had attained the estimation of being a saint and a philosopher. - -Of the general character of Tartini's compositions, Dr. Burney, who -appears to have studied them closely, has given the following -judgment:--"Though he made Corelli his model in the purity of his -harmony and simplicity of his modulation, he greatly surpassed that -composer in the fertility and originality of his invention; not only in -the subjects of his melodies, but in the truly _cantabile_ manner of -treating them. Many of his adagios want nothing but _words_, to be -excellent pathetic opera-songs. His allegros are sometimes difficult; -but the passages fairly belong to the instrument for which they were -composed, and were suggested by his consummate knowledge of the -finger-board, and the powers of the bow. As a harmonist, he was perhaps -more truly scientific than any other composer of his time, in the -clearness, character and precision of his bases, which were never -casual, or the effect of habit or auricular prejudice and expectation, -but learned, judicious and certain. And yet I must, in justice to -others, own that, though the adagio and solo playing, in general, of his -scholars are exquisitely polished and expressive, yet it seems as if -that energy, fire, and freedom of bow, which modern symphonies and -orchestra-playing require, were wanting." - -The applicability of the latter remark is, of course, considerably -greater in these days than in the Doctor's time. Another and more recent -critical opinion is subjoined:-- - -"Tartini's compositions, with all the correctness and polish of -Corelli's, are bolder and more impassioned. His slow movements, in -particular, are remarkably vocal and expressive; and his music shows a -knowledge of the violin, both in regard to the bow and the finger-board, -which Corelli had not been able to attain. His works, therefore, though -no longer heard in public, are still prized by the best musicians; a -proof of which is, that some of them have been recently reprinted for -the use of the _Conservatoire_ of Paris. He has frequently injured their -effect, to modern ears, by the introduction of trills and other -ornaments, which, like the flounces and furbelows of the female dress of -his day, have become old-fashioned; but, at the same time, his -compositions are full of beauties, which, belonging to the musical -language of nature and feeling, are independent of the influence of -time." - -Few of my readers have failed, probably, to hear or read of "The Devil's -Sonata," that forms so singular a "passage" in the experience of this -remarkable man, and is to be met with in Records, Musical, Literary, and -Pictorial. Monsieur De Lalande informs us that he had, from Tartini's -own mouth, the following singular anecdote, which conveys an account of -it, and shows to what a degree his imagination was inflamed by the -genius of composition. "He dreamed, one night, in the year 1713, that he -had made a compact with the Devil, who promised to be at his service on -all occasions; and, during this vision, every thing succeeded according -to his mind; his wishes were anticipated, and his desires always -surpassed, by the assistance of his new servant. At length, he imagined -that he presented to the Devil his violin, in order to discover what -kind of a musician he was; when, to his great astonishment, he heard him -play a _solo_, so singularly beautiful, and executed with such superior -taste and precision, that it surpassed all the music he had ever heard -or conceived in his life! So great was his surprise, and so exquisite -his delight, upon this occasion, as to deprive him of the power of -breathing. He awoke with the violence of his sensations, and instantly -seized his instrument, in hopes of expressing what he had just heard; -but in vain. He, however, then composed a piece, which is, perhaps, the -best of all his works, and called it the _Devil's Sonata_; but it was so -inferior to what his sleep had produced, that he declared he would have -broken his instrument, and abandoned music for ever, if he could have -subsisted by any other means." - -This remarkable legend, under its obvious associations with the fearful -and the grotesque, is so inviting for poetic treatment, that I have -ventured on the following attempt:-- - - -TARTINI'S DREAM. - - Grim-visag'd Satan on the Artist's bed - Sat--and a cloud of sounds mirific spread! - Wild flow'd those notes, as from enchantment's range, - "Wild, sweet, but incommunicably strange!" - Soft Luna, curious, as her sex beseems, - Shot through the casement her enquiring beams, - Which, entering, paler grew, yet half illum'd - The shade so deep that round the Arch-One gloomed: - And listening Night her pinions furled--for lo! - The Devil's Soul, O![27] breathed beneath that bow! - Tranquil as death Tartini's form reclin'd, - And sealing sleep was strong his eyes to bind; - But the wild music of the nether spheres - Was in a key that did unlock his ears. - Squat, like a toad or tailor, sat the Fiend, - And forward, to his task, his body leaned. - His griffin fingers, with their horny ends, - Hammer the stops; the bow submissive bends: - His lengthy chin, descending, forms a vice - With his sharp collar-bone, contrariwise, - To grasp the conscious instrument, held on - With 'scapeless gripe;--and, ever and anon, - As flows the strain, now quaint, and now sublime, - He marks, with beatings of his tail, the time! - Snakes gird his head; but, in that music's bliss, - Enchanted, lose the discord of their hiss, - And twine in chords harmonic, though all mute, - As if they owned the sway of Orpheus' lute. - Satan hath joy--for round his lips awhile - Creeps a sharp-set, sulphuric-acid smile; - - And, at the mystic notes, successive sped, - Pleas'd, winketh he those eyes of flickering red, - And shakes the grizzly horrors of that head! - List! what a change! Soft wailings fill the air: - Plaintive and touching grows the demon-play'r. - Doth Satan mourn, with meltings all too late, - The sin and sorrow of his own sad state? - - * * * * * - - Night flies--the dream is past--and, pale and wan, - Starts from his spell-freed couch the anxious man. - Is it a marvel greater than his might, - Those winged sounds to summon back from flight? - To clutch them _whole_, in vain fond Hope inclin'd, - For Memory, overburthen'd, lagged behind, - Partly the strain fell 'neath Oblivion's pall, - But it had partly "an _un_-dying fall;" - And, in that state defective, to the light - Brought forth--it lives--a relic of that night! - -The next name for notice, in connexion with the Italian School of the -instrument, is that of - -FRANCESCO MARIA VERACINI (the younger), a great, -but somewhat eccentric performer, who was born at Florence, at the close -of the 17th century. Unlike his contemporary, Tartini, whose sensitive -and modest disposition led him to court obscurity, Veracini was vain, -ostentatious, and haughty. Various stories have been current in Italy -about his arrogance and fantastic tricks, which obtained for him the -designation of _Capo pazzo_. The following anecdote is sufficiently -characteristic of him. - -Being at Lucca at the time of the annual "Festa della Croce," on which -occasion it was customary for the principal professors of Italy, vocal -and instrumental, to meet, Veracini put down his name for a Solo -Concerto. When he entered the choir, to take possession of the principal -place, he found it already occupied by the Padre Girolamo Laurenti,[28] -of Bologna, who, not knowing him, as he had been some years absent, -asked him whither he was going? "To the place of first violin," was the -impetuous answer. Laurenti then explained that _he_ had been always -engaged to fill that post himself; but that if he wished to play a -concerto, either at vespers or during high mass, he should have a place -assigned to him. Veracini turned on his heel with contempt, and went to -the lowest place in the orchestra. When he was called upon to play his -concerto, he desired that the hoary old father would allow him, instead -of it, to play a solo at the bottom of the choir, accompanied on the -violoncello by Lanzetti. He played this in so brilliant and masterly a -manner as to extort an _e viva!_ in the public church; and, whenever he -was about to make a close, he turned to Laurenti, and called out, _Così -si suona per fare il primo violino_--"This is the way to play the first -fiddle!" - -Another characteristic story respecting this performer is the -following:-- - -Pisendel, a native of Carlsburg, and one of the best violinists of the -early part of the eighteenth century, piqued at the pride and hauteur of -Veracini, who thought too highly of his own powers not to disdain a -comparison of them with those of any performer then existing, -determined, if possible, to mortify his conceit and self-consequence. -For this purpose, while both were at Dresden, he composed a very -difficult concerto, and engaged a _ripienist_, or inferior performer, to -practise it till he had conceived the whole, and rendered the most -intricate passages as familiar to his bow and finger as the more -obvious and easy parts of the composition. He then took occasion, the -practitioner being present, to request Veracini to perform it. The great -executant condescended to comply; but did not get through the task -without calling into requisition all his powers. When he had concluded, -the _ripienist_, agreeably to his previous instructions, stepped up to -the desk, and began to perform the same piece; upon which Veracini, in a -passion, tore him away, and would have punished on the spot his perilous -presumption, had not Pisendel actively interfered, and persuaded him, -were it only for the jest of the thing, to "let the vain creature expose -himself." Veracini became pacified, the ripienist began again, and -executed the whole even more perfectly than his precursor, who stamped -on the floor with rage, swore he would never forgive Pisendel, and, -scarcely less abashed than tormented, immediately quitted Dresden. - -Veracini would give lessons to no one, except a nephew, who died young. -The only master he himself had was his uncle, Antonio Veracini, of -Florence; but, by travelling all over Europe, he formed a style of -playing peculiar to himself. Besides being in the service of the King of -Poland, he was for a considerable time at the various courts of Germany, -and twice in England, where he composed several _operas_, and where Dr. -Burney had the opportunity of witnessing and commenting on the bold and -masterly character of his violin performance. Soon after his being here -(about 1745), he was shipwrecked, and lost his two famous Steiner -violins, reputed the best in the world, and all his effects. In his -usual light style of discourse, he used to call one of these instruments -St. Peter, and the other St. Paul. - -As a composer, he had certainly a great share of whim and caprice; but -he built his freaks on a good foundation, being an excellent -contrapuntist; and indeed it is probable enough that these very freaks, -if tested by a contact with some of the fiddle _capriccios_ and -_pots-pourris_ of our own day, would fall very much in the measure of -extravagance, and leave us to wonder at what constituted a wonder in the -more sober musical times of Burney and Hawkins. The peculiarities in his -performance were his bow-hand, his shake, his learned arpeggios, and a -tone so loud and clear that it could be distinctly heard through the -most numerous band of a church or theatre[29]. - -PIETRO NARDINI, a noted Tuscan Violinist, was born at Leghorn, in 1725. -Instructed by Tartini, he soon became his most distinguished pupil;--nor -as such only was he regarded by that great master, who, besides loving -and admiring his rising genius, found in him a congeniality of character -and sentiment, that served to establish a firm mutual friendship. In -this instance, as in that of his other favourite pupil, Bini, we may -remark the exemption of Tartini's mind from that sordid spot of -jealousy, that too often dims the lustre of professional talent. -Attached, in 1763, to the Chapel of the Duke of Wirtemberg, Nardini soon -evinced abilities that made him conspicuous. On the reduction or -suppression of that establishment, a few years afterwards, he returned -to Leghorn, where he composed almost all his works. In 1769, he went to -Padua, to revisit Tartini, whom he attended in his last illness, with -attachment truly filial. On his return to Leghorn, the generous offers -of the Grand Duke of Tuscany determined him to quit that city, and enter -the Duke's service. Joseph the Second, when he visited Italy, was -greatly struck with the execution of this distinguished virtuoso, and -made a curious gold snuff-box the memorial of his admiration. In 1783, -the president, Dupaty, being in Italy, listened to him with a rapture -which occasioned his exclaiming, "His violin is a voice, or possesses -one. It has made the fibres of my ear to tremulate as they never did -before. To what a degree of tenuity Nardini divides the air! How -exquisitely he touches the strings of his instrument! With what art he -modulates and purifies their tones!" - -Michael Kelly makes reference to this distinguished artist, in speaking -of a private concert at Florence. "There," observes he, "I had the -gratification of hearing a sonata on the violin played by the great -Nardini. Though very far advanced in years, he played divinely. He spoke -with great affection of his favourite scholar, Thomas Linley, who, he -said, possessed powerful abilities."--Kelly adds, that Nardini, when -appealed to on that occasion, as to the truth of the anecdote about -Tartini and the Devil's Sonata, gave distinct confirmation of it, as a -thing he had frequently heard the relation of from Tartini himself. - -Like some other masters of the old school, Nardini exhibited his powers -to most advantage in the performance of _adagios_; and a high tribute -to his capacity for expression is conveyed in what has been recorded of -the magic of his bow--that it elicited sounds, which, when the performer -was concealed from view, appeared rather those of the human voice than -of a violin. Of his Sonatas, now almost consigned to oblivion, the style -is ably sustained, the ideas are clear, the motive well treated, and the -expression natural, though of a serious cast, as was the character of -the composer. - -Nardini died at Florence, in 1796, or, according to others, in 1793. -Among the compositions of this pupil of Tartini, are to be reckoned six -concertos for the violin; six solos for the same instrument (opera -seconda); six trios for the flute; six other solos for the violin; six -quartetts, six duetts; and, in manuscript, many concertos for the same -instrument. - -LUIGI BOCCHERINI, a composer of distinguished talents, to whom, and to -Corelli, stands assigned the honour of being considered the fathers of -_chamber-music_ for stringed instruments, was a native of Lucca, and -born in the year 1740. His first lessons in music and on the violoncello -were imparted by the Abbate Vanucci. His disposition for music was early -and strong; and his father, himself an ingenious musician, after -attending with care to the cultivation of his son's talent, sent him to -Rome, where he soon acquired a high reputation for the originality and -variety of his productions. Returning, a few years afterwards, to Lucca, -he gave there the first public performance of his Sonatas. It chanced -that another Lucchese, Manfredi, a pupil of Nardini's, was also present -at the time of Boccherini's return from Rome; and they executed -together, with great public success, the Sonatas of the latter for -violin and violoncello--his seventh work. The two professors, becoming -further associated in friendship, as well as in the musical art, quitted -Italy together for Spain, where they met with such encouragement as -determined Boccherini to establish himself in that country. Basking in -the sunshine of royal favour, the only condition required of Boccherini -for the continuance of its rays, was that he should work enough to -produce, annually, nine pieces of his composition, for the use of the -Royal Academy at Madrid; and he adhered faithfully to the engagement. He -appears to have passed through life smoothly, as well as with honour. -His death occurred at Madrid, in 1806, at the age of 66. - -The compositions of this master, which have been of marked importance in -connection with the progress of stringed instruments, are characterized -by a noble sweetness, a genuine pathos, deep science and great nicety of -art. It belongs to him, as a distinction, to have first fixed (about -1768) the character of three several classes of instrumental -composition--the _trio_, the _quartett_, and the _quintett_. In the -trio, he was followed by Fiorillo, Cramer, Giardini, Pugnani, and -Viotti; and in the quartett, by Giardini, Cambini, Pugnani, and, in -another style, by Pleyel, Haydn, Mozart, and Beethoven; while, in his -quintetts for _two_ violoncellos, he may be said to have no successor -but Onslow. His productions of this last species, of which he has left -no fewer than ninety-three--for he was little inferior to Haydn in -fecundity of genius--are particularly deserving of study; and it was the -remark of Dr. Burney, that he had supplied the performers on bowed -instruments, and the lovers of music in general, with more excellent -compositions than any other master belonging to that time, except Haydn. -His manner, as the same writer adds, "is at once bold, masterly and -elegant; and there are movements in his works of every style, and in the -true genius of the instruments for which he wrote, that place him high -in rank among the greatest masters who have ever written for the violin -or violoncello." - -"As in the symphonies of Haydn," says a writer in the _Harmonicon_, "so -in the quintetts of Boccherini, we observe the genuine stamp of genius, -differing in the manner, but alike in the essence. Boccherini had -studied, profoundly and thoroughly, the nature and capabilities of the -_violoncello_. He composed nearly the whole of his music for this -instrument, and was the first who wrote quintetts for two violoncellos. -Striving to impart to these productions the sweet, pathetic, and, if the -expression may be allowed, the religious character which distinguished -most of his works, he conceived the idea of giving the _leading_ part to -the _violoncello_, and of throwing the harmony into the violin, alto and -bass; the second violoncello, in the mean time, sometimes accompanying -the first, and occasionally playing the air in concert with it." - -The beautiful style of his quintetts, and the exquisite manner in which, -in some of them, he has thus combined the two violoncellos, constrained -an impassioned amateur to compare them to the music of the angels. -Boccherini's first work was published at Paris, where it excited the -highest admiration: his _Stabat Mater_ is worthy of being placed by the -side of that of Pergolesi, of Durante, or of Haydn; and to his genius -for composition he added so much executive skill on the violin, -violoncello and pianoforte, that a musical enthusiast said (with a -rapture probably too honest to be regarded as altogether profane), "If -God chose to speak to man, he would employ the music of Haydn; but, if -he desired to hear an earthly musician, he would select -Boccherini:"--and Puppo, the celebrated violinist, has described him -thus:--"The tender Boccherini is the softer second self of Haydn." It is -said, indeed, that Boccherini kept up a regular correspondence with -Haydn,--these two great musicians endeavouring to enlighten each other -respecting their compositions. - -FELICI GIARDINI, by the novel powers and grace of his execution, appears -to have made, in England, almost as great a sensation as that created, -eighty years later, by Paganini, with whom, also, he may be placed in -competition, on the score of a capricious and difficult temper. He was -born at Turin, in 1716; his musical education was received, at Milan, -under Paladini, and subsequently, for the violin in particular, at -Turin, under Somis, one of the best scholars of Corelli. At the age of -17, animated by the hope of fame, he went to Rome, and afterwards to -Naples. At the latter city, he obtained, by the recommendation of -Jomelli, a post far too humble for his large ambition--that of one of -the _ripieni_, or make-weights, in the opera orchestra. Here his -talents, nevertheless, began to appear, and he was accustomed to -flourish and change passages, much more frequently than he ought to have -done. "However," said he himself, in relating the circumstance to Dr. -Burney, "I acquired great reputation among the ignorant for my -impertinence; till, one night, during the opera, Jomelli, who had -composed it, came into the orchestra, and seated himself close by me, -when I determined to give the _Maestro di Capella_ a touch of my taste -and execution. In the symphony of the next song, which was in a pathetic -style, I gave loose to my fingers and fancy; for which I was rewarded by -the composer with--a violent slap in the face; which (added Giardini) -was the best lesson I ever received from a great master in my life." -Jomelli, after this, was very kind, in a different and less indirect -way, to this young and wonderful musician. - -After a short continuance at Naples, followed by visits professional to -the principal theatres in Italy, and by an enthusiastic reception at -Berlin, Giardini came to England, and arrived in London in the year -1750. Here his performance on the violin, in which, at that time, he was -considered to excel every other master in Europe, was heard, both in -public and in private, with the most rapturous applause. His first -public performance in London afforded a scene memorable among the -triumphs of art. It was at a benefit Concert for old Cuzzoni, who sang -in it with a thin, cracked voice, which almost frightened out of the -little Theatre in the Haymarket the sons of those who had, perhaps, -heard her, at the Great Theatre of the same street, with ecstacy -supreme. But when Giardini came forward, and made a display of his -powers in a solo and concerto, the applause was so long, loud and -furious, as nothing but that bestowed on Garrick had probably ever -equalled. His tone, bowing, execution, and graceful carriage of himself -and his instrument, formed a combination that filled with astonishment -the English public, unaccustomed to hear better performers than Festing, -Brown and Collett. - -Such was the estimation accruing to Giardini from his talents, that, in -1754, he was placed at the head of the opera orchestra. Two years -afterwards, he joined the female singer Mingotti in attempting that -labyrinth of disaster, the management of the Italian Opera; but, -although they acquired much fame, their management was not attended with -success. During this time, Giardini composed several of the dramas that -were performed. In leading the Opera band, he had the merit of -introducing improved discipline, and a new style of playing, much finer -in itself, and more congenial with the poetry and music of Italy, than -the level and languid manner of his predecessor, Festing, who had -succeeded Castrucci (Hogarth's "Enraged Musician"), and had since, with -inadequate powers, continued to maintain the post, with the exception of -one or two seasons, during which Veracini had been in the ascendant. - -Fashion, in the folly of its excess, has not often been seen to cut so -extravagant a figure as on the occasion of the associated performances -in private by Giardini and Mingotti, during the "high and palmy state" -of their credit. The absolutism of Mrs. Fox Lane (afterwards Lady -Bingley) over the fashionable world, as the enthusiastic patroness of -these two artists, is a thing that satire might feast on. Rank, wealth, -manhood, and beauty, prostrate before the domination of this "pollens -matrona," were content (lest, forsooth! they should have "argued -themselves unknown") to pay tax and tribute to her two favourites, and -take a passport to the notice of "the town," in the shape of a -benefit-ticket. At such scenes, it is not using too strong a figure to -say that Folly must have clapped her hands, displayed her broadest grin, -and given an extra jingle to the bells on her cap. To all who reflect, -it scarcely needs to be observed that the false raptures and artificial -stimulus, belonging to a system like this, are nearly as injurious as -they are absurd; that to pamper thus the artist, is not only to spoil -him, but to injure the interests of the art, by making it the object of -popular ridicule or disgust. - -The contrast afforded by the close of Giardini's career with the -brilliancy of its middle course, makes one think of Johnson's bitter -association of "the patron and the jail." Those were, truly, the days -when patronage was a thing of rank luxuriance, that sometimes overgrew -and choked the flowers of genius to which it fastened itself. The case -is now, happily, become somewhat different--the free and fostering -breath of general opinion being the air in which talent has learned to -seek and attain its full growth; and a more limited resort being had to -the forcing influence of the aristocratic temperature.[30] - -The losses that Giardini had sustained on that ready road to ruin, the -Italian Opera, drove him back to the resources of his own particular -talent; and he entered upon the occupation of teaching in families of -rank and fashion, at the same time continuing unrivalled as a leader, a -solo-player, and a composer for his favourite instrument. - -Mr. Gardiner, of Leicester, has made the following record concerning -him, in his "_Music and Friends_," on the occasion of a concert at the -above town, in 1774:--"There I heard the full and prolonged tones of -Giardini's violin. He played a concerto, in which he introduced the then -popular air "Come, haste to the wedding," which moved the audience to a -state of ecstacy, but now would disgust every one by its vulgarity. He -was a fine-figured man, superbly dressed in green and gold; the breadth -of the lace upon his coat, with the three large gold buttons on the -sleeve, made a rich appearance, which still glitters on my imagination." - -Giardini resided in England until the year 1784, when he went to Naples, -under the protection and patronage of Sir William Hamilton. There he -continued five years, and then returned to this country; but his -reception was not what it had formerly been. Fashion is a goddess of so -gay a turn as cannot assort with infirmity; and an old favourite is but -too likely to find that favour easily gets a divorce from age. The -health of the Italian was greatly impaired, and sinking fast under a -confirmed dropsy. With a dimmer eye, a feebler hand, and doubtless an -aching heart, he found himself still doomed to the prosecution of his -calling, when all his former excellence was lost. Instead of _leading_ -in all the most difficult parts, he now played in public only the tenor -in quartetts that he had recently composed. After attempting, -unsuccessfully, a burletta opera at the little Theatre in the Haymarket, -he was at length (in 1793) induced to go to St. Petersburgh, and -afterwards to Moscow, with his burletta performers. The most cruel -disappointment, however, attended him in each of these cities; in the -latter of which, he died, at the age of 80, in a state (as far as it -could be discovered) of poverty and wretchedness. - -It is certain that the wayward and splenetic character evinced by this -brilliant artist, was his bane through the greater part of his life. To -enquire how much of that character was indigenous to the man, and how -much the evil fruit of the private-patronage system, were, perhaps, to -consider too curiously. That he was careless of his own interest, and -that he quarrelled with some of his most valuable friends, can excite -little surprise, when we note the furor of favoritism, the perversity of -petting, that were thrust upon him. We must not expect, in the _morale_ -of the musician - - "Made drunk with honor, and debauch'd with praise," - -that "sterner stuff," which we look for in the philosopher. - -As a composer for the instrument on which he shone, Giardini is not -entitled to rank very high. His Solos and Concertos, numerous, pleasing -and of neat effect, were not of so marked a character as to ensure any -great duration to their popularity; nor did they admit of any severe -analysis as to science in their structure. It is from his _playing_ that -his high reputation is derived; and he confirmed into triumph, by more -than thirty years of brilliant performance, the previously growing -favour of the instrument in England, where indeed he may be said to have -completely reformed the Violin system. A living testimony to the -excellence of his playing, with a few words as to its manner, has been -given, not long since, by Parke, the oboist, who heard him in 1776, and -states that he displayed a fund of grace and expression--that his tone -united sweetness with power--and (an odd addendum) that he made use of -strings so large as to give rise to the idea that his fingers must have -been blistered by the necessary pressure he gave them. - -ANTONIO LOLLI, born at Bergamo, in 1728, attained eminence in his own -country, and afterwards (from 1762 to 1773) became Concert-Master to the -Duke of Wurtemburg. Subsequently he went to Russia, where he obtained, -from the Empress, Catherine II, a signal token of her admiration, in the -shape of a violin-bow, made for him by her order, and bearing on it an -inscription in her own potential autograph:--"_Archet fait par ordre de -Catherine II, pour l'incomparable Lolli_." In 1785, he visited England, -whence he proceeded to Spain, and thence to Paris, where he performed at -the _Spirituel_ and other Concerts. In 1788, he returned to Italy, where -he glorified his own name with the title of Concert-Master to the -Empress of Russia; and in 1794, he was at Vienna, ascribing himself -under the same character to the King of Naples. He died, after a -lingering illness, at Naples, in 1802. His excellence in practice was -chiefly evinced in quick movements: he was rarely inclined to exhibit in -an adagio.[31] An anecdote in proof of his professional assiduity is -recorded by Gerber. When he entered on his engagement at Stuttgard, in -1762, he found a superior there, in the person of Nardini. This -circumstance roused all his energies, which speedily took a settled -purpose. He requested the Duke to allow him a year's leave of absence, -to travel; instead of which, he retired, diligent, but disingenuous, to -a secluded village, and applied himself indefatigably to his instrument. -At the end of the accorded absence, he returned from his pretended -journey, "clarior è tenebris," and shone forth with such effect, that -Nardini gave up the contest, and returned to Italy. - -With regard to the compositions of Lolli, it is known that he never -wrote more than the theme, and obtained from other hands the bass, or -the parts for the several instruments: yet it is curious to note that he -gives difficult passages, of considerable compass, to be executed on the -_fourth string_ only. There are extant various sets of his Solos, a -Preceptive Treatise on the Violin, &c. - -GAETANO PUGNANI, first violinist to the King of Sardinia, was born at -Turin, in the year 1728. At a very early age, he began to practise the -instrument on which he was destined to excel. His first tutor was Somis, -his countryman, already named as one of the most distinguished scholars -of Corelli. After displaying his extraordinary abilities at the -Sardinian Court, Pugnani went to Paris, and received the highest -applause at the _Concert Spirituel_, as an admitted rival of J. Stamitz, -Gavinies, and Pagin. - -Pugnani afterwards visited many parts of Europe, and remained a -considerable time in England. It was here that he composed a great -portion of his violin music. In 1770, he returned to Italy; and, at -Turin, founded a school for violinists, as Corelli had at Rome, and -Tartini at Padua. From this practical academy issued the first -performers of the latter part of the eighteenth century; among whom were -Viotti, Bruni and Oliveri. Pugnani's style of execution is recorded to -have been broad and noble, and characterized by that commanding sweep of -the bow which afterwards formed so grand a feature in the performance of -Viotti; the germs of whose high qualities are clearly traceable to his -master. It has been remarked, that all the pupils of Pugnani proved -excellent leaders. To lead well, was his most distinguishing excellence; -and he possessed the art of transmitting it to others. In the orchestra, -says Rangoni, he commanded like a general in the midst of his soldiers. -His bow was the baton of authority, which every performer obeyed with -the most scrupulous exactitude. With a single stroke of this bow, he -could correct the erroneous, or animate the lethargic. He even indicated -to the _actors_ the tone and sentiment in which they ought to deliver, -their respective melodies, and brought every thing to that harmony of -expression, without which the operatic scene fails of its most powerful -charm. His strong and acute mind possessed with the great object to -which every leader ought to attend, he promptly and powerfully seized -all the grand points, the character, the style and taste of the -composition, and impressed it upon the feelings of the performers, both -vocal and instrumental. - -Pugnani, in addition to the display of brilliant and powerful abilities -as a performer, gave, in his compositions, evidence of a free and -elegant imagination. His several instrumental pieces, which consist of -solos, trios, quartetts, quintetts and overtures, were published -variously, in London, Amsterdam and Paris. On the Continent, they are -still in some request, but are become very scarce. They display an -eloquence of melody, and an animated and nervous manner. The ideas are -natural, both in themselves and in their succession; and, however -pointed and striking, never desert the style of the _motivo_. The operas -of this distinguished master, seven or eight in number, were all highly -successful; and there is scarcely a theatre in Italy, at which some of -them have not been performed. - -Amongst the anecdotes that have been related of Pugnani, are the -following. In his early youth, but when already much advanced on the -violin, feeling far from satisfied with the degree of excellence he had -attained, he resolved to quit Paris for Padua, in order to see Tartini, -to consult him on his playing, and to improve himself under his -instruction. Desired by that great master to give him a specimen of his -performance, he requested of him, beforehand, to express frankly his -opinion of his style and manner. Before he had played many bars, Tartini -suddenly seized his arm, saying, "Too loud, my good friend; too loud!" -Pugnani began afresh; when, arriving at the same passage, his auditor -again stopped him short, exclaiming, "Too soft, my good friend; too -soft!" He immediately laid down his instrument, and solicited Tartini to -admit him among his scholars. His request was granted; and, excellent -violinist as he really already was, he began his practice _de novo_, -and, under the guidance of his new instructor, soon became one of the -first performers of his time. Not long after this, at the house of -Madame Denis, Pugnani heard Voltaire recite a poetical composition, in a -style that enchanted him; and he, in his turn, at the lady's request, -began to perform on his violin; when, vexed at the interruption and -ill-breeding of Voltaire's loud conversation,[32] he suddenly stopped, -and put his violin into the case, saying, "M. Voltaire fait très-bien -les vers, mais, quant à la musique, il n'y entend pas le diable." Once, -in performing a concerto before a numerous company, he became so -excited, on arriving at an _ad libitum_ passage, and so lost in -attention to his playing, that, thinking himself alone, he walked about -the room, "turbine raptus ingenii," till he had finished his very -beautiful cadence. - -Pugnani died at the city of his birth, in 1798. The violinist, Cartier, -has written his eulogium in few words, but of strong import:--"He was -the master of Viotti." - -GIOVANNI MANE GIORNOVICHI (or Giarnovick, or Jarnowick, as he has been -variously called) was born at Palermo, in 1745, and had Antonio Lolli -for his preceptor. Resorting to Paris for his first public display, he -appeared at the _Concert Spirituel_, with indifferent success, but, by -perseverance, soon turned the scale of opinion in his favour so -effectually, that, during a space of ten years, the style of Giornovichi -was in fashion in the French capital. His sway there was terminated by -the superior power of Viotti, and he quitted France about the year 1780, -proceeding to Prussia, where, in 1782, he was engaged as first violin in -the Royal Chapel of Potsdam. He was, subsequently, for some time in -Russia.[33] Between the years 1792 and 1796, he was in high vogue in -various parts of England, but lost his popularity through a dispute with -an eminent professor, in which the sense of the public went against him. -A residence of some years in Hamburgh, a shorter stay at Berlin, and -then a change to St. Petersburgh, brought him to the end of his career. -He died of apoplexy, in 1804. - -The eccentricity which marked the character of this artist, is shown in -various anecdotes that have been current respecting him. On one -occasion, at Lyons, he announced a concert, at six francs a ticket, but -failed to collect an audience. Finding the Lyonnese so retentive of -their money, he postponed his performance to the following evening, with -the temptation of tickets at half the price. A crowded company was the -result; but their expectations were suddenly let down by the discovery -that "the advertiser" had quitted the town _sans cérémonie_. At another -time, being in the music-shop of Bailleux, he accidentally broke a pane -of glass. - -"Those who break windows must pay for them," said Bailleux. "Right," -replied the other; "how much is it?" "Thirty sous." "Well, there's a -three-franc piece." "But I have no small change." "Never mind that," -Giornovichi replied; "we are now quits!" and immediately dashed his cane -through a second square--thus taking _double panes_ to make himself -disagreeable. - -The authoress of the "Memoirs of the Empress Josephine" has furnished an -anecdote connected with his sojourn in London. He gave a concert, which -was very fully attended. On the commencement of a concerto which he had -to perform, the company continued conversing together, while their -whispering was intermingled with the clattering of tea-cups and -saucers--for it was then customary to serve the company with tea -throughout the evening, during the performance as well as in the -intervening pauses. Giornovichi turned to the orchestra, and desired the -performers to stop. "These people," said he, "know nothing about music. -I will give them something better suited to their taste. Any thing is -good enough for _drinkers of warm water_." So saying, he immediately -struck up the air, "J'ai du bon tabac." The best of the matter was, he -was overwhelmed with applause; the second piece was listened to with -great attention, and the circulation of the tea-cups was actually -suspended until its conclusion. - -"Giornovick," says Michael Kelly, again, in his "Reminiscences," "was a -desperate duellist, quarrelled with Shaw, the leader of the Drury Lane -orchestra, at an oratorio, and challenged him. I strove all in my power -to make peace between them. Giornovick could not speak a word of -English[34], and Shaw could not speak a word of French. They both agreed -that I should be the mediator between them. I translated what they said -to each other, most faithfully; but, unfortunately, Shaw, in reply to -one of Giornovick's accusations, said, "Pooh! pooh!"--"Sacre!" said -Giornovick, "what is the meaning of dat 'pooh! pooh?' I will not hear a -word until you translate me 'pooh! pooh!'" My good wishes to produce -harmony between them, for some time, were frustrated, because I really -did not know how to translate 'pooh! pooh!' into French or Italian. I, -however, at last succeeded in making them friends; but the whole scene -was truly ludicrous."[35] - -The mettlesome _vivacity_ of this strange being was further shown in his -intercourse with the Chevalier St. George, who was expert at the sword, -as well as the _bow_. Giornovichi often disagreed with this formidable -master of fence, and, one day, in the heat of a dispute, dealt him a box -on the ear. Instead of resenting it, however, by means of his "so potent -art," St. George turned round, with laudable self-restraint, to a person -who was present, and said, "_J'aime trop son talent pour me battre avec -lui!_" ("I am too fond of his talent, to fight him.") - -"Jarnowick," says a recent critic, "was a sort of erratic star or -meteor, which cannot be brought into the system of the regular planets -of the violin. Slightly educated, and shallow as a musician, his native -talent, and the facility with which he was able to conquer mechanical -difficulties, rendered him so brilliant and powerful a player, that, for -a time, he was quite the rage, both in France and England. We have been -told, by a gentleman who knew him well," adds this writer, "that he has -seen him, with his violin in his hand, walking about his room, and -groping about on the strings for basses to the melodies he was -composing. His concertos are agreeable and brilliant, but destitute of -profundity and grandeur, and are, therefore, totally thrown aside. His -performance was graceful and elegant, and his tone was pure. He was -remarkably happy in his manner of treating simple and popular airs as -_rondos_, returning ever and anon to his theme, after a variety of -brilliant excursions, in a way that used to fascinate his hearers. But, -both as a composer and a performer, the effect he produced was -ephemeral, and has left no trace behind it. He contributed nothing -either to the progress of music, or to that of the instrument which he -cultivated." - -In giving the reverse side of the picture, there appears to be here a -little exaggeration of its defects. That so eminent a performer should -have contributed _nothing_ to the progress of his instrument, is -scarcely to be held probable. The crowds he drew, and the admiration he -excited, must surely have been the means of diffusing some increased -regard for the instrument of whose single powers he made such brilliant -exhibition. To the steady advancement of the art, through the formation -of pupils, he might contribute nothing; but he must have added something -to its success, by stimulating the public disposition to encourage it. -To create admirers, is of less importance than to make proficients; and -yet it is an achievement of _some_ value, inasmuch as it promotes the -_demand_ for proficients. Even when the public, for personal reasons, -withdrew their patronage from Giornovichi, they only transferred, in -favor of others, the admiration for violin solo-playing, which he had -been one of the agents to instil into them: and thus it is that no -performer of great abilities, unless, by introducing a vicious style, he -corrupts taste (which has not been charged upon Giornovichi), can be -justly said to be destitute of advantageous influence upon his art. - -GIOVANNI BATTISTA VIOTTI, the first violinist of his age, and the -enlightened originator of the modern order of violin-playing, was born -in 1755, at Fontaneto, a small village in Piedmont. Possessing the -happiest dispositions for his art, the progress he made under Pugnani -was so rapid, that, at the age of twenty, he was chosen to fill the -situation of first violinist to the Royal Chapel of Turin. After about -three years' residence there, he proceeded on his travels, having -already attained maturity of excellence. From Berlin, he directed his -course towards Paris, where he displayed his talents in the _Concert -Spirituel_, and speedily obliged Giornovichi, who was then figuring as a -star of the first pretensions, to "pale his ineffectual fire." The -concertos of Giornovichi, agreeable and brilliant as they were, and -supported by his graceful and elegant playing, lost their attraction -when brought into rivalry with the beauty and grandeur of Viotti's -compositions, aided by the noble and powerful manner in which he -executed them. - -Viotti's fame very soon drew on him the notice of the French Court; and -he was sent for to Versailles by Marie Antoinette. A new concerto of his -own composition, to be performed at a courtly festival, was to afford a -treat worthy of Royalty; and every one of the privileged was impatient -to hear him. At the appointed hour, a thousand lights illumined the -magnificent musical saloon of the Queen; the most distinguished -symphonists of the chapel-royal, and of the theatres (ordered for the -service of their Majesties) were seated at the desks where the parts of -the music were distributed. The Queen, the Princes, the ladies of the -royal family, and all the persons belonging to their Court, having -arrived, the concert commenced. The performers, in the midst of whom -Viotti was distinguished, received from him their impulse, and appeared -to be animated by the same spirit. The symphony proceeded with all the -fire and all the expression of him who conceived and directed it. At the -expiration of the _tutti_, the enthusiasm was at its height; but -etiquette forbade applause; the orchestra was silent. In the saloon, it -seemed as if every one present was forewarned by this very silence to -breathe more softly, in order to hear more perfectly the _solo_ which he -was about to commence. The strings, trembling under the lofty and -brilliant bow of Viotti, had already sent forth some prelusive sounds, -when suddenly a great noise was heard from the next apartment. _Place à -Monseigneur le Comte d'Artois!_ His Highness entered, preceded by -servants carrying flambeaux, and accompanied by a numerous train of -bustling attendants. The folding-doors were thrown open, and the concert -was interrupted. A moment after, the symphony began again; "Silence! -Viotti is going to play." In the meantime, the _Comte d'Artois_ cannot -remain quietly seated: he rises, and walks about the room, addressing -his discourse loudly to several ladies. Viotti looks round with -indignant surprise at the interruption, puts his violin under his arm, -takes the music from the stand, and walks off, leaving the concert, her -Majesty and his Royal Highness, to the reproaches of all the -audience--and leaving his biographers, afterwards, in some doubt whether -a just independence of spirit, or a petulance beyond the occasion, -should be regarded as the motive to this premature _finale_. Of those -who read the anecdote, some may associate it with the story of "the -_bear_ and fiddle," while others, siding with Viotti, may consider the -interruption that provoked him as something parallel to Beranger's -ironical summons of - - Bas, bas! - Chapeau bas! - Place au Marquis de Carabas! - -It has never been satisfactorily discovered what were the reasons which -induced Viotti, at an early period of his life, to relinquish all idea -of ever performing in public. Some have referred to the incident above -narrated, as the cause of this; but they who pretended to be well -acquainted with his character, have asserted that he disdained the -applause of the multitude, because it was afforded, almost -indiscriminately, to superiority of talent, _and_ to presumptuous -mediocrity. It is well known that he rejected the solicitations of -people who were termed of the great world, because he would have no -other judges than such as were worthy of appreciating him; and that, -notwithstanding the pretensions asserted by the great and fashionable -persons of his day, on the score of knowing every thing, and of being -the supreme arbiters of arts, of artists, and of taste, he observed that -it was very rare to find among them men capable of a profound sentiment, -or who could discover in others any thing beyond their exterior, and -judge of things otherwise than by the same superficial admeasurement. -He, however, yielded again to the eagerness which was evinced for -hearing him,--but on two occasions only; of which the one did honour to -his heart; and the other, as it serves to acquaint us more intimately -with his character, may be here related. - -On the fifth story, in a little street in Paris, not far from the _Place -de la Révolution_, in the year 1790, lodged a deputy of the Constituent -Assembly, an intimate and trusty friend of Viotti's. The conformity of -their opinions, the same love of the arts and of liberty, an equal -admiration of the genius and works of Rousseau, had formed this -connection between two men who thenceforward became inseparable. It was -during the exciting times of enthusiasm and of hope, that the ardent -heart of Viotti could not remain indifferent to sentiments which -affected all great and generous minds. He shared them with his friend. -This person solicited him strongly to comply with the desire which some -of the first personages in the kingdom expressed to hear him--if only -for once. Viotti at last consented, but upon one condition--namely, that -the concert should be given in the modest and humble retreat of _the -fifth floor! La fortune passe par tout_--'We have,'said he, 'long enough -descended to _them_: but the times are changed; they must now mount, in -order to raise themselves to _us_.' This project was no sooner thought -of, than prepared for execution. Viotti and his friend invited the most -celebrated artists of the day to grace this novel festival:--Garat, whom -nature had endowed with a splendid voice, and a talent of expression -still more admirable--Herman, Steibelt, Rode (the pupil of Viotti). To -Puppo was confided the direction of the orchestra; and to Bréval, the -office of seconding Viotti. Among the great female _artistes_ of the -day, were Madame Davrigny, with Mandini, Viganoni, and Morichelli, a -lady as celebrated for her talents as for her charms. On the appointed -day, all the friends arrived. The bust of Rousseau, encircled with -garlands of flowers, was uncovered, and formed the only ornament of this -novel music-saloon. It was there that Princes, notwithstanding the pride -of rank; great ladies, despite the vanity of titles; pretty women, and -superannuated fops, clambered for the first time up to the _fifth -story_, to hear the almost celestial music of Boccherini, performed by -Viotti; and, that nothing might be wanting to complete the triumph of -the artist, there was not one of these persons who, after the concert, -descended without regret, although it was the lot of some of them to -return to sumptuous palaces, and into the midst of etiquette, luxury and -splendour. - -Among those friends who enjoyed the envied privilege of hearing this -great artist in private, was Madame Montgerault, who had a country-house -in the valley of Montmorency. Some of his most brilliant ideas had their -access in the society of this amiable and gifted woman, in whom he found -an enthusiasm for the art equal to his own. She would frequently seat -herself at the piano, and begin a Concerto _all'improvviso_; while -Viotti, catching in an instant the spirit of the _motivo_, would -accompany her extemporaneous effusions, and display all the magic of his -skill. - -The spirit and honesty of Viotti's character are not ill shewn in the -following anecdote. Giuseppe Puppo, who possessed no mean command over -the violin, and whose talents were acknowledged by Viotti with the -readiest candour, cherished the more than foolish vanity of boasting -himself a scholar of the great Tartini, which was known to be an -untruth, or, as a French term leniently expresses such deviations, "une -inexactitude." On some public occasion, when M. Lahoussaye chanced to be -present (who was really a disciple, and an enthusiastic one, of -Tartini's), Viotti begged him, as a favor, to give him a specimen of -Tartini's manner of playing. "And now," said he, in a tone loud enough -to be heard by all the company--"now, Signor Puppo, listen to my friend, -Monsieur Lahoussaye, and you will be enabled to form an idea as to how -Tartini played!" - -Viotti's stay in Paris was abruptly terminated by the bursting of the -revolutionary storm in 1790, which drove him to England. His début in -London, at the memorable concerts under the management of Salomon, was -as brightly marked as it had been in Paris. The connoisseurs were -delighted by his originality and felicitous boldness, tempered as these -qualities were by a pure and exalted taste. In the years 1794 and 1795, -he had some share in the management of the King's Theatre, and -subsequently became leader of the band in that Temple of (occasional) -Concord. But, as an ancient author has said, success is a thing of -glass, and, just when it begins to wear its brightest looks, it -provokingly meets with a fracture. The quiet and blameless habits of -life of the great musician had not sufficed to exempt him from the -officious visitations of political suspicion, prompted, it has been -supposed, by some whispering tale of slander, from professional envy. -The result was, that poor Viotti suddenly received an order from the -Government to leave England immediately. By what subtle ingenuity of -apprehension, the proceedings of a violin-player came to be associated, -at the Home-Office, with the Revolutions of Empires, is as yet a mystery -more dark than Delphos. Possibly some future D'Israeli, enquiring for -"farther particulars within," may find the means of enlightening the -world on this transaction, which certainly does seem, at present, to -afford scantier material for the historian than for the epigrammatist. - -Thus expelled from the country which had evinced towards others so many -generous proofs of hospitality, Viotti passed over to Holland, and -subsequently fixed himself in the seclusion of a beautiful spot near -Hamburgh, named Schönfeld. Here he gave up his mind to the cares of -composition, as most likely to displace or diminish those more painful -ones which harassed his sensitive mind, on account of the treatment he -had been subjected to. Some of his best works were the product of this -retreat; including his celebrated _Six Duetts Concertante_, for two -violins; in the preface to which, he touches on the circumstance that -was still affecting him:--"Cet ouvrage est le fruit du loisir que le -malheur me procure. Quelques morçeaux ont été dictés par la peine, -d'autres par l'espoir;"--and indeed it has been justly remarked that it -would be difficult to find any musical work that should seem to have -proceeded more directly from a feeling heart, than these exquisite -Duetts. - -In Hamburgh, he met with his former competitor, Giornovichi, who, like -himself, had been compelled to fly from Paris, the scene of his pristine -glories. The latter gave two concerts in this place, attended with the -meed of money, as well as that of praise; but the graver-minded Viotti -could not be persuaded to appear in public, and imitate his example. - -In 1801, Viotti found himself at liberty to return to London. Having -determined to relinquish the musical profession, he devoted his -resources, like Carbonelli of foregone fame, to the ministry of Bacchus, -and associated himself with a respectable member of the wine-trade. -Disappointment was the issue, however, of this undertaking; and, after -years of endeavour, he discovered that his whole fortune was gone. Thus -reduced, he prevailed with his own struggling spirit to solicit some -appointment from the French Court, and received, from Louis XVIII, the -nomination to the management of the Grand Opera. Impelled anew by what -Byron calls - - "The various joltings of life's hackney coach," - -he proceeded to Paris, and entered upon the office; but neither his age, -nor his quiet character, was congenial with the temper of such a scene; -and he retired, unsuccessful, but with the grant of a pension. He then -came over to end his days in England, loving rather to be an _habitué_ -of London, than a citizen of the world; for he had become closely -familiarized with the ways and habits of our metropolis, and seemed to -have cherished an almost Johnsonian attachment to it. His previous cares -and misfortunes, however, had left him little power to continue the race -of life, already a protracted one; and, after visibly declining for some -time, he died on the 3rd of March, 1824. - -Viotti's long retirement from the profession of that art on which his -fame was built, had not impaired his love of it, nor his inclination to -support it. On the institution of the Philharmonic Society, that "decus -et tutamen" of instrumental music in this country, he was one of the -original members, and, as an honorary performer, not only led the band -in turn with Salomon, F. Cramer, Yaniewicz, Spagnoletti and Vaccari, -but, like them, interchanged direction and submission, by taking his -seat, on the other nights, among the _ripieni_; thus assisting to form -an orchestral phalanx that certainly never was witnessed before, and is -little likely to be surpassed. - -Viotti was a person of feelings and sentiments far less artificial than -are commonly produced in men whose intercourse with society is fostered -by their powers of contributing to its amusement. Mixing, of necessity, -a great deal with the world, he seems, nevertheless, in a remarkable -degree, to have preserved himself from its corrupting influence; and -though, as just remarked, he loved London much, there is very -interesting evidence to shew that he loved nature more. The purity and -rectitude of his taste--its association with the poetic and the -true--stand thus recorded by one who had good opportunities of -appreciating him:--"Never did a man attach so much value (says M. Eymar) -to the simplest gifts of nature; and never did a child enjoy them more -passionately. A simple violet, discovered in its lowly bed among the -grass, would transport him with the liveliest joy; a pear, a plum, -gathered fresh by his own hands, would, for the moment, make him the -happiest of mortals. The perfume of the one had always something new to -him, and the taste of the other something more delicious than before. -His organs, all delicacy and sensibility, seemed to have preserved, -undiminished, their youthful purity. In the country, everything was, to -this extraordinary man, an object of fresh interest and enjoyment. The -slightest impression seemed communicated to all his senses at once. -Every thing affected his imagination; every thing spoke to his heart, -and he yielded himself at once to its emotions." - -The natural bias of his character receives further illustration in the -sketch which he himself has given, descriptive of his picking up one of -the varieties of the popular _Ranz des Vaches_, among the mountains of -Switzerland. - -"The _Ranz des Vaches_ which I send you," says he to a friend, "is -neither that with which our friend Jean Jacques has presented us, nor -that of which M. de la Borde speaks, in his work upon Music. I cannot -say whether it is known or not; all I know is, that I heard it in -Switzerland, and, once heard, I have never forgotten it since. - -"I was sauntering alone, towards the decline of day, in one of those -sequestered spots where we never feel a desire to open our lips. The -weather was mild and serene; the wind (which I detest) was hushed; all -was calm--all was unison with my feelings, and tended to lull me into -that melancholy mood which, ever since I can remember, I have been -accustomed to feel at the hour of twilight. - -"My thoughts wandered at random, and my footsteps were equally -undirected. My imagination was not occupied with any particular object, -and my heart lay open to every impression of pensive delight. I walked -forward; I descended the valleys, and traversed the heights. At length, -chance conducted me to a certain valley, which, on rousing myself from -my waking dream, I discovered to abound with beauties. It reminded me of -one of those delicious retreats so beautifully described by Gesner: -flowers, verdure, streamlets, all united to form a picture of perfect -harmony. There, without being fatigued, I seated myself mechanically on -a fragment of rock, and again fell into that kind of profound reverie, -which so totally absorbed all my faculties, that I seemed to forget -whether I was upon earth. - -"While sitting thus, wrapped in this slumber of the soul, sounds broke -upon my ear, which were sometimes of a hurried, sometimes of a prolonged -and sustained character, and were repeated, in softened tones, by the -echoes around. I found they proceeded from a mountain-horn; and their -effect was heightened by a plaintive female voice. Struck, as if by -enchantment, I started from my lethargy, listened with breathless -attention, and learned, or rather engraved upon my memory, the _Ranz des -Vaches_ which I send you. In order to understand all its beauties, you -ought to be transplanted to the scene in which I heard it, and to feel -all the enthusiasm that such a moment inspired." - -This susceptibility of pure and simple emotions, which it is delightful -to recognize as one of the attributes of real genius, was in Viotti -associated with a clear and cultivated intellect. He passed much of his -life in the society of the accomplished, the literary, and the -scientific; and his active mind gathered strength and refinement from -the intercourse. If the Horatian dictum be right, that - - "Principibus placuisse viris haud ultima laus est," - -it may be added to the sum of Viotti's personal merits, that he gained -the respect and esteem of the great, with whom he mixed on proper terms, -not forgetful of their rank as persons of birth and fortune, nor of his -own, as a man of rare talent. The strictest integrity and honour -regulated his transactions; and his feelings were kind and benevolent. -Thus it may be seen that his character, as a man, was calculated to give -increased dignity and influence to his name as a musician. - -In the latter capacity, it has, with great truth, been remarked of him, -that though the _virtuosi_ of the present day contrive to execute manual -difficulties exceeding those which were attempted in his time, he has -never been surpassed in all the _highest_ qualities that belong to -performance on his instrument. His compositions for it remain, to this -day, unrivalled in spirit and grandeur of design, graceful melody, and -variety of expression; and they still furnish, when performed by the -surviving disciples of his school, one of the most delightful treats -which a lover of the great and beautiful in music can receive. The -_Concerto_, in particular, which attained some of its improvements in -the hands of the elegant Jarnowick, and the sweetly-expressive Mestrino, -derived a marked advancement from Viotti, who gave to this style the -character which seems so peculiarly its own, and brought it to a degree -of elevation which it seems incapable of surmounting. The specimens of -his composition in this line, that principally claim the attention of -the amateurs of instrumental music, are those in G, in A minor, in D, -and in E minor. The theme of the Concerto in D is in the highest degree -brilliant, though it must not be forgotten that it is taken from a trio -of Pugnani's in E flat. - -It has been well suggested, as a hint to the solo-players at our London -Concerts, that Viotti's Concertos offer material far more desirable for -their use than those eternal "Airs with Variations," which convey to the -feelings of the auditor so little sense of variety, and in general tend -to exhibit nothing beyond the dexterity of what the Italians call a -_spacca-nota_, or note-splitter. - -The most popular of his _Trios_ are Op. 16, 17, and 18. The whole of his -_Duos_ are admirable, as respects both invention and energy: they may be -called Concertos in miniature[36]. - -Among the disciples of the school of this great master, may be -enumerated Rode (on the whole regarded as the best), Alday, Labarre, -Vacher, Cartier, Pixis, Madame Paravicini, Mademoiselle Gerbini, and our -countryman, Mori. - -FRANCESCO VACCARI, born at Modena, about the year 1772, commenced his -practice of the instrument at the infantine age of five years, under the -tutelage of his father, who, delighted with his quickness of -apprehension, would frequently encourage him to play at sight, not by -the gauds and "immoment toys" that are the common habits of childhood, -but by gifts of new music. After four years of domestic study, he was -introduced by his father to Pugnani, who, with a natural mistrust of -precocious powers, did not like, at first, to be troubled with -"child's-play," although, on hearing him, he could not refrain from -applauding his execution. The boy went afterwards to Florence, and had -instructions from Nardini. The habit so early instilled into him by his -father, of playing at first sight, procured him a triumph at Mantua, -when he was yet but thirteen; for he was enabled to execute, without -hesitation, a new Concerto which Pichl, its composer, placed before him. -In 1804, after he had visited most of the great towns in Italy, he -obtained from the King of Spain the appointment of First Violin of his -chamber-band. The disturbed state of that country drove him into -Portugal; and he was, at two several periods, performing in England. -Vaccari was distinguished by purity of tone and of taste, a tender -expression, execution without trick, and a nice exactitude of -intonation. - -MASONI, a Florentine, born 1799, attained very brilliant powers of -execution, which he displayed chiefly in foreign countries--quitting -Italy in 1817, for South America, from whence, after various migratory -musical labours, he passed over to India, and stirred to liveliest -emotion the languid people of Calcutta. In the spring of 1834, he -visited England, where his _tours de force_, and surprising dexterities -of bowing, would have won for him a more copious admiration than they -did, if, instead of coming so closely in the rear of the Genoese -"Miracle of Man," who had well nigh exhausted our stock of musical -sympathies, he had been his antecedent. I would here ask the gentle -reader's indulgence towards the following bit of measured hyperbole, -perpetrated at the above time, and admitted into a weekly publication of -Mr. Leigh Hunt's:-- - - If your soul be not too _drony_, - Haste, to hear renowned Masoni! - Scarce Napoleon (nick-named Boney) - Was more wondrous than Masoni! - 'Pollo's pet, Euterpe's crony, - Is the exquisite Masoni. - All the sweets that live in honey - Are concentred in Masoni! - Fiddlers _should_ be rich and _toney_-- - This--and _more_, is great Masoni. - Swifter, far, than hare or poney, - Run the triplets of Masoni-- - And Astonishment bends _low_ knee - To the flights of high Masoni! - Utterly _himself_ unknown he - Should be, who _not_ knows Masoni. - Dead must be the heart, and _stony_, - That is moved not by Masoni! - Money, without ceremony, - _Shower'd_ should be on Masoni! - E'en from Greece Colocotroni - Well might come, to hear Masoni! - So, again I tell ye, _on'y_ - Go, and listen to Masoni! - -The length to which these notices of the artists of Italy has already -extended, is one of the reasons precluding detail with respect to some -others of the later names belonging to that country. Paganini, however, -is neither to be thus dismissed, nor to be here briefly treated of at -the end of a chapter. To him, as standing alone in the history and -practice of his art, and as forming an object of very widely-diffused -curiosity, I propose devoting a separate notice in the ensuing chapter. -I cannot, in the mean time, omit wholly to advert to the name of -Spagnoletti, whose taste and refinement, in the conspicuous situation -which he filled for so many years in London, rendered him a highly -valued model for the attention of our own cultivators of the instrument. -Who is there amongst those who were frequenters of the King's Theatre, -during his time of office, that will not recollect, with feelings of -interest, the delicate grace of Spagnoletti's playing--his obviously -intense, yet not obtrusive, enthusiasm--and his oft-repeated sidelong -depressions of the head, as if to drink in more fully, at the left ear, -the delicious tones which he enticed from his own instrument? His -peculiar sensitiveness under the impression of a false note, and his -liberality of spirit, and readiness to speak commendingly of his -brethren of the bow, are among the further traits which denoted him to -those who had the opportunity of closer observation. Spagnoletti's -original name is said to have been Paolo Diana. I have heard an anecdote -which, if it may be depended on, exemplifies his quickness of temper. It -was to the effect that Spagnoletti, having chanced to quarrel one -morning with Ambrogetti, challenged him on the spot; and that the singer -put aside the abrupt invitation, by the phlegmatic remark that he had -_not breakfasted_! - - - - -CHAPTER III. - -PAGANINI. - - "Natura il fece, e poi ruppe la stampa."--_Ariosto._ - - "The glory, jest, and riddle of the world."--_Pope._ - - -Who has not heard of Paganini--and who, that boasts of an ear, has not -heard Paganini himself? Fame, catching up the echoes of his glory, has -caused them to reverberate through her trump, and to _far furore_ even -to the uttermost parts of the civilized world; and the hero himself, -following in her rear, has gone forth to fulfil her proclamations, to -reap his laurels, to achieve the general conquest of ears, and to -receive in gold the tribute of admiring nations! Tongues and pens have -vied with each other in celebrating his name; and _'Ercles' vein_ has -been drawn upon in his behalf, till its exhausted stream could no -further go. - -NICOLO PAGANINI came into this breathing world at Genoa. The date of his -birth, like most of the circumstances of his life, has been variously -represented; but the most probable account fixes it on the 18th of -February, 1784. His parents were of humble rank, but not so low as has -been pretended in some of the "supposures hypothetical" that have been -mixed up with the history of their marvel-moving son. To suit the humor -of these fancies, the _conjectured_ father has been depressed to the -condition of a street-porter, bearing (along with his burdens) some name -too obscure to be recorded; while the person known as Paganini _père_ -has been asserted to possess no other rights of paternity than what are -conferred by adoption. This story, were it a true one, would reflect no -discredit on an artist who has owed to his own genius the wide celebrity -attaching to his name. "Miserum est aliorum incumbere famæ," says the -Roman poet; and the feeling of modern times is daily more and more -confirming the sentiment. By another version, the father of Paganini has -been styled a small trader, with a large tendency to seek his fortune -through the calculation of lottery-chances. His actual station, as -appears most likely, was originally that of a mercantile clerk; and it -is concurrently allowed that this father, putative or positive, had -music enough in his soul, or in his head, to perceive the indications of -the faculty in his infant son, and to resolve on its full development; -although the means he took for this purpose were as little creditable to -his paternal pretensions, as they were injudicious with reference to -their object. Ere yet the boy, however, had received into his tiny hands -the instrument that was destined to make him "a miracle of man," the -world, it appears, was very near being deprived of him altogether! It is -stated that, at the age of four years, he was attacked by the measles, -attended, in his case, with unusually aggravated symptoms. So -extraordinary an influence did the disease exercise on his nervous -system, that he remained during an entire day in the state of catalepsy, -or apparent death, and had actually been enveloped in a shroud, when a -slight movement fortunately revealed the fact of his existence, and -saved him from the horrors of a premature interment. - -The musical discipline adopted by his father appears to have begun in -pretty close sequence to this shock; and the days of hard work for poor -little Paganini were made to commence, by a shameful perversion, before -he could plainly speak. As soon as he could hold a violin, his father -put one into his hands, and made him sit beside him from morning till -night, to practise it. The willing enthusiasm of the child, as well as -the tenderness of his age, might have disarmed the severity of any -ordinary preceptor; but the rigor of a stern father, when sharpened by -ambition and avarice, _can_ forget the measure of an infant's powers. -The slightest fault, the most pardonable inadvertence, was harshly -visited upon the Liliputian performer; and even the privation of food -was sometimes resorted to, as part of the barbarous system to enforce -precocity. A lasting influence of baneful kind was thus wrought upon a -constitution naturally delicate and sensitive: the sickly child, -incapable of attaining a healthful maturity, was merged into the -suffering man. - -His mother, with equal but more tender zeal for the development of the -talent of young Paganini, succeeded in inspiring him with no slight -portion of her own enthusiasm, by persuading him that an angel had -appeared to her in a vision, and had assured her that he should outstrip -all competition as a performer on the violin. Whether this vision was -the result of a pardonable stratagem, or whether it was really the dream -of a southern imagination, it is certain that it had the greatest effect -on the mind of the infant artist, whose instinctive and irresistible -inclination for the art made him an easy recipient of this maternal tale -of encouragement. He began also to relish the domestic plaudits which -were occasionally awarded to him for the boldness wherewith he produced -new, if not legitimate, effects, indicative of future mastery over the -powers of the instrument; for the instinct of his mind towards _the -extraordinary_ was, even thus early, a thing clearly discernible. He -speedily outstripped his father's slender reach of musical knowledge, as -well as that of a minor violinist named Cervetto, who, for a short time, -attempted to teach him. Giacomo Costa, director of the orchestra, and -first violin in the principal churches, at Genoa, was next charged with -his musical direction, and led him more rapidly onwards. At this period -(when he was about eight years old), he was to be seen performing some -three times a week in the churches, and at private musical parties, upon -a fiddle that looked nearly as large as himself. At this time, too, he -composed his first Violin Sonata, which, with others of his early -musical pennings, is, unfortunately, not extant. A year later, he made -what was considered his public _début_, in the great theatre of Genoa, -at the request of the noted singers, Marchesi and Albertinotti, who -begged of his father to allow the youthful artist to play for their -benefit, undertaking, in return, to sing for Paganini at the first -concert he should offer to the public. On both occasions, he played a -series of variations, believed to be his own, on the French republican -air, "La Carmagnole," which were received with a force of approbation -that seemed to carry with it the conviction of his future fame. Already, -indeed, had his native genius urged him into a new path, both as to -_fingering_ and the management of the _bow_. - -Stimulated by the opening prospects of solid advantage, his father next -carried him to Parma, then the residence of Alessandro Rolla, in order -to place him under the care of that celebrated composer. It so happened -on their arrival, that Rolla was confined to his room by indisposition; -and the strangers, having been shown into a neighbouring apartment, -found there, on a table, the score of a work which the composer had just -finished. At the suggestion of his father, Paganini took up the violin -which lay by the manuscript, and performed the new concerto at sight, -with so much point and precision as to raise the sick composer from his -bed, that he might ascertain to what master's hand he owed this -agreeable surprise! The father, having explained the object of their -visit, was assured by Rolla that he was incapable of adding any thing to -his son's acquirements: he advised them to go to Paër, who was then the -director of the Conservatory at Parma. Paër, in his turn, directed his -visitors to his old master, Giretti, who received young Paganini as one -of his pupils, and for six months gave him regular lessons in -counterpoint. The good use which he made of this short apprenticeship is -proved by the four-and-twenty fugues which he composed in the course of -it. His rapid progress inspired Paër with so lively an interest in his -success, that he also devoted several hours a day to his instruction, -and, at the end of four months, entrusted him with the composition of a -_duo_, which was eminently successful. But these advantages were -interrupted by the removal of Paër to Venice, where he had undertaken -the composition of an opera. - -Thus additionally qualified for the gratification of the "auri sacra -fames" in the paternal breast, Paganini was now hawked about the country -in a professional tour (at the commencement of 1797), through the -principal cities of Lombardy; after which the father and son returned to -Genoa, where the youthful artist was again subjected to those daily -toils which had previously been forced on him with such wanton rigor: -but the bonds were not to be of much longer endurance. In his 14th year, -he was permitted, under the protection of an elder brother, to attend -the Musical Festival of St. Martin, which is annually celebrated at -Lucca, in the month of November; and, after meeting with a very -flattering reception in all his public appearances, he extended his tour -among the towns in the neighbourhood. The extreme degree of severity and -restraint, with which his education had hitherto been conducted, was now -beginning to work its natural result. At the age of fifteen, finding -himself relieved from all effectual control by means of the ascendancy -of his talent, and capable of attaining, through the same means, -unlimited pecuniary supplies, he commenced the itinerant system on his -own account; and soon, by a reaction of mind, that is in no degree -surprising, acquired a decided partiality for a course of life that was -accompanied by freedom from the trammels of such a father. The bonds of -affection towards that persecuting parent were only loosened, however, -not severed; for, after acquiring, by his independent exertions, a sum -equal to about a thousand pounds, he proposed to assign a portion of it -towards the maintenance of his father and mother. The cupidity of the -former rejected this, and demanded the whole. The interest of the -capital was then offered, equally in vain; and the violence of the -father proceeded to the extent (as it has been asserted) of threatening -Paganini with instant death, unless the whole of the principal were -relinquished to him. This outrage, supposing it true, appears but a -concentration, as it were, of the ill usage more diffusely applied -before. To procure peace--perhaps to save his life--Paganini gave up the -greater part of the sum. - -Resuming the exercise of his emancipated powers, Paganini visited many -parts of Italy, and was flattered and rewarded in all. The intoxication -of his rapid successes, combined with his joy at the escape from -domestic fetters, seem to have led him into some youthful excesses at -this period, and to have made the roving course of his travel rather -_too_ close a type of his moral career-- - - Erring here, and wandering there, - Pleas'd with transgression every where. - -The increased celebrity which he afterwards acquired, or rather, -perhaps, the jealous envy by which such celebrity is commonly pursued, -has exercised a magnifying effect upon these early aberrations, and -presented them as crimes of a serious and disgraceful nature. Whenever -duly examined, they will be probably found to shrink back into something -not greatly beyond peccadillo proportions. The feverish and unhealthy -excitement besetting his peculiar position should be taken into full -account, in forming a moral estimate of his youthful course. That the -seductions of the gaming-table for a while swayed his fancy, and -checquered his fortunes, is made clear by his own confession, which I -will here extract from the interesting "Notice Biographique" by Monsieur -Fétis (written as a _pendant_ to the Collection of Paganini's -Compositions, about to appear in Paris), to which pamphlet I am indebted -for some of the additional facts in the present sketch. - -"I shall never forget," says Paganini, "that I once placed myself in a -position which was to form the turning point of my whole career. The -Prince De * * * * * had long felt a desire to become the possessor of my -excellent violin, which I still retain, and which was _then_ the only -one I had. He sent to me one day, in the endeavour to make me fix a -price for it; but, reluctant to part with my instrument, I declared -that I would only do so for 250 gold Napoleons. The Prince remarked to -me, shortly afterwards, that I was probably joking when I asked so much, -but that he was disposed to go as far as 2000 francs. I was, that very -day, in much embarrassment as to funds, owing to a considerable loss -encountered at _play_; so that I was on the point of resolving to give -up my violin for the sum offered, when a friend came in, with an -invitation to join a party in the evening. My whole supply amounted to -thirty francs; and I had already stripped myself of my watch, jewels, -rings, pins, &c. I formed the instant resolve to hazard my last -pittance, and then, if fortune were adverse, to sell the violin for what -had been offered, and set off for Petersburgh, without either instrument -or property, there to re-establish my circumstances. My thirty francs -were presently reduced to _three_,--and I fancied myself already on the -road towards the great city, when fortune, shifting like the glance of -an eye, turned my petty remainder into a gain of 160 francs. That -favorable moment rescued my fiddle, and set me on my feet. From that -day, I renounced gaming, to which a portion of my youth had been -sacrificed; and, in the conviction that a gambler is universally -despised, I abandoned for ever that fatal passion." - -The imperilled instrument above referred to, appears to have been the -same that figures in the following anecdote, as related by M. Fétis. -Whilst the youthful artist was still under the dominion of the passion -for play, that sometimes robbed him, in a single evening, of the produce -of more than one concert, and sometimes did not leave to him even his -violin, he had recourse (at Leghorn) to the kindness of a French -merchant, Monsieur Livron, a zealous musical amateur, who very readily -lent him a fine Guarnerius instrument. After the concert for which it -had been required, Paganini took it back to the owner, who, however, -declined to receive it, saying, "I shall take good care how I profane -the strings that your fingers have touched! It is to _you_ that my -violin now belongs." The instrument was afterwards used by Paganini at -all his concerts. - -A similar incident occurred to him at Parma, though under different -circumstances. Pasini, a painter, with musical propensities, had refused -to credit the prodigious facility attributed to Paganini, in the way of -playing the _crabbedest_ music at sight, like one who had fully studied -it. The sceptic therefore placed before him a manuscript concerto, in -which all manner of difficulties had been brought together, and, handing -to him an excellent Straduarius instrument, exclaimed, "This is _yours_, -if you play that at sight, like a master." "In that case," observed -Paganini, "you may say farewell to it at once;" and, in fact, his -_fulminating_ execution presently threw the convinced Pasini into an -ecstasy of admiration. - -To those earlier days belongs also the fact of Paganini's transient -passion for the _guitar_, or rather for a certain fair Tuscan lady, who -incited him to the study of that feebler instrument--of which she was -herself a votary. Applying his acute powers to the extension of its -resources, he soon made the guitar an object of astonishment to his fair -friend; nor did he resume in earnest that peculiar symbol of his -greatness, the violin, till after a lapse of nearly three years. -Paganini tickling the guitar, may almost suggest, for analogy, Hercules -dallying with the distaff! - -After declining, for the freer indulgence of his rambles, various offers -of profitable engagement on permanent grounds, he was induced to enter, -in 1805, the service of Napoleon's sister with the exquisite name (Elisa -Bacciocchi), then Princess of Lucca and Piombino, to whose elegant -little court several distinguished artists were at that time attracted. -Paganini became concertist and director of the orchestra there; and it -was in this situation that he first attempted the execution of those -triumphs of art under _diminished resources_, that have had, in the -sequel, so large a share in the production of his success with the -multitude. I allude to his acquired habit, displayed from time to time, -of dispensing with the aid of _two_ or even _three_ of the strings of -his instrument, and working apparent impossibilities with the remaining -_two_ or _one_--a habit which, owing to his occasional abuse of it, has -laid him open to a charge of charlatanism, even from the Italians. His -incredible address in these extraordinary efforts, produced a degree of -astonishment which may probably have given rise to some of those -rumours, both romantic and ludicrous, that have been so freely -associated with his name. The explanation he has himself given of the -origin of these performances, in the following letter to a friend, seems -so consistent with his disposition at the period, that it may very -readily command the preference in point of credibility:-- - -"At Lucca," he says, "I led the orchestra whenever the Reigning Family -attended the opera. I was often sent for also to the court circle,--and -once a fortnight I gave a grand concert,--but the Princess Eliza retired -always before the conclusion, declaring that her nerves were too keenly -affected by the sounds of my instrument. A certain lady, on the -contrary, whom I had long adored in secret, was constant and assiduous -in her attendance at these musical meetings. I thought I could perceive -that some secret influence attracted her towards me. Our mutual passion -insensibly increased; but, as motives of prudence made secrecy -indispensable, and forbade any open declaration, the idea occurred to me -of surprising her with a piece of musical gallantry, which would convey -to her the expression of my feelings. Having announced my intention to -produce a novelty at Court, under a title (that of "A Love Scene") well -calculated to excite the general curiosity, I could observe that that -feeling was not diminished on my entering the music-room, with a violin -provided with only _two strings_, the first and the fourth. The _first_ -was intended to express the sentiments of a lady; the _fourth_, those of -a despairing lover. Between the two, I established a sort of impassioned -dialogue, in which the tenderest accents succeeded the violence of -repeated fits of jealousy. Alternately plaintive and insinuating, there -was at one moment a cry of grief or anger, and the next, of joyful -reconciliation. The whole scene was eminently successful; the lady to -whom it referred rewarded me by looks full of delighted amiability; and -the princess Eliza, after loading me with praises, enquired if, after -doing the impossible with _two_ strings, _one_ might not possibly -suffice me. I instantly gave my promise to make the attempt; and, a few -weeks afterwards, I produced a _Sonata on the fourth string_, which I -entitled "Napoleon," and executed it on the 25th of August, before a -brilliant and numerous Court. Its success having far surpassed my -expectation, I may date from that period my predilection for the lower -string; and, as my audience seemed never to tire of the pieces I had -composed for it, I have at length arrived at that degree of facility -which appears to have so much surprised you." - -To find out sufficient scope for an entire field of melody, as the -produce of a single musical string, must have demanded great study, as -well as unremitting manual practice. Paganini extended the capability of -the string to three octaves, including the harmonic sounds, which he -developed into a most important resource. The success of this novelty -was prodigiously increased, after he had presented it beyond the courtly -circle, and made it public[37]. - -When the Princess Eliza became Grand Duchess of Tuscany, Paganini -followed her to Florence, where he became an object of even fanatic -admiration. His talent developed itself daily in new forms; but he had -as yet very imperfectly learned to regulate its exercise. The amount of -study, however, to which he had subjected himself, after ceasing to be -the slave of his father, is a thing to excite astonishment. He had -abandoned himself, in solitude, to the research with which his mind was -occupied; and had then formed the plan of the _Studies_ which are known -under his name, and wherein he proposed difficulties that he himself -could not surmount without immense labour. It is a remarkable fact, -also, that he suddenly interrupted his enquiries as to the possibility -of augmenting the resources of the violin, in order to study seriously -the works of Corelli, Vivaldi, Tartini, Pugnani and Viotti, and to -ascertain the successive progress of his instrument. He afterwards -familiarized himself with the works of the Violinists of France. - -In the summer of 1808, after three years passed at Lucca, Paganini, with -the consent of his patroness, visited Leghorn, which city had been a -scene of triumph to him seven years previously. How, at his first -concert on this re-appearance, a cloud was converted into sunshine, has -been pleasantly enough recorded by himself:-- - -"Having accidentally run a nail into my heel, I came on the stage -_limping_--and the public greeted me with _a laugh_. At the moment when -I was beginning my concerto, the tapers fell from my music-stand, -drawing a fresh burst of laughter from the audience. Again, after the -first few bars of the solo, my upper string broke--which raised the -merriment to a climax:--but I went through the piece upon three -strings--and the laughter was turned into shouts of enthusiasm." - -Still retaining his engagement in the service of the Princess -Bacciocchi, who was now become Grand Duchess of Tuscany, and established -at Florence with her court, the great artist made professional -excursions to various Italian cities--including one to Turin (where he -was first attacked by the abdominal ailment which, in the sequel, so -much enfeebled his health, and so often interrupted his travels, and -disturbed the order of his concerts)--and another to Ferrara, where his -grotesque mode of retaliation for an affront received in public, led to -such a misunderstanding with the townspeople, as caused some jeopardy to -his life. - -About the commencement of 1813, his position at the Court of the Grand -Duchess Eliza was suddenly and disagreeably abolished. On a certain -state occasion, Paganini appeared in the orchestra in the full-blown -uniform of a Captain of the _Gendarmerie Royale_, which, as a general -privilege, his fair patroness had authorized him to wear. He was now -requested, however, to exchange it immediately for a suit of plain -black. The sudden shock to his dignity was met by a refusal to comply -with the order, and the result of this bearding of authority was his -precipitate retreat from Florence, with (it is probable) a resolution to -decline all future offers of a "fixed position." - -In the city of Milan, where Paganini found many congenial attractions, -he passed a considerable time, at various epochs of his life. There he -first saw, and entered into friendship with, Rossini. There, too (in -March 1816), occurred, within the walls of _La Scala_, his contest with -Lafont, the champion of French renown in the fiddle field. The story has -been variously represented. It appears that Lafont challenged Paganini -to join him in a concert, and conceived great hopes of beating him, -when, after acceptance of the proposal, the wary Italian was found to -make a very indifferent exhibition of power at the previous rehearsal. -When the rival display came on in earnest, however, the impression -produced by Lafont, with his fine tone, and his graceful and elegant -performance, was presently eclipsed _in toto_ by the superlative mastery -shewn in the performance of the Genoese enchanter, who purposely -followed in the track of his competitor, to establish his superiority at -all points--outweighing him in the deliberate _adagio_, and outstripping -him in all the agile feats of execution, besides transcending him wholly -in the nicer _arcana_ of the art. Of this purport, at least, is the more -common and probable account of the affair. But, if the Frenchman was -thus conspicuously beaten, it would seem that (as in the case of -Falstaff) it would "discolor too much the complexion of his greatness" -to acknowledge it: Monsieur Lafont wrote a letter of negation to a -French journal, some fourteen years after the momentous day. In this -letter he even decides himself to have obtained a partial advantage, -alluding to some particular "phrase de chant,"--and he indulges in this -passage:--"On all occasions I have taken pleasure in rendering homage to -his great talent but I have never said that he was the _first violinist -in the world_: I have not done such injustice to the celebrated men, -Kreutzer, Rode, Baillot, and Habeneck and I declare now, as I have -always done, that the French school is the first in this world for the -violin!"--To this self-and-country-vaunting epistle, as translated in -the _Harmonicon_, Lafont found a respondent (April 7, 1830) in Signor -Francesco Cianchettini, who asserts, as one present on the occasion, -that the public decision was in favour of the Italian, and compares the -vain glory of French fiddlers, in their talk of Paganini, to the empty -freedom of the gladiators of the Neronian age, in speaking of Hercules. - -Paganini's own account of the affair exhibits a modest simplicity, -tending to confirm any previous impressions of his having been the -victor. After quoting it, however, Monsieur Fétis, who has repeatedly -heard Lafont's relation of the circumstances, offers some remarks, which -it is but right here to subjoin:--"It is not to be denied," says he, -"that Lafont displayed much imprudence on that occasion. Doubtless he -possessed qualities of a classic order, more pure, and more analogous to -the French taste of his time, than those of Paganini. Doubtless he had -greater volume and evenness of tone: but, with respect to original -fancy, the poetry of playing, and the mastery over difficulties, he -could place himself in no comparison with his antagonist. In a concert -at the Paris _Conservatoire_, the palm, in 1816, would perhaps have been -awarded to _him_ (Lafont): but, in presence of an Italian audience, -eager for novelty, originality, and impulsion, he must needs have -succumbed." To continue our narrative of Paganini's "life, behaviour and -conversation,"--the French musical Amateur, Count de Stendhal (Monsieur -Beyle) has alluded to him descriptively at two periods. In 1814, he -observes, "Paganini, the Genoese, is, it appears to me, the first -violinist in Italy. He cultivates an exceeding softness of expression. -He plays concertos as unmeaning as those which set us gaping at Paris; -but his delicate softness is always a distinction in his favour. I love -especially to hear him execute variations on the fourth string of his -instrument." And again, in 1817, he writes of him, as of a Genoese who -played very finely on the violin--being "_equal to the French_ in -execution, and superior in fire and originality!"--Mathews, the author -of the "Diary of an Invalid," offers the following remarks on him in the -year 1818:--"He is a man of eccentric character and irregular habits. -Though generally resident at Turin, he has no fixed engagement, but, as -occasion may require, makes a trading voyage through the principal -cities of Italy, and can always procure a theatre, upon the condition of -equal participation in the receipts. Many stories are told of the means -by which he has acquired his astonishing style; such as having been -imprisoned ten years, with no other resource. His performance bears the -stamp of the eccentricity of his character. His tone, and the thrilling -intonation of his double stops, are electric. His bow moves as if it -were part of himself, and endued with life and feeling." - -In proof of the extensive sphere of his attraction, the following -anecdote, having reference to the year 1824, has been published. A -northern traveller, and passionate lover of music, M. Bergman, reading -accidentally, the evening before, in the Journal, at Leghorn, an -announcement of Paganini's concert, instantly set out for Genoa, a -distance of 100 miles, and luckily reached the spot just half an hour -before the concert began! He came with his expectations raised to the -utmost; but, to use his own expression, the reality was as far above his -anticipations, as the heavens are above the earth. Nor could this -enthusiastic amateur rest content with once hearing Paganini, but -actually followed him to Milan, to hear him _de novo_. Of the two -concerts which the great artist gave at _La Scala_ at that time, the -first consisted entirely (as far as regarded his own performance) of -exhibitions on the fourth string! and may be said to form a remarkable -antithesis to the case of the man so specially indicated by the late -Charles Mathews, as having _lost_ his G! The public were in ecstacies; -but it was observed, with some regret, by the judicious among Paganini's -auditors at these two concerts, that he was neglecting the _cantabile_, -and the nobler powers of his instrument, for the difficult and -astonishing. Yet it was to no want of sensibility in the soul of the -artist, that this deviation was to be attributed; for he had before -expressed his high admiration of Spohr, the German violinist, so -celebrated for the excellence of his _cantabile_, and had given him full -credit for being the greatest and most perfect _singer_ upon his -instrument--retaining, however, the satisfactory consciousness, as it -has been supposed, of his own immeasurable superiority in the -_aggregate_ of the qualities for which all the greatest masters have -been distinguished. - -At Pavia, Paganini likewise gave two concerts, and was received with no -less enthusiasm than at Milan. The bill which set forth the pieces to be -performed was headed with the following autocratical annunciation:-- - - PAGANINI. - - _Farà sentire il suo Violino!_ - - ("_Paganini will cause his violin to be heard!_") - -In the bills of a concert he gave at Naples, in 1825, his name was -announced with the style and title of _Filarmonico_; and various sage -debates and conjectures were the consequence, among the idlers of the -place. - -But it is needless to go thrice over the map of Italy, and detail all -the triumphs of our acoustic hero among his own countrymen. Let us shift -the scene to Germany, and the time to the year 1828, when he was -exhibiting before the people at Vienna, and exciting the admiration and -astonishment of the most distinguished professors and connoisseurs of -that critical city. His inducement to quit his native Italy had been -furnished, it appears, by Prince Metternich, who had witnessed his -performances in the preceding year at Rome, when the Pope (_soit dit en -passant_) had conferred on our Artist the order of the Golden Spur, an -honor which had formerly been awarded to Gluck and Mozart. - -All notion of rivalling the foreigner was at once banished from among -the Germans; and it is said that Mayseder, their violinist of then -highest fame, with an ingeniousness that did him honor, intimated, in a -letter to a London friend, that he felt he might now lock up his violin -as soon as he liked! - -The successes of Paganini gave new currency to the tales of crime and -_diablerie_ which inventive fame, "ficti pravique tenax," had so often -circulated in connection with him. A captain of banditti--a Carbonaro--a -dungeon-détenu--a deadly duellist--a four-mistress man--a friend of -Beelzebub--a "bowl-and-dagger" administrator--_these_ are some of the -characters that were freely assigned to him. Over the mouth of his aged -mother, _in articulo mortis_, he was asserted to have placed a leathern -tube, and to have caught her last breath at the S holes of his -fiddle!--He was made out, in short, the very _beau idéal_ of a fellow -that might do the "First Murderer" in a Melodrama. These romantic -rumours, however they might assist his success with the public, could -not be passed by in silence. The injured, yet profited, object of them, -made a public manifesto of his innocence in the leading Journals of -Vienna, and appealed to the magistrates of the various States under -whose protection he had lived, to say if he had ever offended against -the laws. This was all very well; but, what was still better, enough of -the pleasing delusion remained, in spite of all disavowals, to render -Paganini the continued pet of the public. Indeed, a general intoxication -with regard to him prevailed for some time with the Viennese public. -Verses were daily poured forth in honour of him--medals were struck--and -Fashion made profuse appropriation of his name to her various objects. -Hats, gloves, gowns, stockings, were _à la Paganini_:--purveyors of -refreshment fortified their dishes with his name; and if a brilliant -stroke were achieved at billiards, it was likened unto a stroke of his -bow! snuff-boxes and cigar-cases displayed his portrait--and his bust -was carved upon the walking-stick of the man of mode. - -Amid the glare of the enchanter's triumphs, it is pleasing to discover, -in a record of a concert given for the benefit of the poor, that the -cause of benevolence was not forgotten;--nor will it be uninteresting to -bestow a moment's attention on the following little anecdote, which -certainly reveals something not unlike a heart:-- - -One day, while walking in the streets of Vienna, Paganini saw a poor boy -playing upon his violin, and, on entering into conversation with him, -found that he maintained his mother, and an accompaniment of little -brothers and sisters, by what he picked up as an itinerant musician. -Paganini immediately gave him all the money he had about him; and then, -taking the boy's violin, commenced playing, and, when he had got -together a crowd, pulled off his hat, and made a collection, which he -gave to the poor boy, amid the acclamations of the multitude. - -The following fact will give some idea of the hearty love of music, the -real _dilettantism_, prevailing among the peasants of Germany. In the -autumn of 1829, Paganini was summoned to perform before the Queen -Dowager of Bavaria, at the Castle of Tegernsee, a magnificent residence -of the Kings of Bavaria, situated on the banks of a lake. At the moment -when the concert was about to begin, a great bustle was heard outside. -The Queen, having enquired the cause, was told that about sixty of the -neighbouring peasants, informed of the arrival of the famous Italian -violinist, were come, in the hope of hearing some of his notes, and -requested that the windows should be opened, in order that _they_ also -might enjoy his talent. The Queen went beyond their wishes, and, with -truly royal good nature, gave orders that they should all be admitted -into the saloon, where she had the pleasure of marking their -discernment, evidenced by the judicious manner in which they applauded -the most striking parts of the performance. - -Prague, Dresden, Berlin and Warsaw were successively visited by the -triumphant ear-charmer. Great was the excitement he produced at -Berlin--but somewhat contradictory the opinions about him. "Most -assuredly," said one journalist, "Paganini is a prodigy; and all that -the most celebrated violinists have executed heretofore is mere child's -play, compared with the inconceivable difficulties which he has created, -in order to be the first to surmount them." The same writer declared -that Paganini executed an air, quite _sostenuto_, on one string, while, -at the same time, a _tremolo_ accompaniment upon the next was perfectly -perceptible, as well as a very lively _pizzicato_ upon the fourth -string: that he executed runs of octaves on the single string of G with -as much promptitude, precision and firmness, as other violinists on -_two_. Nay, his celebrator went so far as to say that, in order to -produce this latter effect, he employed one finger only; and further -declared him able to render the four strings of the instrument available -to such a degree, as to form concatenations of chords that could be -heard together, and that produced as full and complete harmony as that -of six fingers of a pianoforte-player on the key-board; adding, -moreover, that, in moments of the most _daring vivacity_, every one of -his notes had all the roundness and sonorousness of a bell! Another -journalist averred that he was incapable of producing a _grand_ tone, -but that he executed the _adagio_, and impassioned _cantilenas_, with -profound sensibility and great perfection of style. It was the remark of -another critic, that "whoever had not heard Paganini, might consider -that there existed a _lacuna_ in the chain of his musical sensations." - -Lipinski, a Pole, had ventured to seek, at Placentia, in 1818, a contest -with Paganini, such as Lafont had previously sought. Whilst at Berlin, -he met with a _third_ challenge to a trial of skill. Sigismund Von -Praun, an ambitious youth, asserting claims to universal genius--a -counterfeit Crichton--attempted to dispute the palm with him, and -paraded a public defiance in the papers: but, this time, Apollo would -not compete with Marsyas Praun, who had made some impression, a few -years before, at Malta and other places, appears to have had talents far -from contemptible, although immature, but his presumption exposed him to -merited ridicule:-- - - Low sinks, where he would madly rise, - This most pretentious imp! - See! while with Paganin' he vies, - _Praun_ looketh _less_ than _shrimp_! - -After returning from Warsaw, Paganini visited Frankfort. It is related -that, while he was in this latter city, an actor from the Breslau -Theatre, taking advantage of his marked peculiarities of look, manner -and gesture, made successful public mimicry of him; and that he had the -good sense, himself, to attend one of these performances, and join in -the general laugh with the best grace imaginable. He remained for a year -at Frankfort; and it seemed as if he had renounced the previously -well-circulated notion of his visiting Paris and London, when he -suddenly made his appearance at Strasbourg, and soon afterwards arrived -upon the banks of the Seine, to delight and astonish those idolators of -novelty, the inhabitants of the French metropolis. - -Of the impression produced by Paganini among the Parisians, as well as -of his personal and musical characteristics, I find so graphic and -picturesque an account in a French journal (_Le Globe_), that I am -induced to translate, for my purpose, the chief portion of it, under the -conviction that the length of passages leading to what is so far the -_reverse_ of "nothing" will be easily pardoned. Whether the writer's -moral estimate of the spectacle-hunting branch of the Parisian public be -not a little overcharged with severity, is a point which I have no -pretensions to determine. That there is some eloquence in the thoughts -of the French writer, whoever he might be (and, alas! for common sense, -he is, or was, a St. Simonian), will be, I think, admitted, even by -those who would not so far admire his composition as to "mark it for a -rapture nobly writ." Here follows his sketch, however; and Paganini -himself (in pictorial effigy) shall attend, and give it a sort of -personal confirmation. - -"_The Artist_ is about to make his appearance--silence begins to be -restored--the overture is over, without having been listened -to--somewhat less of coldness and unconcern is expressed on the faces -around--and the hands of the white-gloved are all armed with the double -opera-glass. _Enter Paganini and his Violin!_ - -"A universal clapping of hands attends his first advent on the scene. He -advances, with sundry awkward and heavy steps; he makes obeisance, and -the applause is renewed: he moves forward, with increased oddity of -gait, and the noise of hands is prolonged on all sides. - -[Illustration] - -"He makes several further salutations--he endeavours to animate his -countenance with a smile of acknowledgment, which is instantly succeeded -by a look of icy coldness.... He makes a halt, and, with still greater -eccentricity of manner, it may be, than in his reverences and his walk, -he seizes his fiddle, hugs it betwixt chin and chest, and fixes on it a -look at once of pride, penetration and gentleness. Thus resteth he -several seconds, leaving the public at leisure to examine and make him -out in his strange originality--to note with curiosity his gaunt body, -his lengthy arms and fingers, his dark hair descending to his shoulders, -the sickness and suffering denoted in his whole frame, his sunken mouth, -his long eagle nose, his wan and hollow cheeks, his large, fine, -manifest forehead, such as Gall would have delighted to -contemplate,--and, beneath the shelter and shadow of that front, eyes -that dilate, sparkle and flash at every instant! - -"Such doth Paganini show himself, formed, at every point of his person, -to catch the greatest possible quantum of applause from a public whom it -is his office to _amuse_. Behold him, a compound of chill irony and -electric enthusiasm,--of haughtiness, with seeming humility,--of sickly -languor, and fitful, nervous, fatal exultings,--of wild oddity, -chastened by some hidden and unconscious grace--of frank abandonment, of -charming attractiveness, of a superiority of talent that might fix the -most indifferent,--but, above all this, a very _man-fiddle_--a being of -extraordinary nature, created as if expressly for the gratification of a -public delighting, before all things, in the extraordinary! - -"'Sufficient for the eyes!' seems he now to say within himself, as he -notes in their operation the incoherent reveries and speculations of his -beholders. Promptly his looks descend from his violin to the -orchestra--he gives the signal--he raises his right hand briskly into -the air, and dashes his bow down upon the instrument! - -[Illustration] - -"You anticipate the rupture of all its strings! On the contrary, the -lightest, the finest, the most delicate of sounds comes forth to win -your surprise. He continues for some moments to sport with your -pre-conceptions, to look askance at you, to irritate you; and every whim -that occurs to him, is employed to draw you out from your supposed -indifference. He teases you, he pleases you: he springs, he runs, he -wanders from tone to tone, from octave to octave; achieves, with -incredible lightness and precision, the widest intervals; ascends and -descends the chromatic and diatonic scales; touches harmonic -accompaniments in his way; extracts unknown sounds; searches, with easy -success, for difficulties and tricks of skill; exhausts, within the -space of a few bars, the whole range of chords and sounds possible upon -the instrument--discourses, sings, bewails, ejaculates, describes! 'Tis -suddenly a murmur of waves, a whistling in the air, a warbling of birds; -a something undefinably musical, in the most acute as well as the lowest -tones--an unrestricted impulse of caprices, and contrasts, without guide -or measure! 'Tis, in a word, a perfect union of incoherence and nameless -clatter, beyond which, the world-worn and vitiated beings around, the -worshippers of singularity, can see nothing, imagine nothing, desire -nothing! - -"The great Artist has, nevertheless, resources other than those of -phantasy, by which to captivate the public--and presently there succeeds -to this musical phantasmagoria a broad, stately, harmonious (albeit -somewhat too bare) simplicity. The fatigue of the public and of the -Artist now gives place to a species of joy, that visibly blooms on every -countenance. Chords that are pure sweet, melodious, brilliant, stream -from beneath the bow; and then come accents of nature that seem to flow -from the heart itself, and affect you with a perspiring thrill of -delight; and then (prodigy of harmony!) the vague moans and unfinished -plainings of a melancholy abandonment! You sympathize, in gentle pain, -with the touching and melodious artist; you dispose yourself to follow, -at his direction, the course of (as it should seem) some mournful, -fleeting, intangible vision--when instantly a fit of violent distress, a -sort of shuddering fury, seizes him, and we are startled, chilled, -tormented, by cries which pierce the inmost recesses of our frame, and -make us tremble for the hapless being whom we behold and hear! We dare -not breathe--we are half suffocated;--fearfully the head burns, and the -heart aches. - -[Illustration] - -"And yet--and yet, despite this too positive pain which the unfortunate -artist has forced both upon us and himself, he bethinketh him mindfully -that 'tis his vocation to serve for _sport_ to the public that does him -the _honor_ to come and listen to him. He snatches away, therefore, your -ladies with delicate nerves, and your men of effeminacy, from the -suffocation and syncope that threaten them. Truce to the cries of agony! -truce to despair! A fantastic chaunt, a wild laugh, springs up--and then -succeeds a sort of buffoon dance, to complete the relief of these -people, and restore them to _life_. _Encore_ he sings, he laughs, he -dances: each face is completely reassured, and its owner, to prove to -the rest, and to his own satisfaction, that he has not so far forgotten -himself as to quit the precincts of _bon ton_ and eternal frigidity, -smiles listlessly upon his neighbour, strokes his cravat adjustingly, -and throws a careless glance from side to side! Amidst this returning -indifference, let there come a new passage of arduous brilliancy, some -more or less astonishing sleight of hand--and a reiterated clapping of -palms convinces the unhappy purveyor of diversion that he has but too -well served the public according to their taste! - -"And now, should the rondo come, in its light and laughing -gaiety--should the hymn of love and delight succeed, 'twill be the same -case as with the cry of grief or despair. Each burst of simple gaiety -must be followed by an air in the coquettish style, an impulse from the -head, to give it stimulus. Amid the passionate harmonies of love, you -shall hear interspersed the accents of coldness, of disdain, of -raillery. After a voluptuous transport, you shall have mincings and -caprices:-- - -[Illustration] - -for there is no gaiety, whether for _him_, or for the listening public, -of a natural, fresh and youthful character; there is no frank and -confiding attachment; there is no serene and grateful pleasure; there is -no sadness that pours itself out for the sake of consolation; no joys -but such as are like scentless flowers, that one picks to pieces in -sport; no passion save what is akin to delirium, debauchery, or deadly -poison! What the public must have, and the artist, are your _pizzicati_, -your contrasts, your satanic schooleries, your touches of the -extravagant;--'tis a dose of madness or despair,--'tis an agony--the -sensation of a man suspended over a bottomless abyss;--'tis a violin, -which is at once a flute, a bass, a guitar, and a whole orchestra, -intermixed, confounded, and getting into harmony only by fits;--'tis a -professional visage, revealing a wounded and withered heart; 'tis a -human skeleton--death, in grotesque attire; 'tis the "talented -exhibition" of a rebellious angel, who gnashes his teeth, and howls, and -jeers! And so the public, seeing their artist hold forth to them, under -convenient forms, all possible monstrosities, seem to applaud themselves -inwardly, and to exclaim instinctively, 'Here is our interpreter, our -plaything, and our own handywork!' - -"Of such a public, and such an artist, how saddening the sight!... The -public, made up of idlers--of beings isolated, selfish, cold, -corrupt--must be _amused_, forsooth! and the artist exhausts his taste -and his sentiment, and well nigh perspires blood and water, to comply -with their exactions--to _amuse_ them!--and if he attain this end, the -public clap their hands, the manager of the theatre counts out to him a -heap of gold, and he goes away, with his ears deafened at the noise -which has surrounded him, and which, for a moment, (it may be), has made -his heart beat high;--he goes away, with a loving grasp tightened over -the coin he has so hardly won; and inwardly exclaims, with a smile of -pity, 'The blockheads--the barbarians! Who is there among them that can -comprehend me--that can _feel_ my intentions?'--and then the -home-returning public, selfish to the very soul, indemnify themselves -for their fingers'-end applause, by sottish contempt, by remarks that -are empty, or worse--that are scornful, bitter, shocking, disgusting -even--such as those which may have been buzzed into one's ears in Italy -or in Paris, but varied in a hundred ways, and aggravated at will, just -as _he_ varies and enlarges, twists and turns, beneath his magic bow, a -subject of apparently the most simple and insignificant kind. And now -the voices most distinguishable among the ebbing crowd murmur out the -words, 'Gambler! Libertine!' or worse.... And the privileged public -resort again to the theatre, to admire the talent of him whom they -comprehend not; and the artist returns in like manner, to _amuse_ those -who provoke his pity, and whom he beholds so far below him! Thus, we -have contempt on one side, compassion on the other--applause from hands -chilled with the touch of gold, on the one part,--on the other, sounds -that borrow their animation from no social sympathy! Such are the -relations between the public and the professor--such the bonds that -connect them!" - - -So much for the pungently descriptive, as regards this singular being. -It is less difficult, however, to exhibit effects and appearances, than -to analyze the causes or means which produce them--and it is in this -latter endeavour, accordingly, that there has been least success -attained by those who have made Paganini their theme, in Paris, as -elsewhere. That which was already obscure in relation to him, has been -forced into denser obscurity by the attempted demonstrations of certain -pompous literary showmen, who have succeeded only in illustrating the -proverb of "ignotum per ignotius." Mystification and generalization, the -resources of ambitious ignorance, have been copiously employed in these -endeavours. Of a less unsatisfactory character, however, are the -pretensions of M. Guhr, the able violinist, of Frankfort, who has -attempted an analysis of the means employed, and the effects produced, -by Paganini. Like most professors of a secret, the arch Italian was -always studious of maintaining the mystery so provocative of curiosity -and admiration. He assumed the air cabalistic, and, with a severe front -and sullen eye, would stimulate and foster the impression of his being -"profited in strange concealments." M. Guhr, though he had the seeming -advantage of personal and friendly access to him, found he could make -nothing of him by the interrogatory system, and therefore adopted the -alternative of becoming a silent student of his peculiarities, till he -made certain discoveries of more or less importance, which he shaped -into five heads, to show that Paganini's chief points of difference from -other violinists were-- - -1. In his manner of tuning the instrument. - -2. In a management of the _bow_, entirely peculiar to himself. - -3. In his mode of using the left hand in the _passages chantans_, or -passages of a singing character. - -4. In the frequent employment of harmonic sounds. - -5. In the art of putting the violin into double employ, so as to make it -combine with its own usual office the simultaneous effects of a -mandolin, harp, or other instrument of the kind, whereby you seem to -hear two different performers. - -As to the first of these points, "his manner of tuning the instrument," -observed M. Guhr, "is wholly original, and to me appears -incomprehensible in many respects. Sometimes he tunes the first three -strings half a tone _higher_, while that of G is a third _lower_, than -ordinary. Sometimes he changes this with a single turn of the peg, and -he invariably meets the due intonation, which remains sure and firm. -Whoever is aware how much the higher strings stretch with the least -relaxation of the G, and how much all the strings generally lose, by a -sudden change in tuning, the faculty of remaining with certainty at one -point, will join me in the lively desire that Paganini may decide on -communicating his secret in this respect. It was surprising to find, -especially on one occasion, when he played for nearly an hour and a half -in the most opposite keys--without its being perceptible that he had -changed his tuning--that none of the strings became disturbed. In an -evening concert, between the _Andante_ and the _Polacca_, his G string -snapped, and that which he substituted, though afterwards tuned to B, -remained firm as a rock. His manner of tuning his instrument contains -the secret of many of his effects, of his succession of chords, and -striking vibrations, which ordinarily appear impossible to the -violinist." - -According to this statement, "curious, if true," Paganini improved his -effects by playing on an instrument _out of tune_, and, with something -like a miracle of creative power, produced harmony out of discord. -Paganini must of a surety have "pegged hard," and with a screwing that -was inscrutable, to have attained such a management of his pegs! Was M. -Guhr a misty demonstrator, or was Paganini inexplicable? As to the G, -that can bear to be pulled about in this fashion without resenting it, -we must suppose it to possess a passive virtue, a habit of -accommodation, quite beyond the custom of the stringy tribe.[38] - -In expatiating on the _second_ point, M. Guhr seems content to describe -effects, rather than to labour (in vain) for the indication of a -cause--but his description is not infelicitous:-- - -"Paganini's management of the bow is chiefly remarkable by the -_tripping_ movement which he imparts to it in certain passages. His -_staccato_ is no way similar to that ordinarily produced. He dashes his -bow on the strings, and runs over a succession of scales with incredible -rapidity, while the tones proceed from beneath his fingers, round as -pearls. The _variety_ of his strokes with the bow is wonderful. I had -never before heard marked with so much precision, and without the -slightest disturbance of the measure, the shortest unaccented notes, in -the most hurried movements. And again, what force he imparts in -prolonged sounds! With what depth, in the adagio, he exhales, as it -were, the sighs of a lacerated heart!" - -However he might sometimes err in his doctrine, M. Guhr was at least -right in his faith. The supremacy, which he assigned to the great -Genoese genius, was expressed in the language of a handsome -enthusiasm:-- - -"Rode, Kreutzer, Baillot, Spohr--those giants among violinists--seemed -to have exhausted all the resources of the instrument. They had extended -its mechanism, introduced the greatest imaginable variety in the use of -the bow, which was made subservient to all the shades of expression and -execution: they had succeeded, by the magic of their sounds, which -rivalled the human voice, in painting all passions and all the movements -of sentiment. In short, advancing rapidly in the path marked out by -Corelli, Tartini, and Viotti, they had raised the violin to that rank -which ensures to it the dominion of the human soul. In _their_ style, -they are, and remain, great and unsurpassed. But, when we hear Paganini, -and compare him with the other masters, it must be confessed that he has -passed all the barriers which custom had hitherto raised, and that he -has opened a way peculiar to himself, and which essentially separates -him from those great Artists; so much so, that whoever hears him for the -first time, is astonished and transported at hearing what is so -completely new and unexpected;--astonished by the fiend-like power with -which he rules over his instrument;--transported that, with a mechanical -facility which no difficulty resists, he at the same time opens to the -fancy a boundless space, gives to the violin the divinest breathings of -the human voice, and deeply moves the inmost feelings of the soul." - -But we have left Paganini himself at Paris, where we must now rejoin him -and his fortunes. As for the latter, in the moneyed meaning, they grew -with a ratio of increase that would have been more wonderful, had it not -been afterwards outdone by that of his gains in London. As it was, they -were sufficient to inspire one of the Parisian dilettanti, a nicer -worker in figures, with a special access of passion for calculating the -value of notes--that is to say, of Paganini's musical "notes of hand." -The result, based upon a concert given at the Opera at Paris, producing -16,500 francs, and presenting 1365 bars of _the_ fiddling, indicated a -quotient of 12 francs for _each bar_, and was still more curiously -distributed into proportions as follows:--for a semibreve, 12 francs; a -minim, 6 francs; a crotchet, 3 francs; a quaver, 1 franc, 50 centimes; a -semiquaver, 15 sous; a demisemiquaver, 7½ sous. This exemplary -calculation did not overlook, moreover, the cash value of each of the -occurring sorts of _rests_; besides working out a "contingent remainder" -of 420 francs--that residue happening to be, by the most curious -coincidence, exactly the price of such a violin as the Conservatory -usually awards by way of prize to its most successful pupils![39] - -The provoking impertinence of Rumour, with her thousand busy tongues -darting conjecture and accusation, drew forth, at Paris, as at Vienna, -some effort at self-defence on the part of the assailed Artist. His -letter to the Editor of the _Révue Musicale_ may claim a place here (in -translated form), as well for its pleasantry and ingenuity, as for the -clue it affords to the origin of some of the slanderous liberties which -had and have been taken with his character. Of this letter, it -subsequently appears that the materials were furnished by Paganini, and -the diction arranged by his friend, M. Fétis:-- - - "Sir, - - _Paris, 21 April, 1831._ - - "So many marks of kindness have been lavished on me by the - Parisian public,--so many plaudits have been awarded to me,--that I - am bound to give credit to that celebrity which is said to have - preceded my arrival. But, if any doubt on the subject could have - remained, it must have been dissipated by the care I see taken by - your artists to make representations of my likeness,--by the - numerous portraits of Paganini, more or less like the original, - with which the walls of your capital are covered. It is not, - however, to simple portraits, Sir, that their speculations are - confined. While walking yesterday along the Boulevard des - Italiens, I saw, in a print-shop, a lithograph representing - _Paganini in prison_. "Well!" said I to myself, "here have we - some worthy citizen who, in imitation of Don Bazilio, has been - turning to account the calumny which has pursued me for the last - fifteen years." While smilingly examining all the details of this - mystification with which the fancy of the artist had furnished - him, I perceived that a numerous circle had gathered around me, - and that every one, as he compared my features with those of the - young man represented in the lithograph, was taking pains to - satisfy himself as to the degree in which I was altered since the - period of my imprisonment! Thus I found that the thing was taken - _au sérieux_, and that the speculation, at least, was no bad one. - It occurred to me that, as every one _must live_, I might as - well, of myself, furnish a few anecdotes to those enterprising - persons who take so much interest in me and my affairs; so that, - if so disposed, they may have a few more subjects for prints, as - good, and quite as true, as that in question. It is with this - view that I beg you, Sir, to do me the favour of inserting this - letter in your Musical Review. - - "These gentlemen have represented me _in prison_, but they do not - seem to know what _took me there_; and, so far, they are about as - wise as myself, or as those who have brought the story into - circulation. It bears, in fact, a great many versions, and - presents a corresponding variety for the designer. It has been - said, for instance, that, having surprised a rival in the chamber - of my mistress, I had bravely stabbed him from behind, when he - was incapable of defending himself. By others, it has been - pretended that it was against the person of my mistress herself, - that my fury had been directed; but they are not agreed as to the - _mode_ I had adopted to accomplish her destruction,--some - contending for the poniard, and others for poison; so that, as - each has indulged his imagination in describing the affair, it - would be hard to deny a similar license to the dealers in - lithographs. I will relate what occurred to me at Padua some - fifteen years ago. - - "I had given a concert there, and had met with considerable - success. On the following day, I was one of sixty at a _table - d'hôte_, where I had entered the room without being recognized. - One of the guests was pleased to express himself in very - flattering terms on my public appearance the evening before. - Another concurred in the praise thus bestowed, but added, by way - of explanation, "There is nothing in the talent of Paganini which - ought to excite surprise. He is indebted for it to the sojourn he - has made for eight years of his life within the walls of a - dungeon, with nothing but his violin to mitigate the rigors of - his captivity. He was condemned to this long confinement for - having basely assassinated a friend of _mine_, who was his - rival." - - "The whole company, as you may well believe, exclaimed against - the enormity of the offence. For _my_ part, I got up, and, - addressing the person who seemed so well acquainted with my - previous history, begged him to tell me where, when and how, the - adventure had taken place. Every eye was turned towards me as I - spoke, and you may judge of the general astonishment, when one - amongst themselves was thus recognized as the chief actor in the - tragedy. The historian was sadly embarrassed. It was no longer - one of _his friends_ who had fallen; "he had heard it said,"--"he - had been credibly informed,"--"he had believed,--but it was - possible that he might have been mistaken!" - - "It is thus, Sir, that the reputation of an artist is trifled - with, because others, of more indolent habits, are at a loss to - understand how a man should apply himself as effectually to - study, while at full liberty in his own house, as within the - walls of a dungeon! - - "At Vienna, a still more preposterous rumour put the credulity of - the inhabitants to the test. I had been playing those variations - known by the name of _Le Stregghe_ (the Witches). A young man, - who was described to me as of a pale and melancholy aspect, with - eyes of the most inspired cast, said that he saw nothing - surprising in my performance, for, while I was executing my - variations, he had distinctly perceived the devil at my elbow, - guiding my fingers, and directing my bow; that the said devil was - dressed in red; had horns and a tail; and that, moreover, the - striking likeness of our countenances plainly established the - relationship between us! It was impossible to refuse credence to - so circumstantial and descriptive an account: and the curious - became satisfied that this was the true secret of what are called - my _tours de force_. - - "For a long time, I was weak enough to allow my tranquillity to - be disturbed by such idle rumours. I tasked myself to demonstrate - their absurdity. I called attention to the fact, that, from the - age of fourteen, I had been constantly under the public eye, and - giving concerts; that I had been employed, for sixteen years, as - chief of the orchestra and director of the music, to the Court; - and that, if it were true that I had been eight years in prison - for killing my mistress or my rival, it must have been before my - first appearance in public; so that I must have had a mistress, - and a rival, before I was seven years of age. I invoked even the - testimony of my country's ambassador at Vienna, who declared that - he had known me, for nearly twenty years, in the situation which - became an honest man; and I thus succeeded, for the moment, in - silencing the calumny; but calumny is never totally extinguished, - and it does not surprise me to find it revive in this city. - - "Under such circumstances, Sir, what ought I to do? I see nothing - for it but to submit with resignation, and give free scope to - the exercise of an ingenious malignity. Before concluding, - however, I may as well communicate an anecdote, which has - probably given rise to some of these injurious rumours about me. - It is as follows: - - "A performer on the violin, named D...i,[40] who was at Milan in - 1798, had connected himself with two men of bad character, who - persuaded him to go with them during the night to a neighbouring - village, to assassinate the clergyman, who was reported to have - been possessed of great wealth. Happily, the heart of one of the - associates failed him at the decisive moment, and he resolved to - denounce his confederates. The gendarmerie went to the spot, and - arrested D...i, and his friend, at the moment of their arrival at - the house of the _curé_. They were condemned to twenty years' - confinement, and thrown into prison; but General Menou, then - Governor of Milan, at the end of the second year, set the artist - at liberty. - - "Would you believe it, Sir? It was on this foundation, that all - my history has been raised. A performer on the violin was in - question, and his name ended in _i_--so that it _must_ have been - _Paganini_. It was _I_ who had been in prison, and the - assassination became that of my mistress, or my rival. Thus, to - explain the discovery of my new style of performance, they - encumber me with fetters which would but add to the difficulty. - Let me hope, Sir, that if I must yield to the propagators of a - calumny so obstinately persevered in against all verisimilitude, - they will at least consent to abandon their prey _after - death_,--and that those who so cruelly avenge themselves of my - success, will leave my ashes to rest in peace. Accept, Sir, the - assurance, &c. - - "PAGANINI." - -Largely profited in honours and revenue, through his exertions in -France, the great artist directed his course to the shores of England, -where the reception which awaited him was destined to form a climax to -his previous triumphs. Fame, that most eager, but inexact lady-usher, -who had introduced him to the French with so many whispers of wild -import, took similar liberties when she presented him to the marvelling -Londoners. "The page will be a strange one in the history of Art, to be -written some fifty years hence (says a writer in the _Athenæum_), which -shall contain all the rumours that heralded Paganini's first appearance -in England, and were quoted in explanation of his outward eccentricities -of person and manner. Our children will laugh at the credulity of their -fathers, when they read of a magician who strung his instrument with the -heart-strings of his mistress--a sort of demon Orpheus, who had been -initiated into his power by the gentle ordeals of murder and solitary -confinement;--and yet such reports were widely spread, and, strange to -say, believed! The writer of this notice remembers having heard it -gravely said in society, "that Paganini could play upon his violin when -all its strings were taken off!" and, when another of the party, to -expose the absurdity of the tale, declared that this wonder of the world -had done more, having once actually _strung a gridiron_ (his own violin -not arriving in time), on which he performed a concerto with immense -applause--this second and surpassing marvel (of course fabricated in the -humour of the moment) was not only swallowed, but absolutely retailed, -as an accredited fact!" - -The capacious area of the King's Theatre, scarcely adequate to the large -expectations founded upon his fame, was selected as the scene of his -London début. An awkward collision with public opinion marked, however, -the interval immediately preceding his appearance. An endeavour to -elevate the prices of admission above the usual _concert-pitch_, raised -a storm of opposition, that was only allayed by prompt and necessary -concession. To attribute the attempt, thus properly frustrated, to an -extortionate spirit on the part of Paganini, as was pretty generally -done at the time, seems hardly fair. It is more reasonable to suppose -that his ignorance of the English customs was taken advantage of, for -the sordid purposes of others; and on this point it may be worth while -here to say a few words. There is in London a class of needy and -adventurous foreigners, who, with no available talent of their own, have -just industry enough to make them beset those of their countrymen, whose -genius or good fortune enables them to figure successfully in our -metropolis. Whoever, at the period here referred to, has had occasion to -direct his course through the Regent's Quadrant, either in the twilight -of a departing day, or during the brighter reign of gas and night, must -have noted the loose, idle, swaggering gait, the tawdry and _outré_ -habiliments, and the dark and dirty looks, of certain figures who -loitered about in obstructive knots, or sauntered on in pairs or threes, -among the more regulated passengers. Their equipment was ordinarily -completed by a reeking cigar, which added to their sense of importance, -and was an auxiliary to their impertinencies of demeanour towards the -females, of whatever grade, who chanced to pass within their track. But -their "high and _palmy_ state" was in the gallery of the King's Theatre, -where their pertinacious "manual exercise," and their laudatory -vociferations, in favour of the dancers who successively occupied the -stage during the ballet, were a serious annoyance to all around them. -Under this character, which seems to have no English term that will -exactly fit it, they were (and still are) known as the _claqueurs_. -Externally, they are altogether the personification of impudent -pretence--and, to enable them to support their equivocal character, they -seek out the private quarters of the great singer, or the fortunate -artist, in whatever line, and, by all the arts of the meanest flattery, -contrive to extract from his purse such tribute as his vanity, or his -complaisance, may be willing to afford. It is no unnatural conjecture to -suppose that, on the occasion just named, Paganini acted under a mistake -produced by influence of this kind.[41] - -Perhaps no achievement in the musical art, performed by one person, has -ever been attended with more enthusiasm than marked the exhibition made -by Paganini at his first concert in London, given on the 3rd of June, -1831. Certain it is that nothing in the way of musical performance, that -had ever preceded it in this country, had exceeded it in _novelty_. It -was the prevalent theme of talking wonder; and all the ingenuities of -written criticism were tasked to describe and estimate it. Allowing for -the difficulty of appreciating, where the singularity was so great, -there was a remarkable acuteness shewn in some of the accounts that -appeared in the journals of the day. From these I propose to make a few -extracts, selecting such as seem best to illustrate the peculiarities -with which they had to deal. Let us commence with a statement given in -the first person, by Mr. Gardner, of Leicester. - -"At the hazard of my ribs, I placed myself at the Opera door, two hours -and a half before the concert began; presently, the crowd of musicians -and violinists filled the Colonnade to suffocation, all anxious to get -the front seat, because they had to pay for their places, Paganini not -giving a single ticket away. The Concert opened with Beethoven's Second -Symphony, admirably performed by the Philharmonic band; after which -Lablache sang _Largo al Factotum_, with much applause, and was encored. -A breathless silence then ensued, and every eye was watching the action -of this extraordinary violinist: and, as he glided from the side scenes -to the front of the stage, an involuntary cheering burst from every part -of the house, many rising from their seats to view the _spectre_ during -the thunder of this unprecedented cheering--his gaunt and extraordinary -appearance being more like that of a devotee, about to suffer martyrdom, -than one to delight you with his art. With the tip of his bow, he set -off the orchestra, in a grand military movement, with a force and -vivacity as surprising as it was new. At the termination of this -introduction, he commenced with a soft streamy note of celestial -quality: and, with three or four whips of his bow, elicited points of -sound that mounted to the third heaven, and as bright as the stars. A -scream of astonishment and delight burst from the audience at the -novelty of this effect. Immediately, an execution followed, that was -equally indescribable, in which were intermingled tones more than human, -which seemed to be wrung from the deepest anguish of a broken heart. -After this, the audience were enraptured by a lively strain, in which -you heard, commingled with the tones of the instrument, those of the -voice, with the _pizzicato_ of the guitar, forming a compound of -exquisite beauty. If it were possible to aim at a description of his -manner, we should say that you would take the violin to be a wild animal -which he is endeavouring to quiet in his bosom, and which he -occasionally, fiend-like, lashes with his bow; this he dashes upon the -strings as you would whip with a walking switch; tearing from the -creature the most horrid as well as delightful tones. He has long legs -and arms, and his hands, in his playing, often assume the attitude of -prayer, with the fingers pointed upwards. The highest notes (contrary to -every thing we have learnt) are produced as the hand recedes from the -bridge; overturning all our previous notions of the art. During these -effects, a book caught fire upon one of the desks, which burned for some -time unobserved by the musicians, who could neither see nor hear (though -repeatedly called to by the audience) any thing but the feats of this -wonderful performer. Some few pieces were played by the orchestra, that -gave repose to the admiring audience. He then entered upon his -celebrated performance of the single string, introducing the air of _Nel -cor più_ (_Hope told a flattering tale_), to which he imparted a tone so -'plaintive and desolate that the heart was torn by it;' in the midst of -this he was so _outré_--so comic--as to occasion the loudest bursts of -laughter! This feat was uproariously encored. He then retired to put on -three other strings, and ended this miraculous performance with the -richest _arpeggios_ and echoes, intermingled with new effects that no -language can describe! Though he retired amidst a confusion of huzzas -and bravos that completely drowned the full orchestra, yet he was called -for to receive the homage of the audience. There was no trick in his -playing; it was all fair, scientific execution, opening to us a new -order of sounds, the highest of which ascended two octaves above C in -alt." - -Our next demonstration is from the able pen that gave life and eloquence -to the new "Tatler:"-- - -"Those of our readers who have heard the most eminent of violin -performers, eminent for strength, sweetness, and purity of tone, will -hear all these requisites to absolute perfection in Paganini. They who -have heard difficulties in the way of execution overcome, which it -seemed bordering on desperation to attempt, may tax their faculties to -invent new enormities, and they will not only fall short in their -imaginings, but he will perform all, and more, not merely without show -of effort, but as if they were a fanciful prelude, or pastime, to some -laborious undertaking. In the course of the concert given last evening -at the Opera-house, he performed four pieces, in which, we conceive, he -exhibited every feature that the instrument can display, and many more -than it has hitherto been thought capable of. The first was a concerto -of the most florid character, varied with movements of exquisite -expression and tenderness. The second was a composition in the minor -key, and which, for its own intrinsic merit, made the strongest appeal -to our feelings. In it he satisfied at once any doubt we might have that -he would prove unequal in a _cantabile_.--His expression in this piece -was the most genuine display of passionate feeling we ever remember to -have heard on any instrument. It required no explanatory chorus, no -voice of accompaniment--it was the perfection of musical sighing, and -gentle sorrow. The third performance was a military rondo, the whole of -which he played upon one string--the fourth. In it he introduced the -subject of '_Non più andrai_' from _Figaro_, with variations of the most -astonishing description. He introduced passages of imitation in octaves, -with wonderful rapidity and neatness, and with a purity of tone that was -delicious. The precision, too, with which he dashed from the lowest -note of the string to the opposite extreme, and all with the utmost -indifference of manner, was one of the commonest of his achievements. -The last piece, which was a brilliant rondo, he played entirely without -the orchestral accompaniment; and this was the triumph of the evening. -It consisted of an air with variations, crowded with enharmonic -passages. The subject, now legato, and now hurried, was at one time -attended with a florid, and at another with a _pizzicato_ accompaniment; -and, as he drew to a close, he accelerated his time to a _prestissimo, -the air and the pizzicato moving on together_, and ending with a _rapid -shake upon the latter_! The violin-player will fully appreciate the -difficulty of this achievement. It is scarcely necessary to state that -the audience were _satisfied_. The applause was showered upon him in -torrents." - -Another commentator thus expresses himself:-- - -"Paganini's playing is in a very high degree intellectual. It is mental, -as well as physical and mechanical. The instant he seizes his violin, -which he usually coquets with for a time before bringing it up to its -proper place, a sudden animation passes over his countenance. He has the -advantage, which all concerto players, by the way, ought to adopt, of -_never using a book_. This mode, in itself, has as much the superiority -as a speech delivered has over one that is read. When the first bow is -drawn, Paganini is evidently lost to every other thought, and is -revelling probably in a world of his own creation. All his passages seem -free and unpremeditated, as if conceived on the instant. One has no -impression of their having cost him either forethought or labour. The -word difficulty has no place in his vocabulary, so completely is all -brought under his subjection and mastery. - -"Nothing can be more intense in feeling than his conception and delivery -of an adagio passage. His tone is not, perhaps, so full and round as -that of some other players--as Baillot, or De Beriot, for example: it is -delicate, rather than strong; but that delicacy is inconceivable, unless -one has heard it, and was probably never possessed equally by any other -player. His touch is occasionally so fine, that the note seems to float -in the air, and not to spring from any instrument. In point of -expression, it is impossible to imagine any thing more perfect. The -melancholy or tender (as should be the case in slow movements) mostly -predominates; but there is no shade or form of expression which the -genius of Paganini does not draw forth. His adagios are intermixed with -passages of rapid execution, which go off with the rapidity of a rocket, -or a falling star--a break of the subject, or an impertinence, in any -hands but his own--but, if analyzed, all is in perfect keeping. - -"The only thing that can be said to lessen the wonder of Paganini's -powers in the way of mere mechanism, is that he is indebted for them, in -some measure, to his own peculiar conformation. His long arms, and -slender frame, allow him to place the instrument in the most -advantageous position that is possible; and his left arm is brought so -completely under it, that his hand seems to cover the whole extent of -the finger-board. Such is the flexibility, besides, of his joints, that -he can throw his thumb nearly back upon his wrist, and extend his little -finger, at the same time, in the opposite direction. By these means, -when in the first position, as it is called, of the violin, he can -reach, without shifting, to the second octave. His extreme high -notes--for he contrives to play three octaves on each string--are given, -consequently, with a precision and certainty never heard before. This -flexibility, without doubt, is indispensable to the execution of many of -the passages, though it is, probably, not wholly natural to him, but -acquired, in part, by his long and severe practice. His solo on the -fourth or G string (the other three being discarded for the occasion) we -consider among the most charming, as well as the most wonderful, -specimens. There are few players, we apprehend, who, in point of mere -difficulty, could do on four strings what Paganini does on one; but that -is nothing. The charm lies in the peculiar effect--in the soft and -silvery tone of that string, which one almost imagines to be increased, -though, perhaps, without reason, by taking the others away. No defect is -felt, as regards compass, in this piece. There appear to be as many -notes as in the violin in its ordinary state; and, in fact, by the aid -of the harmonics, he does make nearly as many." - -Such were the wonders achieved, and such the impressions created, by -this superlative master of the most versatile of instruments. After he -had performed at this his first concert, Mori went about with the -jesting enquiry, "Who'll buy a fiddle and bow for eighteen-pence?" and -John Cramer exclaimed, "Thank Heaven, I am not a violin-player!" It -seemed, in short, to be commonly admitted, that, as nothing had been -heard before, in violin performance, equal to this exhibition, so -nothing could be expected ever to exceed it--that "the force of fiddling -could no further go." One of the numerous critics whom he kindled into -rapture, observed that in the style of Paganini were united the majesty -of Rode, the vigour of Baillot, the sentiment of Spohr, the -_sensibilité_ of Kiesewetter, the suavity of Vaccari, the mastery of -Maurer, the _justesse_ of Lafont, and the elegant expression of De -Beriot! - -The excitement produced by the first public display of these powers in -our metropolis was fully sustained on the subsequent occasions. It would -fill a volume of itself, were I to treat, "avec circonstance," of the -successive concerts at theatres and other places, in which the Genoese -genius electrified attending mortals - - "With heav'nly touch of instrumental sounds." - -With no intention to be thus particular, I must beg permission, -nevertheless, to extract a few more passages of contemporary notice. The -celebrated _Capriccio_, in which he introduced the air from the -_Carnaval de Venise_, merits a separate description:-- - -"On reaching his position in the centre of the stage, he seemed at once -to lose all consciousness of the presence of mortals, and to live and -breathe for his violin alone. He touched its strings lightly and -trippingly, as if to awaken it, and then, after having given it three or -four of those sweeping, switching strokes, which almost justify the -expression that he thinks to lash it into submission to his spirit, he -threw off a most singular mutilation of the Venetian Air, "Oh! come to -me!" in which, while he appeared to retain only the sad part of the -original, he communicated to it an odd wailing character. On this -subject he _capriccio'd_ some four or five variations, all in a -consistent style, in which he introduced most of his peculiar movements -of hand and bow. At the end, he was rapturously applauded, and he -retired as he had entered. The applause, however, being continued, mixed -with some cries of _encore_, he came forth again, but without his -violin, and, making a most eloquent bow, retired once more. The plaudits -were, however, now redoubled, and the wicked audience, having got the -crotchet into their heads, pretty unanimously vociferated _encore_; -when, after some delay, the good Signor absolutely did make his -appearance with his second self--or his _pickaninney_--his violin; and -did vouchsafe two little variations more, of the wizard strain:--the -last was altogether performed by the hand which held the instrument, and -without the aid of the bow. On the whole, so strange, so whimsical an -outpouring of melancholy we never heard before, and probably never shall -again:--one really did not know whether to laugh or cry at it. Nothing -upon record, that we know of, comes near it, with the exception of -_Corporal Trim's_ pathos in the kitchen." - -In the region of the harmonic notes, which was before (comparatively -speaking) almost a "terra incognita," Paganini may claim the undoubted -merit of having made extensive discoveries:-- - -"The _staccato_ runs, performed with the bow and concluded with a guitar -note, are quite original with Paganini; and this is one of the few -novelties in which he may find successful imitators. But his manner of -producing the harmonic notes, which ascend to a height never before -imagined, will probably remain a perpetual mystery[42]; it is not their -least marvellous characteristic that, exquisitely attenuated as they -are, the distinctness and strength of the sound is not, in the smallest -degree, impaired. In performing on the fourth string only, he introduces -the harmonics as part of the regular scale, thus obviating, in effect, -all deficiency as to compass. The introduction of _pizzicato_ runs, on -this solitary string, is another inexplicable mechanical feat." - -And again, as to these wonder-working harmonics:-- - -"Signor Paganini having, through vast exertion, procured himself the aid -of two entire additional octaves with their half-notes, making in all 28 -notes _on the fourth string_, by means of the harmonics, is able to -execute pieces of a very extensive scale on that string alone. The -labour he must have gone through, before he could so completely obtain -the command of the harmonic notes, none but violin performers of -experience can form a notion of. The most surprising part of the use he -makes of them is in the clearness and strength of their tone, which -render them as audible as the full notes, at any distance." - -At his (so called) farewell Concert at the King's Theatre, on the 20th -of August, two of the pieces he selected for his display were especially -remarkable in the treatment. One of them, a _fandango_ of very bizarre -character, performed on the fourth string, consisted, in part, of a sort -of whiningly amorous colloquy between two birds. An incidental -_crowing_, like that of a cock, was privately conjectured, by one of the -musical men present, to be the artist's medium of conveying an oblique -satire upon _the audience_, as the subdued vassals of his will. No -impression of the kind, however, existed with _them_, for they demanded -the repetition of the affair. The other piece was our National Anthem of -God save the King, certainly an ill-selected subject for exhibition on a -single instrument, and, in the treatment of it (if I may venture to -advance my own impressions experienced at the time), too full of -sliding, and, as it were, _puling_, to satisfy the pre-conceptions -derived from the fullness, steadiness and grandeur, characteristic of -the original composition. Indeed, as it appeared to my own humble -judgment, there was intermixed in the general performances of this -wonderful artist, "something too much" of this sliding and tremulous -work, the result, seemingly, of an overstraining at expression--of an -attempt, if I may so speak, to make the note carry more than it could -_bear_. The effect, in such cases, was in some degree analogous to that -of Velluti's singing; it bespoke intentions outstripping the possibility -of execution. But then, amid so much splendid achievement, must we not -always expect to find some mark or other of the imperfection belonging -to that poor human nature which is the agent? - -Whatever may have been, in the _artistic_ sense, the relative -appreciation of Paganini's talent, in the various European countries -that had witnessed its display--it is certain that he was no where so -highly estimated, according to the _monetary_ scale, as in England, -where it has been supposed (though the exact computation of such matters -is difficult) that his receipts amounted to about twenty-four thousand -pounds. Whilst the golden shower was descending on him, he was not so -absorbed in its fascination, as to forget the silent claims of the -penny-less;--nor would it be fair to measure his impulses in this -direction, by the side of that largeness of soul which we have all so -greatly delighted to honour in the excellent Jenny Lind. - -In the summer of 1834, after an absence of six years, spent partly in -Europe and partly in America, Paganini revisited Italy--where, looking -wistfully towards the sweets of retirement, he invested a portion of his -accumulated funds in the purchase of an agreeable country-residence in -the environs of Parma, called the _Villa Gajona_. Among the projects he -at that time entertained, was the thought of preparing his various -compositions for publication--a measure towards which the eager -curiosity, of those especially interested in the violin, had long been -pointedly turned, under the impression that all which was mysterious in -the production of his extraordinary effects would thus be freely -elucidated. Exaggerated notions, however, as to the pecuniary value of -such a work, seem to have possessed the mind of Paganini; for, an -enterprising Parisian publisher, who had made hopeful approaches to him -whilst in London, had been frightened away by the discovery, that if he -were to enter on the speculation by payment of the sum expected, he must -look through a vista of ten years, for the commencement of his profits! - -Received every where with honour in his own country, as the result of -his foreign ovations, and decorated, by Maria Louisa, Duchess of Parma, -with the Imperial Order of St. George, the caressed Artist was, -nevertheless, incapable of any continuous enjoyment, for the want of -that health which his restless and transitive spirit had no where been -able to attain. A speculation of no sound character, with which he was -induced to connect himself (in ignorance, as it is believed, of its real -nature), drew him away to Paris, in 1838, and, in the result, damaged -his pocket, and did not wholly spare his reputation. In that project, -designed professedly for concerts, but covertly for gambling, he became -involved, through a legal verdict, to the extent of 50,000 francs. - -In the midst of the troubles associated with that affair, his ailments -had deepened into consumption; and he made a painful journey through -France, under medical prescription, to reach Marseilles. There, in -retirement, beneath the roof of a friend, a brief return of energy -enabled him to take up, now and then, his violin or his guitar; and he -one day showed so much animation as to join effectively in a certain -quartett of Beethoven's, which he passionately admired. The necessity -for change, so peculiarly felt by consumptive patients, impelled him -again to his own Genoa; but the _great_ change was at hand--and another -journey brought him to his last earthly scene, which was at Nice. The -closing process was rapid. His voice became hardly distinguishable from -silence itself--and sharp attacks of cough, that grew daily more -obstinate, completed the exhaustion of his strength. - -Of the final moments of this memorable man, an Italian writer has -furnished some account, in terms which, touching as they are, yet leave -in the heart a sense of something to be desired--something which no -reflecting mind will be at any loss to understand. The account is (in -English) as follows:-- - -"During the evening that was his last, he manifested more tranquillity -than was habitual to him. On awaking, after a short slumber, he had the -curtains of his bed drawn aside, that he might contemplate the full -moon, serenely marching through the immensity of the clear heaven. In -the midst of that contemplation, he again sank into drowsiness; but the -whispering of the contiguous trees excited in his bosom that stir of -gentle emotion, which is the very life of the beautiful. As if he would -have rendered back to Nature the sweet sensations he was receiving from -her in that final hour--he extended his hand toward his charm-haunted -violin--toward the faithful companion of his wanderings--toward the -magic thing that had been as an opiate to his troubles;--and then--he -sent up to heaven, along with its expiring sounds, the last sigh of a -life that had been all melody!" - -The date of the event was the 27th May, 1840--and the age of the -deceased, fifty-six. The great Artist left considerable wealth, together -with the title of Baron (conferred on him in Germany) to his only son, -Achilles, the offspring of a union with a certain vocalist, named -Antonia Bianchi--a union which, not having been secured and sanctioned -by the church's testimony, was soon severed by the lady's temper. - -The life of Paganini had been a "fitful fever"--and the desire to "sleep -well" may indeed be conceived to have been as an abiding thirst within -him. Even his cold remains, however, were not permitted, by jealous and -jaundiced authority, to repose undisturbed. Slander had been furtively -busy with his name--he had died without the _stamp_ conferred by -official religious ministrations--his Catholicity was dubious--his -mortal relics could not (_so_ decided the Bishop of Nice) be committed -to consecrated ground. In vain did his son, his friends, and the chief -professors of art in that city, make solicitation of leave for a solemn -service to be performed in behalf of his eternal repose, under the plea -that, like many another victim of consumption, he had not supposed his -death to be imminent, and had departed this life suddenly;--the leave -was refused; and all that could be obtained, was the offer of an -authentic declaration of demise, with license to transport the corpse -whithersoever it might be wished. This was declined--and the affair was -brought before a public tribunal, which gave verdict in favour of the -Bishop. Appeal was then had to Rome, where the Bishop's decision was -cancelled, and the Archbishop of Turin was charged, conjointly with two -Canons of the Cathedral at Genoa, to make enquiry into Paganini's -Catholicity. During all this time, the corpse had remained in a room at -the Hospital at Nice. It was then transferred, by sea, from the -lazaretto of Villa Franca, near that city, to a country-seat in the -neighbourhood of Genoa. There, a report soon got into circulation, of -strange and lamentable sounds being heard by night. To arrest these -popular impressions, the young Baron Paganini undertook the cost of a -solemn service to the memory of his father, which was celebrated in one -of the churches at Parma. After this expenditure, the friends of the -deceased had permission from the Bishop of Parma to bring the corpse -within that Duchy--to transfer it to the _Villa Gajona_--and to inter it -near the village church:--and this funeral homage was at length rendered -to the remains of the man of celebrity, in May 1845, but without any -display, in conformity with orders from the government. - -The sum bequeathed by Paganini to his son (for whom a documentary -legitimacy had been procured) amounted to two millions of francs (about -£80,000), charged with legacies of fifty, and sixty thousand francs, -respectively, to his two sisters, and with an annual _pittance_ of 1200 -francs to the mother of his loved Achilles. He left also some valuable -instruments, including an incomparable _Straduarius_, a charming -_Guarnerius_, of the small pattern, an excellent _Amati_, a _bass_ of -Straduarius, agreeing with the violin by the same maker, and his large -and favourite _Guarnerius_. This latter, the sole instrument associated -entirely with his travels, he bequeathed to the city of Genoa, being -unwilling that any other artist should possess it after him. - -Some further particulars, to illustrate chiefly the habits of the _man_, -may not be deemed superfluous. - -Paganini's existence was a series of alternations betwixt excitement and -exhaustion; and it is not surprising to find that his moods of mind were -variable and uneven, and that he would sometimes sit, for hours -together, in a sealed and sombre taciturnity, whilst, at other times, he -would surrender himself to a wild effervescence of gaiety,--without any -apparent motive in either case. Most commonly silentious, he was -talkative when travelling. The weak state of his health made him averse -from loud conversation; and yet, when the rattle of the wheels over the -pavement became deafening, he would talk loud and fast. To the scenic -charms out-spread before his eyes, he was insensible--his urgent impulse -being to move rapidly, and to reach his journey's end. In his later -years, a low bodily temperature was habitual to him, insomuch that he -would wrap a furred pelisse around him, in summer-time, and huddle -himself up in a corner of his carriage, with every window closed. -In-doors, on the contrary, he would have all the windows open, and -called it taking an air-bath! He anathematized the climates of Germany -and France, but, above all, that of England; and declared that Italy was -the only country to live in. The intensity of his internal sufferings -transmuted, at times, his ordinary pallor into a livid, or even a -greenish hue; but his recourse was to quackery--to _one_ empirical -remedy, in which he had faith, and not to doctors, in whom he had none. -Before commencing a day's journey, he took no tea, nor coffee, but -either soup or a cup of chocolate. If it were early in the morning, he -would start without taking anything, and sometimes continue fasting the -greater part of the day. For the encumbrances of baggage, he had almost -the contempt of a _Napier_. A small shabby box, in which he placed his -beloved _Guarnerius_ instrument, his jewels, money, and meagre stock of -linen,--a carpet bag--and a hat-box--these were his accompaniments, and -were all stowed inside the vehicle. Careless of all that goes by the -name of _comfortable_, he was also very little solicitous about his -toilet. His wardrobe might have gone into a napkin. As for his papers, -they were thrust into a small red portfolio, in "most admired disorder," -such as himself alone could penetrate for any immediate purpose. -Arithmetician he was _not_, in the ordinary sense--but he managed his -business calculations in a way of his own, that answered all his need. -To the style of his accommodations on the road, he was quite -indifferent, provided only that his rooms were _quiet_. At the day's -end, a light supper, or (sometimes) a cup of camomile tea, sufficed him. - -In his own quarters, Paganini maintained usually the strictest solitude, -and seemed always to quit his room with regret. His violin, as silent as -himself, was not touched, save when he tuned it for a concert, or a -rehearsal. He had worked _enough_--his labours had long before carried -him to the summit;--his want, his craving want, was _repose_. There is a -floating story about his having been dodged and watched for six months, -from one halting-place to another, by an enthusiastic English amateur, -who hoped to "pluck out the heart of his mystery," to grasp the secret -of his studies, by lodging at the same hotels, and occupying (whenever -possible), a contiguous chamber. Vain expectation! a profound silence -always enveloped the great Professor. At length, however, the crisis of -discovery seemed imminent. Paganini was seen (through a key-hole) to -seat himself on a couch--to take the incomparable fiddle from its -case--to raise it to his left shoulder! Still, the silence was -unbroken--not the whisper of a note could be distinguished! Paganini, -absorbed doubtless in the composition of some new piece, only shifted -his left hand about, upon the neck of the instrument, to study his -positions, without the help of the bow--and then restored the -un-awakened fiddle to its resting-place. The Englishman (says the story) -renounced his hapless pursuit, and returned home in despair! - -Enchained to music and its toils, from his earliest youth, Paganini had -acquired very little general knowledge. Books were strange things to him -and history and science, almost nullities. Political events had no -interest for him: he looked at the newspapers merely for what personally -concerned him. His mind was much engaged with his own projects for the -future--such as forming a Musical Conservatory in Italy, publishing his -compositions, writing operas, and ceasing to travel. He had a _Byronic_ -mistrust of friends, and proneness to regard them as secret plotters -against his peace. As for visitors (by whom he was sometimes besieged), -as many as he was not constrained to see, were passed over to his -Secretary. To those Artists who sought his converse, that they might -enucleate his professional secrets, he listened patiently--but -maintained his reserve. Invitations to dine or sup, which at every large -town came in a shower upon him, were sparingly and reluctantly accepted. -On rising from the table, if he could escape unperceived, he would -immediately retire, to take repose. He was more lively _before_ than -_after_ dinner--an ill compliment, perhaps, to his _host_, but no bad -way of signifying the real sacrifice he had made, in accepting his -invitation. In evening society, he was cheerful, in the absence of -_music_; but, if that were started, either in practice, or as a -conversational topic, his good humour instantly vanished;--nor is this -at all wonderful, when we remember that his public life was one enormous -compound of music, and that to _forget_ that art, when in his more -private moments, must have been to him as a want and a refuge. His eyes, -weakened by the glare of stage lamps, had an owl-like propensity to shun -the light, as was manifest in his custom of turning his back to the -chandeliers &c. in evening society, and sitting in total darkness at -home. He had a faculty, like that of George the Third, for unfailing -recollection of the persons and names of those who had been once -presented to him; and yet (strange to say) the names of the towns, -wherein he gave his concerts, would slip from his memory, as soon as he -had quitted them. - -On the mornings of his concert-days, he allowed himself a liberal time -for quiet--lounging at ease upon a sofa, as if conscious that composure -is the cradle of strength--and then he would start up, full of decision -for business. Amid the ensuing preparations, he took a good deal of -snuff--the sure sign of his being earnestly engaged. At rehearsal, he -was careful to exclude strangers. If they found their way in, however, -he touched his solo passages almost inaudibly, or indicated them by a -slight _pizzicato_. With the orchestra, he was rigorous in the -extreme--exacting the minutest attention to every point. When he came to -some special passage of display, in expectation of which, the members of -the band were on their legs, all eagerness to catch what was coming, he -would sometimes carelessly throw off a few notes only, and then turn -towards them with a smile, and the words, _Et coetera, Messieurs!_ It -was for the evening--for the public--that he reserved all the wonders of -his talent. He always took away with him the various orchestral _parts_, -which he would entrust to no one else. As for the _principal_ part, it -was never seen, as he played from _memory_, and sought to prevent the -copying of his compositions. He had a way--the caprice of conscious -power--of keeping the public a long time waiting, before he would show -himself, and begin to play. His departure from a concert-room was the -picture of a triumph. The curious and the enthusiastic formed a dense -lane, extending to his carriage, and welcomed him with transports of -admiration. At his hotel, a similar assemblage awaited him with their -acclamations. Elate with such marks of general favour, he would then -join the _table-d'hôte_, not without an appetite for supper, though, -perhaps, depression and indigestion might constitute the experience of -the following day. - -Such, then, as artist and as man, was Nicholas Paganini--whom let none -_envy_, nor deem that a world-wide fame was _well_ acquired by the -sacrifices _he_ made for its attainment--sacrifices involving, almost of -necessity, much oblivion of the higher purposes of life, along with the -forfeiture of some of its best comforts. Measuring the toils and -sufferings of his career against its triumphs, surely we may say, "_le -jeu ne valait pas la chandelle!_"--the precious flame of life was _too -dearly_ expended on a perfection that allowed _nothing else_ to be -perfected!" For a fitting wreath to the memory of Paganini, the -_cypress_ should bear equal part with the _laurel_; since pity and -admiration can hardly be dissevered, in our thoughts of him. The -consummation of _the artist_ was the spoiling of _the man_. To render -himself, in so absolute a sense, the _master_ of his instrument, it was -essential to become, what he emphatically was--its _slave_. Bodily -health, and moral vigour, withered alike under a dedication to _one_ -object of ambitious study, so early sighed for, and with such prolonged -severity pursued. That the _success_, however, (be its relative worth -what it may) was _complete_--that the bold and wild adventurer reached -the highest attainable summit in those regions of art that he explored -and illustrated--is a point which seems hardly capable of rational -dispute. Allowing some of his eccentricities to weigh against him as -_defects_, there will yet remain sufficient ground for regarding him, on -the whole, as the greatest of _all_ violinists, past or present; nor -would _he_ be the _most_ hardy of prognosticators, who should venture to -assign him the like pre-eminence over all future individuals of his -calling;--for how can we anticipate another such happy union of the -_inventive_ with the _executive_ power--another case in which there -shall be so strange a concurrence in the various requisites of -pre-disposing organization,[43] inflexible will, and co-operating -circumstance? The same causes, however, which have placed him so far -above the level of the crowd of instrumentalists, would seem to deny to -him the production of any permanent or important impression on the -general state of his Art. He could hardly have been followed by others, -even if he had undertaken to be their teacher, and to "ungird his -strangeness" to their toiling apprehensions, disclosing to them the most -subtle principles of what he himself delighted to call _la filosofia del -violino_. _His_ means would still have been above _their_ means, and the -end would never be reached. Thus, although the greatest of artists, he -must be reckoned, as a director and propagator of his art, far less -considerable than Viotti of the modern school, Corelli of the old, or -even others less distinguished than these two men of fame. "In -considering the discoveries of Paganini," said once an able French -critic, "as regards their application to the progress of the art, and of -genuine music, I think that their influence will be very limited, and -that what arises out of them is only good in _his_ hands; for, -indifferently executed, it would be insupportable. The art of Paganini -stands alone: it was born and it will die with him." It is true that we -have had _subsequent_ experience, in various instances, of a certain -degree of _approximation_ to the feats of Paganini; but, were this even -closer than it is, it would not invalidate what has been here suggested -as to the almost incommunicable nature of such skill as his. - - Potent to stir the vibratory string, - And _wonders_ from the realms of sound to bring! - Skilled, through the _ear_, to reach the awakened _heart_, - Or bid the _Fancy_ play her picturing part! - Conqu'ror, whose captives, gladdened with soft strains, - Clung to thy sway, and revelled in their chains, - And came in crowds, their homage to renew, - And heaped the tribute still, as still thy due! - How _void_ the space that thou were wont to fill! - Thy throne, how vacant, now--and _mute_ thy skill! - Hast thou--hast _found_, far, far from earthly din, - The _rest_ thy glittering triumphs could not win? - --Farewell!--What chief soe'er may seek to reign, - _Thy like_ we shall not look upon again! - -The _compositions_ of Paganini, replete as they are with the most -surprising difficulties, and the boldest innovations, form prominent -examples of what may be called the _romance_ of instrumental music. The -design entertained by their author, of giving them to the world in his -own life-time, as well as of imparting the _secret_ that should make -their execution seem no longer super-human, was destined to have no -fulfilment; and it is to be regretted that his death rendered impossible -the complete publication of _all_ that he had composed, as not a few of -the manuscript pieces were left by him in an imperfect state. Of -_twenty-four_ several pieces, enumerated as forming the whole of the MS. -original works of Paganini, preserved by his son, _nine_ only were -discovered to be in a completed state. An edition of all that is -presentable, however, has been undertaken in Paris, to gratify at length -a twenty-years expectation but it is very doubtful whether a London -edition will be ventured on, since it is only for the higher class of -professors--for a very select minority--that such a collection can have -any attractiveness, beyond that of mere curiosity. - -Monsieur Fétis, in his literary notice, written to accompany the -Collection just referred to, has given some able critical remarks on the -compositions in detail. His pamphlet may be consulted with advantage by -the enquiring reader. Alluding to the compositions in their general -character, M. Fétis observes that great merit is displayed in -them--novelty as to the ideas, elegance as to the forms, richness of -harmony, and variety in the effects of instrumentation. These qualities -(he adds) shine out particularly in the _Concertos_, however much they -may differ from the classic type of those of Viotti, which, with all -their charming sentiment, left something yet to be desired, on the score -of _variety_, in the more rapid passages. - -In his own compositions (which he always played with more satisfaction -to himself than those of any other master) the mind of the great artist -was highly developed; but to execute his peculiar intentions, in all -their complexity, he needed the beautiful, exemplary, unfailing accuracy -of intonation, that so distinguished him. How nicely exact, in the -softest passages, his double notes! With what marvellous certainty did -his bow pitch down upon the strings, no matter what the relative -distance of the intervals! His hand (says M. Fétis) was a geometrical -_compass_, that divided, with mathematical exactness, the neck of the -violin--and his fingers always came plump upon the very point at which -the intonations of his double-note intervals were to be obtained. - -As some sort of antidote to positive _despair_, I will conclude this -chapter with a passage in which, despite their thorny intricacies, the -above-named writer recommends the practical study of Paganini's Works:-- - -"It will perhaps be asked, what can be the advantage of introducing -fresh difficulties into Art! In Music, it will be reasonably contended, -the object is not to _astonish_, by the conquest of difficulties, but to -_charm_, by means of sentiment. Against this principle, I would be the -last to declaim; but I would observe, first, that there is no preventing -those cases of _exception_, in which certain artists _will_ seek the -triumphs of their talent in extreme perils of execution, which, if -successful, the public will as surely applaud;--and, secondly, that the -study of what is most arduous, leads to certainty in what is more -simple. A violinist who should attain the power of playing the Concertos -of Paganini, with truth of tune, and in perfect proportion, would -possess, _à fortiori_, an undeviating accuracy in ordinary music." - - - - -CHAPTER IV. - -THE FRENCH SCHOOL. - - ... furnished out with _arts_. DRYDEN. - - -Next in importance to the Italian School of Violinists, that of France -now offers its claims to our notice. If the palm, indeed, were to be -awarded according to the comparative merits of the _living_ (or recently -living) Masters of each School, it must be given in favour of France; -for, though we might admit the Italian Paganini to have been "facile -princeps," the greatest of _all_ performers--and though we might -overlook the consideration of his belonging, in fact, to no class or -acknowledged system whatever--he is, still, but _one_ man of might,--a -Goliah, without an army to back him, since his qualified countrymen, in -modern days, are few--whereas the French have a redoubtable band of -champions, present or recent, whose united force is able to defy living -competition. It is in the aggregate of the _past_ with the present, -however, that the Italians are found to predominate. The probable -originators of the art of violin-playing (in so far, at all events, as -it was worthy to be called such), _they_ have been likewise its steady -and decisive improvers in every department, from the days of Corelli to -those of Viotti, a space of about a century;--while the excellence of -the French is of more modern growth, and, it should be remarked, of more -limited character. Brilliancy of style, neatness and finish of -execution, are _their_ distinguishing traits. They are a gay and a -polished nation--they are gay and polished fiddlers. They animate you in -the _vivace_, they dazzle you in the _allegro brillante_--but they -commonly fail to reach your heart through the _adagio appassionato_. -Their violinists have all the skill that is independent of deep feeling. -In _expression_, they fall short of what is required: they catch its -lesser graces, but they seem rarely to attain its higher powers. The -violin, considered more particularly as the _fiddle_, is an instrument -too congenial to the temperament of the French, to have escaped their -especial notice and close cultivation. To all that is mercurial in their -tendencies, as well as to much that is artificial in their habits, it -lends itself with the utmost readiness: it is the best instrument to -dance to; it is the best instrument to protect from _ennui_ your sitters -at a theatre: it sharpens the pungency of an _air de vaudeville_; it -sets off the ceremonial of a ballet. In this sense, the French have -"marked it for their own," and achieved wonders with it. Out of this -sphere--this lower empire--their power has been less considerable. It -must be confessed, however, that this limitation applies with greater -force and distinctness to the time _preceding_ their great Revolution, -than to later days. That mighty event, which stirred up the depths of -the national mind, and opened the channels of thought in every -direction, could not but exert some degree of influence, even on those -arts that have least connection with the ordinary business of men. The -French taste in music--formalistic, ungenial, and anti-catholic as it -was--has undergone _some_ change for the better, through the convulsions -that have overthrown Kings, and scattered Courts. It still retains, -albeit, much of its old, hard idiosyncrasy. French music is still, for -the most part, "_caviare_ to the general." It lacks cosmopolitan -character. To ensure it a full and hearty welcome, it needs a French -education. If these observations be just, it follows that our lively -neighbours, in dealing with stringed instruments, as well as with -others, would not attain first-rate success in the way of _composition_ -for them--and such has been (I submit) the fact. Their real _forte_ lies -in _exposition_--in giving outward manifestation and effect to the ideas -of others. - -It is the remark of one of their own countrymen (the able Mons. Choron), -that the principal merit of the French School of Music, taken -altogether, lies in the various branches of _execution_. And, with -reference always to this quality, execution, he adds, "the style in -which the French have real and undisputed merit, and indeed, in many -respects, have a marked superiority, is the instrumental in general, and -especially that of the violin. On this point, the French have always had -great pretensions, and _often_ founded in justice." After alluding to -the alleged excellence of early French violinists, and, in particular, -of the twenty-four _petits violons_ of Louis XIV, formed by Lully, M. -Choron has the candour to acknowledge that he knows not how to reconcile -this with the following statement, given by Corette (a furious partisan, -by the way, of the French School of Music), in the Preface to his -Méthode d'Accompagnement, published at Paris about 1750.--"At the -commencement of this century," says that author, "music was very dull -and slow, &c.... When Corelli's Sonatas were first brought from Rome -(about 1715), nobody in Paris could play them. The Duke of Orleans, then -Regent, being a great amateur of music, and wishing to hear them, was -obliged to have them _sung_ by three voices. The violinists then began -to study them, and, at the expiration of _some years, three_ were found -who could play them. Baptiste, one of these, went to Rome to study them -under Corelli himself."--Having quoted this embarrassing passage, M. -Choron thus continues:--"Be this as it may; since that period, -instrumental music has been studied with ardour by the French, and they -have made astonishing progress in it. France has now an excellent school -for the violin, _founded upon that of Italy_." - -The excellence of the school, thus defined as to its peculiar character, -and thus denoted as to its origin, none will probably be disposed to -deny, who are conversant with the general state of instrumental -performance at the present time. Adverting again to the question of -_composition_, we may assert, and that also on M. Choron's authority, -that the French have only been imitators, although they are not without -names of some celebrity there likewise. M. Castil-Blaze,[44] in a -passage wherein he takes a rapid glance at a few of the French -violinists, presents us with a tolerable notion of the characteristics -of the French system, both as to playing and writing:--"Kreutzer excels -in voluble touches, whether continuous or detached into pointed notes. -Rode is distinguished by traits of _coquettish_ character, as well as by -a free vocal effect conveyed by full notes, whose whole charm is in the -quality of the tone. Lafont exhibits an admirable shake, with much grace -and refinement in his style. Baillot dazzles in rapid passages, and -surprises by the boldness of his double-stringed effects, and the magic -of his bow." Here we find, albeit expressed in the most favorable terms, -far more of the pretty and the glittering, than of the solid or the -elevated. - -"Each of these masters," continues M. Castil-Blaze, "has lavished upon -his compositions those peculiar traits which he most affected, and has -made sparing use of such as were remote from his own style of execution. -It is certain that those favorite traits would not come beneath his -hand, in equal proportion, in a composition of Viotti's; nay, he would -there meet with some that would not admit of his displaying all the -extent of his resources, &c. It is therefore indispensable that the -virtuoso, who desires to show himself in the most favorable light, -should compose his own music, or, at least, should direct him who is -charged with its composition."--This, it needs scarcely to be observed, -may be well enough calculated to favor the triumphs of individual -vanity, by giving prominence to mechanical dexterity; but it is -obviously not founded on a regard for the higher principles of art. - -Having glanced at the great national Revolution, as to its agency in -modifying French musical taste, let us give a momentary attention, -likewise, to another influential agency--that of the _Conservatoire de -Musique_--an institution which has done much, during the last half -century, to foster and develop merit in the Art under consideration. M. -Castil-Blaze, in his work, "De l'Opéra en France," thus notifies its -origin and effects:-- - -"In 1793, a union took place of all which France possessed that was most -illustrious in the line of composers, singers, and instrumentalists. The -_Conservatoire_ of France, that monument of our musical glory, was -raised on the foundation of the old _Ecole de Chant_. All the scattered -documents, the varying and sometimes contradictory theories, the -principles professed by each master, were brought together, examined, -revised;--and then was formed a universal code of music, a system of -instruction clear in its elements, methodical as well as rapid in its -progression, and certain in its results. * * * * * * * * Then, and only -then, were heard in France the sublime productions of Haydn and Mozart, -which came forth with all the charms of novelty, though our predecessors -had been essaying them for twenty years before." - -It may be here incidentally mentioned, that, in 1802, there sprang up so -violent a dissention among the professors at the above valuable -Institution, as to excite some fears about the continuation of its -existence. Subjoined is an epigram that was born of that occasion:-- - - "J'admire leurs talents, et même leur génie, - Mais, au fait, ils ont un grand tort; - C'est de s'intituler professeurs d'harmonie, - Et de n'être jamais d'accord." - -Or, as we might phrase it in our own tongue:-- - - The force, the skill, for which they're fam'd, - I praise;--yet one great fault I see: - Of _harmony_ Professors nam'd, - How comes it that they _can't agree?_ - -Let us now proceed to consider the principal French violinists in their -order--commencing with Lully, who, though not a Frenchman, but rather -(as Burney styles him) a Frenchified Tuscan, belonged entirely to -France, both by his education, and the results of it. It has been -already observed that Baltazarini, the Italian (who became, _Gallicè_, -Monsieur de Beaujoyeux, and who flourished about eighty years earlier -than Lully), was the first who introduced the violin to Court favour and -fashion in France; where, however, till the time of Lully, it appears to -have had no higher province than that which it enjoyed in association -with the dance and the ballet--a condition which may, perhaps, be termed -"frivolous and vexatious," but which must be allowed to have coincided -pretty exactly with the national taste, at the time. - -JEAN BAPTISTE DE LULLY was born of obscure parents at Florence, in 1633 -or 34. The bias towards music which he shewed, while yet a child, -induced a worthy Cordelier, from no other consideration than the hope of -his some time becoming eminent in the art, to undertake his tuition on -the guitar--an instrument which, in the sequel, he was always fond of -singing to. The Chevalier de Guise, a French gentleman, who had been -travelling, brought Lully into France, in 1646, _as a present to his -sister_, according to Dr. Burney's phrase and statement, or, in the more -qualified language of another account, to serve as a page to -Mademoiselle de Montpensier, a niece of Louis XIV, who had commissioned -the Chevalier to find her out some pretty little Italian boy for this -latter purpose. If such were the lady's instructions, the _countenance_ -of the youth did not answer to them; but his vivacity and ready wit, in -addition to his skill on the guitar, determined the Chevalier, as it -appears, to engage him. On his arrival and presentation to the lady, he -found her so dissatisfied with his looks, as to induce a change in her -intentions--and, instead of her page, he was made to fill the office of -her under-scullion! - -Neither the disappointment he experienced, however, nor the employment -to which he was destined, affected the spirits of Lully. In the moments -of his leisure from the kitchen, he used to scrape upon a wretched -fiddle, which he had contrived to procure. That fiddle it was which -caused him to emerge from his obscurity! A person employed about the -Court, happening one day to hear him, informed the Princess that the -youth had an excellent taste for music. She directed that a master -should be employed to teach him the violin; and, in the course of a few -months, he became so great a proficient, that he was elevated to the -rank of Court Musician. In consequence of an unlucky accident, he was -dismissed from this situation; he afterwards, however, found means to -get admitted into the King's _band of violins_, and applied himself so -closely to the study of music, that, in a little time, he began to -compose. Some of his airs having been noticed by the King, Louis XIV, -the author was sent for, and his performance of them was thought so -excellent, that a new band was formed, called "_Les petits Violons_," -and he was placed at the head of it. Under his direction, they soon -surpassed the famous band of twenty-four, which had previously enjoyed -an extent of reputation attributable rather to the low state of musical -taste and knowledge among the French, at that period, than to the skill -of the performers; for they were incompetent (according to De la Borde) -to play any thing they had not made a special study of, and gotten by -heart. This was about the year 1660, at which time the favorite -diversion of the French Court was a species of _ballet_, that consisted -of dancing, intermixed with dramatic action, and musical recitative. The -agency of Lully's musical talent in these entertainments soon procured -him the favor of _le Grand Monarque_, who liked music in so far as it -conduced to dancing, and had a taste which found its satisfaction in -airs _de rigueur_, containing a stated number of bars, accented with the -utmost reference to saltatory convenience.[45] - -In the soul of Louis, vanity supplied the place of musical ardour, and -led him to consider the establishment of an Opera necessary to the -splendour of his Court. Lully became, after that event, the great -dramatic musician of France. Of his importance in that relation, -however, and of his fortunate league with the lyrical genius of -Quinault, &c. it is not within my purpose to treat. Possessing, now, the -situation of Composer and joint Director to the French Opera, he -relinquished the connection with his former Band, and instituted one of -his own. On becoming appointed superintendent of the King's private -music, he neglected almost entirely the practice of the violin; yet, -whenever he could be prevailed on to play, his excellence astonished all -who heard him. The Maréchal de Grammont had a valet named Lalande, who -afterwards attained some distinction as a violin-player. One day, after -dinner, the Maréchal desired Lully to hear Lalande, and to bestow on him -a few directions. Lalande accordingly played; but Lully, whenever he did -not please him, snatched the instrument out of his hand, made use of it -himself preceptively, and, at length, became warmed into such -excitement, through the train of ideas produced by his own playing, that -he did not lay down the violin for three hours.[46] - -In the year 1686, the King was seized with an indisposition that -threatened his life; and on his recovering from it, Lully was required -to compose a _Te Deum_, in grateful celebration of the deliverance. -Accordingly he wrote one, which was not more remarkable for its -excellence, than for the unhappy accident with which its performance was -attended. Nothing had been neglected in the preparations for the -execution of it, and, the more to demonstrate his zeal, Lully himself -beat the time. With the cane that he used for this purpose, in the heat -of action (from the difficulty of keeping the band together), he struck -his foot; this caused a blister to arise, which increasing, his -physician advised him immediately to have a toe taken off, and, after a -delay of some days, his foot, and at length the whole limb. At this -dreadful juncture, an empiric offered to perform a cure without -amputation. Two thousand pistoles were promised him, if he should -accomplish it; but all his efforts were in vain. Lully died on the 22nd -of March, 1687, and was interred at Paris, where an elegant monument was -erected to his memory. - -A strange story is extant, in relation to the closing scene of Lully's -life. His confessor prescribed to him, as the condition of his -absolution, that he should commit to the flames his latest opera. Lully, -after many excuses, at length acquiesced, and, pointing to a drawer in -which the rough draught of _Achille et Polixène_ was deposited, it was -taken out and burnt, and the confessor went away satisfied. Lully grew -better, and was thought out of danger, when one of the young Princes -came to visit him. "What, Baptiste," says he to him, "have you thrown -your _opera_ into the fire? You were a fool for thus giving credit to a -gloomy Jansenist, and burning good music."--"Hush, hush!" answered -Lully, in a whisper, "I knew well what I was about--I have another copy -of it!" Unhappily, this ill-timed pleasantry was followed by a relapse; -and the prospect of inevitable death threw him into such pangs of -remorse, that he submitted to be laid on a heap of ashes, with a cord -round his neck; and, in this situation, he expressed a deep sense of his -late transgression. On being replaced in his bed, he became more -composed, and (as the relation goes) he expired singing, to one of his -own airs, the emphatic words, "Il faut mourir, pécheur, il faut mourir!" - -The high estimation which the once _sous-marmiton_, and afterwards -regenerator of the music of France, had enjoyed, enabled him to amass -considerable money. In natural disposition, he was gay and cheerful; -and, although he was rather thick and short in person, somewhat rude in -speech, and little able to shape his manners to the formal refinements -of the French Court, he was not without a certain dignity, which -intellect succeeds in conferring. - -The musical style of Lully was characterized by vivacity and -originality; by virtue of which qualities, his compositions, chiefly -operas, and other dramatic entertainments, kept possession of the French -stage till the middle of the last century, when Rameau came into vogue. -Lully is considered to have invented the _overture_, or at least to have -given to it its most distinctive marks of character. He composed -_symphonies for violins_, in three parts; but these are not to be met -with in print. - -If we may judge of the old French violin-players, _en masse_, from the -kind of business assigned to them by Lully, in his operas, we must draw -a very moderate conclusion as to their proficiency; or, to borrow the -words of Dr. Burney, we must regard them as "musicians not likely, by -their abilities, to continue the miraculous powers ascribed to Orpheus -and Amphion." Even for half a century after Lully's time, the French -progress on the instrument appears to have been far from considerable. -Their performers had as yet borrowed but little of the true spirit of -their great Italian originals; nor do we come to any very important name -among them until that of - -JEAN MARIE LE CLAIR (or LECLER), who was born at Lyons, in 1697. This -artist may, perhaps, be regarded as presenting, in his performance and -his compositions, a distinct commencement of the French Violin-school, -as divaricating from that of Italy. His father was a musician, and, from -his instructions, aided by assistance from other masters (and from -Somis, in particular), he became an excellent performer. He went abroad -for several years, to reap improvement from the professors and -performances in other countries; after which, on an invitation from the -Duke de Grammont, who had been his pupil, he went to Paris, and was -allowed a handsome pension from him. By the recommendation of this -nobleman, Le Clair obtained the situation of symphonist to Louis the -Fifteenth, in which he laboured incessantly to improve the practice of -the violin among his countrymen. With this view, he composed, and -published in the year 1723, a collection of _solos for the violin_; and -soon afterwards another of the same kind, in both of which he has -displayed much knowledge of the instrument, combined with the resources -of a well-regulated fancy. Besides these two Collections of Solos, Le -Clair was the author of _Six Sonatas for two violins and a bass_; two -books of _Duos_, two of _Trios_, two of _Concertos_, and two under the -title of _Recreations_. - -The character and conduct of Le Clair were of a nature to attract the -attention and esteem of all who knew him. He lived, for the most part, a -retired and contemplative life; yet, he at last fell a sacrifice, as it -has been supposed, to envy. He was assassinated whilst walking alone in -the streets of Paris, in the evening of the 22nd of October, 1764. - -Le Clair was celebrated for the spirit and energy of his performance; -and his compositions afford, in some measure, a proof of his powers. At -least, it may be said, that, for boldness and dignity of style, there -are no instrumental compositions by any of the older French authors, not -excepting those of Lully, which can be compared with them. It is true -that they are difficult of execution, and this, for some time, was an -obstacle to their currency. The modern school, which laughs at any -impediments in the way of execution, would do ample justice of hand to -his hardest passages, were it _now_ the fashion to present them to the -public ear. - -JEAN BAPTISTE SENAILLÉ, who may also be considered as having had some -share in the foundation of the French Violin School, was a contemporary -of the artist just recorded; and drew his first breath in Paris. His -early lessons were received from Queversin, one of the four-and-twenty -who formed the King's band of violinists. His next instructor was -Baptiste Anet; but the completion of his studies took place in Italy, -whither he was attracted by the high celebrity of the artists there. He -returned to Paris in 1719, with a well-earned reputation, and -subsequently formed some good pupils, among whom were Guignon, and -(probably) Guillemain. - -JEAN PIERRE GUIGNON was born, in 1702, at Turin, probably of French -parents, and became further Gallicized by going early into France, where -he had a long career of distinction. He brought to the exercise of his -art a liberality conducive to its diffusion and repute, as well as -redounding to his own honor--for he gave gratuitous lessons to many -young violinists whom the "res angusta domi" might else have left to -struggle on without encouragement. His talents gave further aid to the -_fidicinal_ cause by the valuable compositions which they enabled him to -devote to it, consisting of Sonatas, Duetts, Trios and Concertos. -Guignon had the support of courtly patronage, and gave instructions to -the Dauphin, father of Louis XVI. During thirty years, he held an -appointment rather suggestive of mock-heroic associations, than either -flattering or useful--that of _Roi des Violons, et Maître des -Ménestriers_, an office which, as already stated in these recording -pages, had given rise to our English dignity, more ridiculed than -respected, of _King of the Fiddlers_. Guignon died at Versailles in -1774. - -GABRIEL GUILLEMAIN, born at Paris, in 1705, produced some sonatas for -the instrument that have been held in considerable estimation, and was -also admired as a performer. In the decline of his life, he lost his -faculties, and, in that melancholy state, became his own destroyer (in -1770), inflicting on his person no less than fourteen wounds. - -PIERRE GAVINIÈS, a native of Bordeaux, claims some distinction, both as -composer and as performer. So great was his aptitude for the latter -character, that he made his _début_ at the _Concert Spirituel_ in Paris, -when he had attained but fourteen years of age; nor were his pretensions -those of mere vulgar precocity, that makes a dash at music, as parrots -do at language; for he gained the approbation of the best of all judges, -Viotti. The estimation in which the talents of Gaviniès were held, -procured for him, in 1794, the honour of being appointed Professor of -the Violin at the then newly formed institution, the Paris -_Conservatoire_. His works consist of three collections (or operas) of -Sonatas, several Concertos, and a series of violin music entitled _Les -vingt-quatre Matinées_, the pieces in which are, for the most part, very -difficult. He died in 1799, at the advanced aged of 73. - -FRANÇOIS JOSEPH GOSSEC, a composer of some eminence, though not -expressly for the violin, fixed his residence at Paris in 1751, and was -soon afterwards attached to the suite of the Prince de Condé, as leader -of his band. In 1770, he founded the Concert of Amateurs, which enjoyed -a marked success during ten seasons, and had the accomplished but -volatile Chevalier de St. George for its "premier violon." Gossec -subsequently filled an important post at the _Conservatoire_, and was, -in other respects, actively connected with the progress of music in -France. He died "full of days." The symphonies of this master, and the -Quartetts of Davaux, which preceded, in France, those of Haydn, are -cited as advantageous specimens of French instrumental music of the -concerted kind; and some of them are still heard with pleasure. - -PAGIN, who drew his excellence from that best fountain, the Italian -school, was born in France, in the year 1730. Addicting himself early to -the violin, and prompted by the desire to form his style on the purest -model, he travelled into Italy, expressly to receive instructions from -Tartini. His happy disposition for the art was turned to speedy -advantage by that master, and Pagin had scarcely reached his twentieth -year ere he returned to Paris, where the success that attended him, in -various performances at the _Concert Spirituel_, attested the value of -the means which he had taken for his proficiency. His enthusiasm, -however, in relation to his great preceptor, occasioned a check to his -career. He chose to play, exclusively, the music of Tartini and the -French musicians, resenting his choice, set about to oppose him. Their -jealousy, whether alarmed for national or for individual credit, took an -ingenious method of working out its purpose: it was by the ironical -applauses and sinister compliments which he received, at one of the -above concerts, that the unwelcome innovator was compelled to forego -appearing at any more of them. He was subsequently engaged in the suite -of the Count de Clermont. Dr. Burney, who heard him in 1770, has -recorded his admiration of the expression and lightness that -distinguished his performance. - -PIERRE LAHOUSSAYE, another venerator and follower of Tartini, commenced -his date of life at Paris, in 1735. At a still earlier age than Pagin, -he gave public manifestation of his talent. He first found his infant -way upon the instrument, unaided, and then, after some tuition from the -solo-player, Piffet (styled _le grand nez_), made his _début_ at the -_Concert Spirituel_, when only nine years old. Shortly afterwards, the -little Lahoussaye had the fortunate opportunity of hearing, at a musical -party where he was introduced, the greatest violinists of the time, -including especially--Pugnani, Giardini, Pagin, Gaviniès, Vanmalder, -Domenico Ferrari, &c. A solo was played by each of these men of mark: -and the eager astonishment with which the "tender juvenal" listened to -their successive outpourings of expression, or feats of dexterity, could -not but attract the attention of all. On Ferrari's putting a violin into -the boy's hand, he not only made some brilliant preludings, but repeated -from memory several passages in a sonata of Tartini's that Pagin had -just before played. An enthusiast himself, Pagin was so delighted with -the boy, that he at once undertook his further instruction, and -prevailed on the Count de Clermont to assign to him a post as his -chamber-musician. Thus advantageously placed, the young Lahoussaye was, -however, restless till he could accomplish his favorite wish--that of -_seeing Tartini_. Under this impulse, he attached himself to the suite -of the Prince of Monaco, and went with him to Italy. Repairing with all -speed to Padua, he found the wondrous master in the church, in the act -of commencing a concerto. To express the surprise and admiration of the -young Frenchman, at the purity of tone, spirit and accuracy of -execution, truth and delicacy of expression, that triumphed in the -performance of the Italian, would be difficult indeed. He felt at once -so humbled as to the sense of his own powers, as almost to abandon the -hazardous wish for an introduction to him whom he had so eagerly sought -out. Creditable as was this diffidence to the character of the aspirant, -the kind disposition of Tartini rendered it unnecessary. He received him -favourably, was gratified to observe in his performance something of the -manner of his own school, and engaged to advance him in it. Lahoussaye -was reluctantly drawn away to Parma, through his situation with the -Prince of Monaco: but, after delighting the court there by his talent, -he found means to return to Tartini at Padua, and continued for a long -time under his tuition, remaining in Italy, altogether, for the space of -fifteen years. In 1769, he visited London; and, after passing three -years there, returned to his native Paris, to diffuse, according to his -means, and as far as the musical habit of his countrymen might admit it, -the benefits of the Italian style. He arrived at the situation of _Chef -d'Orchestre_ to the _Concert Spirituel_, and to the Italian Opera in -Paris. In 1789, he had the honor to succeed Mestrino as -_Chef-d'Orchestre_ of the Theatre of Monsieur; and he afterwards filled -the same post at the Feydeau Theatre. On the establishment of the Paris -_Conservatoire_, he was appointed Professor of the First Class. The -compositions of Lahoussaye are numerous, and have had some celebrity, -although, for the most part, they have remained in the manuscript state. - -PAISIBLE (pupil of Gaviniès) whose gentle name contrasts painfully with -his violent end, was born in 1745, at Paris, and was one of those able -artists who contributed to give éclat to the _Concert Spirituel_. Full -of youthful hope derived from the impression he had there created, he -made a musical "progress" through a part of France, the Netherlands, -Germany, and as far as St. Petersburg. Here, however, the tide of his -success was suddenly turned. His desire to exhibit his talents before -the Russian Empress was baffled, owing, as it has been supposed, to the -intrigues of Antonio Lolli, who was then in the service of the Imperial -Court. Failing also in his endeavour to obtain notice by means of public -concerts, Paisible engaged in the service of a Russian Count, with whom -he went to Moscow. This resource did not last long; and the concerts he -attempted at Moscow were even more discouraged than those at St. -Petersburgh. Distracted by misfortune and debt, he closed his career in -1781, by the act of his own hand--having written a touching letter of -farewell to his friends, in which he desired them to sell his violin (a -valuable one), with the object of defraying the claims against him. - -SIMON LEDUC, another distinguished pupil of Gaviniès, and one of the -directors of the _Concert Spirituel_, was born in 1748. Two books of -Solos, and several Concertos and Symphonies, are his works as a -composer. There is extant, in connection with his name, a little -anecdote of some interest. About a month after his decease, in 1777, -there was a rehearsal of one of his symphonies for the _Concert des -Amateurs_. In the middle of the adagio, the Chevalier de St. George, who -had been his friend, and was then leading the orchestra, was so affected -by the expression of the movement, combined with his recollection of the -composer, that he let fall his bow, and burst into tears! - -F. HIPPOLITE BARTHÉLÉMON, a fine performer of the old school, was born -at Bordeaux, in 1741. In the early part of his life, he served awhile as -a midshipman in the navy of the King of Spain; but Apollo soon asserted -his claims above those of Mars, and Barthélémon resigned himself to that -softer sway. After pursuing his new career for a time in Paris, where he -composed an opera for the Italian Theatre, he came over to England in -1765. Here also he produced an opera for the Italian stage, through the -success of which he became acquainted with Garrick, and received from -him a musical commission, which was settled for in a way that evinced -the accustomed parsimony of that great actor and little manager. As -leader of the Opera band for several seasons, and solo performer on -various public occasions, Barthélémon gave ample proofs of his mastery -over the violin. His adagios in particular were much admired, and his -extempore cadences were so scientific and appropriate as, to seem like -the natural continuation of the composer's own ideas. Among his -engagements while in London, was that of leading the band at Vauxhall -Gardens; in which situation he once figured as a principal in a -whimsical occurrence. It chanced, one night, when the gardens were full -of fashionable company, and the stream of music was at high tide, that a -bewildered _bat_, which had winged its eccentric course for some time -about the walks, to the discomposure of the visitors, found its way into -the illuminated orchestra, and, after having made two or three circuits -there, flew into Barthélémon's face, with so forcible a familiarity as -to unseat him from his eminence, and precipitate him, wholly frighted -from his propriety, to the floor. He fell on his ceremonial sword, -which, in breaking his fall, was itself broken; and he was picked up in -a condition which fortunately did not forbid his joining in the general -chorus of laughers; nor did he fail to congratulate himself, that, in -falling on his own sword, he had _not_ done so after the old Roman -fashion[47]. - -One of Barthélémon's points of excellence consisted in his _solo_ -performances of Corelli's music, in which his sweetness and polished -taste were charmingly manifested. He and Salomon are supposed to have -been the last, who made it a regular habit to study, and to perform in -public, the compositions of Corelli. Barthélémon died in London, in the -year 1808. - -Dismissing, with the tribute of a simple mention, the names of -Mondonville, Bertheaume, Jadin, and Grasset, we come now to the more -recent time when the genius of _Viotti_, diffusing its influence over -the whole modern system of violin performance, lent an especial lustre -to a number of musical _satellites_ who are marked in the _French_ -nomenclature. The Italian Viotti infused new life into the French -School, which, seeking its resources more from fancy than from feeling, -and (with few exceptions) relying rather upon the small excellencies of -nice execution, than upon the sympathies which _expression_ can command, -had become somewhat exhausted. Viotti communicated to the French -Violinists a share of the vigour and the intellectual character that -animated his own style, and taught them - - "To fill the languid pause with finer joy." - -LOUIS JULIEN CASTELS DE LABARRE, one of the pupils who were modelled by -the above great master, was born at Paris, 1771, of a noble family of -Picardy. When finished as an instrumentalist, from the hands of Viotti, -he went, at the age of twenty, to Naples, where he studied composition -under Sala, at the Conservatory of La Pietà, as he did afterwards in -France, under Méhul. After two years of success as "premier violon" at -the Théâtre Français, he entered the orchestra of the Grand Opera. The -published works of Labarre for his instrument are of the lighter kind. - -Of a year later in date of birth than the preceding artist, is PIERRE -JEAN VACHER, also of Paris. At eight years of age he commenced his -labours on the violin, under Monin, of whom fame is nearly silent; and -a few years later, his _second_ master (albeit "nulli secundus") was -Viotti. From the age of fourteen to nineteen, Vacher was engaged as -violinist at the great Theatre at Bordeaux. In the early part of the -French Revolution, he went to Paris, where he remained several years in -the orchestra of the Vaudeville Theatre, and became known as a composer -by means of some popular airs, suited to the demands of that -establishment. He was afterwards employed in the orchestras of the -Théâtre Feydeau, and of the Académie de Musique, &c. He published -several operas (or works) of violin music. - -PIERRE RODE, another of the eminent players formed by Viotti, was born -at Bordeaux, in 1774. His musical tendencies were manifested from his -infancy; and, after some instructions bestowed on him in compliance with -his early bias, he was sent, while yet but thirteen years old, to Paris, -which city has always been considered, in modern times, as the centre of -the musical art in France, and enjoys indeed something approaching to a -monopoly of it[48]. Here he was introduced to Viotti, who made kindly -estimate of his capacity, and interested himself much in directing and -improving its exercise. His first public appearance was in 1790, before -a Parisian audience--one of his master's concertos being the subject of -the display. Shortly after this, he was appointed principal second -violin at the Théâtre Feydeau, and obtained further notice by means of -his performance of other concertos of Viotti's, on selected occasions. - -In 1796, Rode commenced professional travelling, and went through -Holland and Hamburgh to Berlin. Returning homewards, he was shipwrecked -on the English coast. This accident gave him an opportunity of visiting -his great preceptor Viotti (who was as yet receiving English shelter and -hospitality),--but it did not enable him to make the impression of his -talents felt here; for, after one attempt, in which (probably through -the disadvantage of being hardly known to us islanders) he met with -slender encouragement, the solemn terrors then prevalent at the Alien -Office intervened to arrest his ambitious bow-arm. In those really -perilous days, our green-eyed government certainly saw _more_ perils -than had either existence or probability. It would seem as if the plague -of democracy had been by them considered to infest the very garments of -a Frenchman, and the air that surrounded his person. It mattered not in -what shape, or with what business, he presented himself; suspicion -whispered an _aliàs_ against them all. If he professed to amuse, he was -but the more likely to be intent on deceiving. Viewed by the help of -this principle, a fiddler became obviously a highly dangerous character. -If discord was confessedly mingled with his strains, surely revolution -might lurk in his fiddle-case. "Let no such man be trusted;" and, -accordingly, Rode was invited to discontinue his sojourn, "_parmi nous -autres Anglais_." His countryman, Mons. Fétis, in recording the -particulars of Rode's career, has fallen into the error of attributing -to the English _public_, instead of their political _directors_, his -unhonored departure. - -Re-embarking for Hamburgh, the disappointed artist travelled through -Germany, and again reached Paris, the scene of his first triumphs. Here -he was appointed Professor of the Violin at the Conservatory, and -played with renewed success at the Feydean Concerts;--but, with a -continued disposition for travelling, he went soon after to Madrid. -Boccherini, then established in that city, entered into friendship with -him, and scored several of his concertos for him. - -In 1800, Rode returned to Paris, and was at once nominated Solo Violin -to the private band of Bonaparte, Chief Consul. His fame and his -excellence were by this time alike matured. He was invited to St. -Petersburg in 1803, receiving the appointment of First Violin to the -Emperor's band, with the sole duty of playing at the Court Concerts, and -at those given in the Imperial Theatre. After five years thus passed -with high credit, he returned to Paris, and gave what was professedly -his last public concert. Great was the disappointment, however, among -the discerning Parisian Amateurs, at finding that a great change had -come over the _spirit_ of his performance--that he had no longer at -command the brilliancy and fire which had marked him for one of Viotti's -_own_, but that a premature decay seemed to be upon him, although the -purity of tone, the taste, the elegant style of bowing, were yet -remaining. This exhibition appears to have had a chilling effect upon -the artist himself, who, for a long time afterwards, was heard by his -friends alone. In this latter way, his quartett-playing, accompanied by -Baillot and Lamarre, created real gratification. - -His love of fame, meanwhile, did not decline with the powers which had -formerly attended and balanced it. He undertook a further course of -travel in 1811, and went through Austria, Hungary, Styria, Bohemia, -Bavaria, and Switzerland. In 1814, he was resident at Berlin, whence he -returned to his native Bordeaux. He could not yet reconcile his mind, -however, to the relinquishment of a career which his abated energies -forbade him to continue. It was reserved for another (and a most -mortifying) visit to Paris, to convince him that the hope of shining was -now but a morbid feeling within him. He quitted that scene in a state of -grievous and irrecoverable depression. The wanderer came back to his -home, only to languish onwards to his grave. Towards the close of 1829, -a paralytic stroke affected both his body and his intellect. In this -state he lingered nearly twelve months, and died in November, 1830. - -Monsieur Fétis has recently referred[49], with a just exultation, to the -days wherein the triple force of Rode, Kreutzer, and Baillot, threw its -lustre over the French School of Violin-players. He characterizes the -talent of Rode as subtle, delicate, brilliant, and frequently -suggestive, in its effects, of the great master who had called it forth. -"There are few living," he observes, "who have heard that admirable -talent in all its beauty, as it was displayed at the concerts of the Rue -Feydeau, and at those of the Opera; but the artists who _have_ enjoyed -that pleasure, will never forget the model of perfection which then -astonished them." - -As a writer for his instrument (it has been remarked), Rode merits a -distinguished place. His musical education, as regards the principles of -composition, had been neglected, so that he was at first obliged to -derive from his friends the accompaniments to his Concertos; but his -melodies are remarkable for sweetness; the plans of his compositions are -well conceived; and he is not without originality. His Concertos are -well known and admired, wherever the violin is played. Paganini has -performed them at his concerts. His quartetts--which, are, in fact, -brilliant solos for the first violin, accompanied by a second violin, -tenor and bass--have also had great success, especially when his own -skilful hand lent its aid to their execution. - -Ten Concertos,--four Quartetts for two violins, tenor and bass,--three -Airs with variations, for a full orchestra, and the same arranged as -quartetts--three sets of violin Duetts--and a share in the compilation -of the celebrated "_Méthode d'Instruction_," adopted for the -violin-students at the French Conservatory--are the principal labours of -this master. He also wrote some detached pieces, as Andantes, Rondos, -&c. - -RODOLPHE KREUTZER, the son of a German musician in the service of the -King of France, was born at Versailles, in 1767, and, in consequence of -his French birth-place and career, is claimed with superior right by -the French School, although something of German inter-mixture, besides -that of the blood, must be distinguished in the early lessons he -received on his instrument, both from his father, and from a far more -important preceptor, Anthony Stamitz.--Under the latter, his advancement -was so rapid as to induce his _début_, at the age of thirteen, at the -_Concert Spirituel_, where he performed a concerto, either of his own, -or his master's composition, as has been variously represented. From -that time to the age of twenty, his compositions for the violin became -frequent, though rather directed by innate genius than by the -prescriptive rules of composition, of which he had acquired very little. -His desires extended meanwhile towards the condition of a theatrical -Composer, in which object he was assisted by the patronage of the Queen, -Marie Antoinette, as well as by the appointment he received, in 1790, of -First Violin at the _Opéra Comique_. Of his _Lodoiska_, and other -achievements in operatic music, it is needless here to treat: but it -may be noted as a curious fact, that his neglect of the study of harmony -continued till after he had been the composer of at least three -successful operas. He seemed to write by instinct; and his custom, while -composing, was to walk about his room, singing his melodies, and playing -on his violin, till he found an accompaniment which pleased him. When -afterwards appointed a Professor at the newly-established -_Conservatoire_, he fancied that to be a learned contrapuntist was -necessary to the performance of his duties, and so entered, somewhat too -late in life, on a course of study which had little other effect than to -cripple his imagination. As a Professor, however, he is distinguished by -the number of excellent pupils whom he has produced. His mode of -instruction was signalized by the enthusiasm and confidence he instilled -into his scholars. An energy that shrank from no difficulties, lived in -the master, and was reflected in his disciples, who became -distinguished, in general, for a brilliant execution. - -Kreutzer made a tour, in 1798, through the north of Italy and Germany, -and returned to Paris by the way of Hamburg and Holland, giving concerts -in all the principal cities. After this, he wielded his instrument in -the immediate service of Napoleon; and, on Rode's departure for Russia, -he succeeded him as Solo Violin at the Opera; which situation he -exchanged, in 1810, for that of _Chef d'Orchestre_. Fourteen years -afterwards, decorated with the insignia of the Legion of Honour, he -changed his post to that of general Director of the Music at the Opera; -and, after this accumulation of credit, he retired in 1826. Declining -health led him to Geneva, where he died, in January, 1831. - -Kreutzer's compositions, independently of those for the stage (which -exceed thirty in number), consist of two "sinfonie concertanti" for two -violins--one sinfonia for violin and violoncello concertante--upwards of -fifty concertos, duetts, trios and quartetts--five sets of sonatas for -violin and bass--eight sets of studios and capriccios--and several airs -with variations. The compilation of the _Violin-system_ for the -Conservatory was also in part effected by him. - -CHARLES PHILIPPE LAFONT, one of the most excellent of recently living -violinists, was born at Paris, where the beauties of his execution long -continued to draw numerous audiences to the concerts he was in the habit -of giving. His first lessons in the art were received from his uncle, -Bertheaume. After having, successively, Berton, and Navoigille the -elder, as masters in composition, and acquiring, by unaided study, a -knowledge of singing, he travelled with his uncle, who procured him -occasions for exhibiting his various powers in the principal cities of -Europe. Returning to France in 1794, he first appeared at Paris as a -vocalist; but was _most_ admired as a _violin performer_, in which -character he shone at the Opera concerts, and the _Salle Olympique_. He -completed his studies under Kreutzer and Rode--to the latter of whom, in -the sweet qualities of his style, he mainly inclined. His next journey -was to Petersburg, where he resided several years, as the Emperor's -First Violin. In 1805 or 1806, he returned to his native city; and was -appointed leader at the King's Chapel. - -A suavity and elegance, especially in _cantabile_ movements--a tasteful -selection of ornament--and an exemplary purity of tone--have been -remarked as denoting this artist. The scene in his career which exhibits -him in an indiscreet rivalry with Paganini, will be found under the -memoir given of that extraordinary person. - -PIERRE BAILLOT, of high name in the French School, which he was partly -enabled to acquire through Italian instruction, was born about the year -1770, near Paris, to which city the curious in coincidences will be -delighted to find that they can trace the local origin of so many of -those eminent violinists who have made it, also, the scene of their -brilliant exertions. Baillot repaired early to Rome, where he remained -some years under the tuition of Polani, an excellent Professor of the -school of Tartini. His own feeling and intellect appear to have done -more for his advancement, however, than the lessons of preceptors. An -artist of a very high order, well versed in the mechanical resources of -his instrument, he was also thoroughly embued with musical sentiment, -and was a discriminating judge in matters of composition. - -After his return from Italy, the sound and excellent qualifications he -evinced were the cause of his succeeding Rode, about the year 1795, as -Professor of the violin at the Paris Conservatory. He was the editor, -and (with Rode and Kreutzer) a joint compiler, of the noted System of -Instruction which has contributed so important an aid towards the -successful formation of, perhaps, all the living French violinists. The -System for the Violoncello, in use at the same institution, was likewise -produced under his editorship. - -Fine taste, variety of manner, admirable bowing, and forcible tone, -marked the performance of Baillot. In playing solos, to accompany the -dancers at the Opera, Baillot was, consciously, out of his element; but -at the annual quartett-meetings, where the business was that of giving -manifestation to the genius of Boccherini, Haydn, Mozart, and -Beethoven, his soul was kindled, and his powers came forth.--His pupils -have been many--including Habeneck and Mazas. - -ALEXANDRE JEAN BOUCHER, born, "comme tant d'autres" of his class, in -fiddler-fostering Paris, came into the world in 1770, and arrived at -early excellence on "the leading instrument." When seventeen years old, -he went to Spain, where he was appointed Violinist of the Chamber and -Chapel of Charles IV. During the time that monarch resided in France, -Boucher was also in his suite. His mode of obtaining introduction to the -"Majesty of Spain" was as remote from all the prescriptions of courtly -etiquette as can well be imagined. It forms the subject of a good -anecdote, thus translated from the "Souvenirs" of Blangini, the -well-known musical composer:-- - -"Boucher, when a very young man, at Madrid, was without friends, nor had -anything to depend on, save his bow and his strings. He knew that the -King of Spain was passionately fond of music, and he was anxious that -his Majesty should hear him play; but, having no friend who could help -him to obtain an introduction at Court, he fell upon the following -scheme for the attainment of his object. One day, he stationed himself -in the doorway of the palace gate-keeper's lodge. The man at first -scrupled to allow him to remain there; but he at length consented, and -Boucher began to play in his most exquisite style. After a little time, -the rolling of the King's carriage was heard at a distance; his Majesty -was going out to take a drive, and, as he approached, Boucher played -with increased energy and delicacy. The King, surprised at what he -heard, stopped and enquired who was playing. On being informed, he -ordered that Boucher should be presented to him. He directed him to go -to the palace on the following day. Boucher of course obeyed the -mandate. The King was enchanted with his talent, and, shortly after, he -was appointed first violin of his Majesty's Chamber Band." - -Shortly after the second restoration of the Bourbons to the throne of -France, Boucher proceeded to St. Petersburgh, where he was engaged to -give some concerts. Here again we derive from Signor Blangini an -anecdote, which he states himself to have received from an individual of -undoubted veracity, who had it from the violinist himself. - -"Every one who has seen Boucher, must have been struck by his singular -resemblance to the Emperor Napoleon: this resemblance was remarkable, -not only in his countenance, but in his figure. During his stay at St. -Petersburgh, he was one evening engaged to perform at a concert given by -the Grand Chamberlain, Prince Narishkin. The Emperor Alexander was -present, and in the course of the evening his Majesty stepped up to -Boucher, and said, with the affability for which he was distinguished, - -"Monsieur Boucher, I have a favour to ask of you." - -Boucher bowed. - -"It is an affair," continued the Emperor, "quite unconnected with the -exercise of your profession." - -"I am wholly at your Majesty's service." - -"Well, come to the palace to-morrow morning, at twelve precisely. You -shall be immediately shown into my cabinet, and I will tell you what I -have to request. It is a favour which will greatly oblige me." - -"Boucher puzzled himself the whole night, but without being able to form -any probable conjecture of what the Emperor wanted. Next day, he -repaired to the palace at the appointed hour. When he was ushered into -the Emperor's cabinet, the persons there, among whom was the Grand Duke -Constantine, immediately withdrew. Alexander desired Boucher to follow -him into an adjoining apartment. There he saw, on a sofa, a small -three-cornered hat, a sword, a Colonel's uniform of the chasseurs of the -French Imperial Guard, and a cross of an officer of the Legion of -Honour. - -"Now," said the Emperor Alexander, "I will explain to you the favour I -have to request. All those objects which you see there, belonged to the -Emperor Napoleon; they were taken during the campaign of Moscow. I have -frequently heard of your _resemblance_ to Napoleon; but I did not expect -to find the likeness so strong as it is. My mother often regrets that -she never saw Napoleon; and what I wish you to do--is to put on that -dress--and I will present you to her." - -"The Emperor withdrew, and left Boucher to array himself in the imperial -costume. When he had completed his toilette, he was conducted to the -apartment of the Empress. The Emperor assured his mother that the -illusion was complete, and that she might now say she had seen _the -great man_. These were Alexander's words." - ---LIBON, born in 1775, was one of the pupils of Viotti. He became first -violinist at the _Chapel_ of the King of Portugal--and subsequently held -a similar appointment at Madrid, under Charles IV. In this our -Protestant country, where the violin holds no place in the musical -service of the church, the mention of such engagements as these, -represents hardly any definite idea to the mind. "What can the _fiddle_ -possibly have to do with _religion_?" is a question very likely, here, -to precipitate itself from the lips of some honest mystified Englishman. -It is a question which _I_ do not undertake to answer, having no such -_experience_ on the subject as would give any value to my reply; but I -recommend those who are anxious for a solution of the point, to travel -abroad--to witness personally this kind of conjunction, as it exists -there--and to _test_ it by its effects upon heart and mind.--In 1803, -Libon returned to Paris, and was successively first violinist to the -Empresses Josephine and Maria Louisa, and to Charles X. He was the -composer of several much-admired Studies, and of various pieces played -at the _Conservatoire_. He died in 1838. - ---BELLON, who presents oddly the example of a fine artist made out of a -man of commerce, is one of the French violinists who have displayed -their talents in our metropolis. The following notice of him was given -in the Harmonicon, on the occasion of his performing, in 1826, a -Concerto of Kreutzer's, at the Philharmonic Concert:-- - -"The composition denotes a rich invention, united to great practical -knowledge, and was played with a feeling, a firmness, a length of bow, -and a breadth of tone, which, in these squeaking days, were as -unexpected as delightful. M. Bellon is already a highly distinguished -disciple of that fine school of the violin which boasts of Viotti as its -head, and enumerates among its members, Rode, Baillot and Kreutzer; the -latter of whom--the well-known composer of many admired operas--is his -master, and has so well seconded his natural inclinations, that he has -enabled him, in the short space of four years, to stand forward and be -acknowledged as one of the greatest violinists of the day. His history -is rather curious: he was a respectable tradesman in Paris, and was -offered a violin in barter for one of his commodities, an umbrella. He -agreed to the exchange, acquired some little knowledge of the -instrument, became a pupil of Kreutzer, was accepted (though beyond the -prescribed age) at the _Conservatoire_, and is now what we have -described him." - -FRANÇOIS-ANTOINE HABENECK (the eldest of three brothers of this name) -was born at Mezières, June 1st, 1781. Being the son of a performer in a -regimental band who was a native of Manheim, but had taken service in -France, he learned from his father to play the violin, and at the age of -ten he played Concertos in public. After residing in several towns where -his father's regiment was in garrison, he went to Brest, and passed many -years there, solely occupied with the care of developing his faculties, -as far as he could do so, without model, and without master. While -there, he wrote several Concertos and even Operas, without any other -guide than his instinct, and without possessing any notions of the art -of writing. He was more than twenty years of age when he arrived in -Paris. Being admitted to the _Conservatoire_, as a pupil of M. Baillot, -he was not long in placing himself in the first rank amongst the -violinists who proceeded from that school; and, after a brilliant -competition, he obtained the first prize in 1804, and was appointed -_répétiteur_ of his Master's class. The Empress Josephine, after having -heard him in a solo, testified her satisfaction by a pension of 1200 -francs. About the same epoch, he obtained, as the result of a -competition, a place among the first violins at the opera. Less -fortunate in a second competition, which was shortly after opened, for -the post of leader of the second violins at the same theatre, Habeneck -saw preferred to himself a violinist of moderate ability, of the name of -Chol, a very respectable man, but by no means equal to the young artist -in talent. In a short time, however, this injustice was repaired, for -he was trusted with the post of first violin _adjoint_ for the solos; -and when Kreutzer took the direction of the orchestra, after the -retirement of Persuis, Habeneck succeeded him as first violin. - -In 1806, he had become distinguished for that happy organization which -specially qualified him for the direction of a concert-orchestra. At -this period, it was the practice, for the violinists who had obtained a -first prize at the concerts of the _Conservatoire_, alternately to -direct the concerts of that school for a year. But the superior -capabilities of Habeneck for this undertaking soon became so evident, -that he remained in possession of the appointment till the temporary -close of the Conservatory in 1815, after the entry of the allied armies -into Paris. It was in these concerts that he caused to be played, for -the first time, Beethoven's First Symphony (_in C_). At a later period, -when he was charged with the direction of the sacred concerts at the -Opera, he continued to make the works of this great artist known to the -few enlightened amateurs who came to hear them. But it was, especially, -when a new Concert Society was organized at the Conservatory, in 1828, -that these grand compositions excited the liveliest enthusiasm by the -warmth and energy which M. Habeneck was able to impress upon the -execution of them. - -Appointed director of the Opera in 1821, Habeneck discharged the -functions of that office until 1824. At this period, the Viscount of -Rochefoucault changed the administration of that theatre; but, in order -to indemnify M. Habeneck, he created for him the place of -Inspector-General of the _Conservatoire_, which he never filled, and a -third violin class; and caused Kreutzer to retire, in order to give to -M. Habeneck his post of chef-d'orchestre to the Opera. After the -revolution of 1830, M. Habeneck added to these appointments that of -first violin in the King's band. His best pupils at the Conservatory -were M. Cavillon and M. Allard. - -M. TOLBECQUE is one of the artists who have acquired reputation in -France. In the season of 1831, he visited England, and performed at the -Philharmonic Concert; since which time, he has become familiarized among -us, with a reputation that stands higher for solidity than for -brilliancy. M. Tolbecque has a younger brother, who is also a violinist -of some skill, and is known in England. - -PROSPER SAINTON, whose talents have been advantageously known to British -audiences for several seasons past, was born at Boulogne, in 1814, being -the son of a merchant in that town. His parents, who were no votaries of -music, gave him an education that looked towards the law. His maternal -grandfather, however, discerning something of the youth's real bias, -gave him some initiatory musical notions, and then succeeded, though -with difficulty, in obtaining the paternal consent that his grandson -should be provided, at college, with an instructor for the violin. -Opposing fears represented that such an indulgence would wholly turn -aside the pupil from his severer studies. Notwithstanding these -prognostications, he gained an eminent position in his class, and was -afterwards admitted Bachelor of Letters, with the fullest credit. - -In 1830, the period at which young Sainton passed his examination for -the University, the Revolution of July burst forth, and proved nearly -the ruin of his father (then President of the Tribunal of Commerce at -Toulouse), who became deeply involved in the commercial crisis that -ensued. In spite of this disaster, he was anxious that his son should -still maintain the jurisprudential complexion of his studies; but filial -respect could not _always_ hold in suppression the tendencies of -struggling nature--and the son's vocation for music became more and more -manifest. The notion of entering, _one_ day, the Paris Conservatory, had -taken root in his mind. A permission to repair to the capital for -_legal_ purposes, led to the fulfilment of the cherished vision. In the -trustful idea of being able, by his progress in a new direction, to -furnish ground for a reversal of the paternal decree, he entered, with a -beating heart, within the resonant walls of the _Conservatoire_. There, -received, in 1832, into Monsieur Habeneck's class, he commenced the only -career that could satisfy his long-baffled inclination. For the first -year, indeed, he managed to pursue his law-course, along with the very -dissimilar course prescribed at the Conservatory;--but, after that vain -trial of a somewhat _Mezentian_ process, he surrendered himself entirely -to his passion for the violin, and declined all further concern with -Justinian and the _Pandects_. The _dry_ was thus exchanged for the -_delectable_--hard fact, for tender feeling. _Law_, by this arrangement, -had one reluctant follower the _less_--and _Music_, one loving disciple -the _more_. - -Fortified with a potent plea--that of the second _prize_, which he -obtained in 1833--the young aspirant succeeded in reconciling his father -to his engagement in the artistic arena; and then, with powers fully -emancipated, his progress was rapid, and the following year brought him -to the attainment of the _first_ prize. - -The _début_ of Sainton in Paris was of a most encouraging success; but, -without waiting to construct a fixed reputation there, he quitted the -capital, to enter on a course of professional travel, to which mode of -life, a youthful imagination, unshaded by experience, was lending the -usual irresistible attractions. The result, however, shewed no -disheartening contrast with hopes thus sanguine; for he met with favour -everywhere. After visiting Italy, Germany, Russia, Sweden, Denmark and -Spain, he returned to the place of his nativity, to share with parents, -of whom he was then become the sole support, the fruits of his -persevering labours. - -In 1844, after the decease of his mother, Sainton made his first -appearance in London, where his reception at the concerts of the -Philharmonic Society was such as to induce his return in the year -following;--since which time, he has only quitted our shores to add -_one_ more country to his travelling list--namely, Holland,--where new -successes, crowned with presents from Royalty, gladdened his career. His -residence in England has been followed by various appointments--those of -Violin-Professor at the Royal Academy of Music, Leader at the Italian -Opera and at the Philharmonic, and (in 1848) Conductor and Violin -Solo-player in Her Majesty's State Band. - -Monsieur Sainton's works for the violin, to the present time, -comprise:--1. A Fantasia in A.--2. An Air with Variations, in D.--3. A -Capriccio, with Piano Accompaniment.--4. A Concert Waltz.--5. A Concerto -in A, Op. 9.--6. An Italian _Thema_, with Variations, Op. 10.--7. A -Fantasia on Lindpaintner's "Standard-Bearer."--8. Fantasia on Lucrezia -Borgia.--9. Souvenirs from the "Figlia del Reggimento."--10. Air with -Variations, in G.--11. Concerto in D minor.--12. Concerted Solo in E -major. - - * * * * * - -Under the French School, as most nearly assimilating with it in -character, may be included the able artists who, in recent days, have -contributed to the honour of Belgium. At the head of these, stand De -Beriot and Vieuxtemps;--of whom, as well as of their compatriot, Artot, -some account shall here be introduced. - -CHARLES AUGUSTE DE BÉRIOT, conspicuous for the perfection of the -qualities by which his playing has been distinguished--for remarkably -just intonation--grace--refined taste--rich and charming tone--and for -elegant bowing and wonderful execution, was born at Louvain, of noble -parentage, in 1802. Left an orphan at the age of nine, he found, in M. -Tiby, professor of music in that town, a tutor, a second father, and a -master who laboured with zeal to develop his happy dispositions for -music. Already had he arrived at a certain degree of skill on the -violin; and his progress had been so rapid, that he was able to play -Viotti's Concerto in A flat (letter H) in such mode as to excite the -admiration of his compatriots. Endued, besides, with a contemplative -mind (says M. Fétis), and having no model immediately at hand that he -could imitate, he sought within himself for that principle of the -beautiful, whereof he could have no notion, except through the -spontaneous strivings of his own individuality. As to the report that he -was the pupil of Jacotot, it appears that the general attention of the -Belgians had been directed for years to the prodigious results which -were said to be derived from "Jacotot's Method;" and that De Beriot, -wishing to know what advantage _he_ might obtain from its processes, had -some conversations with its inventor, and then learned from it little -more than two things, of _gravity_ rather than of _novelty_; viz. that -perseverance triumphs over all obstacles--and that, in general, we are -not _willing_ to do all that we are _able_ to do. The young artist -comprehended the truth contained in these oracular propositions, and -turned it to his own profit. To this extent only can De Beriot be called -the pupil of Jacotot. - -A happy organization, moral as well as physical, an education well -commenced--and labour regulated with the greatest judgment--could not -fail to ensure for De Beriot the acquisition of a very remarkable -talent. Nothing was still necessary but contact with fine talents of -other kinds, in order to finish, to adjust, and to give determined -character. De Beriot was nineteen years old, when (in 1821) he quitted -his native town, and repaired to Paris; where his first object of care -was to play before Viotti, at that time Director of the Opera. After -hearing him with attention, "You have," said the renowned artist, "a -fine style; give yourself up to the business of perfecting it; hear all -the men of talent; profit by everything, and imitate nothing." This -advice seemed to imply the recommendation to have no master. De Beriot, -however, thought it necessary to take lessons of Baillot, and entered -the Conservatory with this view; but he was not long in discovering that -his talent had already a character of its own, which it would be -difficult to modify, without injuring its originality. He continued -therefore but a few months in the classes of the Conservatory, resumed -the control of his own labours, and soon appeared at concerts with -brilliant success. His first Airs with Variations, compositions full of -grace and novelty, augmented his rising reputation. - -From a brilliant career in Paris, De Beriot passed, in 1826, into -England, where he met with a corresponding reception. In London, as well -as in some of our provincial cities, he gave concerts, that were -attended with transports of applause. Besides engagements at the -Philharmonic Society, he was heard at some of the Musical Festivals, -which take place annually in the principal towns of England. Of the -impression he produced among ourselves, a marked _individual_ instance -is on record, in the fact (stated in the Harmonicon) of a certain -gentleman travelling from Glasgow expressly to hear him play a Concerto -at the Birmingham Musical Festival, and declaring himself amply -recompensed by the result, for his trouble, time, expense and fatigue! -To his performance during one of his later visits to England, the -_Harmonicon_ thus alluded:-- - -"We knew not which most to admire--his tone, his vigor, the determined -manner in which he sprang to his extreme shifts, his staccato passages, -the bow bounding from the string with an elasticity almost magical, or -the boldness and certainty of his double stops." - -Returning to his native land, with a now brilliant renown, De Beriot was -presented to King William, who, although he had little love for music, -understood the necessity of assuring the independence of a young artist -who gave such promise of becoming an honour to his country. He granted -him a pension of 2000 florins, with the title of "first violin solo" in -his private band. The Revolution of 1830 deprived De Beriot of these -advantages. - -It was at one time objected to this artist, that, bounding the scope of -his talent to the composing and playing of Airs with Variations, he shut -himself up within too confined a sphere. Of this reproach he cleared -himself, by the composition of _Concertos_, which he played on various -occasions, and wherein he discovered grander proportions, both as to -conception and execution. The last of these Concertos is full of -originality. - -A marked incident in the life of this artist, was his hymeneal -engagement with the celebrated Malibran; and the close opportunities -thus possessed of hearing that accomplished woman, appear to have -exercised the happiest influence on his own talent. At Naples, where he -appeared at a concert given at the Theatre _San Carlos_, he obtained an -enthusiastic success, very uncommon among the Italians; for that nation, -passionate in its admiration of _song_, pays usually a lower degree of -homage to _instrumentalists_.--An anecdote or two may serve to close our -notice of this eminent artist. One of our own violinists, more noted for -his execution than his feeling, was once complaining to him that he -found he could produce very little effect with his (De Beriot's) _airs -variés_.--"_C'est qu'il y faut de l'âme!_" ("What they require, is -_soul_") was the laconic reply of the Belgian. - -An auditor at one of the concerts here, in which De Beriot was to -exhibit his powers being previously unacquainted with the person of the -great artist, inquired of a neighbouring sitter (apparently French) -whether _that_ were De Beriot--indicating, at the same time, the -individual on whom his supposition rested. The foreign gentleman made -answer in the affirmative; adding, with enthusiasm, and in English of -his own modification, "Sare, you may be sure dat dere is _bot won_ De -Ber-r-r-riot!" - -HENRI VIEUXTEMPS was born at Verviers, in 1820. His father, a soldier -retired from the service, practised as a maker and tuner of musical -instruments; and little Henry evinced, at an early date, his natural -taste for music, by the pleasure he found in listening to the -performances of his father on the violin. At two years of age, he amused -himself for hours together by rubbing the hair of a violin-bow on the -strings of a little instrument. At the age of four and a half, he began -to read music. A zealous amateur, charmed with the child's happy -indications, offered to defray the expenses of his musical education, -and placed him under the tuition of M. Ledoux, an able professor of the -violin, who, by his lessons, developed the talents of the young -violinist, destined soon to become one of the most distinguished artists -of his day. So rapid was his progress, that he was enabled, at the age -of eight years, to undertake, with his master, a tour for the purpose of -giving concerts in the principal towns of Belgium. While at Brussels, he -met with De Beriot, who, struck with his precocious skill, gratuitously -gave him lessons for several months, In the spring of 1830, he went with -his new master to Paris, and performed at a concert given in the _Salle_ -of the _Rue de Cléry_. The future eminence of the artist-child was then -confidently predicted. Returning to Verviers, a short time after, -Vieuxtemps resumed his studies. In 1833, he engaged with his father in a -tour through Germany, during which he acquired, by the custom of playing -in public, the assurance necessary to the unembarrassed display of -talent. It was at Vienna that he obtained his first really important -success. While there, he took some lessons of Simon Sechter, Organist to -the Court, and then returned to Brussels, where he only stayed a few -months. At the end of 1834, he went to Paris, and, finding no -opportunity of exhibiting his talents in that city, he proceeded to -London, where, however, his reception fell somewhat short of his -expectations. Returning to Paris in the summer of 1835, he resolved to -perfect his knowledge of music, and entered on a course of studies in -composition, under Reicha. The superficial but rapid method of this -professor was exactly that which best suited an instrumentalist, little -anxious to acquire a profound knowledge of the forms of counterpoint, -for which he considered he had no use. After this, he began writing his -first compositions, and played them in the course of a tour in Holland, -which he made in 1836;--he then went again to Vienna, and published his -first works. - -In 1838, Vieuxtemps played with success at the theatre at Brussels, and -also in a concert given in the Church of the Augustins by the -Philanthropic Society. His performances were "fantaisies" and fragments -of Concertos, in which some happy ideas were noticeable, but mixed with -incoherences. Immediately after this, he set out for Russia, giving -concerts, by the way, at Prague, Leipsig, Dresden, and Berlin. On -quitting this last city for Petersburgh, he was seized with a serious -illness, in a little Russian village, and was detained there more than -two months. On his arrival at Petersburgh, he met with splendid success, -as he did also at Moscow. It was in Russia that he wrote a new Violin -Concerto, and a Grand "Fantaisie" (orchestral), the superiority of -which, when compared with his foregoing productions, is so marked, that -his detractors, both at Paris and Brussels, availed themselves of this -fact to dispute the authorship. It is no unreasonable supposition, that -his future works will give an emphatic denial to these jealous -insinuations. After a stay of more than a year in Russia, Vieuxtemps -returned to Brussels in 1840, and, the 7th of July following, he played -his new Concerto and his "Fantaisie" in a grand concert given for the -benefit of the musicians of the orchestra at the theatre. These pieces, -in the execution of which the artist displayed the finest talent, -excited transports of enthusiasm. Vieuxtemps played them again, with -similar result, at the concerts given at Antwerp, on the inauguration of -the statue of Rubens. - -A Parisian success formed now the object of Vieuxtemps' advancing -ambition. This he obtained in the winter following, exciting no less -interest by the merit of his later productions, than by his skill upon -his instrument. He afterwards made a second tour in Holland, and then -revisited Germany, and appeared, for the third time, at Vienna. Having -travelled through Poland, he returned to Brussels in June 1843, and, in -the fall of that year, was heard in America. His subsequent career has -confirmed all the anticipations formed by the judicious as to the -distinction he would attain. - -JOSEPH ARTOT, born at Brussels in 1815, had for his first music-master -his father, a player of the first horn at the theatre of that city. At -the age of five, he _solfa-ed_ with facility; and, with less than -eighteen-months' study on the violin, he was able to play at the -theatre, in a Concerto of Viotti's. Charmed with the felicitous aptitude -of the child, M. Snel, at that time first violin-solo, undertook the -task of developing it by his instructions, and not long afterwards sent -him to Paris. There, Artot was admitted as a page at the Chapel-Royal; -and when he had attained his ninth year, he passed under the direction -of the elder Kreutzer, for the study of the violin. This distinguished -artist conceived a regard for him, and often gave him lessons, out of -class, at the Conservatory. On the retirement of Kreutzer, in 1826, his -brother Augustus Kreutzer, who replaced him, evinced for Artot no less -kindness than his predecessor. Artot had just completed his twelfth -year, when the second violin-prize was awarded him, in the competition -at the Conservatory. In the year following, he obtained the first prize. -He then quitted Paris, to visit his own country--playing with success at -Brussels, and making, some months after, a journey to London, where he -was not less fortunate. Returning subsequently to Paris, Artot became -attached to the orchestras of various theatres; but the desire of making -himself known caused him to renounce these appointments, and travel in -the south of France. The result was successful everywhere. He has -written _quatuors_ for the violin, and a _quintett_ for piano, two -violins, alto and bass, two airs with variations for the violin,--and -other works. - -Shifting the ground, and giving a fresh stir to our attention, let us -now pass "from _gay_ to _grave_, from lively to severe"--or, in other -words, from _France_ to _Germany_; in which latter country, will be -found ample matter for observation and comment, as relates to the theme -we are pursuing. - - - - -CHAPTER V. - -THE GERMAN SCHOOL. - - "Plain, without pomp--and rich, without a show." DRYDEN. - -Germany and Italy may _each_ be regarded as an abiding realm of sweet -sounds, a special nursery and _home_ of music. They are the two -countries from which, since the days of modern civilization, the great -supplies of musical thought and feeling have been diffused abroad, for -the delight of nations;--the _feeling_, for the most part, proceeding -from Italy, and the _thought_ from Germany, comformably to the -characteristics of the two people respectively. Impulse and passion -predominate on the Italian side--intellect and fancy on the German, and -the division into two great schools, or systems, marked severally by -these opposite qualities, takes its date from about the commencement of -the 18th century. The two musical _natures_, thus distinguished from -each other, have found each a different channel for its -_expression_--that of Italy becoming essentially _vocal_, that of -Germany, _instrumental_. Italian music is fresh from the heart, -spontaneous, and _glowing_ with melody: German music, true to the spirit -of its birth-place, is either grave and solid, or wild and fantastic. -Less simple than the Italian in its elements, the German musical genius -has sought its chief glory amid the intricate combinations of -orchestral science, where its laborious and meditative turn can have -fullest exposition. - -Passing from these general remarks to a consideration of the German -School of the _Violin_, in particular, we may observe, that, although -derived originally, like all the others, from that of Italy, and -contracting no inconsiderable obligations to it in its progress, it has -been, on the whole, much less indebted to the Italians for resources and -support, than the School either of France or England. The cause of this -arises out of the admitted fact, that the Germans are essentially a more -musical people[50]--are more deeply imbued with a musical character of -their own--than the natives of the two latter countries. They have been -less willing, as well as less needing, than these, to incur the debt to -Italy--and certainly less willing to add to its amount. The love of the -instrument diffused itself very speedily among them (the Germans), and -their own powerful musical organization enabled them not only to modify -more promptly, after their own character, the hints which they received -from its original Italian cultivators, but to be satisfied with a -smaller quantity of confirmation from the same source. Their comparative -independence, however, or disinclination to borrow, has been somewhat -unfavourable to the completeness of their success as _performers_ on the -violin. They have, as it were, impressed their own stamp and character -upon it --that is to say, they have attained an honest solidity of -execution, of high value in orchestral playing; but, with a few -prominent exceptions, such as Kiesewetter and Mayseder, they seem to -have neglected, as uncongenial to them, the lighter graces and -refinements which have been so readily caught up by the more imitative -Frenchman. As violinists of _display_, therefore, they must be content -to rank below the French. They are below them in that which their -dignity has not thought proper to make the subject of competition--the -"manual exercise" of the instrument. They are inferior in _execution_, -and therefore less effective as solo-players; for though the German -violinists have, in recent times, enjoyed some repute for their skill in -fingering difficult passages with the left hand, they have frequently -been deficient with the right; that is to say, indifferently versed in -the dexterities of the bow. - -The ingenious author of "A Ramble among the Musicians of Germany" has -considered the Violin School of that country, at present, to be -inferior, not only to the French--which there is no contesting--but also -to that of England. In this latter notion I cannot help thinking him -mistaken--and I would appeal to his own declaration, that although in -Germany "one may find no band equal to that of the Philharmonic Society, -fifty may be found, _only_ inferior to it." This fact supposes of -necessity a very large body of good sound violin-players, whose united -merits render it scarcely possible to regard the state of the art in -their country as _inferior_ to what it is in ours. - -The Germans have, after all admitted drawbacks, a high renown in -connection with that leading instrument which it is the business of -these pages to celebrate. They have the renown that justly attaches to -the production of the greatest _writers_ of all for the _Violin -Family_. Their compositions for the instrument, in its _single_ state, -are perhaps over-laboured, over-full of chromatic passages, and wanting -in the broad, simple, vocal character of the Italian music of the same -class;--they have been content, individually, to _talk_ with the violin, -whilst the Italians have _sung_ with it;--but--they have tasked their own -genius to find scope for its powers in the aggregate--to develop its -resources _in combination_ with those instruments that are its immediate -relatives; and, in this collective character, they have given new -triumphs to it. The names of Haydn, Mozart and Beethoven, at once -suggest themselves, and assert for their country, under this view, a -superiority which the world does not seek to dispute. In the -_quartetts_, and other instrumental pieces, up to _symphonies_ -inclusive, which have been produced by these great men, all the higher -capabilities of bowed instruments are consulted and brought forward, -with a nicety of discernment, and a richness, variety, and grandeur of -effect, which excite equally our surprise and gratification.--Let us now -consider, in their order, the principal German masters whose eminence -relates particularly to the violin. - -It is hardly necessary to enumerate all the early performers mentioned -with commendation by Walther in his Dictionary, since their fame and -influence do not appear to have travelled beyond their own country. We -will therefore commence with DAVID FUNK, originally a singer at -Reichenbach, where he was born in the early part of the seventeenth -century. He was an excellent musician, and a capital performer on the -violin and the viol-da-gamba, besides displaying talent on the -harpsichord and the guitar. He was, moreover, a general scholar, and one -of the most elegant versifiers in Germany. Independently of his -excellence as a practical musician, he obtained credit as a composer, in -a variety of styles; and his compositions for the church and the chamber -were much admired. His talents, brilliant and diversified as they were, -suffered some tarnish from his immoral conduct. It was in 1670 that he -began to shine as a composer, by the publication of a collection of -pieces for the viol-da-gamba. He was under the patronage of the Princess -of Ostfrise, during seven years. That Princess, however, dying in 1689, -Funk, then more than sixty years old, returning to the place of his -nativity, succeeded in obtaining several appointments; but these he had -scarcely retained for a year, when the extreme irregularity of his life -deprived him of them, and reduced him to the necessity of quitting the -town as hastily as possible. It was in the depth of winter; and in his -flight, through frost and snow, he arrived at the gate of the castle of -Schleitz. The sordid state of his habiliments made so repulsive an -impression on the porter, that he refused him admittance; but his good -fortune, prevailing, brought to the spot the chapel-master, Liebich, -who, acquainted with his merit, though previously a stranger to his -person, expressed his desire for the honor of his friendship, and, in -the name of the lord of the castle, whose favour and protection he -himself enjoyed, invited the fugitive to his patron's table. The Count -was so delighted with his musical talents and various knowledge, that he -retained him as his friend and companion, till letters arrived from -Wohnsiedel, claiming him as a moral delinquent, to answer for some part -of his past conduct. The Count, disposed to favour him as much as the -nature of the case would admit, advised him to depart secretly, and -afforded him every assistance for his journey. Funk, once more a -wanderer, without knowing whither to go, was, a few days afterwards, -found dead, behind a hedge, in a field near Arnstadt! - -It is doubtful whether any of the violin compositions of this master are -extant; but, among his sacred instrumental pieces, there is one which -has received the encomium of all real judges of music: it is a _drama -passionale_, the words of which, as well as the music, were his own. - -THOMAS BALTZAR, born at Lubeck about 1630, was esteemed the finest -performer on the violin of his time. He came to England in 1658, at -which time the instrument had not yet been enabled to manifest its real -powers among us, nor to emerge (as it shortly afterwards did) from the -low estimation in which it was held. Baltzar may be considered as having -helped in no small degree to prepare the way for its rescue from -humility in this country. He lived, for about two years after his -arrival here, in the house of Sir Anthony Cope, of Hanwell, in -Oxfordshire. He is said to have first taught the English the practice of -shifting (that is to say, of what is termed the _whole-shift_), and the -use of the upper part of the finger-board--in like manner as Geminiani is -believed to have been our first instructor in the _half-shift_.[51] It -is certain that the power of execution and command of the instrument, -exhibited by Baltzar, were matter of novelty among us, although we had a -native performer, of no mean abilities at that period, in the person of -Davis Mell, who, in delicacy of tone and manner, seems even to have -exceeded the more potent and renowned German. Baltzar was of a -Bacchanalian turn in his habits, and was believed to have brought his -end somewhat the nearer thereby. His remains obtained the honor of a -place in Westminster Abbey, in the year 1663. Dr. Burney has -characterized his compositions as discovering "genius and a strong -hand." - -HENRY JOHN FRANCIS BIBER, vice-chapel-master to the Bishop of Salzburg, -seems to have been one of the best violin-players of his time; and his -_solos_, which he published in 1681 (with a bass), are stated by Dr. -Burney to comprise more of fancy, as well as of difficulty, than any -music of the same period. One of the pieces is written on three staves, -as a score for two violins and bass, but is designed to be played (as -regards the violin) in _double stops_. Others are played in different -tunings of fourths and fifths, as for a treble viol. - -GODFREY FINGER, a Silesian, was a voluminous composer for the violin; in -a style of less power than that of Baltzar, but of more polish, and -approaching somewhat to the Italians, Bassani and Torelli. He was some -years resident in England, having received, in 1685, the appointment of -chapel-master to King James II. On returning to Germany, he became -chamber-musician to the Queen of Prussia in 1702, and, in 1717, -chapel-master to the Court of Gotha. - -JOHN GOTTLIEB GRAUN, brother of the celebrated chapel-master of that -name, and born about the year 1700, was an excellent performer on the -violin, and a respectable composer, of the old school. He was -concert-master to the King of Prussia, and there are extant of his -writings, several overtures, symphonies, concertos, a "Salve Regina," -and some masses. He transmitted, through several good pupils, the -serviceable solidity of his talent. - -FRANCIS BENDA, usually commemorated as the originator of a distinct -style of violin-performance in Germany, was a native of Bohemia, and -born in the year 1709. At the age of seven, he commenced vocal studies, -and, two years afterwards, became a sopranist in the choir of St. -Nicholas, at Prague. He soon afterwards went to Dresden, where he was -immediately received among the _élèves_ of the _Chapelle Royale_, in -which situation he continued eighteen months. About this period he began -to practise the violin, and had no other resource than that of engaging -himself with a company of itinerant musicians, who attended fêtes and -fairs. While thus situated, he formed an acquaintance with a blind Jew, -of the name of Loebel, a virtuoso of no mean order, who became his -master and his model. At length, tired of this wandering life, he -returned to Prague, and took lessons of Kouyezek, an excellent violinist -of that town. He was now eighteen; and, eager in the pursuit of -professional excellence, resolved to visit Vienna, where he soon found -an opportunity of profiting by the example of the then celebrated -Franciscello. After a residence of two years in that city, he went to -Warsaw, where he was nominated Chapel-Master. In 1732, at the -recommendation of Quantz, the Prince Royal of Prussia (afterwards -Frederic II) received him into his band. Anxious for further improvement -in his art, he became the pupil of Graun, for the violin; then studied -harmony under his brother; and afterwards learned composition of Quantz -himself. In 1732, he replaced Graun as the King's Concert-Master, which -situation he held till his death, at Potsdam, 1786. - -Of the peculiar qualities of Benda, as a violinist, Dr. Burney, in his -Travels, thus speaks:--"His manner was neither that of Tartini, nor of -Veracini, nor that of any other leader; it was purely his own, though -founded on the several models of the greatest masters:"--and Hillar, in -his Biography, tells us "that his tones were of the finest description, -the clearest and most euphonious that can be imagined. The rapidity of -his execution, and the mellow sweetness of his altissimo notes, were -unequalled. With him, the violin had no difficulties. He was master of -all its powers, and knew when to use them." - -JOHN STAMITZ, Concert-Master and Chamber-Musician at Mannheim, and -regarded, like the preceding artist, as the founder of a distinct class -of German violinists, was born in 1719, at a small town in Bohemia, -where his father was a school-master. Besides the high repute he enjoyed -as regards the formation of pupils, Stamitz has attained a just -celebrity by his written works. These (which include a curiosity in -art--a _duett_ for _one violin_) consist principally of symphonies or -overtures, concertos, quartetts and trios. Though exhibiting a masterly -character, they convey the impression, at this period, of belonging too -peculiarly to the old school, and have been considered, by some critics, -to savour too much of the Church style. - -The successors of Benda and Stamitz, still adding some improvements to -the precepts or the practice inculcated by those eminent directors, may -be said to have created a school of their own, at the head of which we -should place Leopold Mozart (author of "_Der Violinschule_"), Fraenzl, -and Cramer, who made some approach to Tartini, his contemporary, and -flourished long in England, as a concerto-performer and leader. Of the -first and the last of these three professors, some account shall here be -subjoined. - -LEOPOLD MOZART, father of him who, in the fullest sense permitted to -sublunary credit, may be called, "The Undying One," was born at Augsburg -in 1719. After having completed his studies, and particularly a course -of jurisprudence, at Salzburg, young Leopold entered the family of the -Count of Thurn, in the somewhat odd quality of _Valet-de-Chambre -Musicien_. The situation of a violinist having become vacant in the -chapel of the Prince Bishop of Salzburg, he obtained it in 1743. His -compositions made him favourably known in Germany but his reputation was -extended principally by the _Method_ for the Violin, which he published -in 1756, and which, for half a century, was considered as the best work -of the kind. - -In 1762, Leopold Mozart obtained the post of Second Chapel-Master at the -Court of Salzburg. Of seven children whom he had by his marriage, there -remained to him only the son, afterwards so famous, and a daughter, -whose success in childhood promised a talent which was never realized. -The musical education of the children occupied all the time which his -duties and his works left to the father. A little while after his -nomination as Second Chapel-master, he commenced long tours with his son -and daughter, visiting the principal courts of Germany, Holland, England -and France, and passed many years in Italy. Returning to Salzburg, rich -in the hopes that centered on his son,--but with an exchequer nearly -exhausted by the charges attendant on so much itinerancy--he did not -again quit the residence of his Prince till 1775. Anxiously careful -about ameliorating the condition of his family, he failed to secure that -object, and became more and more impoverished. The forms and practices -of a scrupulous devotion furnished him, however, with some consolation -in his griefs, and alleviated his sense of suffering from the gout. He -died at Salzburg, in 1787. - -Of the Symphonies composed by Leopold Mozart, it suffices for their -commendation to say, that some of them have been attributed to his son. -His _Method_ for the violin is entitled "Versuch einer Gründlichen -Violinschule," Augsburg, 1756, 4to., with a portrait of the author, and -four plates representing the different positions for holding the bow and -the violin. This work, composed according to the doctrine of Tartini, -contains (says M. Fétis) some excellent things, and will always be read -with profit by such violinists as are disposed to reflection on the -subject of their art. The second edition, completed, appeared, under the -title "Gründliche Violinschule," in 1770. A third edition was published -in 1785. It has since been frequently reprinted, and translated into -several languages. - -WILLIAM CRAMER was a native of Mannheim, and born in the year 1730. -Influenced by an early passion for music, and aided by the bounty of -Prince Maximilian, he soon acquired excellence on his favourite -instrument, and, at the age of twenty, obtained a situation in the -chapel of the Elector Palatine. Not, however, receiving on the Continent -encouragement commensurate with his continual and rapid improvement, he, -in 1770, came to England, where he soon obtained the situations of -Leader of the Opera-House band, and of the King's Concerts. In 1787, -under John Bates, the Conductor, he led the performances given at -Westminster Abbey in commemoration of Handel, and led them in a style -that proved his thorough comprehension of the music of that great -master. Though Cramer failed to obtain in Germany sufficient patronage -to induce his remaining in that country, his claims were admitted there -by all real judges of executive talent; and in England he was esteemed -the first violinist of his time. It used to be asserted of him that he -joined the emphatical expression of Benda with the brilliancy of Lolli. -The decision and spirit which characterized his playing, gave him great -advantage as a leader.--The latter days of Cramer were somewhat clouded. -The emoluments arising to him from the Opera House, and from his -employment as a private teacher of the violin, had been considerable -during many years; but talent is too frequently a bad economist, and his -was one of the cases in which it proved so. The embarrassment he -sustained in his affairs, and the transfer of the post of leader of the -Opera-band to the greater Viotti, combined to exercise an injurious -effect on his health and spirits. His death occurred in October 1799. -Cramer was twice married, and had two sons by his first -wife--John-Baptist the great _Pianiste_, and François, of whom -presently.[52] - -JOHN PETER SALOMON was born at Bonn, in 1745. Director, purveyor, -composer and performer, he was one of those whom the musical historian -must delight to honour. He was educated for the law; but the voice of -music was too powerful within him to be restrained. While very young, he -became a performer in the Electoral Chapel at Bonn. In 1781 he went to -Paris, with a result of more fame than profit. His enterprising spirit, -regulated by discretion, found a happier field in London, where his -cheerful disposition, polished manners, good sense, and general -attainments, soon obtained for him the friendship of all who at first -patronized him for his professional talents. His concerts in 1791 form -an epoch in musical history--for, to them we are indebted for the -production of Haydn's twelve Grand Symphonies, known everywhere as -"composed for Salomon's Concerts." Salomon had formed his project, and -digested its details, in the previous year. In order to give every -possible effect, as well as _éclat_, to his concerts, he determined to -engage that "par nobile," Haydn and Mozart, not only to write -exclusively for them, but to conduct their compositions in person. For -this purpose he went to Vienna, where, after several interviews with -both these great musicians, it was mutually agreed that Haydn should go -to London the first season, and Mozart the next. They all dined together -on the day fixed for the departure of the two travellers. Mozart -attended them to the door of their carriage, wishing them every success, -and repeating, as they drove off, his promise to complete his part of -the agreement the following year. This, however, was an abortive hope. -_L'homme propose, Dieu dispose_:--Mozart, who had filled a short life -with durable deeds, was carried, within that stipulated interval, to the -grave!--The terms on which Haydn undertook so long a journey and so -responsible a duty, were, £300 for composing six grand Symphonies, £200 -for the copyright of them, and a benefit, the profits guaranteed at -£200. Salomon re-engaged Haydn for the season 1792, on the same terms, -except that, for the copyright of the last six Symphonies, the increased -sum of £300 was paid. In the first concert of this year, Yaniewicz -played a Violin Concerto. At the first of the series in 1793, Viotti -made his début in London, in _his_ favourite Violin Concerto. In 1794 -and 95, Haydn, having visited London a second time, was again at the -same post of pianoforte president. In 1796, Salomon's discriminating -judgment brought out of obscurity, and placed in their proper sphere, -the extraordinary vocal powers of Braham. Of Salomon's subsequent -subscription concerts, engagements at private music parties, attendances -at the Prince of Wales's Carlton-House Concerts, compositions of -canzonets, songs, glees, &c. it is not requisite here to treat. His -public career extended to the period of the formation of the -Philharmonic Society, in 1813, of which he was one of the original and -most zealous promoters and assistants. He died Nov. 28th, 1815. His -remains, followed to the grave by a long train of professional and other -friends, were interred in the great Cloister of Westminster Abbey. - -Salomon was one of the few whose right to contend for the honour of -being considered the greatest performer in Europe on the violin, was -manifest. His taste, refinement, and enthusiasm, as Dr Burney has -observed, were universally admitted. His profound knowledge of the -musical art served to add solidity to his fame. His judgment and vigour, -as a leader, are traditionally well known. Among his pupils, Pinto -proved the extent of his master's skill, and his ability in -communicating it. Unfortunately, this extraordinary young man, whose -musical progress reflected so much honour on his teacher, possessed -qualities that are but too frequently the regretted concomitants of -genius, and he perished just as he was ripening into finished -excellence. Salomon, besides other works, published two Violin -Concertos, arranged for the pianoforte, with full accompaniments; and -six Solos for the violin, printed first in Paris, afterwards in London. -Among his unpublished compositions, are some Violin Quartetts, Trios, -and Concertos. - -CHARLES STAMITZ, eldest son of Stamitz the famous, was born at Mannheim, -in 1746. He was made a violinist by his father, and his father's pupil, -Cannabich; and was afterwards engaged in the chapel of a German Prince, -till the year 1770, when he went to Paris, and made a durable impression -there, both as a concerto-player on the violoncello and tenor, and as an -instrumental composer. His writings had all the fire and spirit of those -of his father, as well as an admixture of later improvements, without -servility of imitation, as relating to _any_ style. Many of them were -published at Paris, Berlin, and Amsterdam. This artist died at Jena, on -his journey to Russia, in 1801. - -JOHN FREDERICK ECK, born at Mannheim, in 1766, became Concert Director -to the Court of Munich. Noted as an artist in his day, he is further -noted as having assisted to develop the great faculty of Louis Spohr. - -ANDREAS and BERNARD ROMBERG, cousins to each other, and scions of a -family of some note in the annals of music, were for several years joint -participants in labours connected, immediately or incidentally, with the -violin. About the year 1790, the two cousins held situations in the -court-chapel of the Elector of Cologne, at Bonn, where Andreas was -already distinguished by his excellent performance on the violin, and -his compositions, both vocal and instrumental; and Bernard no less for -his violoncello-playing, and the pieces he had written, either for his -own instrument, or the full orchestra[53]. - -When the French armies entered Bonn, at the commencement of the -revolutionary war, the Elector's musical establishment was broken up, -and the two cousins proceeded to Hamburgh, where they readily obtained -engagements in the orchestra of the German Theatre. In 1795, they left -Hamburgh, and, continuing their mutually beneficial compact, made -journeyings together through several cities of Germany and Italy, -establishing everywhere the reputation of being among the best violin -and violoncello players of the day. Their duetts and concertante -performances, in particular, had that perfect harmony of finish which -the constant habit of studying and playing _together_ could perhaps -alone bestow. The familiar interchange of ideas was likewise of -advantage to them in the compositions which they produced, whether -conjointly or separately. They may be styled, by no very forced -parallel, the "Beaumont and Fletcher" of the musical world. - -In 1797, they returned to Hamburgh, where Andreas remained; while -Bernard, two years afterwards, made a separate excursion through England -and Spain, to Lisbon, and, returning to Hamburgh about 1803, obtained -subsequently a situation in the Royal Chapel at Berlin. Andreas had, in -the mean time, turned his attention more extensively towards -composition, and produced works involving larger combinations, and full -orchestral agency, such as it is not requisite here to specify. Both the -cousins, moreover, are _best_ known as voluminous, and at one time -highly popular, composers for their _own_ particular instruments. Their -chief instrumental works, as an English critic has remarked, will always -be heard with pleasure, although without the excitement which attends -Beethoven, or the deep admiration which waits upon Mozart. Of these -works it may suffice here to enumerate:-- - - Four Concertos for the violin--two Quintetts--twenty-four Quartetts - (comprised in eight sets)--a Quartett for the pianoforte and - stringed instruments--nine Duetts--and a set of three Studios, or - Sonatas for the violin--by _Andreas Romberg_. - - A set of three Quartetts--four single Quartetts--a Trio for violin, - tenor, and violoncello obligato, in F--six Concertos, and several - Concertantes and Airs with Variations, for the violoncello--two - Quartetts for pianoforte and stringed instruments--by _Bernard - Romberg_. - -FRANÇOIS CRAMER, second son of William Cramer, was born near Mannheim, -in 1772. He commenced his labours on the violin under regular tuition, -at a very tender age, and was no novice in the art of handling it, when, -in his eighth year, he left his native country, to join his father and -his brother John, who were settled in England. A long suspension of his -practice, however, was rendered necessary by feeble health; and the -extent of delay prescribed by Horace with regard to a poem--"nonum -prematur in annum"--was nearly enforced as to young Cramer's violin, -which he had to keep in reserve during a lapse of seven years. On -recommencing, he found himself under the disadvantage of having to toil -over all the elementary ground anew. He did this, however, with good -heart, and then worked his way into close acquaintance with the Solos -of Geminiani and Tartini, and the _Capriccios_ of Benda and old Stamitz. -At the age of seventeen, he was placed, as a gratuitous member, in the -Opera band, by his father, who was its leader. In the course of a few -years, he rose in the ranks of the orchestra, and was appointed -principal second violin under his father, not only at the Opera, but at -all the principal concerts, as the King's Concerts of Ancient Music, the -Ladies' Concerts, and the great provincial musical festivals. On the -death of his father, he was appointed leader of the Ancient Concerts, -and came into very general employment as an orchestral leader, during -many years--a position for which his steadiness of direction, and his -solid style of playing, well qualified him. It was on his capacity as a -leader, especially for the lofty music of Handel, that his fame rested. -As a solo-player, he never had much importance--his powers of execution -not being of the kind that ensures the uniform triumph over difficult -passages. - -FRIEDRICH ERNST FESCA, born at Magdeburg, in 1789, was brought up in the -midst of music, and took to the study of the violin in his ninth year, -under M. Lohse, first violinist of the Magdeburg Theatre. Fesca made -rapid progress, and was speedly delighted at being enabled to join in -quartetts of Haydn, Boccherini and Mozart. In his eleventh year, he -exhibited in a concerto on the violin, publicly, at Magdeburg. His first -essay in composition was a concerto for the violin, performed by himself -at Leipsig. Introduced by Marshal Victor to Jerome Buonaparte, he became -first violinist at Cassel. His forte in instrumentalizing lay -principally in the _adagio_, that true touchstone of a performer's -abilities and it was in giving effect to this that his inmost soul shone -forth. His _compositions_, also, showed superior delicacy in the -adagio. Fesca afterwards became first violin of the Court Theatre at -Carlsruhe, and at a later period was concert-master to the Grand Duke of -Baden. He died in 1825, leaving a character highly esteemed and -respected, especially for its exemption from the alloy of professional -envy. He was distinguished in other compositions besides the -instrumental. His quartetts possess great merit, but are by no means to -be ranked with those of Haydn, Mozart and Beethoven. They are marked by -grace and feeling, more than by invention. - -CHRISTOPH GOTTFRIED KIESEWETTER was born in 1777, at Anspach, where his -father was first violinist at the Royal Chapel. His own devotion to the -instrument was repaid by the high reputation he acquired, rather than by -pecuniary success;--for music in Germany, like virtue everywhere, is, in -a certain qualified sense, its own reward. In that country, where the -practice of the musical art is so extensively diffused, the individual -professor has not the opportunity of rendering it so lucrative to -himself, as it is where talent is concentrated among a very few of the -community. Holding the appointment of leader of the band to the -Hanoverian Court, Kiesewetter found himself too poor for the maintenance -of a wife and eight children. In 1821, he came to London, and at once -established a reputation here by his spirited playing at the -Philharmonic Concerts. His execution was considered to be sometimes -quite amazing, but not always perfect. It was particularly remarked that -in quick playing he had a sort of jerking squeak in his high notes, that -was somewhat anti-musical, and was one of the consequences of his too -frequent use of the extra shifts. These squeaking notes, and marked -slidings of the finger up the strings, as it has justly been observed, -may shew a certain kind of mechanical skill that partakes of the nature -of practical wit, but they also betray the weaker part in the -instrument, and are apt to be (except when _insured_ by the skill of a -Paganini) more provoking than pleasing. There existed a similar cause of -deduction from the praise due to _another_ German violinist, M. Hauman, -who played at the Philharmonic in 1829. Kiesewetter, when in Germany, -was fond of introducing Russian airs into his performances, which he did -with happy effect. His action in playing was not graceful: this was -probably to be attributed, in some degree, to the effect of a pulmonary -complaint under which he suffered. - -Mr. Gardiner has described the painful circumstances attendant on the -last two performances of this accomplished artist, which took place at -Leicester. On both occasions he was supported into the orchestra, and -placed in a chair, by his brother professors,--his debility being so -distressingly apparent that many persons apprehended he would expire in -the room. The audience, with one voice, entreated that he would abandon -the idea of playing; but he persisted; and though the withering hand of -death had so visibly touched him, he had yet enough of energy remaining, -to exhibit a few scintillations of his taste and style; but his fire and -vigor were gone. He died in London, in September 1827, receiving -unremitting attentions at the close of his career from his pupil, Oury. -His death may be in some sort regarded as a loss to our English -violinists--for the animation of his performance, beyond what is common -either in his own country or here, afforded a useful example, which -might have been prolonged with advantage. - -LOUIS SPOHR, the most highly gifted and accomplished of living German -musicians, is the son of a physician at Seesen, in the Brunswick -territory, where he was born in 1784. In his juvenile days, he was less -forward in the exhibition of the musical faculty than has been the case -with many whose powers, at maturity, have been far below his. The late -Duke of Brunswick, however, who was himself a performer on the violin, -interested himself in the success of young Spohr, and received him as a -musician in the Chapel Royal. The Duke afterwards enabled him to -accompany a distinguished player, Francis Eck, on a tour to Russia, by -which means he acquired much important musical knowledge. On his return, -he applied himself very closely to violin-practice, and then travelled -through various parts of Germany, exciting enthusiasm by the fine -qualities of his playing; for by that time he had already impressed on -the instructions derived from his master the seal of his own -organization and fine meditative powers. In 1805, he became -concert-master, violinist, and composer, to the Duke of Saxe Gotha. In -1814, Spohr was in Vienna during the Congress, on which conspicuous -occasion Rode and Mayseder had likewise resorted thither; and a story -was current which represented each of these eminent performers as having -played in succession, in a quartett of his own composition, at a private -party, with the result of a unanimous preference for Mayseder, both as -to the composition and the performance. This tale is not accredited by -the judgment formed of the respective competitors by the public: and any -belief of it must be greatly at the expense of the musical discernment -among the "private party."--A tour through the principal Italian -cities, where he gained general applause, occupied Spohr in 1817; -and he was subsequently director of the music at the Theatre of -Frankfort-on-the-Main. In 1820, he was in England, exhibiting his -admirable powers at the Philharmonic Concerts, where he introduced two -fine symphonies and an overture, of his composition; but, neither here -nor in France, which country he also visited, was he appreciated to the -full extent of his merits: The cause of this has been well suggested by -an able English critic, whose remarks, somewhat abridged, I here -subjoin:-- - -"We had the traces, in Spohr's execution, of a mind continually turning -towards refinement, and deserting strength for polish. His tone was pure -and delicate, rather than remarkable for volume or richness; his taste -was cultivated to the highest excess; and his execution was so finished, -that it appeared to encroach, in a measure, upon the vigour of his -performance. But he was very far from being deficient in the energy -necessary to make a great player. The fact seems to be, that this -quality, which for its inherent pre-eminence is most distinguishable in -other violinists, was, in Spohr, cast into secondary importance, and -rendered less discernible, by the predominating influence of his -superior refinement. His delicacy was so beautiful, and so frequent an -object of admiration, that his force was lowered in the comparison. And -as it is frequently the consequence of a too subtle habit of refining to -obliterate the stronger traces of sensibility, so his expression was -more remarkable for polished elegance, than for those powerful and -striking modifications of tone that are the offspring of intense -feeling. It is probably owing to this softening-down of the bright and -brilliant effects, that he failed (if such a man could be ever said to -fail) in eliciting the stronger bursts of the public approbation which -attend those exhibitions of art that are directed against, and that -reach, the affections of a mixed audience. Thus, though in the very -first rank of his profession and of talent, Spohr perhaps excited a -lower degree of interest than has frequently attended the performance of -men whose excellences were far below standard. Such is the common fate -of all extreme cultivation and polish. It transcends the judgment of the -million. The Roman critics remarked the pre-eminent beauty with which -Spohr enriched his playing, by a strict imitation of vocal effects. They -said he was the finest _singer_ upon the violin that ever appeared. -This, perhaps, is the highest praise that can be bestowed. The nearer an -instrument approaches the voice, the nearer is art to the attainment of -its object." - -In the autumn of 1839, Spohr was at the Norwich Musical Festival, where -his appearance, after a lapse of sixteen years, excited much interest. -He was then described as "a tall and stout man, with a noble head, a -pleasing aspect, and a presence in which much simple dignity was -engagingly blended with gentleness and modesty." His Violin Concerto, -played on that occasion was a newly-written work, exhibiting no mean -share of his genius as a composer. It was remarked that in his playing -he made no use of the more artificial resources of the modern school--not -introducing into any of his highest flights a single "harmonic note," a -single touch of the instrumental _falsetto_--but producing every note in -those flights by fairly stopping the string, in perfect tune, and with -the utmost parity of tone. Great command of the bow, and lively rapidity -of fingering, were also obvious. - -Broad and large in dimensions as in design, and marked by high creative -genius, are some of the works that illustrate the name of this potent -artist--works that summon to their exposition vocal and instrumental -_multitude_:--but these it is hardly requisite here to particularize. It -more concerns me to state that, of his active and intelligent career, -one of the best results has been the formation of many a well-trained -pupil, now holding honorable position in this or that great city of -Europe. The principles and details of his mode of instruction--so far as -the breathing soul could convey them through the medium of inanimate -paper--are found in his great didactic work, "_Der Violin-Schule_" -published at Vienna by Haslinger, and subsequently translated into -French. For the benefit of English students, a version, prepared by Mr. -John Bishop, of Cheltenham, and bearing the author's own attestation of -its fidelity, has been issued by Messrs. Robert Cocks and Co. - -With reference to the violin-compositions of this great master, the -following warm (and perhaps but little exaggerated) tribute has been -rendered by a critic in the "Spectator:"-- - -"The writers of violin concertos are, for the most part, only known as -such; but _Spohr's_ compositions for his instrument display not only the -brilliancy of their author's execution, but the elevated character of -his mind: we listen not only to the principal performer with wonder, but -to the whole composition with delight. They have a character of their -own--unlike and _beyond_ that of any similar productions of any age or -country." - -CHARLES WILLIAM FERDINAND GUHR, "_Chef-d'Orchestre_" of the Theatre of -Frankfort-on-the-Main, was born at Militsch, in Silesia, in 1787. His -father, a singer at the principal church of that city, undertook the -musical education of his son. At fourteen years of age, Guhr entered, -as a violinist, the chapel in which his father was employed. His youth, -and want of experience in the art of writing, did not deter his ambition -from composing many concertos, quatuors and other pieces for the violin. -When he had attained the age of fifteen, his father sent him to Breslau, -to continue his studies there, under the direction of the chapel-master, -Schnabel, and the violinist, Janitschek. His progress was rapid, and he -soon returned to Militsch. When Reuter took the direction of the theatre -of Nuremberg, he placed Guhr in the post of _Chef-d'Orchestre_. His -talents in the art of directing introduced in a short time considerable -ameliorations into the state of music in that town. He performed several -concertos of his own composition, and had some of his operas performed -with success at the theatre. Having passed several years at Nuremberg, -and having, while there, married Mademoiselle Epp, a singer at the -theatre, Guhr accepted the direction of the music at the theatre of -Wisbaden; but the war of 1815 having ruined this as a place of -residence, Guhr went to Cassel, where the Prince named him director of -the music of his chapel, as well as of the theatre. Vacating this post -in the year following, he remained without employ up to the year 1821. -At that period, an engagement for 22 years was offered him as director -of the orchestra of the theatre at Frankfort-on-the-Main with a salary -of 5,000 florins, which he accepted. - -In Germany, M. Guhr was very advantageously known as a violinist; and he -is said also to have possessed considerable skill on the piano. In the -earlier steps of his progress on the violin, following the example of -Rode, he aimed principally at precision and purity in his playing; but, -after having heard Paganini, he entirely changed his model, and made a -special study of the peculiarities of that extraordinary man's -execution. We are specially indebted to him for a work (already alluded -to) on this subject, which was received with much interest; it is -entitled "Ueber Paganini's Kunst, die Violine zu spielen." - -JOSEPH MAYSEDER, a violinist of a high order, and, in a certain limited -line, an original composer of acknowledged merit, acquired a -considerable share of popularity in a comparatively short time. Residing -principally at showy and dazzling Vienna, where the present musical -taste does not conform, in point of solidity, to the accustomed German -standard, he exercised the peculiarities of his style with unchecked -freedom. As a composer, his ambition was generally to sparkle, and his -habit was nearly all gaiety, or, as one of our musical critics has -termed it, a tricksy _mixture_ of gaiety and melancholy. His writings, -full as they are of ingenuity, and containing much that cannot fail to -please, are chargeable with a somewhat too flimsy character, and with -too evident a tinge of what may be called the _coquetry_ of composition. -His playing, which was touched with the jerking manner observed in -Kiesewetter, was also distinguished by much brilliancy and great powers -of rapidity. - -BERNHARD MOLIQUE, Concert-master to the Court, and second leader of the -orchestra to the Opera, at Stuttgard, was born at Nuremberg, Oct. 7, -1803. His father, a town musician, was his first master, and taught him -to play, not one, but many instruments; the violin was, however, that -which the young artist preferred, and on which his progress was most -rapid. At the age of fourteen, he was sent to Munich, and placed under -the direction of Rovelli, first Violin of the Chapel Royal. Two years -afterwards, he went to Vienna, where he obtained a place in the -orchestra of the theatre "An der Wien." In 1820, he returned to Munich, -where, although but seventeen years of age, he succeeded his master, -Rovelli, as First Violin to the Court. During the two subsequent years, -Molique laboured to impart to his talent a graceful and energetic -character. In 1822, he found himself sufficiently advanced in his art to -be in a condition to travel, in the quality of artist, and give -performances in great cities. He obtained leave of absence, and visited -with good success, Leipzig, Dresden, Berlin, Hanover and Cassel. - -In 1826, Molique was engaged at the Court of Stuttgard, as -Concert-Master. There he obtained renown for the development of a new -talent, the direction of an orchestra, in which post he was equally -remarkable for precision, sentiment, and accurate appreciation of the -slightest effects of instrumental colouring. - -In 1836, M. Molique made a journey to Paris, and executed one of his -concertos for the violin, at the Concerts of the _Conservatoire_. The -journals which spoke of the effect of this composition, did justice to -its beauty: but, according to their account, the execution does not -appear to have produced upon the audience such an effect as ought to -have resulted from the talent of the artist. It has been a subject of -remark, that something of the same sort has happened in the case of most -of the violinists of the German School who have performed before -audiences at Paris; and that Spohr and Lipinski, who have had a great -reputation elsewhere, produced but little sensation in that city. Must -not the cause of this be sought in the diversity of national taste?--The -published works of M. Molique have for many years contributed to the -extension of his renown. - - Vainly, oh, Pen! expectant here thou turn'st - To trace the doings of Teutonic ERNST-- - To shew what praise he won, what hearts he moved, - What realms he traversed, and what trials proved. - Wanting the _records_ that should speak his fame, - Prose fails--and Verse, alas! but gives _his name_. - So, in life's common round, when just aware - That one whom we have longed to _know_, is near-- - To see him, hear him, _chat_ with him, prepared, - We find he's gone, and has but _left his card_! - -Under the German branch of our subject, as more analogous to that than -to any one of the others, may perhaps be most fitly presented some -particulars concerning the remarkable Norwegian artist, OLE (or OLAUS) -BULL, who, in 1836, came hither to dazzle and animate us, like a -coruscation from those "northern lights" that are often so conspicuous -in his own land. His advent to our shores was immediately preceded by a -visit to our lively neighbours on the southern side of the Channel. The -following sketch--of which the earlier and more picturesque portion is -chiefly derived from a French account, written by a medical professor -and musical amateur at Lyons--will furnish some idea of the powers and -peculiarities of this individual. - -It chanced, on a certain day, during the time when the cholera was -ravaging the French capital, that one of the numerous diligences which -were then wont to make their return-journey in an almost empty state, -deposited, in the yard of a coach-office, a young northern traveller, -who came, after the example of so many others, to seek his fortune at -Paris. Scarcely arrived at his twentieth year, he had quitted his -family, his studies, and Norway, the land of his home, to give himself -wholly up to a passion which had held sway within him from his infancy. -The object of this pervading passion was music, and the violin. Deeply -seated, active, and irresistible, the bias had seized him when he -quitted his cradle, and had never ceased from its hold upon him. At six -years old, he would repeat, on a little common fiddle bought at a fair, -all the airs which he had heard sung around him, or played in the -streets: and, two years afterwards, he had astonished a society of -professional men, by playing at sight the first violin-part in a -quartett of Pleyel's--though he had never taken a lesson in music, but -had found out his way entirely alone! Destined afterwards by his family -to the ecclesiastic life, and constrained to the studies which it -imposes, he had still kept his thoughts fixed on his beloved violin, -which was his friend, his companion, the central object of his -attachment. At the instance of his father, the study of the law became -subsequently his unwilling pursuit: and, at length, these struggles -ended in his yielding to the impulse of his love for the violin; and -banishing himself from Norway, in order to devote all his days to the -cultivation of music. - -In the midst of a mourning city--a mere atom in the region of a -world--what is to become of the young artist? His imagination is rich, -but his purse is meagre: his whole resource lies in his violin--and yet -he has faith in it, even to the extent of looking for fortune and renown -through its means. Friendless and patronless, he comes forward to be -heard. At any other moment, his talent must have forced public attention -in his behalf; but, in those days of desolation, when death was -threatening every soul around, who could lend his ears to the charmer? -The young artist is left alone in his misery--yet not quite alone, for -his cherished violin remains like a friend to console him. The cup of -bitterness was soon, however, to be completely filled. One day, in -returning to his miserable apartment in an obscure lodging-house, he -found that the trunk, in which his last slender means were contained, -had disappeared. He turned his eyes to the spot where he had placed his -violin ... it was gone! This climax of disaster was too much for the -poor enthusiast, who wandered about for three days in the streets of -Paris, a prey to want and despair, and then--threw himself into the -Seine! - -But the art which the young Norwegian was called to extend and to -embellish, was not fated to sustain so deplorable a loss. The hand of -some humane person rescued him from this situation. His next encounter -seemed like _another_ special interposition of Providence; for he became -the object of benevolent attention to a mother who had just lost her son -through the cholera, and who found in the young stranger so remarkable a -resemblance to him, that she received him into her house, and, though -possessed but of moderate means herself, furnished relief to his -necessities. The cholera, in the mean time, ceased its ravages, and -Paris resumed its habitual aspect. Supplied with bread and an asylum, -and soon afterwards with the loan of a violin, Ole Bull was again -enabled to gratify his devotion for music. By degrees his name began to -be heard, and he arrived at some small reputation. Thus encouraged, he -ventured the experiment of a Concert; and fortune smiled on him for the -first time, for he gained 1200 francs--a large sum, considering the -position in which he then was. - -Possessed of this unexpected, and almost unhoped-for, little fortune, he -set out for Switzerland, and went thence into Italy. - -At Bologna, where his first _great_ manifestation appears to have been -made, he had tried vainly to obtain an introduction to the public, until -accident accomplished what he had begun to despair of. Full of painful -emotion at the chilling repression which his simple, inartificial, -unfriended endeavours had been fated to meet with, he one day sat down -with the resolution to compose something; and it was partly amidst a -flow of obtrusive tears that his purpose was fulfilled. Taking up his -instrument, he proceeded to try the effect of the ideas he had just -called into life. At that moment, it chanced that Madame Rossini was -passing by the house in which his humble apartment was situated. The -impression made on her was such, that she spoke in emphatic terms upon -it to the director of a Philharmonic Society, who was in a critical -predicament, owing to some failure in a promise which had been made him -by De Beriot, and the syren, Malibran. Madame Rossini's piece of -intelligence was a burst of light for the "Manager in distress:" he had -found his man. The artist was induced to play before the dilettanti of -Bologna, and his success was complete. - -At Lucca, Florence, Milan, Rome, and Venice, the impression he made was -yet greater and more decisive. On each occasion, he was recalled several -times before the audience, and always hailed with the utmost enthusiasm. -At the Neapolitan theatre of _San Carlo_, he was summoned back by the -public no less than nine times--thrice after the performance of his first -piece, and six times at the end of the second. It was a perfect -_furore_. - -Our Norwegian artist now revisited Paris, under happier auspices. -Welcomed and introduced with eager kindness by the composer of "Robert -le Diable," he was several times listened to with delight on the stage -of the Opera, and obtained the greatest success that has been known -since the displays made by Paganini. - -Opinions were not agreed as to the extent to which Ole Bull was to be -considered an imitator of Paganini. It appears certain that the example -of the latter first led him to attempt the more strange and remote -difficulties of the instrument. It was during the time of his distressed -condition, that he found means to hear the great Italian artist, by -actually selling his last shirt, with the produce of which he joined the -crowd in the saloon of the French Opera. Every one around him, after the -electrifying strains of the magical performer, was exclaiming that he -had reached the farthest limits of what was possible on the violin. Ole -Bull (says the writer of the French account), after applauding like the -rest, retired in thoughtful mood, having just caught the notion that -something beyond this was yet possible; nor did the idea cease to occupy -his mind, but gathered fresh strength during his rambles in Switzerland -and Italy, until it impelled him, at Trieste, to abandon the old track, -and resign himself to the dictates of his own genius. - -In justice to Paganini, it must never be forgotten that _he_ was the -first who, in modern days, conceived the principle of its being possible -to extract a variety of new _effects_ from the versatile instrument that -had been supposed to have surrendered all its secrets to the great -antecedent Masters; and that his practice lent marvellous illustration -to what he proceeded, under that impulse, to explain;--nor does the -supremacy of Paganini in the _nouveau genre_, for the reasons previously -touched upon in these pages, seem likely to be seriously shaken by _any_ -who may seek the encounter of a comparison. It may certainly be averred, -however, that, of all who have attempted to follow in the direction -taken by the great Genoese genius, Ole Bull has been, owing to the fire -and enthusiasm of his own temperament, decidedly the farthest removed -from servility of imitation. It speaks much for the originality of the -Norwegian artist, that, in the early practice of his instrument, instead -of a fostering excitement, he had to encounter the decided opposition of -adverse views; and, instead of the open aid of a master, had only for -his guide the secret impulses of his own mind. On the whole, he must be -acknowledged a man of fine genius, who forced his way through no common -difficulties to a distinguished rank in the musical art, and who -presents, to the contemplation of the persevering student, one of the -most cheering of those examples which the history of human struggles in -pursuit of some absorbing object is so useful to enforce. It must add -not a little to our admiration of him, to find that, in the mysteries of -composition, he has discovered and shaped his own course. The ingenuity -of construction evident in the orchestral accompaniments to his pieces, -would suggest a methodical study of the harmonic art: yet it was said, -on the contrary, that he was quite unacquainted with even the elementary -rules of that art; and that it would have puzzled him to tell the -conventional name of any one chord. How then did he arrive at the power -of writing music in parts? He opened a score, studied it, thought over -it, made a relative examination of its parts after his own way, and -then, setting to work, as the result of this progress, became a composer -himself. In the character of his compositions, we may trace the effect -of this unusual and (it must be confessed) somewhat too self-dependent -"moyen de parvenir." They are impulsive and striking--enriched with -occasional passages of fine instrumentation, and touched with sweet -visitations of melody--but they are deficient in coherence of structure, -and in the comprehensiveness of a well-ordered design. They may serve as -fresh examples to illustrate the old maxim--that genius itself cannot -with safety neglect that ordinary discipline which gives familiarity -with the rules and methods of art. - -The most surprising thing (amounting indeed to an enigma), in connection -with Ole Bull's powers of execution, was the very small amount of manual -practice which he stated himself to have been in the habit of bestowing -on the instrument--a thing quite at variance with all the received -notions, as well as usage, on the subject. His labour was, it appears, -in by far the greater part, that of the head; and a very limited -application of the hands sufficed to "carry out" what he ex-cogitated--to -work out his purposes and "foregone conclusions." It sounds nobly, as a -proposition, that it is "the mind's eye," and not the blind gropings of -practice, that should shew the violinist the way to greatness, and give -him the knowledge which is power: but, alas! common natures--nay, all -that are not marvellously _un_common--find it necessary to draw to the -utmost on both these resources, and cannot spare their hands from the -neck of the instrument. This comparatively trifling amount of manual -cultivation, however, while it remains on the whole "a marvel and a -mystery," may be accepted as a proof in itself of how little trick -(setting aside his extravagant "quartett on _one_ string") there was in -Ole Bull's performance: for the successful display of tricks is -essentially dependent on the most assiduous manipulation;--the -_charlatanerie_ of the instrument being the triumph of the hand, as -distinguished from that of the mind. To particularize the various merits -which belong to his execution, would lead beyond the limit here -proposed--else might his sweet and pure tone--his delicate harmonics--his -frequent and winning _duplicity_ of notes and shakes--his rapid and exact -_staccato_, &c. be severally dwelt upon in terms of delight.--I cannot -forbear referring, however, to the "ravishing division" of his -consummate _arpeggios_, forming a finely regulated shower of notes, -rich, round, and most distinct, although wrought out by such slight -undulations of the bow, as to leave in something like a puzzle our -notions of cause and consequence. To suit the wide range of effects -which his fancy sometimes dictated, it appears (another marvel!) that he -subjected his violin to some kind of _alterative_ process; for which -purpose he would open it (to use his own expression) like an oyster! - -The manners and conversation of this young artist, at the time when he -was exciting attention in England, bore an impress of genius which it -was impossible to mistake; and his occasional sallies of enthusiasm -served to impart an increased interest to the abiding modesty which -tempered and dignified his character. In describing the state of his own -mind, under the immediate domination of musical ideas, he pictured it -under the forcible figure of an alternate heaven and hell; while he -would speak of the object and intention of his playing as being to -_raise a curtain_, for the admission of those around him, as -participants in the mysteries open to himself. In his habits, he was -very temperate--wisely avoiding to wear out, by artificial excitements, -the spontaneous ardour of his eminently vital temperament. - -All the ordinary arts and intrigues by which it is so common, and is -sometimes thought so necessary, for men to seek professional -advancement, seemed completely alien to the nature of this child of the -north. In person, he was tall, with a spare but muscular figure, light -hair, a pale countenance, and a quick, restless eye, which became -extremely animated whilst he was in the act of playing. When I add that -he entertained an invincible antipathy to _cats_--exhibiting unequivocal -signs of distress whenever one of those sleek and sly animals was -discovered in the social circle--I shall have furnished all the -information I am able to give (his latter career being unknown to me) -concerning a man well entitled to commemoration. - - * * * * * - -Before concluding this chapter, a few words of record are due to the two -sons of one of the most gifted musicians of the present day. I allude to -the associate brothers LABITSKY, who, after a training in the Musical -Conservatory at Prague, and subsequent studies prosecuted at Leipsig, -have become candidates for public favour in England, where (for the -present, at least) they appear to be settled. Their first appeal to -notice in this country took place at Her Majesty's Theatre, during the -progress of the late Grand National Concerts. Their style is said to be -characterized by firmness and evenness in the bowing, with a -correspondent fulness and purity of intonation. - - - - -CHAPTER VI. - -THE ENGLISH SCHOOL. - - ... a _crescent_; and my auguring hope - Says it will come to the full.--SHAKSPEARE. - - -Climate, and the national habits of life, have in England presented no -light obstacles to the progress and well-being of the musical art, as -collectively regarded. The fogs and lazy vapours that so oft obscure, in -our dear country, the genial face of the sun, must needs check and chill -our animal spirits, and beat back into the heart the feelings that else -would seek fellowship with the ear, by uttering the language of sweet -sounds. The eager pursuit of business, on the other hand--the continuity -of _action_, rigorously self-imposed, in order to satisfy both our -material wants and our ambition--leaves us little opportunity--even when -our sky and our land are _not_ mutually frowning and exchanging sullen -looks--for the liberation and development of our half-stifled musical -impulses. The consequence of this two-fold opposition is--in -multitudinous instances--that the music which is _in_ us, comes not -_out_; and hence it happens that we are too often suspected, by -foreigners, of organic deficiency in this matter, and too often induced -to doubt of ourselves. With the luxurious climate, however, and the -leisurely life, that combine to make the people of _Italy_ as vocal as -grasshoppers, _we_, too, should burst forth into the raptures of song, -and overflow with melodial honey;--_so_ at least I venture to believe, -when I think of our stock, actually _hived_, in the way of _glees_ and -_ballads_--a not contemptible little store. - -In addition to the two sources of impediment just noticed, may we -venture to glance at a third? There is another gloom, besides that of -our skies, that has had its obstructive influence, and still, in _some_ -degree, retains it. England, happily for her own comfort, has now left -far behind her those puritanic days wherein all persons who ministered -to the _amusement_ of their fellow-beings were stigmatized as the -"_caterpillars_ of a common-wealth," and found law and opinion alike -arrayed against them;--but the spirit of Puritanism, once so tyrannically -exclusive, has never since departed wholly from among us--and we have, to -this day, many sincere and well-meaning compatriots, whose peculiar -notions of what constitutes piety, lead them to look with distrust -and suspicion upon all that is beautiful in Nature or in Art, and -so, to consider musical talent rather as a snare to be shunned, -than as a resource to be cherished. These movers-in-a-mist, and -extra-burden-bearers, confounding into _one_ the two ideas of -cultivation and corruption, as if the terms were synonymous, refuse all -countenance to music, as an _art_. Its secular forms, in particular, are -their aversion; for they have a strong impression that music is then, -_only_, in its right place, when directly employed in the service of the -sanctuary. They discover, even in an _Oratorio_, copious matter for -reprobation. They have no sympathy with the practice of the sweetly -majestic Psalmist of Israel, who brought together, to aid in the -solemnities of public worship, all that was _best_ in vocal and -instrumental skill. Vociferated dissonance, exempt from rule, and from -accompaniment, has _their_ approval, far above any tempered and balanced -harmony; because (as _they_ persuade themselves) the one comes from the -heart, and the other does _not_. To such persons, I can only (in the -words of the Archbishop of Granada to Gil Blas) wish all happiness, and -a little more _taste_--regretting that the influence of what I conceive -to be their _mistake_ should have helped, with the other cited causes, -to lessen the diffusion among us of the most delightfully recreative of -all the arts, which, thus discouraged, has been driven to become the -spoiled favourite of the great and rich, instead of being the constant -friend and solace of the whole community. - -Adverting now specifically to the English School of the violin, I would -remind the reader of what has been previously observed respecting the -very low estimation in which that instrument was for some time held, -after its first advent to this country. To raise it into favorable -regard, and to stimulate the efforts of our native professors, -successive importations of foreign talent (chiefly from Italy) were -required, and supplied. Our debt of this kind to the Italians has been -larger than that of our continental neighbours, either of France or of -Germany. Indeed the very fact of our possessing a School of our own, in -this branch of art, has, I believe, been commonly overlooked by the -musical writers of the continent: nor is this very surprising, when it -is considered how the great masters from Italy, taking the lead in -concerts and public performances, became "the observed of all -observers," and the sole marks, or at least the principal ones, for the -pen of the writer. It may be demonstrated, nevertheless, that we, too, -as violinists, have our separate credit to assert for the past, and yet -more for the present, though we may not aspire to an equal amount of -merit, in this sense, with Germany or France. We have certainly not -caught, so effectually as the French, the various dexterities and -felicities of execution; but it is perhaps not too much to say that we -possess more "capability" for the development of the graver and better -sort of _expression_. Your Englishman, with all his lumpish partiality -for beef and pudding, is generally allowed to be a being of profounder -sensibilities than your Frenchman. He is a better recipient of the more -intense emotions that lie within the province of the "king of -instruments," although its more brilliant characteristics are less -within his reach. The violin is a _shifting Proteus_, which accommodates -itself to almost every kind and shade of emotion that may actuate the -human mind: but then, the lighter emotions more frequently dispose us to -seek the aid of music for their audible sign, than the graver ones: -therefore your Frenchman, "toujours gai," is oftener impelled to -practise the violin than your Briton; and therefore he becomes, after -his own fashion, a better player. But, after all, those who would -appreciate _all_ the capabilities of the violin as an individual -instrument, should watch its "quick denotements, working from the -heart," under all manner of hands--Italian, German, French, English, -Dutch, and the rest. - -With regard to _compositions_ for the instrument, generally, it must be -admitted that those to which merit, as well as custom, has given the -greatest currency in this country, have been of foreign -production--chiefly Italian or German. Truth requires the acknowledgment, -that in _this_ matter we stand far from high in the scale of national -comparison. It is the remark of Burney, that, for more than half a -century preceding the arrival of Giardini, the compositions of Corelli, -Geminiani, Albinoni, Vivaldi, Tessarini, Veracini, and Tartini, supplied -all our wants on the violin. Though somewhat poor in this point of view, -we are, however, not destitute. Let us advert here to two instances -only, that is to say, Boyce and Purcell. Dr. Boyce's "Twelve Sonatas, or -Trios, for two Violins and a Bass," were longer and more generally -purchased, performed, and admired (says Dr. Burney) than any productions -of the kind in this kingdom, except those of Corelli. They were not only -in constant use as chamber-music, in private concerts--for which they -were originally designed--but in our theatres as act-tunes, and at the -public gardens as favourite pieces, for many years. - -"Purcell's Sonatas and Trios (observes Mr. Hogarth, in his 'Memoirs of -the Musical Drama') belong to the same school as those of Corelli. The -Trios of the great Italian composer were published in the same year, and -could not have served as a model to Purcell, who, in acknowledging his -obligation to 'the most famed Italian masters' in this species of -composition, must have alluded to Torelli and Bassani, the latter of -whom was Corelli's master. Purcell's Sonatas, in some respects, are even -superior to those of the great Italian composer; for they contain -movements which, in depth of learning and ingenuity of harmonical -combination, without the least appearance of labour or restraint, -surpass anything to be found in the works of Corelli: but Corelli had -the advantage of being a great Violinist, while Purcell, who was not -only no performer himself, but probably had never heard a great -performer, had no means, except the perusal of Italian scores, of -forming an idea of the genius and powers of the instrument. This -disadvantage prevented Purcell from striking out new and effective -violin passages, and produced mechanical awkwardness, which a master of -the instrument would have avoided: but it did not disable him from -exhibiting taste and fancy; and every admirer of the works of Corelli -will take pleasure in these Sonatas of Purcell." - -The first Englishman who seems to have attained distinction as a -professional Violinist, was JOHN BANISTER, successor of Baltzar, the -Lubecker, in the conduct of Charles the Second's new band of twenty-four -violins. DAVIS MELL, the clock-maker, should, however, if we are to -"keep time," be first introduced, since, although but an Amateur, he was -an eminent hand at the violin, and was an agent of some little -importance in the diffusion of a taste for the instrument, ere it had -yet struggled into general notice. The merits of Davis Mell may be best -described in the language of an already familiar friend, honest Anthony -Wood:-- - -"In the latter end of this yeare (1657), Davis Mell, the most eminent -Violinist of London, being in Oxon, Peter Pett, Will. Bull, Ken. Digby, -and others of Allsowles, as also A. W. (Anthony à Wood) did give him a -very handsome entertainment in the Tavern cal'd The Salutation, in St. -Marie's Parish, Oxon, own'd by Tho. Wood, son of -------- Wood of Oxon, -sometimes servant to the father of A. W. The company did look upon Mr. -Mell to have a prodigious hand on the Violin, and they thought that no -person (as all in London did) could goe beyond him. But when Tho. -Baltzar, an outlander, came to Oxon in the next yeare, they had other -thoughts of Mr. Mell, who tho' he play'd farr sweeter than Baltzar, yet -Baltzar's hand was more quick, and could run it insensibly to the end -of the finger-board."[54] And in another place, the same writer says, -"After Baltzar came into England, and shew'd his most wonderful parts on -that instrument, Mell was not so admired; yet he play'd sweeter, was a -well-bred gentleman, and not given to excessive drinking, as Baltzar -was." - -It is worthy of notice that in the year of that event (the Restoration) -which proved so favourable to the march of fiddling in this country, -there was published by John Jenkins (who had been a voluminous composer -of _fancies_ for viols) a set of twelve sonatas for two violins and a -bass, professedly in imitation of the Italian style, and the first of -the kind which had ever been produced by an Englishman. "It was at this -time" (observes Burney) "an instance of great condescension for a -musician of _character_ to write expressly for so ribald and vulgar an -instrument as the _violin_ was accounted by the lovers of lutes, -guitars, and all the _fretful_ tribe." This John Jenkins is designated -by Wood as a little man with a great soul. He died in 1678. - -JOHN BANISTER was the son of one of the _waits_ of the parish of St. -Giles; yet, under this humble condition, he was enabled, by obtaining -the rude commencement of a musical education from his father, to work -his entrance into a successful career. He manifested, in a short time, -such ability on the violin, as to gain the marked encouragement of being -sent into France by our vivacious Charles II, for improvement, and of -being appointed, on his return, leader of the royal band. From this -service he was dismissed, for an offence of the tongue, such as the -French partialities of the English King could not brook. He had ventured -to tell Charles that the English performers on the violin were superior -to those of France. Pity that a potentate so expert at a _jest_ could -not (or would not) find one wherewith to excuse the frankness of his -man-in-office! Banister was one of the first who established lucrative -concerts in London. In the announcement of one of these (in 1677), it is -stated that the musical performance will begin "with the parley of -instruments, composed by Mr. Banister, and performed by eminent -masters." Banister died in 1679, and was interred in the cloister of -Westminster Abbey. A contemporary, of some celebrity for his musical -zeal, the Hon. Mr. North, has made a flattering allusion to this -individual:--"It would be endless to mention all the elegant graces, -vocal and instrumental, which are taught by the Italian Masters, and -perhaps outdone by the English Banister." - -JOHN BANISTER, Jun. son of the preceding artist, and trained, by his -father to his own profession, obtained a post as one of King William's -band, and also played the first violin at Drury Lane, when operas were -first performed there. In this latter post he continued for a number of -years, and was succeeded in it by Carbonelli. He was the composer of -several _grounds with divisions_, inserted in the publication called the -"Division Violin;" and a collection of music for the instrument, jointly -written by himself and the German, Godfrey Finger, was published by him, -and sold at his house in Brownlow-street, Drury Lane. This Banister died -about the year 1729. - -OBADIAH SHUTTLEWORTH, organist of St. Michael's, Cornhill, and -afterwards of the Temple Church, manifested such powers on the violin as -to be ranked among the first performers of his day. He was the son of a -person who lived in Spitalfields, and who had acquired a small fortune, -partly by teaching the harpsichord, and partly by copying Corelli's -music for sale, before it was _printed_ in England. Shuttleworth was the -leader at the Swan Concert in Cornhill, from the time of its institution -till his death, about the year 1735. He was likewise a respectable -composer, and produced twelve concertos and several sonatas, for -violins. Of his compositions, however, if any are now extant in print, -they are only two of the concertos, which were formed from the first and -eleventh solos of Corelli. - -HENRY ECCLES, an English Violinist of considerable eminence, dedicated -himself to foreign service, owing either to the want of due -encouragement in his native country, or to the disappointment of -expectations too loftily pitched. He went to Paris, and succeeded in -attaching himself to the band of the King of France. His father, -Solomon, had been also a professor of the instrument, and had some hand -in the second part of the "Division Violin," published in London, 1693. -Henry Eccles was the composer of twelve esteemed Violin Solos, published -at Paris in 1720. - -In treating of the progress of the violin in England, let us here again -refer to the great name of PURCELL. The colouring and effects of an -orchestra, as Dr. Burney has remarked, were but little known in -Purcell's time, yet he employed them more than his predecessors; and, in -his sonatas, he surpassed whatever our country had produced or imported -before. The chief part of his instrumental music for the theatre is -included in a publication which appeared in 1697, two years after his -death, under the title of "A Collection of Ayres composed for the -Theatre, &c." These airs were in four parts, for two violins, tenor and -bass, and were in continual requisition as overture and act-tunes, till -they were superseded by Handel's hautbois Concertos, as were those also -by his overtures, while Boyce's Sonatas and Arne's compositions served -as act-tunes[55]. Purcell lived, however, somewhat too early, or died -too young, for the attainment, even by _his_ genius, of any very high -success is instrumental composition. Bassani and Torelli, others -inferior to them, formed his models of imitation for violin-music--the -works of Corelli being hardly then known in this country; and indeed he -was so imperfectly acquainted with the extensive powers of the violin, -as to have given occasion to Dr. Burney to remark that he had scarcely -ever seen a becoming passage for that instrument in any of his -(Purcell's) works. His Sonatas, which contain many ingenious, and, at -the time when they were composed, _new_ traits of melody and modulation, -must yet be admitted to discover no great knowledge of the bow, or of -the peculiar genius of the instrument and, if they are compared with the -productions of his contemporary, Corelli, they will hardly escape being -characterized as barbarous. This, the substance of Burney's remarks on -this matter, though according somewhat fainter praise to Purcell than is -assigned to him by Mr. Hogarth, does not seem to differ much from the -latter, in the essential points. - -The arrival of Geminiani and Veracini, which took place in 1714, formed -the commencement of an important epoch in the progress of the violin in -England. The abilities of those eminent foreign masters established them -as models for the study of our own artists, and confirmed the -sovereignty of the instrument over all others, in our theatres and -concerts. The next English performer to be noticed is-- - -WILLIAM CORBETT, a member of the King's band, and a violinist of -celebrity, who was the leader of the first Opera orchestra in the -Haymarket, at the time when "Arsinoe" was performed there. In the year -1710, when the Italian Opera, properly so called, was established (with -"Rinaldo" for its initiatory piece), a set of instrumental performers -were expressly introduced, and Corbett, though in the service of the -King, was permitted to go abroad. Visiting Rome, where he resided many -years, he made a valuable collection of music and musical instruments. -Some persons, professing to be acquainted with his circumstances, and -fidgetting themselves to account for his being able to lay out such sums -as he was observed to do, in the purchase of books and instruments, -asserted pretty roundly that he had an allowance from Government, -besides his salary, with the commission to watch the motions of the -Pretender! This anxiety to construe fiddling into politics, and to find -the heart of a state-mystery in the head of a violinist, is of a piece -with what has been already related as to Rode and Viotti.--Returning from -Italy about the year 1740, Corbett brought over with him a great -quantity of music which he had composed abroad. Full of ambition to -print, and desire to profit, he issued proposals for publishing by -subscription a work entitled "Concertos, or universal _Bizarreries_, -composed on all the new _gustos_, during many years' residence in -Italy." This strange medley he dragged into publication; but buyers were -few and shy. It was in three books, containing thirty-five Concertos of -seven parts, in which he professed to have imitated the style of the -various kingdoms in Europe, and of several cities and provinces in -Italy. In his earlier days, before he left England, he published, in a -soberer vein, two or three sets of _Sonatas for Violins and -Flutes_,--twelve _Concertos for all Instruments_, and several sets of -what were called _Tunes for the Plays_. Corbett died, at an advanced -age, in the year 1748, bequeathing by his will the best of his -instruments to Gresham College, with a salary of ten pounds a-year to a -female servant, who was to act in the demonstrative character. Her -expositions of the merits of this collection, are not to be confounded -with the "Gresham Lectures." - -MICHAEL CHRISTIAN FESTING, performer and composer, but coming short of -the summit in either capacity, was, I believe, of German birth, but -nurtured to his art in England, under the direction of Geminiani. He -filled the place of first violin at a musical meeting called the -_Philharmonic Society_, and chiefly composed of noblemen and gentlemen -performers, who met on Wednesday nights, during the winter season, at -the Crown and Anchor Tavern, in the Strand. On the building of the -Rotunda in Ranelagh Gardens, he was appointed sole conductor of the -musical performances there. By his zeal and indefatigable exertion, he -also contributed very essentially to the establishment of the _fund_ -instituted for the support of decayed musicians and their families; and -for several years discharged, without any remuneration, the office of -secretary to that excellent institution. Its rise occurred in the year -1738, from the following circumstance. Festing, happening to be seated -one day at the window of the Orange Coffee-House, at the corner of the -Haymarket, observed, in the act of driving an ass, and selling -brick-dust, a boy whose intelligent countenance, contrasting with the -humility of his rags, strongly excited his interest. On enquiry, the lad -was found to be the son of a _musician_, who had fallen under the blight -of adversity. Struck with sorrow and mortification that the object -before him should be the child of a brother-professor, Festing -determined to attempt some plan for his support. In this worthy purpose -he was assisted by Dr. Maurice Greene--and from this germ of benevolence, -sprang eventually the enlarged and estimable charity which has since -flourished from season to season. - -Inferior, as a performer on the violin, to several others of his time, -Festing had nevertheless sufficient talent, in association with -gentlemanly manners and conduct, to obtain considerable influence in the -musical profession, and to derive an ample and constant support from the -patrons of the art among the nobility. Though not eminent as a composer, -he has shewn some merit in his _solos_, and a very fair understanding of -the nature and resources of the instrument. These solos are but little -known, having been originally sold only by private subscription. Festing -died in 1752. He was succeeded at Ranelagh, and at some of the Concerts, -by Abraham Brown, a performer who had a clear, sprightly, and loud tone, -but had no sense of expression. - -THOMAS PINTO, who attained the honor of dividing with Giardini the -leadership of the band at the King's Theatre, was born in England, of -Italian parents. His early genius for the Violin was so well directed as -to render his playing, as a boy, a theme of astonishment; and, long -before he was of age, he was employed as the leader of large bands at -Concerts. At this time, however, he fell into a train of idle habits, -and began to affect the fine gentleman rather than the musical -student--keeping a horse, and sporting a special pair of boots, as his -custom of a morning, while a switch in his hand displaced the forgotten -fiddle-stick. From this devious course he was reclaimed by the accident -of the arrival of Giardini, whose superiority to all the performers he -had ever heard, inclined him to think it necessary that he should -himself recur to practice; and this he did, for some time, with great -diligence. A very powerful hand, and a wonderfully quick eye, were the -masterly possessions of Pinto, and enabled him to perform the most -difficult music at sight. He played thus, indeed, with more advantage -than after studying his subject; for then, in his carelessness, he would -trust to his memory, and frequently commit mistakes--missing the -expression of passages, which, if he had thought them worth looking at, -he would have executed with certainty. After leading at the Italian -Opera whenever Giardini's more extensive avocations caused him to lay -down the truncheon, Pinto was engaged as First Violin at Drury-Lane -Theatre, where he led for, many years. On the death of his first wife, -Sybilla, a German singer, he married another singer, Miss Brent (the -celebrated pupil of Dr. Arne), and settled in Ireland, where he died in -the year 1773. - -MATTHEW DUBOURG, recorded to have been one of the most eminent of the -race of English Violinists, was born in the year 1703, and gave very -early evidence of his musical propensities. It does not appear from -whom he derived his first instructions on the instrument; but, when -quite a child, he played his first solo (a sonata of Corelli's) at one -of the concerts of the eccentric Britton, the musical small-coal man. To -make his infantine person sufficiently visible on that occasion, he was -made to borrow elevation from a joint-stool; and so much was the "tender -juvenal" alarmed at the sight of the splendid audience assembled for -music and coffee in Britton's dingy apartment, that at first he was near -falling to the ground, from dismay. When about eleven years of age, he -was placed under the tuition of Geminiani, who was then recently arrived -in this country; and, thus tutored, he was enabled fully to confirm the -promise which his first attempts had exhibited. At the age of twelve, he -was again before the public--having a benefit concert at what was called -the Great Room in James Street. Before he had completed his seventeenth -year, he had acquired sufficient power and steadiness to lead at several -of the public concerts; the fulness of his tone, and the spirit of his -execution, being generally noticed. A few years more sufficed to -establish thoroughly his reputation; and, in 1728, he was honoured with -the appointment of Master and Composer of the State-Music in Ireland. -This situation had been previously offered to his late preceptor, -Geminiani, and by him declined on account of its not being tenable, in -those jealously restrictive days, by a member of the Romish Communion. -As the duties of this employment did not require Dubourg's constant -residence in Ireland, he passed much of his time in England, where he -was chosen instructor in music to the Prince of Wales, the Duke of -Cumberland, and other amateurs, whose names might belong to a -"Dictionary of Etiquette." On the death of Festing, in 1732, he was -appointed Leader of the King's Band, which situation, together with his -Irish post, he was so far a musical _pluralist_ as to retain until his -death, which occurred in London in the year 1767. As a member of -society, according to the testimony about him which remains, few men of -his profession have rendered themselves more generally respected than -_he_ did. - -A considerable share of originality appears to have marked the style of -this artist, who, if he derived essential aid from the great man that -called him pupil, was any thing but his slavish imitator. "Dubourg's -performance on the violin," says Sir John Hawkins, "was very bold and -rapid--greatly different from that of Geminiani, which was tender and -pathetic;-and these qualities, it seems, he was able to communicate; for -Clegg, his disciple, possessed them in as great perfection as himself." -According to the same authority, the talent of Dubourg won for him many -admirers, and among them a Mrs. Martin, who had become, from a Dutch -widow, an English wife, and, being possessed of a large fortune, came to -reside in London, where, during the winter season, she had frequent -Concerts, resorted to by citizens of the first rank, and at times by -some of the nobility. A picture of Dubourg, painted when he was a boy, -was, it seems, a conspicuous object in Mrs. Martin's Concert-Room.[56] - -As a composer, Dubourg is, or rather was, known by the _odes_ he -officially set to music in Ireland, and by a great number of _solos_ and -_concertos_ for the violin, which he wrote for his own public -performances. Though alleged to have possessed much intrinsic merit, -none of these appear hitherto to have been printed; nor is it likely -that they will ever now meet with that honour, as the change of fashion -in music would hardly admit of their being rescued from "the dreary -_fuimus_ of all things human." For a long time, however, his works (in -their aforesaid manuscript state) continued in the possession of one of -his pupils; and perhaps they are not yet scattered, but may be at this -moment reposing in some dark old chest, undisturbed, save by the -nibblings of the worms. In the faint hope of yet bringing some of them -to the light, although with no view towards their multiplication, I have -had recourse (but without success) to the friendly aid of that oft-times -efficacious doubt-cleaver and knot-cracker, known by the name of "Notes -and Queries." As to the _odes_ above referred to, they were _ex-officio_ -celebrations of royal virtue, from the now-forgotten hand of Benjamin -Victor, the poet-laureate, who has achieved for himself _no_ realization -of the classic wish, "victorque virûm volitare per ora." Of several of -these stately effusions, I have the words now before me. They might -serve to provoke the smiles of another and a very different laureate, -the living Tennyson; but, as a stimulus to _music_, I can say nothing -for them--and can only _hope_ that my progenitor's attempts, in -association with them, may have been worthy of better company. - -While in Ireland, Dubourg was honoured with the intimacy of Pope's -_Giant_, the Briarean Handel; and an anecdote, in which they are both -concerned, serves to shew, amusingly enough, that tendency to -_expatiate_ discursively on their own peculiar instrument, by which most -performers of eminence are distinguished. Handel, in a spirit of -charity that harmonized fortunately with his interest, but is not to be -suspected of being on that account the less sincere, commenced his -career in Ireland by presiding at the performance of the _Messiah_, for -the benefit of the Dublin City-Prison. On a subsequent evening, Dubourg, -as leader of the band, having a _close_ to make _ad libitum_, wandered -about so long, in a fit of abstract modulation, as to seem a little -uncertain about that indispensable postulate, the original key. At -length, however, he accomplished a safe arrival at the _shake_ which was -to terminate this long close, when Handel, to the great delight of the -audience, cried out, loud enough to be heard in the remotest parts of -the theatre--"Welcome home, welcome home, Mr. Dubourg!" One of the -evidences of Handel's friendship for him, is to be found among his -testamentary arrangements, which included a bequest of £100 in his -favour. - -During his location in Ireland, Dubourg was also visited (in 1761) by -his master Geminiani, towards whom he always evinced the utmost regard, -and who died in his house, at the great age of 96. - -Garrett, Earl of Mornington, noted for his fine musical taste, no less -than for his lineal antecedence to the Duke of Wellington, took the -interest of a patron in this modest man of art, of whose ability he -shewed a precocious discernment, in his very infancy--as the following -little tale will explain. - -The father of the Earl played well, as an amateur, on the violin, so as -to give frequent delight to his child, whilst in the nurse's arms, and -long before he could speak. Dubourg, happening on some occasion to be at -the family seat, was not permitted by the child to take the violin from -his father nor was the opposition overcome till his little hands were -held. After having heard Dubourg, however, the case was altered, and -there was then much _more_ difficulty in persuading him to let Dubourg -give the instrument back to his father; nor would the infant ever -afterwards permit the father to play, whilst Dubourg was in the house. - -It appears that the name of this artist is the first on record in -connection with the performance of a _violin concerto_ on the stage of -an English theatre. At the oratorios given by Handel at Covent Garden in -1741 and 42, Dubourg occupied the ears and eyes of the public, in that -way, for many successive nights. Several other performers took the hint, -and started upon the same footing soon after[57]. This sort of -exhibition, after some years, seems to have grown too common, to satisfy -the public appetency; wherefore a Signor Rossignol, in 1776, undertook -to perform after a mode which we should now style _à la Paganini_: -indeed he seemed to go beyond the modern "miracle of man," for he -advertised "a concerto on the violin, _without strings_." Whether the -joke turned on the plural number, in particular, or (as the lawyers say) -how otherwise, it is now impossible to ascertain. - -Dubourg--peace to his gentle memory!--was interred in the church-yard of -Paddington, where his calling in life, and his summons to death, were -denoted in the following gracefully reflective epitaph:-- - - "Though, sweet as Orpheus, thou couldst bring - Soft pleadings from the trembling string, - Uncharmed the King of Terror stands, - Nor owns the magic of thy hands." - -JOHN CLEGG, a name as closely linked to misery as to talent, was, as -already observed, a pupil of the last-named professor. He also -travelled with Lord Ferrers into Italy, and much advanced his taste -during his stay in that special home of the violin. - -Castrucci, leader of the Opera-band in London during the early part of -the last century, growing old, and losing much of his former vigour of -execution, Handel, then at the head of the management, was desirous of -placing Clegg in his station: but, knowing Castrucci to be in no exalted -circumstances, and not wishing to wound his feelings, by making the -intended change, without convincing him of his insufficiency, he adopted -the following method for effecting his object:--He composed a violin -concerto, in which the concertino (or second) part was purposely made as -difficult of execution as the first. This piece he gave to Clegg, to be -performed by him, accompanied by Castrucci; when the former executed his -part with grace and facility, while the latter laboured through _his_ -portion of the performance, in a lame and imperfect manner. Castrucci, -backward as he had been to admit the rival pretensions of Clegg, was -constrained to yield to him the palm of victory; and Handel obtained his -wish--but nevertheless retained Castrucci in the band, and was otherwise -his friend, in subsequent days. - -The beauty of Clegg's tone, and the graces of his execution, won for him -many admirers as a performer; but, alas! he purchased at far too dear a -sacrifice the fame for which he strove. About the year 1742, he had so -deranged his faculties by intense study and practice, that it became -necessary to confine him in Bedlam. There, during lucid intervals, he -was allowed the use of his instrument; and it was long an _amusement_, -as fashionable as it was inhuman, to visit him, among other lunatics, in -the hope of encountering him at some moment of security from his -"battle of the brain," in order to be entertained, either by his fiddle, -or his folly! Barbarity like this has now happily ceased to disgrace the -movements of fashion, and only leaves a feeling of _wonder_, to qualify -the indignation which its remembrance excites. - -THOMAS COLLET, of eccentric memory, enjoyed the reputation of being one -of our principal native performers about the year 1745, when he led the -orchestra of Vauxhall Gardens; an appointment then more highly -considered than in these days. Possessing very little, however, either -of taste or of musical knowledge, he was always an inelegant player, and -owed his success to his powers of execution alone; yet _these_ must have -been exerted within a very confined compass, for Parke, in his "Musical -Memoirs," asserts Collet to have had such an aversion to _playing high_, -that he dismissed one of his violin-performers for flourishing on the -_half-shift_! Parke has added an anecdote about him, which must be -confessed to savour not a little of the marvellous. "Although this -gentleman, who was a great pigeon-fancier (continues Parke), did not go -aloft on the _fiddle_, he went every day up to the top of his _house_, -to see his pigeons fly; and on one occasion he was so lost in admiration -of them, that, while clapping his hands and walking backwards, he walked -over the leads of the house, and in the fall must have been dashed to -pieces, had not his clothes been caught by a lamp-iron, to which he -remained suspended (more frightened than hurt) until taken down by the -passers-by." - -FRANCIS HACKWOOD, whose convivial and entertaining qualities assisted -his professional talent, in procuring for him the notice and support of -the most influential among the patrons of music, was born in 1734. He -attained some distinction among violin-performers; but the play of his -wit and humour seems to have outlasted that of his instrument, in the -impression produced--and no wonder, considering how much farther _wit_ -can be transmitted, than _sound_. It is one of the anecdotes related of -this artist, that, at the conclusion of an Evening Concert given by Lord -Hampden to a large assemblage of rank and fashion, when the performers -had been taxed to exert themselves till a most unreasonable hour in the -morning, his Lordship addressed to him the question, "Hackwood, will you -stay and _sup_ with us?"--and that the answer was, "No, my Lord, I can't; -for I think (taking out his watch) my wife must be waiting _breakfast_ -for me."--In another anecdote, Hackwood figures as the _cause_ of a jest, -which is the next good thing to being its utterer. He was intimate with -the late Sir C----r W----e, a Lincolnshire Baronet of large fortune, who, -when not laid up by the gout, was a man of three-bottle capacity. At a -gentlemen's party given by this free votary of the grape, Hackwood, who -had some pressing business to transact early in the ensuing day, and had -heard the clock strike one, arose to depart. "Where are you going so -soon?" inquired Sir C----r. "Home, Sir," replied Hackwood; "it has struck -one."--"_One!_" exclaimed the Baronet; "pooh, pooh! Sit down, sit down! -What's _one_, among _so many_?"--Parke, the oboist, who gives this story, -spoils the close of it by a bottle of Hollands gin, which he makes the -two interlocutors to have drunk out between them, on the stairs, _pour -prendre congé_. The gin lends no genuine spirit to the anecdote, and had -better have been omitted by the narrator, who, besides, was probably in -error as to its existence at all in the case. The man who, flushed with -generous wine, has succeeded in saying a tolerably good thing, may -fairly be considered as too _happy_, to be in any need of such extra -stimulus as half a bottle of gin. Potation of _that_ character is the -resource of the _dull_. Parke has alluded generally, in no liberal -temper, to the eccentricities of this professor, whose disposition he -has mistaken, when attributing _meanness_ to it. This charge he founds -particularly on the fact of Hackwood's having once shouldered his own -violoncello (for he played that instrument also) on his way home from -Apsley-House, to save expense of coach or porter, though he was himself -attired "in an elegant suit of blue silk and silver." Those who knew him -better, could have furnished his detractor with a fairer reason for the -proceeding in question, by suggesting that it arose from that anxious -care for the safety of his instrument, which many a performer is well -known to entertain, and which, in the instance of the individual now -under notice, prevailed to such an extent as even to form one of his -eccentricities. So far, indeed, from being of an illiberal spirit, he -was a considerable loser by the too ready advance of money to the -necessitous. - -Hackwood lived till 1821, and was for some years _father_ (as the term -goes) of the Royal Society of Musicians. - -It may be incidentally mentioned that a great benefit to our English -performers on bow-stirred instruments in general, was produced by ABEL'S -residence here for about a quarter of a century. That fine musician and -performer, the pupil and friend of Sebastian Bach, though he handled an -instrument (the _viol-da-gamba_) of a species which was not in common -use, and was even about to be completely laid aside, became nevertheless -the model, in adagio-playing, of all our young professors on bowed -instruments, who, taught by his discretion, taste, and pathetic manner -of _expressing a few notes_, became more sparing of notes in a -_cantabile_, and less inclined to attempt such flourishes as have no -higher purpose than to display mechanical readiness. The wonders -achieved by Abel in the extraction of tone from an instrument which, -albeit possessed of some sweetness, was radically so crude and nasal, as -the viol-da-gamba (that remnant of the old "chest of viols"), are -something truly memorable among the triumphs of art. The Robert Lindley -of our own day and country, transcendant in the quality of tone which he -could elicit, stands a minor marvel, as compared in this sense with -Abel,--_his_ instrument being one that is naturally so much more grateful -and practicable. - -RICHARD CUDMORE, a native of Chichester, was born in 1787. His success -began with his juvenile days, for he performed a solo in public when -only nine years old; and at eleven, with still higher ambition, he -played a concerto at Chichester, composed by himself! Such a thing is of -course only marvellous with reference to the means which it is possible -for a child to possess: accordingly, on these occasions, there is always -"a liberal discount allowed"--the indulgent auditor forming his estimate -on the Horatian plan of "contentus parvo." At twelve years of age, young -Cudmore attained the provincial triumph of leading the band at the -Chichester Theatre--played a concerto for the comic actor, Suett, at his -benefit--and performed a _violino primo_ part amongst the "older -strengths" of the Italian Opera-band in London. In the mean time he was -introduced to Salomon, and had the advantage of some training from that -noted Master. After the subsequent enjoyment of some years of country -fame, Cudmore changed the scene of his operations to London, and, giving -scope to the versatility of his talent, became a pupil of Woelfl's on -the pianoforte, and, in the sequel, a public performer on that -instrument also.--A striking proof of his musical ability is shewn in an -anecdote recorded of him. On one occasion a performance took place at -Rowland Hill's Chapel, in Blackfriars Road, for which Salomon had -rehearsed, in conjunction with Dr. Crotch and Jacobs. Salomon, however, -being unexpectedly subpoenaed on a trial, requested Cudmore to become -his substitute at the chapel, when he performed the music at sight, -before from two to three thousand persons.--Another extraordinary -instance of his skill in sight-playing, or what the French call -_l'exécution à livre ouvert_, was given in a private concert at Mr. C. -Nicholson's, where he executed at sight a new and difficult manuscript -concerto, which was accidentally brought thither. - -At Liverpool, where he occasionally conducted the public concerts, he -once performed a concerto on the violin by Rode; one on the piano by -Kalkbrenner; and a third, by Cervetto, on the violoncello! At a later -period, he became leader of the band at the establishment called the -Manchester Amateur Concert. - -G. F. PINTO, grandson of the performer of that name already noticed -(whose ardent temperament he seems to have inherited, with no -countervailing discretion), affords a remarkable instance of premature -musical genius. He studied the violin under Salomon and Viotti, and, at -fifteen years of age, had attained such accomplishment on that -instrument, that he could lead an orchestra, in the performance of the -symphonies of Haydn, with no very discernible inferiority to Salomon. He -became also a proficient on the pianoforte, and evinced good knowledge -of counterpoint, in several vocal publications of merit and originality, -which he sent forth when about the age of seventeen. The syren voice of -Pleasure, however, lured this promising genius to his destruction. -Possessed of a fine person, and a mischievous store of vanity, he became -a martyr to dissipation about the year 1808, before he had completed his -twenty-first year. - -THOMAS LINLEY (Junior), eldest son of the vocal composer of that name, -was born at Bath, in 1756, and displayed, at a very early age, -extraordinary powers on the violin--performing a concerto in public when -but eight years old. To qualify him more effectually for a musical -career, through a due acquaintance with theory, his father placed him -under the able tuition of Dr. Boyce; after which he was sent to -Florence, chiefly to prosecute the study of his favourite instrument, -under the eye of Nardini. Through the kind agency of the Italian -violinist, Linley acquired the advantageous friendship of Mozart, then a -youth of about his own age. On his return from his studies on the -continent, young Linley repaired to Bath, to lead his father's concerts -and oratorios, which he did with such precision and animation as to gain -high credit. His manner of performing the concertos of Handel and -Geminiani was also much admired; nor did he fail to exhibit marks of -opening excellence as a composer, in his own solos and concertos, -occasionally introduced, as well as in several vocal dramatic -productions, which evinced considerable imagination and spirit. The -brilliant professional hopes founded on these achievements were -destined, however, to be suddenly darkened: for the object of them met -with an untimely death in the year 1778, by the upsetting of a -pleasure-boat. - -THOMAS COOKE--who is there, having open ears, that does not know -something of the versatile and ingenious Tom Cooke?--was born in Dublin, -and was ready with his violin, at the age of seven, to play a concerto -in public. Expert with hand, tongue, and pen, he has performed _three -times three_ successive solos, on as many different instruments, in one -night, for his benefit--and, in moments of composure, has _written_ for -all of them. At a very early age, he became director and leader of the -music at the Theatre Royal, Dublin; from which condition he suddenly -transformed himself into that of a singer, and enjoyed a success of -several seasons at the English Opera-House, in London, as vocalist and -composer. His next course of exertion was at Drury Lane, as singer, and -afterwards as musical director, leader, and composer, in which latter -triple capacity he pursued a long and steady career. The violin was -eminently useful in his hands, if it cannot be said to have been, in the -highest degree, brilliant. - -"Tom Cooke," observed a chronicler, some time since, in one of the -magazines, "is certainly the most facetious of fiddlers, and is the only -person at present connected with theatres, who smacks of the olden days -of quips and cranks. Some of his conundrums are most amusing -absurdities." After assigning to him, by a somewhat venturesome -decision, the authorship of the receipt for getting a _vial-in_ at a -chemist's[58], the same writer gave two other specimens of Cooke's -powers of jest, as thus:-- - -Once, whilst rehearsing a song, Braham said to Cooke, who was leading, -"I drop my voice there, at night"--intimating that he wished the -accompaniment to be more _piano_. "_You_ drop your voice, do you?" said -Cooke; "I should like to be by, and pick it up." - -During the run of the Tragedy of Manfred, he remarked, "How Denvil keeps -_sober_ through the play, I can't think; for he is _calling for -spirits_, from the first scene to the last!" - -Some few years have now elapsed, since this well-remembered professor -was borne to that spot where--instead of the achievements of talent, or -the humours of character--a few meagre words, and a date or two, comprise -usually _all_ that is told to the stray pedestrian, or the passing wind! - -NICHOLAS MORI, who, in certain respects, is entitled to rank high among -English Violinists, was born in London, in 1796. The instrument that -became the medium of his success in maturer years, was the object of his -regard even in infancy--for, at three years of age, he was clutching a -contracted specimen of it in his little grasp, and receiving some -initiatory hints from Barthélémon. At eight, prepared and advertised as -a prodigy, he was publicly playing that Professor's difficult concerto, -styled "The Emperor." A few years later, his aspiring hand was -conspicuous at the Concerts given by Mr. Heaviside, the Surgeon. To add -the solid to the showy, the aid of Viotti (then almost a seceder from -the profession) was wisely invoked; and nearly six years of his valuable -guidance were obtained. Meanwhile, the active youth, still boyishly -habited in jacket and frill, was careering through an engagement in the -Opera orchestra. There, at the age of twenty, he became leader of the -Ballet, on the retirement of Venus, which post he held until, in 1834, -he succeeded to that of the silvery Spagnoletti. - -The _Philharmonic Concerts_, which commenced in 1813, had opened a new -field for the display of high talent in almost every department of the -musical art. The interest and advancement of Mori, in that quarter, were -zealously undertaken by Viotti; and he became one of the Directors of -the Society, for several seasons. In 1819, he married the widow of Mr. -Lavenu--an alliance which made him the successor to a lucrative business. - -Another native Establishment, instituted in his time, afforded further -opportunity for the indefatigable exertions of Mori. The _Royal Academy -of Music_ received him within its walls, as one of its principal -teachers of the violin. Among his pupils there, were Oury, Patey, -Richards, Musgrove, and his own younger son, Nicholas. The success of -his Concert-speculations, meanwhile, was attested by the overflowing -audiences they constantly drew together; but such a result was not -accomplished without great attendant labour and anxiety. His Classical -Chamber-Concerts, commenced in 1836, in sequence to those of Blagrove's -party, kept his name still prominent before the public until his death, -which took place on the 14th June, 1839. - -Few professional men have possessed equal influence in our musical -circles, with that which was attained by this distinguished artist; and -few have succeeded in acquiring so large a share of public patronage. -Yet, favourite of the public as he was, from first to last, it must be -regretfully added that he failed to secure the cordial sympathy of his -professional brethren, to whom his irritability of temper, and -_brusquerie_ of manner, rendered his official government no halcyon -reign. For all that was thus unpleasant, however, a cause was -discovered, that left his real character untouched. Physical -disturbance, existing and accumulating for some length of time, before -his sudden decease, had impaired the functions of the brain, and -unsettled the moral impulses. With such ground for acquittal of the -agent, offence was at once forgotten, and sympathy alone entertained. - -As to the too eager pursuit of pecuniary advantage, which has been -sometimes charged upon this artist, it may not be quite so easy to award -entire absolution. It is very possible, however, that what seemed the -love of money, was really the love of family, urging to provident -collection. Should this plea be deemed inconclusive, there would still -remain much excuse for the individual, in a certain bias, or tendency, -that is notoriously far too prevalent among us. I mean that inveterate -habit of referring all things to the _commercial principle_, which, -causing the musical art, in this country, to be regarded mainly as an -object of _gain_--is bitterly unfavourable to the growth of a kindly -feeling among its members (each of whom too often learns to consider his -neighbour as a rival to be repressed, rather than a friend to be -assisted)--and wears down the enthusiasm for high art, by a vexatiously -incessant attrition with common arithmetic. - - "Non bene conveniunt, nec in unâ sede morantur, - _Plutus et Euterpe_!" - -In Germany, on the contrary, where art is loved chiefly for itself, and -where moderate desires attend its exercise, the social feeling among -musical men--a thing delightful to witness--is as beneficial in its -influence on the character of the individual professor, as in its -effect on the general interests of the art. The same remark applies, in -a lesser degree, to the credit of the musical profession in France. It -is not too much to hope that the now obviously increasing diffusion of -musical taste and intelligence among ourselves, will bring, as its -ultimate consequences, a diminished care for emolument, and a closer -fraternal feeling among our artists. - -To advert more minutely to Mori's powers as a Violinist--since he was not -great in _all_ the requisites, it follows that he can scarcely be -regarded as an artist of the very highest order. That mechanical command -over the executive difficulties of the instrument, for which he was so -remarkable, and which enabled him, when yet a boy, to delight the lovers -of the surprising--was his chief merit--"the pith and marrow of his -attribute." The tuition he received from Viotti, that most vigorous of -Violinists, was of great importance in directing and maturing his great -manual capacity; but, though he derived from him, and from his own -assiduous study, a full, free tone, a dashing execution, and the most -accurate neatness,--his temperament, somewhat hard and ungenial, seems to -have been too little in accordance with Viotti's, to admit of his fully -acquiring _all_ the advantages which that great preceptor was fitted to -impart. He caught most felicitously the art of triumphing over difficult -passages--the perfection of mere fiddling--but he had not the soul - - "To snatch a grace _beyond_ the reach of _art_--" - -to awaken, through the magic of expression, those deeper sensibilities -in which music finds the truest source of its empire. Mori's playing, -with its powers and its deficiencies, was admirably suited to the -apprehension and desires of a fashionable audience. It was showy, but -not profound; striking, but not moving; full of artificial neatness, -with little of natural grace. His hand wrought to more purpose than his -mind. He was (before the malady that finally subdued him) a man of rigid -nerve, and had all the advantages that confidence could bestow,--and -these, especially in solo playing, are far from inconsiderable--but then, -for want of the sensitiveness pertaining to a more delicate -organization, he lost the finest part of what _might_ have been -accomplished. He has occupied a very marked place amongst English -instrumentalists; but, for the reasons here alleged, the impression he -produced seems not likely to prove of a very durable character, so as to -secure to him any considerable future importance in musical annals. As a -composer for his instrument, he possessed very slender pretensions. His -performance itself, admirable as it was in some points, sufficiently -shewed why he could not hope to distinguish himself in composition. The -few manifestations he made in that way have given no cause for -regretting his general habit of trusting to the works of others, for the -musical ideas which he had to convey[59]. - -Mr. LODER, of Bath, long prominent among provincials, and not unknown in -the metropolis, was justly esteemed for his knowledge of the orchestra, -and his utility as an able leader. - -Mr. HENRY GATTIE, welcomed in his youthful days as a charming -solo-player, in which capacity he ran for a time a pretty close race -with Mori, has since contented himself, for the most part, with the less -ambitious employment of orchestral playing; but his finished taste, and -true musical feeling, ensured him a very favourable attention, when, on -the memorable occasion of the experiment at Quartett performances (to be -presently referred to), he took the Second Violin part among the -confraternity at the Hanover Square Rooms. - -ANTONIO JAMES OURY was born in London, in the year 1800. His father, a -native of Nice, of noble descent, left home to follow the early -campaigns of the then General Buonaparte--was taken prisoner by the -English, and lodged near Southampton, at which place he married, in -1799, the daughter of a Mr. Hughes, not unknown in literary circles--and -then followed the joint profession of musician and dancing-master, -possessing, at the same time, great natural capacity for several -branches of the fine arts. - -The subject of our present sketch, at the age of three years, commenced -his infantine attentions to the violin, under the tuition of his own -father, and of the father of our talented composer, George Macfarren. In -1812, young Oury became the pupil of three eminent professors--Mori, -Spagnoletti, and Kiesewetter. In 1820, he heard Spohr for the first -time: as a result of the impression then received, his perseverance -became so great, that, for the space of seven months, he practised no -less than fourteen hours a-day! In the same year, he went to Paris, to -study under those magnates of the modern French School of the -Violin--Baillot, Kreutzer, and Lafont. From each of these masters (and -without the knowledge of the others) our young artist managed to take -two lessons a week, for several successive winters, at the same time -studying composition under Monsieur Fétis. He then made his _début_ at -the London Philharmonic Society, at the Concert given for the widow and -family of his late master, Kiesewetter. He also became a member of the -"Ancient Concerts," Philharmonic, and Opera orchestras, and joint leader -with François Cramer, at the Birmingham, York, Leicester, and Derby -Musical Festivals--and also made several operatic tours in Ireland and -elsewhere. - -In 1826, Oury was engaged as Leader of the Ballet, Sub-Leader of the -Opera, and Solo-Violin, at the King's Theatre; and, as successor of Mori -and Lacy, he held this tripartite post for five years--displaying, -whensoever the occasion permitted, the graces of a light and free -execution. - -In 1831, Mr. Oury married the distinguished pianiste, Mad^{lle.} -Belleville, whose father had also been an officer of Napoleon's, and was -afterwards French Tutor to the Princesses of Bavaria. His first trip -with Madame Oury was to Liverpool, as Leader of De Begnis' Italian -Opera, where they gave, conjointly with Paganini, a grand Concert at the -Theatre Royal, in behalf of the local poor. In 1832, they left England -for Hamburgh, Berlin, St. Petersburgh, and Moscow, giving (in all) -twenty-three Concerts, during a residence of two years, in Russia, and -returning (after playing at the Imperial Court) to Berlin. They next -visited Leipzig, Dresden, Prague, and Vienna--making a brilliant sojourn -of two years in the Austrian capital. Mr. Oury visited Pesth and Buda, -alone and gave seven Concerts, with great success and profit; played in -presence of the Imperial Court, at the Bourge Theatre, Vienna, and -returned to Munich. Again (accompanied by Madame Oury) he gave Concerts -in all the principal towns of the Rhine, till they arrived in Holland, -where Madame Oury was attacked by a serious illness, which interrupted a -number of professional engagements. After a successful tour, however, to -all the chief towns of Holland, they returned to Dusseldorf, on the -occasion of the first performance of Mendelssohn's Oratorio of "Paulus." -At Aix-la-Chapelle, they gave Concerts in conjunction with their friends -Malibran and De Beriot--visited Belgium--played at the Court--and then -resided two years in Paris, with Paganini, at the _Neotherme_. During -this period, Mr. Oury entered the orchestra of "Les Italiens" (then -performing at the _Odéon_), and made himself conversant with the operas -of Donizetti, under the author's own conducting. Subsequently, he -returned to England, after an absence of nine years. - -In 1846 and 47, again visiting Italy, Mr. Oury and his accomplished -partner gave Concerts at Rome, Naples, Venice and Milan, and returned to -England in 1848. Mr. Oury next accepted the post of Leader of the -Seconds, on the notable occasion of Mr. Balfe's forming a new orchestra -(to meet the opposition of the Royal Italian Opera), at Covent Garden. - -Before taking leave of the subject of this notice, a few particulars -remain to be added. Mr. Oury, with his accomplished wife, has composed a -number of brilliant Drawing-Room Duetts Concertante, for piano and -violin, which have procured their _entrée_ to most of the musical -saloons and Courts of Europe. Mr. Oury has had no scanty share of -honours bestowed on him--such as the being appointed one of the -Professors at the Royal Academy of Music in London, at the time of its -foundation--a member of several Continental Philharmonic Societies--and -an honorary member of the Academy and Congregation of St. Cecilia, at -Rome. By these distinctions, it is sufficiently denoted that he has -secured to himself a reputation through a large part of musical Europe. - -It has been said, that a sense of injustice during the encounter with -professional jealousies in the home field of exertion, first drove this -clever artist to take a wider range, and visit continental cities. If -so, he has no reason to regret the event, having abundantly "seen the -world," and gathered of its laurels to any reasonable heart's content. - -Among the professional pupils whom Mr. Oury has had the honour of aiding -in their early practice, may be mentioned the well-known composers, -George Macfarren and Sterndale Bennett, and (of amateurs) that -distinguished dilettante and classical violinist, the present Earl -Falmouth. - -JOSEPH HAYDON BOURNE DANDO, well-entitled to honourable mention among -English violin-players, was born at Somers Town, in the year 1806. At an -early age he had developed a taste for music, and, under the guidance of -his uncle, Signor Brandi, attained to considerable facility of execution -on his instrument. - -In 1819, he was placed under the tuition of Mori with whom he continued -his studies (off and on) for about seven years, although no great -cordiality appears to have been established between them. They were, in -fact, of essentially different temperaments. After some years of -practical training, during which he had mastered most of the -difficulties written as _concertos_ and _studies_ for the -violin--finding the influence, as well as the disposition, of his master, -opposed to the display of his acquirements in what may be termed musical -gymnastics, our young artist wisely (and, for the advancement of musical -taste in this country, fortunately) turned his genius and talents to -useful account, in studying and illustrating the higher order of -beauties contained in those charming works which had been written, by -some of the great masters in composition, for "chamber-performance;" -more especially the _quartetts_ of Haydn, Mozart, Beethoven, Spohr, &c. - -Although opportunities for exhibiting his proficiency, as a solo-player, -were restricted, they could not be entirely suppressed. Enough has -transpired to warrant us in the conclusion, that, with a fair field, Mr. -Dando might, in that branch of his art, at the present day, have stood -second to none. As a _quartett-player_, he has achieved a reputation -which places him in the front rank of contemporary violinists. - -Any notice of Mr. Dando's professional career, which should pretend to -throw a light on his progress and present position as an artist, must -necessarily include much that properly belongs to a history of the rise -and progress of Quartett-performances in England. It is to him, -probably, that we are indebted, not only for the first public -introduction of the Quartett in London, but also, in a great degree, for -our present familiar acquaintance with those elegant works, which have -of late years so largely contributed to the increase of our musical -enjoyment. A license may therefore be reasonably solicited for diverging -into matter which, under other circumstances, might appear foreign to -the purpose of a mere biographical sketch. It is presumed, however, that -no apology will be required for crossing the strict boundary line, by -stating some of the following particulars; seeing that they, in reality, -are quite _apropos_ of the general design of this work, and come with -propriety under the present section of it. - -From his youth upwards, Mr. Dando's society appears to have been -courted, and his talents appreciated, by most of the amateurs of music -in that part of our metropolis designated as the City, where more -intimately he was known, owing to early introduction; and where his -agreeable manners, added to his professional merits, contributed to the -formation of some lasting friendships, as well as valuable connexions. -Of these gentlemen, some were well skilled in the performance of the -favourite works of the great quartett writers; and a larger number were -qualified to form an accurate estimate of their merits. The charm of Mr. -Dando's style, as a quartett-player, had in due time (about the year -1834-5) rendered the fact apparent to his friends, that the choice works -of those masters, which were the delight of the initiated, still -remained "a sealed book," not only to the general public, but even to -the ordinary _habitué_ of the concert-room; and it was thought that they -only required a fair introduction, to secure to them that favour in -public, which they so largely attracted in those private musical circles -where they were familiarly known. Accordingly, in the year 1835, a -subscription was opened amongst the amateurs--Mr. Dando's more immediate -admirers--for the purpose of submitting some of these works to more open -notice. An occasion of distress was selected as an excuse for an -evening's public performance of quartetts, trios, &c. the profits of -which were to be presented to a worthy individual who had fallen into -pecuniary difficulties, and was about to quit our shores, to better his -fortunes in America. A party was formed, with Mr. Dando at its head, and -the First (as far as we have been able to ascertain) Public Quartett -Concert in this country, was given on the 23rd September, 1835, at the -Horn Tavern, Doctors'-Commons. This presentation was the commencement of -an epoch in the musical history of this country. On the occasion, the -amateurs mastered in force, and brought their friends, to support the -two-fold object they had espoused. The evening passed away in raptures. -A second public trial was immediately undertaken, and announced for the -12th October, in the same year; and then a third (on the 26th October), -each, in succession, proving more widely attractive than its -predecessors. So unequivocal was the success of these experiments on -public taste, and such was the _furore_ excited in the musical world by -them, that from these performances may be dated the _establishment_ of -Quartett Concerts in this country. - -As might be expected, the first blow so effectively struck, led, by its -own impulse, to a regular series, which followed at rapid intervals -(first at the same rooms, and afterwards at the London Tavern), between -the 13th January, 1836, and the 31st January, 1838, two consecutive -seasons. - -In the mean time, an early spark had fired the train, and the idea -extended to the west end of the town, where a company of talented -professors combined to set on foot a sequence of similar attractions; -and four had been quickly announced under the title of "Concerti da -Camera," at the Hanover Square Rooms, for the 7th and 21st of November, -5th and 19th of December, 1835. At the fourth of these meetings, Mr. -Dando was engaged to play the principal _viola_ part in Spohr's Third -Double Quartett. The effect of his performance of the part was notable; -inasmuch as it led to an immediate invitation from Messrs. H. G. -Blagrove and Lucas (the principal Violin and Violoncello on that -occasion) to join _them_ in the formation of a select party, for the -more perfect study and presentation of Quartetts and other chamber -instrumental compositions, which, by this time, were beginning to -attract universal attention. Mr. Dando acceded to the proposition, and -enrolled himself as the tenor-player of a party which was completed by -the subsequent adhesion of Mr. Henry Gattie, as second violinist. The -party, thus constituted, brought before the public the first of their -"Quartett Concerts" at the Hanover Square Rooms, on the evening of the -17th March, 1836, with a completeness of effect in the _ensemble_, that -threw all prior performances of their kind into the shade. - -Under the impression produced by an audience of these interesting -confederates, was penned the piece of panegyric that here-under asks the -indulgent attention of such of my readers as are tolerant of verse:-- - - Happy the man of taste that's led - Hither, to have his cravings fed! - He who this dainty circle nears, - Takes in _ambrosia_ at the ears, - Through a new sense, revives a fable, - And finds a feast that needs no table! - When thus _as one_ are met these _four_, - What treat can Music yield us more? - Ye birds, that haunt by night or day grove, - Yield, yield in _dulcetry_ to _Blagrove_! - Say, is he not, while warbling now, - Well worthy of a _topmost bough_? - And do not these, that add their claim, - Put all your "sylvan choirs" to shame? - What think ye, feathered ones! of notes - So ravishing--and _not_ from _throats_? - How sweet, and exquisitely _natty_, - Those trills ancillary, from _Gattie_! - And list! t' enhance our joy what _can_ do - The "even tenor" of smooth _Dando_. - Then, in the stream of sound to hook us - "Deeper, and deeper still," comes _Lucas_. - Felicity, with clearest voice, - Calls here on Echo to rejoice! - Desire may here, with resting feet, - Sit still--nor care to shift her seat. - --Who-e'er thou art, that long'st to _feel_, - Psha! Twitch no more "the electric eel!" - Nor dream thy languor to dispel - By bathos of "the diving bell!" - If in thy brain one corner yet - To dozing dulness be unlet-- - If 'scape thou would'st from stupor's net, - And, like a man just free from debt, - Thy load of lumpishness forget-- - Come! for one hour be Pleasure's pet! - Oh, come, and hear a choice _Quartett_ - _Diffused_[60] by this consummate set! - -About the time that gave birth to the intentions of this party, -Mori--then at the zenith of his powers--finding that his juniors in the -profession were taking steps in advance of him[61], and determining upon -the maintenance of his position, organized a party in which Messrs. -Watts, Moralt, and Lindley were his coadjutors. Without much prelude, -they commenced operations on the growingly attractive Quartett, by -giving three "Classical Chamber Concerts" at Willis's Rooms, on the 6th -and 20th January, and 3rd February, 1836. - -The flood-tide of public favor had now set in. We find no less than four -distinct parties of leading professors embarked in serial -quartett-performances; with others, occasionally launching on the -swelling current, just for a little cruize. "Chamber Concerts" became -the fashion; "Musical Réunions," "Soirées Musicales," and "Classical -Instrumental Concerts," multiplied almost _ad infinitum_. "The Beethoven -Society" was formed, and a host of others followed suit--their names -"legion"--_all_ under favour of the absorbing interest in the Quartett. -In short, since the season of 1836, these deserving works have become -recognized and claimed as Public Property--witness the advertising -columns of the diurnal and periodical press, which teem with -announcements, in every form of allurement, inviting support. - -Of all these associated parties, none has attained such distinguished -popularity, and secured such unqualified approbation, as that of Messrs. -Blagrove, Gattie, Dando, and Lucas. At an early stage of their career -(the 23rd May, 1836), they were invited to perform at the -"Philharmonic," where they produced a sensation which at once -established them on the pinnacle of public favour. From that date up to -the 29th April, 1842 (the close of their seventh season), they continued -their combined operations, with unabated _éclat_, at the Hanover Square -Rooms. About that period, Mr. Blagrove, being desirous of investing his -interest in a private undertaking of his own, withdrew from the -association. The retirement of Mr. Blagrove did not, however, affect the -stability of the "Quartett Concerts." The veteran Loder, of Bath, -recruited the party, undertaking to perform the _viola_ part; Mr. Dando -resumed the principal violin; Messrs. Gattie and Lucas retained their -original appointments. Thus remodelled, the party removed its -attractions to Crosby Hall, in the City, where, with Mr. Dando at its -head, "The Quartett Concerts" continue to be carried on up to the -present day. - -It has been less the purpose, in this retrospect, to eulogize -individuals, or to make comparisons between parties, than to set forth -premises wherefrom we may reasonably conclude that the _modus operandi_ -adopted by that party to which we have more particularly pointed -attention, must have been the best, if not the only, road to true -excellence. The Quartett demands, not only individual efficiency in its -execution, but collective agreement in the expression of its parts; the -nicest discrimination in delineating its delicacies; and an _ensemble_ -animated, as it were, by _one mind_. To produce this unity of parts in -one completeness, it is not sufficient that parties should merely play -together;--they absolutely must meet for frequent _practice_ together, -and (according to the light that is in them) fixing upon the best -interpretation of the author's meaning, proceed to its exemplification -with simultaneous feeling and decision. - -We have it from undoubted authority--and record the fact for the benefit -of all aspirants to public applause--that the Quartett-party, which has -run the most brilliant and extended course, has devoted to the object -which called it into existence the largest amount of industry and -energy, in private preparation for its public exhibitions--these -qualities being by them considered necessary additions to a -well-digested experience, which, as the ground to begin upon, they -previously possessed. Instead of rushing into public the moment they had -formed their compact with each other, and trusting to the novelty of -their introduction, or relying on a name already inscribed in capitals, -indicative of honours achieved in another branch of the art, more -dependent on manual dexterity than on mental cultivation--we find these -(then young) professors patiently submitting themselves to the drudgery -of preparation. There is the best authority for stating that they did -not think six or eight rehearsals, previous to the production of a work -in public, too much trouble, or time and application thrown away, or -even unnecessarily bestowed. The success of their undertakings has been -commensurate with the pains which they underwent to secure it. This -accounts for their having achieved the vantage-ground in the general -competition for distinction, while others, of more matured reputation as -individual performers, failed to attain the preference which they were -equally in quest of, by _apparently_ the same path. How otherwise, it -might be asked, could ... But lest some should consider the digression -to be growing tedious, let us at once resume the object with which we -started, and complete our biographical sketch--leaving the facts and -hints that have been incidentally recorded, to the further (private) -meditation of such as are more particularly interested in them. - -Mr. Dando first appeared as a member of the Philharmonic orchestra, in -1831: since which time he has held an uninterrupted engagement in its -front rank of violins. As an orchestral leader, himself, he has had a -long and honourable career, as well in the provinces as in London and -its suburban offshoots. In the City, he has almost exclusively occupied -that post. At the great concerts given by the amateurs at the London -Tavern; at those of the "Classical" and "Choral Harmonists" Societies; -also at others brought out on a less extensive scale, at the "Horn -Tavern," Doctors' Commons, the "Albion," and "London" Tavern, his -qualifications have been fully admitted, and the highest credit awarded. -As to his peculiar manner, or style, it may doubtless be averred that, -as a pupil, he must have profited largely by the example of his master, -Mori; although, finally, his talents have become conspicuous in a very -distinct school. Fire and vigour, more than feeling, were the -characteristics of style in the one, while the other has become -remarkable for the elegance of his expression, and the neatness of his -execution--a neatness which is by no means unattended by the amount of -vigour occasionally requisite to express the passion of an inspired -author. In his hands, the violin has oftentimes become almost vocal, and -his performance on that most expressive of instruments has been very -characteristically described by an accomplished public critic, as -"soul-satisfying in the extreme." - -HENRY C. COOPER, a fine solo-player, indoctrinated by Spagnoletti, holds -a distinguished place among our Violinists. In the absence of materials -for treating of him _in extenso_, his laurels, green and vigorous as -they are, can at present only be recognized--not displayed--in these -ministering pages. - -EDWARD WILLIAM THOMAS, of Welsh parentage, was born in 1814. His -commencement with the Violin was under Mr. W. Thomas, formerly Leader of -Covent Garden Theatre. It was said that he was too old to "do any good" -(being then twelve years of age), but the prediction--like many other -such familiar croakings--came happily to nothing. - -Leaving Mr. W. Thomas, his young name-sake was placed at the Royal -Academy of Music, under Oury, Cramer, Mori, and Spagnoletti; the result -of which multiplication of masters was, that he no sooner began to feel -the good effects of the endeavours of _one_, than he lost them under the -different system pursued by _another_. To remedy this, he became a -resident pupil in the house of the kind-hearted Spagnoletti, to whom, as -well as to his first master (Thomas), he always evinced a feeling of -grateful attachment. - -His first appearance, as a Solo-player, was at "Russian Field's" -Concert, at Her Majesty's Theatre, in 1832, when he played Spohr's -Dramatic Concerto: this was also the year of his first engagement (by -Mr. Monck Mason) at Her Majesty's Theatre, where he remained until the -establishment of the Royal Italian Opera, which he left in 1850, to -become the Leader of the Liverpool Philharmonic. - -BREAM THOM, a native of Portsmouth, dating his days from 1817, made his -first approaches to the Violin at eight years of age, having from -infancy evinced a predilection for music, although no other member of -his family was that way inclined. He studied hard, and, at seventeen, -was appointed Leader of the Orchestra at the Portsmouth Theatre. He -appeared, in 1838, at the Hanover Square Concert-Room, in London, and -was favourably received. Shortly afterwards (by the advice of Mr. Oury), -he went to Paris, and placed himself under Monsieur Robretch, a -professor to whom belongs the credit of having had some share in the -tuition of De Beriot, and of Artot. Returning to England, he settled -eventually at Brighton, where he has for some time officiated as Leader -at the Theatre, Amateur Concerts, &c. - -CHARLES FREDERICK HALL, five years a member of Her Majesty's Theatre, -and the present Musical Director of the Royal Marionette Theatre, -London, was born at Norwich, in 1820. - -When a mere child, his melodious voice attracted the attention of the -Norwich denizens; but his early predilection for the stage induced his -family to accept an engagement for him from Elliston, in 1829, for the -purpose of bringing him out in juvenile operas (at the Surrey Theatre, -London), in which Master Burke, Miss Coveney, Miss Vincent, and Master -Henry Russell, &c. shared with our youthful vocalist the favours of the -public. Eighteen months after this period, his friends recalled him to -his birth-place, and articled him to Mr. Noverre, a dancing-master in -high repute, by whose advice he immediately commenced the study of the -Violin--upon which instrument he made such rapid progress, that his -friends were urged to cancel their agreement with Noverre, and destine -the youth exclusively for the musical profession. - -Although his attainments in singing, as well as on the piano and violin, -seemed to point with sufficient clearness to his proper path, a passion -for the stage developed itself in 1833, when he appeared on the boards -of the Norwich Theatre, in the character of "Little Pickle," in the -farce of the _Spoiled Child_; by which personation he attracted such -notice, that the manager of the Theatre engaged him to appear in that -character at all the theatres belonging to the Norwich Circuit. - -The family of our youthful musician, being anxious to wean him from a -theatrical career, usually so trying to the principles of a young mind, -placed him with a German Violinist (Herr Müller), of whose experience he -availed himself to such extent as to become, in 1835, (when only 15 -years of age) the Leader of the Norwich Theatre. - -While on a tour with the Norwich Company, our young Violinist made -acquaintance with Edmund Kean; and, but for the sudden demise of that -rare but very rambling genius, would, in all probability, have been so -fascinated by his society, as to have relinquished the steady pursuit of -music. Soon after this event, however (in 1837), we find him residing at -Norwich, as a Professor of the Violin, Piano, Guitar, and Singing, in -which accomplishments he had the honour of instructing several families -of distinction. He was also appointed Organist of one of the churches, -and became the most eminent solo violinist of his own county, and its -neighbourhood. The Rev. R. F. Elwin (for many years sole manager of the -Norwich Festivals, and a great admirer of musical talent), was -influential in placing the youthful Violinist at the head of the musical -department in his native city. - -Anxious to emulate the best musicians of the capital, Charles Hall, much -against the wish of his family, repaired to London, in 1840, and became -a student at the Royal Academy of Music, in which establishment he -availed himself of the valuable instruction of the best masters -belonging to the institution. - -The late Mr. T. Cooke, when Musical Director of Drury Lane Theatre, -induced Mr. Hall to accept an engagement there as Leader of the Ballets -and Pantomimes, in which position he continued for the space of five -years. - -In 1844, this enterprising artist wrote and delivered some entertaining -Musical Lectures at the Holborn Literary Institution, under the title of -"Poesy and Minstrelsy." - -Mr. Balfe, the Composer and Musical Director of Her Majesty's Theatre, -being much pleased with Mr. Hall's performance on the violin during the -Jenny Lind Concerts, took great notice of him, and engaged him for five -years at that large and fashionable establishment. In the first year of -this engagement, Mr. Hall offered the "Swedish Nightingale" the sum of -£1000 to sing at two Concerts in Norwich. That enchanting warbler -accepted the offer--the Concerts were given, upon the most liberal -scale--and our adventurous artist cleared nearly £800 by the speculation. -The Lord Bishop of Norwich appropriated his palace to the use of the -Queen of Song, and the whole city was a scene of excitement and -rejoicing, during the lady's sojourn. After recording Mr. Hall's -well-deserved profits on this occasion, it must be added, with regret, -that a large musical speculation, in 1848, deprived him of the chief -portion of what he had so acquired. - -With an undaunted spirit, our persevering artist wrote another musical -entertainment, entitled "The Romance of Village Life," which he gave, in -1850, at various London Literary Institutions, and which was warmly -applauded on each occasion. Mr. Hall is the author of an amusing -burlesque description of the well-known opera of _The Bohemian Girl_. He -is also the author and composer of several favourite ballads: and some -of the finest musicians of the day, among whom are Mr. Balfe and Mr. -Wallace, have wedded his verse to music. His last production, now in -course of publication, is entitled "Sacred Lays on the Ten -Commandments." - - * * * * * - -To attempt a notice in detail of _all_ the English Professors of the -Violin who are yet pursuing their career, and seeking occasions to make, -or to confirm, a reputation, is alike beyond my power, and beside my -purpose. A few general remarks that here occur, shall be subjoined. - -So little had instrumental chamber-music (until within the last sixteen -years) been cultivated among us, that the Solo-player and the orchestral -Leader were those to whom the public attention had been almost -exclusively confined. To fill these two offices to the extent of all -possible occasion, requires but a small number of individuals. Some -musicians, possessing talents which, directed by an assiduous singleness -of purpose, might qualify them to shine in either of these two -capacities, were unwilling to encounter the toil of a competition, in -which so very few of the candidates can meet with the recompense of -election. Others, gifted with fine musical feeling and taste, and having -sound notions of the art generally, but not fully possessed of the -strength of nerve which gives confidence, or the manual suppleness -essential for brilliant execution, were naturally still less willing to -court the rarely accorded honours of prominent employ. Of these two -classes, principally, were the men who filled the ranks of our best -orchestras. In the Opera Band were found the names of WATTS, ELLA -(well-known also for his taste and resources, as a caterer for the -delight of our higher musical circles), REEVE, and PIGOTT,--in the -Philharmonic, WAGSTAFF, DANDO, GRIESBACH, and MORALT--good violinists, -accomplished musicians, and forming an invaluable acquisition in an -orchestra. It was one of the consequences to be anticipated from the -_Chamber Concerts_ at length introduced (and to which Fashion soon began -to lend the stamp of her currency), that a clearer and higher -appreciation of such men as these should be formed. That expectation has -been partly realized; and, with its fuller accomplishment, we shall be -sure to have good orchestras in goodly number. - ---For its connection with the state and prospects of the Violin School -in England, the institution of the "Royal Academy of Music" calls for a -few words of notice in this place. The vocal art, through some -unexplained defects in the system pursued there--certainly not from the -want of fine voices in the country--has hitherto derived no very -conspicuous advantage from the establishment in question; but the -instruction communicated to instrumentalists must have been of a better -kind, for results of some importance have been manifested. Of several of -the students who have cultivated the powers of the violin with marked -success, the most distinguishable, perhaps, in point of genius, is -MAWKES, a performer of very great promise, who had the benefit of aid -from the master-hand of Spohr. Suddenly, however, and much to the regret -of those who were watching with interest the development of his fine -capacity, he seceded from playing in public, and is now living in -seclusion. To this strange sequestration of a valuable gift, he is said -to have been induced by scruples of a religious nature. _Why_ any branch -whatsoever of the refined arts may not be followed, as a profession, in -perfect compatibility with the higher and ulterior purposes of life, it -is difficult to discover. A man does not, commonly, take his principles -_from_ his worldly calling: he brings them _to_ it, and finds in it a -field for their due employment and exercise. Objections, however, that -refer us to the conscience, as their seat and source, must ever be -respected, even when (as in this case) their essential force is not -apparent. - -BLAGROVE is another name that claims especial mention, among the -trophies of the Academy. This professor, also, has fortunately enjoyed -the highest means of accomplishment in his art, having superadded to his -noviciate at the Academy, a later prosecution of his studies under the -direction of Spohr, of the purity and refinement of whose style he -exhibited delightful traces in the quartett-performances at the head of -which he figured, when the merits of that delightful class of -compositions were as yet but imperfectly known. Mr. Blagrove enjoys the -unquestioned reputation of being one of the best of our living -artists.--SEYMOUR is another of the Academy pupils whose talent has -become favourably known to the public. As leader of the "younger -strengths" forming the Academy orchestra, he has shewn much steadiness -and ability. - -When it is remembered how large an amount of instrumental talent in -France has owed its development to the fostering care and excellent -system of the _Conservatoire_, a very happy augury may be drawn from the -results in this kind that have as yet followed the institution of the -English Royal Academy of Music. Supposing this establishment to be -rightly and effectively conducted, one of its beneficial consequences as -regards the Violin-Students (and that by no means the smallest) will be -found in the harmonious unity of feeling and execution that will pervade -our orchestras, supplied as they will then mainly be, from the same -source. As a general fact, it has been remarked with regret by Spohr, -the great German master, that the Violinists of an orchestra never -originate from the same School;--the exceptions to this being in the -Conservatories of Paris, Prague, and Naples, where the orchestras have -been enabled to produce surprising effects, through this unity among the -Violinists. - - * * * * * - -By way of _tail-piece_ to this chapter, I am tempted to present a brief -sketch of an individual in whose hands the Violin, as respects its -_lower_ range of capabilities, was long, and most conspicuously, -illustrated. Having devoted our attention at some length to the -instrument, under its _English_ aspect, shall we refuse a passing glance -at the _Scotch_ Fiddle, in the person of one of its most restless and -remarkable expositors? - -NEIL GOW--the head of a race of north-country instrumentalists, and one -of the most zealous in the line where Music is the special handmaid of -the Dance--was born in Strathband, Perthshire, in the year 1727, of -humble parentage. His first efforts were made at the age of nine; but he -had no instructor till, at thirteen, he was taken in hand by one John -Cameron. Whilst yet a youth, he carried off the prize at a trial of -skill among the best performers in that rather out-of-the-way -district--on which occasion, one of the minstrels who was the umpire (a -blind man) declared that he could distinguish _the stroke of Neil's bow_ -among a hundred players! In process of time, while thus vigorously -engaged in working his way, Neil obtained the patronage of the Athol -family, and the Duchess of Gordon, whereby he became noticed and sought -after in the fashionable world. He was eminent in one department of -Scotch national music--the livelier airs belonging to the class of what -are called the strathspey and the reel. The characteristic expression of -the Highland reel depends materially on the _power of the bow_, and -particularly on the upward (or returning) stroke; and herein Neil was -truly great--"un homme marquant," in a two-fold sense. His mode of -bowing, indeed, by which he imparted the native Highland _gout_ to -certain Highland tunes (such as "Tulloch Gorum" for instance), was never -fully attained by any other player. He was accustomed to throw in a -_sudden shout_, as an addendum in the quick tunes, so as to electrify -the dancers! In short, his fiddling--for its communication of saltatory -fury to the heels of his countrymen--was like the bite of a tarantula. - -This active promoter of activity was also a compiler of national airs -and tunes, and dabbled occasionally in composition--his son Nathaniel -arranging and preparing the whole for publication. Forcible humour, -strong sense, knowledge of the world, propriety of general conduct, and -simplicity in carriage, dress, and manners, were combined -recommendations of Neil Gow, who has figured on the canvas of Raeburn -and of Allan. His brother Donald, a "fidus Achates," was of good service -to him as his steady and constant _Violoncello_. Neil died in 1807, at -Inver, near Dunkeld. - - - - -CHAPTER VII. - -AMATEURS. - - "Ah! who can tell how hard it is to climb?"--BEATTIE. - - -It is as plain to the understanding, as it is palpable to the ear, that -Amateurs, or dilettante performers, on an instrument like the violin, so -rich in its capabilities, but so exacting in its demands, are in a very -trying situation. The amount of mere mechanical labour--the simple -manipulation--which it is essential to employ, before the very finest -mental disposition can express itself even passably on the violin, is a -thing to startle the coolest enquirer. Giardini, when asked how long it -would take to learn to play on the fiddle, answered, "twelve hours a -day, for twenty years together." There may be hyperbole in this--but it -is only truth in too swelling a garb. There is the strongest meaning and -reality in the sentiment of difficulty which the reply was intended to -convey.[62] It has been said of a professor of some eminence, who was -current some years ago in London, that he has devoted himself for a -month together, during the whole disposable hours of each day, to the -practice of the passages contained in one single page of music; and many -remarkable instances might be adduced (were the point sufficiently -doubtful to require it) in proof of the prodigious exertions in private, -that have indispensably preceded those public displays by which the -excellence of great performers has been established. "Nocturnâ versate -manu, versate diurnâ," is indeed that precept whose spirit is the guide -of the destined Violinist. - - Ilium non rutilis veniens Aurora capillis - Cessantem vidit, non Hesperus! - -His fiddle must be his inseparable companion, cultivated before all -other society, beloved before all other worldly objects--the means and -the end, the cause and the reward, of his assiduous toils. Such are the -conditions on which the _mastery_ of this "so potent art" depends. -Through this road must they travel, who aspire to real excellence. Alas! -what sort of compliance with such discipline are we to expect from the -miscellaneous, fitful gentleman whom we designate too roundly by the -term Amateur! What full conquest can we anticipate for him, who is the -volatile lover of a mistress so jealous that she was never yet -_entirely_ won, save by the most refined arts of study, and by -attentions the most persevering and the most delicate? No--there is no -sane hope of consummate swam upon _easy terms_; and accordingly we find -that, although Amateurs are sufficiently abundant, good players among -them are not _very_ numerous--and accomplished ones, positively few. - -The Duke of Buckingham, Charles the Second's rattling favourite, so -noted for the versatility of his acquirements, is characterized, in one -of Pope's summary lines, as - - Chemist, _Fiddler_, Statesman, and Buffoon; - -and the amount of his qualification in the two _latter_ respects has -been pretty nicely weighed and exhibited; but what kind of a _fiddler_ -was he? History is ashamed to say--but her silence is well understood by -philosophy to signify contempt: it is a silence more expressive than -words--than even those memorable words, "So much for Buckingham!" - -Dr. Johnson, whose habit of sound judgment has marked itself on almost -every subject that came within the grasp of his comprehensive mind, -appears to have duly appreciated the exemplary labours which distinguish -the Violinist by _profession_. We all know how little _music_ there was -in the great Doctor's soul; but, even as regards the mechanical part of -musical practice, few of us have given him credit for such a readiness -to estimate fairly, as he has been really recorded to have shewn. The -fact is, that he was a prodigiously hard-working man himself, and had an -honest admiration for hard work, in whatever career manifested. "There -is nothing, I think" (quoth he) "in which the power of art is shewn so -much as in playing on the fiddle. In all other things, we can do -something _at first_. Any man will forge a bar of iron, if you give him -a hammer; not so well as a smith, but tolerably. A man will saw a piece -of wood, and make a box, though a clumsy one; but--_give him a fiddle and -a fiddle-stick, and he can do nothing_." - -If a _learned man_ can thus calculate the value of professional -application, a _child_ can feel its results, and, feeling, can discern -between the practised player and the deficient dilettante--as we have -already seen in the little story which had for its hero the infant Earl -of Mornington. - -From the very marked disparity subsisting, of necessity, between the -Professor and the Amateur--a disparity greater as respects the Violin, -than is observable as to any other instrument--it should follow that -modesty was a general characteristic of the non-professional class. Yet, -as if to confirm the truth of the current axiom, that "a little -knowledge is a dangerous thing," it occurs too often that the deference -due to laborious attainment is withheld, and that the Amateur, content -with a mode of playing as noisy as it is shallow, assumes a prominence -which exposes him to ridicule, and gives pain to his friends, on _his_ -account, if not on their own. If he do not err after this fashion, he -will perhaps affect to hold cheap the talent which he finds it were -_dear_ to imitate. It has been found, in the matter of hand-writing, -that lordly personages have sometimes scrawled illegibly, rather than -write in such fairer characters as might make them seem to possess a -knowledge in common with clerks and schoolmasters. In like manner, -certain dandy dilettanti, so far from regarding the interval of merit -between themselves and the accomplished professor as a "hiatus valde -deflendus," or at least as a reason for becoming diffidence on their own -part, have curled the lip of disdain, while hinting that _their_ style -of playing was not that of people who _played to live_;--as if, by a -strange contrariety of ideas, it were _de_preciation to perform for a -price! There is something to our purpose on this head in the first -volume of Anecdotes, &c. by Miss Hawkins: and here is the passage:-- - -"Dr. Cooke, the composer, was giving lessons on the violin to a young -man of a noble family. The young man was beginning to play; but, in the -common impetuosity of a novice, he passed over all the _rests_. He -therefore soon left his master far behind him. 'Stop, stop, Sir!' said -the Doctor, 'just take me with you!' This was a very unpleasant check to -one who fancied he was going on famously; and it required to be more -than once enforced; till at length it was necessary to argue the point, -which the Doctor did with his usual candour, representing the -_necessity_ of these observances. The pupil, instead of shewing any sign -of conviction, replied rather coarsely, 'Ay, ay, it may be necessary for -_you_, who get your living by it, to mind these trifles; but _I_ don't -want to be so exact!'" - -The strong contrast afforded by the glare of pretension, against the -opaqueness of incapacity, may often furnish forth a diverting picture. -Michael Kelly, in his "Reminiscences," has drawn such a one, from an -original who _flourished_ about sixty years since. "The Apollo, the -Orpheus, of the age," says he, "was the redoubted and renowned Baron -Bach, who came to Vienna to be heard by the Emperor. He, in his own -conceit, surpassed Tartini, Nardini, &c. This _fanatico per la musica_ -had just arrived from Petersburg, where he went to make his -extraordinary talents known to the Royal Family and Court. Now, I have -often heard this man play, and I positively declare that his performance -was as bad as any blind fiddler's at a wake in a country-town in -Ireland: but he was a man of immense fortune, and kept open house. In -every city which he passed through, he gave grand dinners, to which all -the musical professors were invited: at Vienna, myself among the rest. -One day, having a mind to put his vanity to the test, I told him that he -reminded me of the elder Cramer. He seemed rather disappointed than -pleased with my praise;--he acknowledged Cramer had some merit, adding -that he had played with him out of the _same book_ at Mannheim, when -Cramer was First Violin at that Court; but that the Elector said _his_ -tone was far beyond Cramer's, for Cramer was tame and slothful, and _he_ -was all fire and spirit--and that, to make a comparison between them, -would be to compare a dove to a game cock! In my life, I never knew any -man who snuffed up the air of praise like this discordant idiot. After -he had been heard by the Emperor (who laughed heartily at him), he set -off for London, in order that the King of England might have an -opportunity of hearing his dulcet strains!" - -Another curious story is that related elsewhere of an Amateur in Paris, -who began each day of his existence by studying practically a sonata, -but, in doing so, did not give himself the trouble to _quit his bed_, or -to lay aside his cotton night-cap and its pertaining yellow ribbon, -which might seem to represent on his brow the laurels and crown of the -Cynthian Apollo! - -The more clumsy and hard-going sort of those who play _pour se -distraire_, ought not to distract their _friends_ with their playing; -but, when an Amateur is so _bad_ as to be insensible of the fact, he is -only the more apt to appeal to his acquaintance--not for advice, of -course, but approval. If, in that state, he have any _discernment_ -connected with the object of his grand mistake, it is just of that kind -and degree which enables him to select, for auditors, those of his -friends who happen to be the most distinguished for patience and -mildness of character. They, poor souls! at each preparatory screw of -the fiddle-pegs, conscious of coming torture, wince and draw in their -breath; at every saw of the sharp-set bow, they sigh with fear, or -perspire with agony; for well do they know that - - Some are _sometimes_ correct, through chances boon, - But Ruffman never _deviates into_ tune! - -Their sufferings, however, are silent; until peradventure, when 'the -operation' is at length over, they do such discredit to their conscience -as to stammer out a tremulous "bravo!" or a "very well!" in accents of -courtesy that seem to sicken at their own import. Your _very_ bad -player, be it remarked, is hardly ever content with plain toleration--he -must have the sugared comfits of praise[63]. - -Admitting, as a reluctant principle, that we should lend our ears _at -all_ to those fanciers of the instrument who are so bad as to be out of -sight of mediocrity, and below the point where improvement _begins_, it -is clearly of urgent consequence that we should demand (or beseech) to -be indulged with the _shortest_ infliction that may be--an air _without_ -the variations, or a quick movement _without_ the prefatory adagio. The -Horatian precept, 'Esto brevis,' was never more applicable than here; -but, alas! in no case is it less heeded. "As you are strong, be -merciful," says Charity; but the spirit of this fine recommendation is -reversed by the Amateur belonging to "le genre ennuyeux"--reversed in -conformity with his own predicament. As he is weak, he is cruel. He will -not abate one minim, nor afford a single bar's rest. He goes on and on, -with no other limit, oftentimes, than that which is eventually imposed -by the laws of physics, in the shape of personal fatigue. Such, in his -_worst_ state, is the Young Pretender! - -But if so much is to be endured from an individual tormentor--from _one_ -exercise of a - - "violon faux, qui jure sous l'archet," - -_what_ are the sufferings which may be produced by a _combination_ of -such barbarous bowmen--_all_ eager and emulous, _all_ rough and -ready?--The multiplication of discord _thus_ generated, who shall -calculate? It is past all understanding: it is the Babel of the tongues -of instruments! _This_ species of compound misery is too painful to -dwell upon, unless in mollified association with the ludicrous. Under -this impression, I will proceed to give a sketch of an affair of Amateur -Chamber-Music--being the description of a _Quartett-Party_, freely drawn -from the French of an eminent living writer, whose lively and graphic -powers in the delineation of familiar scenes have procured him very -extensive admiration among his own countrymen, and some share of credit -_parmi nous autres Anglais_. Here then is the exposition: but let -imagination first draw up the curtain, and place us in view of the -convened guests at a musical _soirée_, given by some people of middling -condition, but somewhat ambitious pretensions, in a private apartment -somewhere in Paris:-- - -"After several hours of the evening had worn away in lengthened -expectation, till the assembled party, tired of speculating and talking, -began to _yawn_, the old gentleman who usually undertook the _bass_ -instrument, was seen to look at his watch, and was heard to murmur -between his teeth, 'What a bore is this! How am I to get home by eleven, -if the time goes on in this do-nothing way--and I here since seven -o'clock, too! So much for your early invitations;--but they sha'nt catch -_me_ again.' - -"At length, the host, who had been passing the evening in running about -to borrow instruments, and collect the 'disjecta membra' of the music, -reappears, with a scarlet countenance, and in the last state of -perspiring exhaustion--his small and feeble figure tottering beneath the -weight of sundry large music-books and a tenor fiddle. 'Here I am -again,' exclaims he, with an air that is rendered perfectly wild by his -exertions: 'I've had a world of trouble to get the _parts_ together; but -I've managed the business. Gentlemen, you may commence the quartett.' - -"'Ay, ay,' said Mons. Pattier, the bass-fiddle man, 'let us begin at -once, for we've no time to lose--but where's _my_ part?' - -"'There, there, on the music-desk.'-- - -"'Come, gentlemen, now let us _tune_.' - -"The constituent Amateurs proceed accordingly to the labour of getting -into mutual agreement; during which process, the auditory shuffle about, -and insert themselves into seats as they can. Already are yawning -symptoms of impatience visible among the ladies, to whom the very -mention of a quartett furnishes a pretence for the vapours, and who make -no scruple to _talk_, for diversion's sake, with the loungers behind -their chairs. Whispering, laughing, quizzing, are freely indulged in, -and chiefly at the special expense of the musical _executioners_ -themselves. - -"The enterprising _four_, at length brought into unison, plant -themselves severally before their desks. The elderly _basso_ has stuck -his circlet of green paper round the top of his candle, for optical -protection from the glare: the tenor has mounted his spectacles: the -second violin has roughened his bow with a whole ounce of rosin; and the -_premier_ has adjusted his cravat so as to save his neck from too hard -an encounter with his instrument. - -"These preliminaries being arranged, and the host having obtained -something of a 'lull' among the assembly, by dint of loud and repeated -exclamations of _hush!_--the First Violin elevates his ambitious bow-arm, -directs a look of command to his colleagues, and stamps with his foot. -'Are we _ready_?' he enquires, with a determined air.-- - -"'_I_ have been ready any time these two hours,' replies Mons. Pattier, -with a malcontent shrug of his shoulders.-- - -"'Stay a moment, gentlemen,' cries the Second Fiddle; 'my treble string -is down. 'Tis a new string--just let me bring it up to pitch again.' - -"The Tenor takes advantage of this interval, to _study_ a passage that -he fears is likely to 'give him pause;' and the Bass takes a consolatory -pinch of snuff. - -"'I've done it now,' ejaculates at length the Second Violin.-- - -"'That's well, then; attention again, gentlemen, if you please! Let us -play the _allegro_ very moderately, and the _adagio_ rather fast--it -improves the effect.'-- - -"'Ay, ay, just as you like; only, you must beat the time.' - -"The signal is given; the First Violin starts off, the rest follow, -after their peculiar fashion. It becomes presently evident that, instead -of combination, all is contest; notwithstanding which evidence of -honorable rivalry, somebody has the malice to whisper, pretty audibly, -'The rogues are in a conspiracy to flay our ears!' - -"Presently, the First Violin makes a dead halt--'There's some mistake: -we're all wrong.' - -"'Why, it seems to _go_ well enough,' observes the Tenor. - -"'No, no, we're out _somewhere_.'-- - -"'Where is it then?' - -"'Where? That's more than I can tell.'-- - -"'For my part,' says the Second Violin, 'I have not missed a note.'-- - -"'Nor I either.'-- - -"'Nor I.'-- - -"'Well, gentlemen, we must try back.' - -"'Ay, let us begin again; and pray be particular in beating the time.' - -"'Nay, I think I mark the time _loud_ enough.' - -"'As for _that_,' exclaims the hostess, 'the person who lodges below has -already talked about complaining to the landlord.' - -"The business is now resumed, but with no improved success, although the -First Violin works away in an agitation not very dissimilar to that of a -maniac. The company relax into laughter--and the performers come to a -stand-still! - -"'This is decidedly _not_ the thing,' says the conducting violinist, -Monsieur Longuet,--'There is doubtless some error--let us look at the -bass part.--Why, here's a pretty affair!--_you_ are playing in B flat, -and we are in D.' - -"'I only know that I've been playing what you told me--the first quartett -in the first book'--replies old Monsieur Pattier, florid with rage. - -"'_How_ on earth _is_ it then? let us see the title-page. Why, how is -this? a quartett of _Mozart's_, and _we_ are playing one of _Pleyels_! -Now really that is too good!' - -"Renewed laughter is the result of this discovery, and the abortive -attempt ends with a general merriment, the contagion of which, however, -fails to touch old Monsieur Pattier, who can by no means turn into a -_joke_ his indignation at a mistake that has effectually put a stop to -the performance of _the Quartett_." - - * * * * * - -For the credit of English Amateurs, it is to be hoped that so elaborate -a display of incompetence--so complete a _fiasco_--as is presented in the -foregoing sketch, has very rarely its parallel among ourselves. - -Apropos of quartetts, it is related that His Most Catholic Majesty, -Charles the Fourth, King of Spain, piqued himself not a little on his -abilities as a violin-performer. Summer and winter, did this royal and -reiterating practitioner perform, every morning, at six precisely, his -_quatuor_, with three other violins; himself, of course, the violin _par -excellence_: and, with the trifling drawbacks of missing his notes, and -breaking his time (as if to mark his royal independence), he may indeed -be said to have approved himself a king among fiddlers. - -Another quartett-player of the class which Flattery herself can scarcely -help frowning at, was the late Sir William Hamilton, whose acquirements -in other ways must have contrasted oddly enough with his feebleness as a -fiddler. "Sir William Hamilton, who was now at an advanced age," says -Ferrari, in his gossipping book, "was a kind and good-humoured man; but -he used to bore us with his performance on the _viola_, especially in -Giardini's quartetts, which I verily believe derived their greatest -value in his eyes from the circumstance of Giardini's having been his -master."--Doubtless, with all his amiable qualities, Sir William had -something of the obstinacy which belongs so closely to evil-doers on -stringed instruments; doubtless there was no deterring him from "the -_un_even _tenor_ of his way." - -The about-to-be subjoined _sestett_ of condemnatory lines is _not_ -intended to apply to Sir William Hamilton (who had, at least, the merit -of fostering Giardini), but, generally, to him who, having no sort of -summons from Apollo, no musical vocation whatsoever from Nature, has -persisted, nevertheless, to the end of his days, in being what is called -a tormentor of catgut. A person of this peculiar turn of mistake, may -be said to fright the fiddle from its propriety--for surely, in his -hands, it wholly loses its temper and character. Making his fiddle-bow -the stalking-horse of his vanity, he walks over the strings in an -adagio, or curvets in an andante, with action that has nothing of the -graceful, and much of the ludicrous. Such a being is in the extreme of -the wrong. He hunts after a shadow: like Ixion, he embraces a cloud. His -pursuit is frivolous, because it is without a chance of attaining its -object. Unable to play in time, he is perpetually out of season: unable -to stop in tune, he is ever in a false position. He wears out his -existence in an unconscious dream; and his harsh discords and unpleasing -sharps are as the _snoring_ thereof. He dies in a delusion; his ricketty -crotchets and uneasy quavers are exchanged for one long _rest_; and here -is the amount of his _value_, in six lines-- - - -ON AN AGED MUSICAL TRIFLER. - - The silly dilettante, who - A thankless violin doth woo, - Till _old_ he looks as Saturn, - Can (to denote just what he _is_) - No name receive so fit as this-- - A _spoon_, of _fiddle-pattern_. - -By way of disporting a little further on this theme, I have spun a few -lines in which the reference is to that incongruous identity so often -found within the circle of private life--a good man, and bad fiddler:-- - - Ralph Rasper is an honest man, - Prone to do all the good he can; - He never lets the piteous poor - Go meatless from his open door: - He loves his wife--he pays his bills-- - And with content his household fills. - He seeks, in short, the rule of right, - And keeps his conscience pretty white: - But save, oh, save us from his _fiddling_! - It is so very--_very_ middling! - -Enough, however, of the indicative kind, as concerning the sins and -follies of the Amateur species. Are they unpardonable? Nay--they claim -indulgence through the very _cause_ which produces them. It is the -inspiring motive--the instrumental love, or love of the instrument--which -redeems, in some sort, the errors to which it gives birth. We must not -be too severe on the zeal which is indiscreet, lest we discountenance -good faith, and nip affection in the bud. Shall we excommunicate our -brother, for that he is too fond of fiddling? Nay, rather, let us -reserve our censure for him who hath _no_ fiddling in his soul. Cease -we, then, to dwell on deficiencies--let us "leave off discourse of -disability,"--except so far as may be necessary towards administering any -little further wholesome advice, with a friendly view to practical -improvement. In the past observations, let me not be thought to have had -no better purpose than that of playing the cynic for my own indulgence. -Myself an Amateur, and one of by no means large calibre, I should indeed -be doing what were equally graceless and witless, did I seek the damage -of the class to which I belong--that is, to which I _have_ belonged, in -practice, and still belong, by inclination and sympathy. My object is -reform--the reform of acknowledged errors and proved abuses--but, while -advocating the principles of that reform to the utmost extent that is -compatible with reason and propriety, I will never consent to abandon my -"order." - -Allusion has been made, at the commencement of this chapter, to the very -large amount of time which the _Professor_ must devote to his art, as -one of the absolute conditions of eminence. The ends of the Amateur may, -of course, be answered with a smaller expenditure of his moments. If he -possess the requisite predisposition for the instrument, _two hours_ a -day will suffice him. This must be regarded as the _minimum_--and with -this, according to Spohr (a very high authority), he may make such -progress as to afford himself and others great enjoyment of music, in -quartett-playing, in accompanying the pianoforte, or in the orchestra. - -The principal error against which Amateurs have to guard themselves, is -that species of _ambition_ which impels them to imitate the showy and -more external quality of professional playing, called execution[64]. It -is natural enough that what is most obvious should make the greatest -impression at first, and should most readily attract imitation; but it -is, on the other hand, certain, that this same superficial principle -addresses itself rather to the senses than to the imagination, and that -the pleasure which it affords is trivial and evanescent. If execution do -not come recommended by the superior associations of accurate tune, fine -tone, and characteristic expression, it is unworthy of a welcome, and -can only impose on the most shallow-minded auditor. In that poor and -bald state, it is like the verbiage in a silly oral discourse, or the -language of un-respective parrots. If it come, moreover, unaccompanied -by the common regulator, time, it is still more absurd and -insignificant, and may be likened to a fit of the insanely capricious -activity called St. Vitus's dance. Nothing, in fact, can make amends for -the grievous sin of - - "Omitting the sweet benefit of _time_." - -It should never be forgotten that, in the playing of the most simple -piece of music--the commonest air--there is much more required than -merely to render, or deliver, the notes that are dotted over the page. -It too often occurs, however, that the Amateur, who chances to have -heard at some Concert a fantasia or a potpourri, performed by the -agile bow of a De Beriot or a Sainton, returns home fascinated -exclusively by the brilliant execution he has witnessed, and stimulated -by vague aspirations after similar power of display. He calls next day -at a Music-shop, and just "happens to enquire" whether the said piece is -in print. It is handed to him, and he finds, to his agreeable surprise, -that the passages, with a few exceptions, do not look so difficult as -their dashing effect the evening before would have led him to -anticipate. He buys the piece, and, with uncased fiddle, sits down -before it, in his own chamber. He picks out the passages with which he -is best able to tickle his own ear; hammers them over till his _hand_ -gets some familiarity with them; hurries the time, to encourage his mind -in the favourite idea of "execution;" slurs over those passages that -threaten to puzzle him; and, having got through the thing _à tort et à -travers_, hastens to shew his friends what he can do (in reality what he -can _not_ do) as a performer of De Beriot's celebrated fantasia! A -little applause, from the over-complaisant or unthinking, deludes him, -already too confident, into the belief that he has succeeded in _that_ -piece; and the same ambition of display, coupled with the eager and -unrepressed love of novelty, leads him on to attempt another, and -another, and to spoil himself with more _triumphs_ of the same -unfortunate and mistaken kind. Thus, everything is done most -imperfectly--no satisfaction is given to a single soul of the commonest -musical notions--and no real progress whatever is made. In short, when -once the unhappy Amateur abandons himself exclusively to _execution_--it -is all over with him! - -It is impossible to build without the frequent use of the ladder. The -_scales_ are the ladders of music; and, without constant and diligent -recourse to them, there is no true edification--no reaching to -"perfection's airiest ridge." Slowly and cautiously must they be -ascended and descended, at first, till the acquisition of a firm hold, -and a nice habit of measurement; then comes the dexterity that enables -the practitioner to run up and down with a safe celerity of precision, -such as the curious beholder may witness in the movements of those -Hibernian hod-iernal ministrants of mortar, who are so powerfully -instrumental towards the construction of houses. - -Let not the young Amateur, then, be diverted from the practice of his -_scales_, which are the regular steps to improvement. Let him not commit -the error of jumping about among those broken and irregular _flights_, -consisting of bits of airs, and snatches of tunes. These will not help -to raise the musical edifice; and the _expectations_ which they may -assist to build, will prove mere castles in the air. The dryness and -sameness of the labour are apt to be alleged as the excuse for omitting -this essential practice of the scales and intervals; while the love of -melody is pleaded in behalf of the more eccentric course. Now, what -should be desiderated for the student is, not to love _melody_ less, but -_improvement_ more. He should not, by reason of the tedium experienced -in working at the scales, cast them aside--for, while he perseveres, on -the contrary, in daily exercise upon them, are there not the immortal -Solos of Corelli, to furnish him with all that is needful of the -recreative principle? Here he will find refreshment enough, after the -perhaps fatiguing iteration of the ladder-work. Here, in connexion with -passages that will form his hand--here, along with modulation not dull -and crabbed, but graceful and natural--he will find enough of _melody_ to -sweeten his toil, without impairing it--to cheer his progress, without -retarding it. Here he will find fascination for his ear, with no -corruption for his taste-- - - "Airs and sweet sounds, that give delight, and _hurt not_." - -Yes, when the tyro, tired, makes yawning complaint of the want of -encouragement, we would point to the Solos of Corelli, and say to him, -_Hæc tibi dulcia sunto_--let _these_ be unto thee for sweet-meats. - -This distinction, however, should be noted that while Corelli is -recommended for the acquisition of _tone_ and _steadiness_, he is not a -sufficient authority as to the varieties and subtleties of _bowing_; for -(as heretofore observed) much that relates to these has been added -_since_ his time to the province of the violin. But the cultivation of -these graces and refinements of the bow is, after all, in its natural -order, a thing for later attention. The simplicity of Corelli is always -admirable for the earlier purposes; and then, for the niceties of the -bow, and for the communication of modern resources, there are various -special guides of good value--as the studies of Fiorillo--the elaborate, -systematic, and explanatory "Violin-School" of Spohr, as edited for -English students by Mr. John Bishop--and that justly-cited boast of the -French _Conservatoire_, the combined system of Rode, Kreutzer, and -Baillot[65]. - -Among the consequences of that ambition of display which I have had -occasion to refer to as a root of evil among Amateurs, is the tendency -to throw off prematurely the salutary restraints of professional aid. -This is a mistake of the most injurious kind. The violin, as the most -difficult of all instruments, demands more than any other the prolonged -assistance of the Master. There is no such being to be met with as a -_real_ self-taught Violinist. Scrapers and raspers there may be, of -various degrees of roughness and wretchedness, who have found out the -art of tormenting, _by themselves_; but _that_ is quite another matter. -Paganini himself, the most wild and singular of players, did not acquire -his excellence independently of magisterial rule. He was amply tutored -during the early years of his study; and, when he had become a great -Master, he still proceeded by calculations founded partly on what he had -already been taught, though transcending it in reach and refinement. Let -not the aspiring student, therefore, seek to _fly_ before he can _run_, -and reject the preceptor while his state is essentially that of -pupilage. They who, at a very early period, discontinuing the _study_ of -the instrument, think of playing to _amuse their friends_, will fail -inevitably, and be considered as the very reverse of what is agreeable -or, to present the same notable truth at the point of an indifferent -epigram: - - _Beginners_, lab'ring at the fiddle, - Are apt to flounder _in the middle_: - Such, when our comfort they diminish, - Are wisely prayed to _make a finish_! - -With reference to the _collective_ efforts of non-professional players, -it may be remarked that, as individual vanity is _there_ held in some -check, and as something like a painstaking preparation is customary, -the auditor is in a less hazardous condition than where _one_ exhibitor -has undisputed hold upon him,--besides which, the alternative of an -_escape_ is more decidedly open. The _single_ cacophonist, secretly -intending a "polacca," may take you at unawares, after a quiet cup of -tea, that has treacherously served to _mask_ his purpose. He may -suddenly draw his lurking fiddle-case from beneath the very sofa whereon -you are at ease--may summon that passive accomplice, his sister, to -subservient office at the piano--and, putting his bow-arm into full -exercise, bring you to "agony-point," before you have had time to -recover from your surprise. From the quartett or symphony-party, on the -contrary, you have due notice beforehand and, if suspicious of discords -that are not within the boundary of science, you can decline the -invitation, and maintain the tranquillity of your nerves. - -The most desirable attainment for confederate Amateurs, next to a -familiar acquaintance with their respective instruments, is that -_self-knowledge_ which enables each to find contentedly his proper -place, and ensures that all shall be "correspondent to command, and do -their spiriting _gently_." Then, by good discipline, under the -direction of a well-educated musician, whose practical knowledge, added -to his intimacy with the compositions of the best masters, gives him a -moral influence and authority over an organized body of Amateurs, it is -surprising what excellence of effect in musical execution may be -produced. It has been sometimes, however, the bane of Amateur Societies -to be subject to the control of some unwarrantably officious member, -whose musical qualifications in nowise render him a proper person for -the assumed dictatorial capacity: or, it may happen that accident brings -into the employ of a Society of Amateurs one of those mere practical and -executive professional Fiddlers, whose notions of art are only on a -level with the quality of their manners. In either case, little benefit, -and much less pleasure, is derived from submitting to such -directorship. The Amateur, and the Fiddler, will each exercise alike -his own weak judgment in the general appeal for the "time" of the -music--each (the composer being _least_ thought of) preferring the time -of an _allegro_ in the ratio of its adaptation to his own powers of -execution. Of the two, the Professor is the more mischievous, as regards -the production of bad consequences. Vain of his advantage over the -Amateur, he never neglects to shew it by the rapidity with which he will -_time_ the quick movements; creating thereby a bad habit in the Amateur, -who, to keep up with the first-fiddle, is obliged _so_ to scramble -through his part, as if it were the purpose of the composer to represent -_a race_. A musician with a cultivated mind, on the contrary, whose -enthusiasm for art renders "self" a secondary consideration, and whose -perseverance has enabled him really to conquer the difficulties of his -calling, is sure to effect very great good amongst private Amateurs. His -remarks on the merits of composers and players are listened to with -attention; his authority is respected; and the encouragement he -patiently bestows on the ingenuous efforts of the young player, is sure -to obtain the utmost confidence of the party. - -In the practice of instrumental music, the chief obstacles (besides the -difficulty of playing passages in tune and time) are those which attach -to _reading_, and to _feeling_ the rhythm of the _phrase_, as well as to -the executing of passages without _hurry_. Young novices, adults, and -bands, are in one common predicament, as to partaking, more or less, of -a certain two-fold error--that of producing a disproportionate -acceleration of time in a quick and loud passage, and a disproportionate -delay in a slow and piano movement. By the advantage of the skilful tact -of a clever _maestro_, this error is either altogether corrected, or the -tendency is so well kept in check as never to become offensive. In order -to conquer the naturally strong influence of rhythmetical impulse in -playing, the Amateur should seek every occasion to play with others in -concert. The excitement in first playing with other instruments is -similar, in its origin, to that of which we have everyday proof in the -case of young ladies, who have devoted years of practice to playing the -pianoforte, and are yet unable to accompany a song, or solo, in time -and with proper feeling--the too common consequence, by the by, of an -English musical education. In Germany and France, every lady takes -alternate lessons, of her pianoforte master, and of an experienced and -well-educated musician, employed in the best orchestras; and thus she -imperceptibly loses those impediments which are the consequences of -nervous and timid inexperience. - -One of the chief advantages of the Professor is his capacity of reading -onwards. Whilst occupied in executing one bar, his eyes and attention -are partly bestowed on the three or four subsequent ones--nay, on the -next line, and even the next page. All this is best acquired by perusing -music, without an instrument. By practice, the eye and mind seize at -once the construction of a simple phrase, so that, whilst the operation -of playing it is going on, you have time to prepare for the fingering -and execution of the following passage, without at once bursting on it, -and becoming confused. In overtures and sinfonias, the _time_ of the -several movements is seldom subject to alteration; and, beyond the mere -reading of the passages, the Amateur has only to attend to the various -signs used for the modification of sound. - -The highest test of the discipline of a band is in playing "piano," and -in attacking points of imitation and fugue with vigour. Whatever -constitutes the test of the excellence of a band, in execution and -effect, applies also to the individual performers.--The coarse, vulgar, -pantomime fiddler would make sad havoc in accompanying a trio of -Beethoven's, where the most delicately subdued tone, and the most -vigorous expression, are alternately required. It must never be -forgotten, that the utmost strictness of subordination is an essential -requisite in an orchestra. In fact, it is one of the principal merits of -a good orchestra-player to practise uniformly this quality of -subordination, whereby the perfection of the whole is importantly -promoted. - -Dramatic music is the most difficult to give effect to; whether it be -orchestral, for the action of a ballet, or as an accompaniment to the -voice--the license shewn in the numerous changes of a movement, and of -time, rendering this species of music by far the most embarrassing to -both Professor and Amateur. The attention of the performer must here be -divided between his instrument, and the singer, or the director; whilst, -in other music, his whole soul is wrapt up in his own performance. Hence -it follows that, on his first attempt to play opera-music, he is -embarrassed at every page! This difficulty is only conquered, like every -other, by habitual practice. - -In the more advanced stage of his progress, there is nothing so -beneficial to the Amateur as to listen, "arrectis auribus," to the -performance of genuine classical _quartetts_ by accomplished masters of -the bow. This will do him far more good than all the _Capriccios_ and -_Fantasias_ with which the most brilliant of the solo-players, or -single-handed exhibitors at concerts, can dazzle his discernment. It -will exalt his standard of taste, and enlarge his sense of the -beautiful--fully directing his perception, at the same time, to the -legitimate powers of the violin and its cognate instruments. The remark -has been well made by Spohr, that perfect _quartett-playing_, while it -requires perhaps less of mechanical skill than is called for in a -_concerto_, yet demands more of refined sentiment, taste, and knowledge. -No opportunity (adds the same great Master) of joining a good -quartett-party, ought to be lost. The occasions afforded for such mode -of improvement were for a long while, however, in our English -metropolis, as rare as they _might_ have been advantageous. The -experiments of the London _Concerti da Camera_, and "Quartett Concerts," -happily occurred, at length, to test the feeling of our musical circles, -and open a new path to the career of the art in this country. Following -that new path, and developing further resources to which it led, the -"Beethoven Quartett Society," originated and managed by a Committee of -enlightened Amateurs, with the Earl of Falmouth for their President, -came into honourable existence in 1845, to render the justice of a too -tardy notoriety to some of the most perfect and original of musical -compositions, and thereby to erect a higher standard of taste for the -benefit of our musical circles. The intentions of this most laudable -Association, practically wrought out by Professors of the first ability, -have had _some_, at least, of the success that should belong to -well-directed ambition[66]. - -With the stimulus and the enlightenment that may be derived from such a -school of observation as this, and others to the establishment of which -it may possibly lead, is it a thing to be altogether despaired of, that -we may hereafter be enabled to enjoy the rational luxury, here as in -Germany, of a quartett performed within the _evening family circle_, and -competently performed, by its own members? Already, indeed, in some of -our provincial towns, there have been examples of a disposition this -way[67]. It is to be hoped that our - -London Amateurs will no longer be slow to adopt so laudable a practice, -nor be deterred from the pleasant advantages of family fiddling by any -poor jokes about "the brothers _Bohrer_," or the like. That there is -good capacity in them, which occasion may bring out, was made evident at -the Musical Festival held at Exeter Hall, towards the end of 1834, as -well as at more recent celebrations there. A somewhat large amount of -single practice, and more working by _fours_, together with such -exercise of observation as has been here alluded to, would develop their -capabilities into real means of conferring pleasure upon their -friends--whether in the snug and smiling little domestic circle, or in -the wider area, and amid the more stimulative accessories, of the hired -music-room. - -There is a little story, illustrating so pointedly that _love_ for his -peculiar pursuit, which gives to the Amateur his very _name_, that I -cannot resist the temptation to introduce it here. With that little -story--and a few special hints to the younger and earlier class of -students, conveyed in familiar verse, by way of a spur to the -attention--I propose to wind up the present chapter. - -A certain Amateur, whose fondness for fiddling was his liveliest -passion, had two instruments--his _best_, on which he would by no means -have permitted his own father to draw a bow--and his _second best_. In -the course of his business, which was commercial, he was preparing to -quit England for South America, as super-cargo in a certain vessel, and -to make a long stay in the latter country. Concern for his two -violins--(he had no _wife_)--was uppermost in his mind. Should he commit -them, along with himself, to the perils of the ocean's bosom? Should he, -suspending or sacrificing his own enjoyment, leave them behind, in the -custody of friendship that might prove fickle, or negligent? Much he -pondered--and much hesitated. At length, unable to endure the thoughts of -a separation from _both_, he came to a resolution that was, at the same -time, a compromise. He determined that he would take with him his -_second best_, and tear himself away from his principal darling, his -beloved _best_--_not_, however, to leave it behind--_that_ were _quite_ -too much!--but to export it, highly insured, to the scene of his own -destination, in _another_ (because, as he conceived it, a _safer_) -vessel than that in which he was himself about to embark! - - -FRIENDLY ADVICE TO THE YOUNG AMATEUR. - - First, let a rear-ward _attic_ of your labours be the scene-- - For, such seclusion best for you (and others) is, I ween. - In comfort, there, assume a chair, and be therein at ease, - And _not_ as if, un-garmented, you sat upon _hard pease_. - Your fiddle in sinister hand, and in your right the bow, - Scan, next, the dotted page awhile, or ere _to work_ you go. - Firm as a forceps be your wrist, but flexile as an eel! - And--for that struggling shoulder-joint--just teach it to _be still_; - For, mark! the motion of the arm must be 'twixt wrist and elbow, - Or else, howe'er you moil and toil, be sure you'll never _well_ bow! - To guide each movement of the bow--to give it vital spring-- - To send it bounding on its way--the wrist, the wrist's the thing! - Your bow's relation to the _bridge_, must keep a just right angle, - Or harshly else, and out of tune, your tortured notes will jangle. - - From _heel_ to _point_ that bow now draw, with action slow and steady-- - Then back again--and so repeat, till in such practice ready. - The same in quicker time then try--and next proceed to draw - From _middle_ (with a shorter scope) to _point_, and back, see-saw. - This, too, in swifter time rehearse;--and then, like justice deal - Unto the other half of bow, from _middle_ to the _heel_. - - There is a word--too seldom heard--_not_ dear to young Ambition-- - But wholesome in its discipline,--that word is "_repetition_." - Content to glimmer ere you shine, leap not beyond your bounds! - From small beginnings rise great ends--'tis _pence_ that make up - _pounds_. - From exercise to exercise, progressive, through your book - Work on-scales, intervals, and all--how _dry_ soe'er they look; - Nor jerk forth scraps, or odds and ends, of ev'ry tune that floats;-- - Can any foolery be worse than scatt'ring of _loose notes_? - - Let not thy steps untutored move! A master's ready skill - For safety and for succour seek, to curb or point thy will! - _Plain_ work precedes all _ornament_: keep graces for a late - Achievement, since you first must _build_, ere you can _decorate_. - Think _elegance_ a pretty thing, but _breadth_ a vast deal better; - Nor, for the sake of lesser charms, your larger movements fetter. - It is the pride of players great, a free and dashing _bow_, - As, borne along on waves of sound, to their success they go! - - _Corelli_ old, contemn thou not! Substantial, good, and plain, - He's like a round of British beef--he's "cut-and-come-again!" - But, as the interval is wide, you need not--_nota bene_-- - You need not travel _all_ the road 'twixt _him_ and _Paganini_. - - In fiddle-practice, as in life, are difficulties _gifts_? - Yes--_double stops_ are just the thing to drive thee to thy _shifts_! - "Bating no jot of heart or hope," toil, till, in time's process, - The music that is in thy soul, thy fiddle shall express! - - - - -CHAPTER IX. - -ON THE CONSTRUCTION OF THE VIOLIN. - - -It is a very natural curiosity which engages us to look minutely into -the structural peculiarities of that which is a medium for awakening -pleasurable sensations within us. The balloon that has borne us aloft -into aerial altitudes--and the violin that, under the management of a -Vieuxtemps or a Sivori, has transported us, through varying acoustic -currents, into the sublimer regions of harmony--are, each, the object of -a close and willingly conceded attention. - -Quitting the balloon, however, and confining ourselves to the -violin--_what_ (let us enquire) are the component parts that make up the -"form and pressure," the "complement extern" and intern, of this -material ministrant to our joys and sympathies;--_what_, also, are the -several most remarkable patterns, or models, of the _completed_ -instrument;--and _who_ were the originators, respectively, of those -varieties of conformation? This latter point of enquiry will lead us to -advert, before concluding this chapter, to certain innovations that have -been attempted, with more or less felicity, in our own days. - -A curious little work on the Construction, Preservation, Repair, &c. of -the Violin, written in German by JACOB AUGUSTUS OTTO, appeared in 1817, -and was translated into English some years afterwards. The author, -himself an instrument-maker, professes to have studied "music, -mathematics, physics, and acoustics," which respectable preparation -certainly adds not a little to his claims to attention, in undertaking -to be instructive. It may be worth while here to present, in a condensed -form, some portion of his matter, which is both indicative and -preceptive. Such of my readers as, with a stronger impulse of curiosity, -may desire to possess the _whole_ of the information furnished by his -treatise, are referred to the latest English edition of it, which, -supplied with an appendix by the translator, Mr. John Bishop, has been -issued by the publishers of the present work. - -Otto states that the Violin, when complete, consists of _fifty-eight_ -different parts--a fact, by the by, which the ordinary observer would be -little inclined to suspect[68], and of which, indeed, many a good player -is probably not aware. The author makes general complaint, indeed, of -the ignorance on the part of many Violinists of celebrity, as to the -construction of the instrument. Then, as to the _wood_--for, "ex _quovis -ligno_ non fit Mercurius;" that is to say, a fellow so mercurial as your -fiddle is not to be created out of any chance piece of timber;--the wood -that is generally used is of three sorts: sycamore for the back, neck, -sides and circles: Tyrolese soft red deal for the belly, bass-bar, -sound-post, and six internal blocks: and ebony for the finger-board and -tail-piece. The greatest care and judgment, it seems, are requisite in -the selection of the material for the _belly_ of the instrument, on -which its _tone_ entirely depends. The wood for this purpose is -prescribed to be cut only in December or January, and only that part to -be used which has been exposed to the sun. - -As to the _Cremonas_ (a word of fondest association to all votaries of -the violin!), the oldest of them are those from the hands of -_Hieronymus_ (or Jerome) _Amati_, at the beginning of the seventeenth -century, or rather earlier. Next come those of _Antonius Amati_, -belonging to the middle of that century; and then those of _Nicholas -Amati_, towards the end of it. To these makers are to be added _Antonius -Straduarius_, and afterwards (at the commencement of the eighteenth -century) _Joseph Guarnerius_. All these men of Cremona, so renowned for -the products of their ingenuity were (according to M. Otto), -_mathematical_ builders, and nice observers of the proportions best -calculated for imparting a full, powerful, sonorous tone. The -instruments by the three Amati are rather higher, or less flat, in the -model, than those of Straduarius. Of all the Italian Violins, Hieronymus -Amati's are the handsomest in shape, and the best in make. They are now -more than two centuries and a half old, strongly constructed, and likely -to retain their excellence another century. Nicholas Amati's are of -rather small size, and somewhat abrupt in the swell of the form. The -instruments of Straduarius are most esteemed by _Concert_ performers for -the power of their tone. Those of Guarnerius are beautifully -constructed, and with a good deal of similarity to those of Nicholas -Amati. - -The fine _Tyrolese_ instruments--those of the celebrated _Jacob -Steiner_--differ much from the _Cremonese_, both in shape and tone. In -the latter respect, they are of sharper and more penetrating quality. -The _later_ Tyrolese makers have been rendered the great source of -deception by dealers, &c.--their instruments having been made to pass as -classics. The best among them are those of Klotz. The Tyrolese -imitations of the Steiners and Cremonese are chiefly distinguishable by -the coarse and wide grain of the deal, and by the thin spirit varnish -upon them, instead of the Italian strong amber varnish. - -The author treats individually of the principal German makers. -_Statelmann_, of Vienna, of high fame as a studious maker, was a close -imitator of Jacob Steiner; as were also _Withalm_ of Nuremberg, and -_Riess_ of Bamberg. The flat model of Straduarius has been imitated by -_Buckstädter_ of Ratisbon, and _Jauch_ of Dresden. _Martin Hoffman_, and -_Hunger_, both of Leipsig, were excellent as tenor-makers, and good in -violins. The instruments by _Eberle_ of Prague, one of the most -celebrated German makers, are like the Cremonese, but less round and -full in their tone. _Bachmann_ of Berlin, also very eminent, was -strictly careful as to proportions. - -Against the class of _repairers_ in general, as so many botchers, -tinkers, and spoilers, the author is emphatically severe; and he points -the especial finger of scorn at one _Kirchlag_, who, about 1787, made a -visit of destruction, under pretence of repair, to most of the towns in -Germany. - -Instruments, it appears, should be sufficiently _well-timbered_; their -durability is much affected when they are finished off too weak in wood. -The bass-bar and sound-post are not inserted to strengthen the -instrument (as many have supposed), but to increase the vibration. The -vibratory principle, according to M. Otto, has been as yet but -imperfectly investigated, and is little understood. Recent experiments, -however, have somewhat further extended our knowledge of it. Great -nicety is requisite as to the erection and proportions of the _bridge_: -when it is too high, the effect is a dull tone, difficult to be brought -out--when too low, a shrill sharp, and thin tone. In good instruments, -the sound-post stands half an inch below the left foot of the bridge: in -defective ones, it may be placed rather nearer, to increase the -strength, and assist the tone. The screw-holes must not be rubbed with -rosin to tighten them: the best appliance is chalk. Some wise-acres -pretend that a violin is to be improved in tone by breaking it to -pieces, and mending it again! Others disturb and shift about the bridge -and sound-post, till the tone is almost gone. Others again, with a taste -worthy of Hottentots, have daubed over the "belly part" with a coat of -glue, mixed with powdered glass; and some there are, who have tampered -with instruments by an absurd plaster of varnish and white of eggs, -under the unwholesome idea of closing up the pores! It is suggested that -_flies_ should not be allowed to introduce themselves into the _f_ -holes. (Children say, by the by, that _f_ "_stands for fly_:" and, in -the case in question, it stands _open_; so there seems, at least, a -pretty good excuse for the intruders.) The inside of the instrument is -to be cleaned out once in six months, by means of a handful of barley, -made warm, poured in at these _f_ holes, and well shaken. The best -_strings_ are those from Milan (called Roman), which are clear and -transparent as glass, and should have as much recoil, when opened out, -as a watchspring. A very important article of requirement is good -refined rosin: the common brown rosin of commerce is quite unfit, -because of its thickness and clamminess. - -The author, deflecting entirely from the prevalent notion on the -subject, asserts that it is not _age_, but constant _use_, that is the -means of producing a smooth, clear tone. He lays it down as a position, -which he has himself verified in various experiments, that _any_ -instrument is to be greatly improved by working at it daily for three -months together, with a strong bow--taking two tones at a time, fourths -or fifths. This method of improvement, it is clear, must be somewhat -costly, and infinitely tedious--but it is much recommended by our author. -Hapless indeed must be the condition of the human being destined to -labour at fourths and fifths, with a strong bow, for three months -together! If such a system were introduced among _us_, it is to be -feared that the announcement of "Improvers wanted" would frequently be -made in vain. What (we may ask) would become of the _intellects_ of a -human being _so_ employed? As for the reason _why_ so beneficial an -effect belongs to this peculiar practice, M. Otto has declined unfolding -it--his "duty to his family" forbidding such divulgement. - -Thus far, Jacob Augustus Otto--dismissing whom, with thanks for the -information picked out of him, we proceed to other details, derived from -other sources. - -To the names of the _Amati_ family already mentioned, should be added -that of _Andreas_, brother of Nicholas. These two brothers, as well as -the other makers in that family, constructed instruments of a soft and -rich tone, but deficient in the _brilliancy_ which modern players regard -as so great a requisite. They (the two above specified) supplied, about -the year 1570, some violins of large pattern for the chamber-music of -Charles IX, King of France, which are remarkable for beauty of shape, -and nicety of finish. - -Contemporary with Andreas and Nicholas Amati, was _Gaspar de Salo_, of -Lombardy. He was especially renowned for his instruments of the _viol_ -species, at that time more in request than violins. His instruments of -this latter kind, somewhat larger in pattern, have more power than those -of the Amati; but their tone has been said to be too analogous to that -of the _tenor_. Of a similar quality are the violins of _Giovanni -Granzino_, who operated at Milan, from about 1612 to 1635. - -Another noted Italian fabricator, whose doings come within about the -same range of time as those of Granzino, was _Giovanni Paolo Magini_, -who established his factory at his native town, Brescia. Magini's -violins are usually large, although he produced a few of small pattern. -Their convexity is very positive; and the back is a good deal flattened -towards its upper and lower extremities. The sides are softened off, at -the various points of angular projection. A broad double fillet sweeps -round the belly and back, and, on the latter, sometimes terminates in an -ornament, situated near the neck of the instrument, and having the shape -of a large clover-leaf. He made use of spirit-varnish, of a fine golden -colour. The tone of his violins, less soft than that of a Straduarius, -and less potent than a Guarnerius, approaches that of the _viol_, and -has in its character a touch of melancholy. Magini's instruments came -(or rather, returned) into high consideration some years ago, from the -fact of De Beriot's having adopted the custom of playing on one of them. -There are but few of them in existence. One, that was pretty loud in -tone, was sold, years ago, by an ingenious fiddle-fancier at Kensington, -to Reeve, principal "Second Violin" at the Italian Opera House. It had -been long in the possession of old Baumgarten, who was orchestra-leader -at Covent Garden for forty years, and died at Kensington Gravel-pits. - -From about the middle of the seventeenth to that of the eighteenth -century, the Italian renown for instrument-making attained its climax by -the productions of those two Cremonese "men of pith," _Straduarius_ and -_Guarnerius_--or to give them their local names, _Antonio Stradivari_, -and _Giuseppe Guarneri_. Violins--tenors--basses--all was admirable, that -came from their hands; but they are distinguished from each other by -qualities that are sufficiently appreciable. In the large Concert-hall, -the Guarnerius has the greater sonorous power; while, for the -combination of brilliancy with suavity, nothing can equal, in a private -music-room (and especially where a _quartett_ is in hand), a -well-conditioned Straduarius. - -Born in 1664, and employed for years in the factory of the _Amati_, -Straduarius began his own separate career, by imitating their models; -but, at the commencement of the eighteenth century, taking leave of his -masters, he changed the proportions of his instruments--adopted a larger -size, with a diminished convexity--and was as studious about the -gradations of thickness, as in the choice of his wood. Nothing was -omitted, that the careful mind of this artist could devise, for the -production of the finest quality of tone. His instruments, -nicely-balanced, provoke no unseemly opposition of character among the -four strings. Add to these advantages, a graceful outline--high finish in -the details--a brilliant harmony in the varnish--and you have the -accomplished, the complete _Straduarius_. - -_Giuseppe (Joseph) Guarnerius_, the most distinguished among a family -noted for the construction of bowed instruments, belongs, in date of -birth, to the latter end of the seventeenth century. He is said to have -studied his art in the factory of Straduarius, although the products of -his hand shew none of the high finish characteristic of that maker. His -_build_ is often very slovenly; the _f_ holes are cut almost straight, -and with angularity about the ends; the fillets are badly traced--and, -indeed, there is so little in the _look_ of his violins to proclaim the -master, that one might be tempted to attribute their fine quality to the -excellence of the materials he used, rather than to any bestowed -workings of his mind. Close examination, however, has decided that he -must have been guided by some positive principles, howsoever attained, -and that his productions have an originality derived from these. Of his -violins of the large pattern, there are but few: those of the smaller -size, which are more numerous, exhibit very little convexity, and are -thicker, in the thick parts, than those of Straduarius. The effect of -his instruments is more gratifying at a little distance, than at "close -quarters." - -The art under consideration seems to have gone on in Italy with hardly -any change, since the time of the above two celebrated makers--their -successors having been content with one or the other of them, for model. -_Lorenzio Guadagnini_, of Placentia, a pupil or apprentice of -Straduarius, copied the small-pattern fiddles of his master. His -instruments give a round and clear tone from the first and second -strings--but are dull on the third. He had a son, who worked at Milan, -till about 1770, after his father's mode, but with smaller success. The -_Gagliani_ were also imitators of Straduarius, but were far from -equalling his instruments, and were not very scrupulous in their -selection of wood. _Ruggeri_ and _Alvani_, who were among the copyists -of Joseph Guarnerius, have produced good violins, but none that could -attain the estimation enjoyed by their prototype. - -Of the noted Tyrolese fiddle-fabricants, _Jacob Steiner_, a man of -chequered fortunes, was the ingenious chief. Born about 1620, at Absom, -a village near Inspruck, he had, as an instrument-maker, a career marked -by three distinct epochs. At first, under the Amati at Cremona, he -produced some violins of admirable finish, but now very rarely to be met -with. Their convexity is still more decided than that of the Amati; -while the heads, or volutes, are less prolonged, and broader in the -anterior part--and the labels within them are written and signed by the -artist's own hand. His _second_ epoch is when, married, and settled at -Absom, he produced, from 1650 to 1667, a prodigious number of -instruments, constructed with little care. Even then, however, after -languishing for some years in misery, and personally hawking about his -violins, for which he could get no better price than six florins, he -regained his position through some rays of aristocratic patronage that -suddenly shone upon him; and, with his genius thus revived, again -produced some fine instruments, distinguished by their scrolls, -ornamented with heads of animals--by the close fibres of the -belly-wood--and by the varnish of red mahogany-colour, browned by time. -Steiner's _third_ epoch commences when, on losing his wife, he retired -to a monastery. In that tedious seclusion, he resolved to signalize the -end of his artistic career by some first-rate doings. Having obtained, -through the influence of the Superior, a supply of most exemplary wood, -he made sixteen violins--the intended concentrations of every gathered -perfection--and sent one to each of the twelve Electors of the Empire, -presenting to the Emperor himself the remaining four. These sixteen -instruments, whereof but three are (so far as is known) extant, have -acquired the name of _Elector Steiners_. A pure, ringing, ethereal tone, -comparable to that of a woman's perfect voice--a shape of -elegance--studied finish in every detail--a diaphanous varnish, of golden -hue--such are the characteristics of these productions of Steiner's -third, or last epoch. Their labels, unlike those of his second period, -which are printed, bear his autograph inscription and signature. - -The imitations of the instruments of Steiner by the brothers _Klotz_ -have reference to his second epoch, and are distinguishable from his own -manufacture by the varnish, which, instead of being red, is of a dark -body, with a tinge of yellow. From the pupils of the Klotzes, likewise, -have resulted numerous Tyrolese imitations of the Cremona patterns--but -always discernible by the inferior quality of the wood, by the duskiness -of the varnish, and the want of clearness and power in the tone. - -The high market-value borne by the best instruments of the best Italian -and Tyrolese makers, is a point well known to those who take a -particular interest in the violin. It has formed the subject of -admiration to all, of exultation to a few, and of disappointment to -many. The money that would buy a house, has been sometimes demanded for -a fiddle! The subjoined passage from Mr. Gardiner's "Music and -Friends," will serve (among other purposes) to illustrate in some -degree this exorbitancy:-- - -"Mr. Champion, an Amateur, had just purchased a Stradivari violin and -tenor (in one case), for which he gave three hundred guineas. They -seemed to have been untouched since the day they were made. They were of -a beautiful yellow colour, inclining to orange, and appeared to have -ripened and mellowed into excellence. Mr. Salomon's violin was the -celebrated one that belonged to Corelli, with his name elegantly -embossed in large capital letters on the ribs. Probably three such -valuable Cremonas were never before brought together. There can be no -question that the instruments made by Stradivari are superior to those -of any other Maker in the world. Dragonetti's double-bass was made by -the same artist. Mr. Salomon, the Jew, has offered him eight hundred -guineas for it; but he will not part with it for less than a thousand." - -As in their own country, so in others, the great Italian and German -Makers have had their "servum pecus," their crowd of imitative -followers, who have sometimes copied with a plausible neatness, and -sometimes caricatured with a coarse barbarity. The most prominent names -in France are, successively, those of _Bocquay_, _Pierret_, _Despons_, -_Véron_, _Guersan_, _Castagnery_, _Saint-Paul_, _Salomon_, _Médard_, -_Lambert_ (whose rough and ready doings got for him the name of "_Le -Charpentier_ de la Lutherie"), _Saunier_, _Piete_ (whose instruments -were given as prizes to the pupils of the Paris Conservatory, at the -commencement of the present century)--and, lastly, _Lupot_, a studious -artist, whose instruments, finished with a loving care, have a real -value in the eyes of the discerning, and are in request where a good -Cremona is unattainable. For one of Lupot's best instruments, an offer -equal to sixty guineas has been known to be refused.--Of the English -Constructors, a scanty knowledge limits me to a slender account. -_Richard Duke_, who belongs to the middle of the last century, -flourished in Red Lion Street, near Gray's Inn Passage. The _Forsters_, -old and young, grandfather and grandson, have, in their department of -art, a name that lives. _Banks_, of Salisbury, also claims notice. His -violoncellos (observes Mr. Gardiner) are of the finest quality of -tone--not so strong and fiery as old Forster's, but, in sweetness and -purity, excelling them. Banks's are more adapted to the chamber, and -Forster's to the orchestra. The names of _Betts_, _Davis_, _Corsby_, -_Kennedy_, and _Hart_ (all London Makers) are likewise entitled to -respect. - -Although the great Italian and German Constructors, who have so long -served as models and guides, did unquestionably somehow arrive at -certain proportions highly favourable to the development of beautiful -sound, it does not appear that those proportions, observed (as they -were) with mathematical exactness, were founded upon any clearly -understood philosophic principles. "Until recently," says Monsieur -Fétis, from whose ingenious labours are derived some of the details in -this chapter, "the art of making bowed instruments has perceptibly been -cultivated, in turn, by inspiration, and imitation. Science, as an -element, did not enter into their construction. We have now reached an -epoch of transformation in this respect, though perhaps rather, as yet, -in the way of establishing principles, than of attaining results." Into -this subject, it behoves us to enter with some particularity. - -At about the same time as that of the publication of Otto's little book -in Germany, an ingenious Frenchman made known the results of some -experiments he had undertaken with reference to the _principles_ of -construction. _M. Chanot_, officer of maritime engineers, and amateur of -music, professed to have discovered a method for determining invariably -the processes to be employed in the construction of bow-played -instruments. - -His views are contained in a Memorial addressed to the French Academy, -during its sitting of the 27th of May, 1817. This memorial was submitted -to the consideration of the musical section of the Academy, to whose -labours, in making the investigation required by the committee, were -added those of MM. Charles and De Prony. - -The first part of this memorial advocated the division of the -_Monochord_, so as to split the interval between the key-note and its -octave into twelve equal semi-tones. The short algebraic formula -employed by M. Chanot was found correct. Thus, a violin with a -finger-board graduated after this method, like the finger-board of a -guitar, would be fit to accompany all instruments which make no -difference between the sharp and flat through the enharmonic division. -But the imperfection of these instruments precisely consists in this -equality: to confine the violin to the same limits, would therefore be -to deprive it of its superiority over them. The committee accordingly -disapproved of this innovation, and M. Chanot renounced it with -readiness. - -The second and most important part of the memorial points out the -ordinary construction of the grooved violin, with a view to produce more -sonorous vibrations, or to multiply the vibrations in the fibres of the -wood, and to obtain, as an accessary, a greater degree of solidity in -the body of the instrument. Projecting edges and grooves were employed -in the new example, and the angles covered with hard wood, in order to -resist concussions. This simple form enables the maker to employ one -single piece for the side curvatures, and to dispense with the use of -blocks, which diminish the general elasticity. This construction was -considered favorable to the production of some vibrations which -otherwise would not exist. M. Chanot chiefly attributed the sonorous -quality, in the vibrations of his new violin, to the method of cutting -the sounding-board;--to the form of the parallel holes on each side, -which were made to approximate as closely as possible to the curvatures, -and were therefore straighter than what are called the _f_ holes:--to the -situation of the bar in the centre of the sounding-board, in the form of -a splint--and likewise to the geometrical cutting of the instrument. - -In consequence of these supposed improvements, there were, in an equal -degree of thickness, many more vibrating fibres than usual, under the -immediate pressure of the bridge. To give to the holes of common violins -the form of the letter _f_, was regarded by M. Chanot as generally bad. -The turnings of this letter render it necessary to _cut_ a considerable -number of _fibres_, which no longer vibrate under the immediate pressure -of the bridge; whilst, in the _new_ violin, without augmenting the mass -of fibres, the parallel holes on the sides allowed the attainment of the -maximum of the vibrations. - -The memorialist insisted on a certain simple principle, as having been -confirmed by various positive experiments; namely, that the _long_ -fibres are favorable to the production of _low_ tones, and the shorter -fibres to the production of _high_ tones. This, he said, should be the -guiding principle in the construction of instruments such as the violin. -By fixing the sounding-post at the back of the bridge, the fibres of -the sounding-board are divided into two arcs, instead of being cut in -two on the side of the E string. This division is necessary, because, -the high tones being produced on that side, the bridge acts on the -shorter arcs like a small lever, whilst, on the side of the large -strings, the fibres are enabled to vibrate in the long arcs necessary to -produce low tones. - -This explanation of the play or action of the instrument is rendered -probable by the experiment of placing the sounding-post behind the foot -of the bridge, on the side of the thicker strings. These, as well as the -E string, then exhibit a greatly diminished power of sound, and the tone -of the instrument is considerably damped. It was supposed, therefore, -that M. Chanot's new model, from the fact of its possessing in its -texture a greater number of long arcs for producing deep tones, as well -as of short ones for high tones, must produce, under a parity of size -and principal dimensions, a more powerful effect than the violin of the -usual construction, and must be better calculated for the performance of -_sostenuto_ passages. - -This theory, founded on principles _apparently_ satisfactory, received -such confirmation from direct experiment as was held, by the French -Committee, to establish the superiority of the structure of the _new_ -violin over all others. The ordeal resorted to was a hazardous one. -Monsieur Boucher, the eminent player, was requested to bring to the -sitting one of the best _Straduarius_ instruments: and, to counteract -any effect unfavourable to impartiality of decision, that might arise -from the notorious prepossession existing for these fine violins, M. -Boucher stepped into an adjoining apartment, and there played -alternately the same passages on both instruments. - -The whole committee, during three successive experiments, thought they -were listening to the Straduarius, whilst M. Boucher was playing on the -new violin, and, _vice versâ_, supposed he was playing on the new -instrument, when it was otherwise. This repeated mistake--this double -illusion--was considered by the Academy to decide the question in favour -of M. Chanot's violin, which, though made of new wood, partly of two -years and partly of six months' cut, sustained so perilous a competition -in the manner described. - -Thus, the mystification of the "authorities" was complete--but not so the -ulterior success of the innovation, for it found no favour among the -musical profession, and soon became a thing of the past. It amounted, in -fact, to little more than a return to the old discarded viol shape of -the middle ages, with its flatness of face and back, and its less -indented outline. - -A similar fate to that which attended M. Chanot's attempt, followed the -first experiments of _M. Savart_, who soon afterwards devised, and with -his own hand executed, another example of new construction, on -principles which he considered philosophic. Flatness of surface, and -straightness of line, were by him also adopted, instead of the curve and -flow, which give beauty and distinction to the instrument in ordinary -use; while the cross-bar and sounding-post were altered in position, and -the two holes or perforations on the face were cut in straight parallel -lines, instead of the graceful _f_ form. A more perfect and equable -vibration was supposed by M. Savart to result from these new -arrangements, and success was claimed for the innovation; but an -interval of what seemed more like failure, was observed to take place, -until, abandoning his advocacy of an ugly, bluff, box-like pattern, and -returning to the beautiful and classic proportions of Straduarius, M. -Savart wisely entered into association with an intelligent practical -man, _Vuillaume_, of Paris, a musical instrument-maker. Then--the -long-studied and well-digested acoustic theories of the man of science -being brought into operation, and tested in experience, by the skilful -man of art, a brighter result was obtained--so much brighter, indeed, -that there seems little reasonable doubt of its being possible, -henceforward, to produce any required number of instruments, equal in -primitive merit to those of the great Italian Constructors, and only -awaiting the indispensable accession of _time_, for the consummation of -their value; nor are we much disposed to charge Monsieur Fétis with -madness, when, under a lively sense of what has been already achieved by -Savart and Vuillaume, he points exultingly to Paris, as the Cremona of -the nineteenth century! - -Into those deductions, drawn from his study of the phenomena of sound, -which became to Savart the guiding principles towards the right -construction of bowed instruments, it were too long here to enter;--but -our English Makers would do well to look into those principles, as -detailed in the French scientific journal, "L'Institut"--and to consider -curiously the practical result, as shewn in the handywork of Vuillaume, -whose instruments, to the number of more than two thousand, have gone -forth into the world, to attest the value of the system that has guided -his operations. - -The adventures of this indefatigable mechanician, in quest of _wood_ for -his purpose,--wood of sufficient age and capable of giving out the proper -_pitch_ of sound--might fill a chapter. He ransacked Switzerland, -entering into the meanest of her hovels, and buying-up the furniture or -the wood-work of the _châlets_, wherever he could detect in it the -right resonance, "les conditions d'une bonne sonorité." He one day went -so far as to persuade the curate of a small parish to let him take away -the cieling of his sitting-room, and replace it by another. Making his -way back to Paris with his "strange-achievéd heap"--his wooden wealth--he -forthwith betook himself to the completion of certain machinery, by -means of which, as it is asserted, he is enabled to form and hollow out, -at will, a "belly" of Straduarius, of Guarnerius, of Amati, or of -Magini--with a nicety which the hand, at its very best, can never -accomplish. Resolved to omit nothing, he studied finally the varieties -of _varnish_, till he hit upon the exact reflex of that clear, bright, -most self-commendatory super-fusion, which we observe as the crowning -grace of the fine old instruments. - -Of the marvellous accuracy, as a copyist of the old models, that was -attained years since by Vuillaume, there is amusing proof, in a story -related by M. Fétis, on the authority of the great Violinist himself, -who figures in it:-- - -"On his return-journey from a visit to England, Paganini, with dismay, -observed the case containing his admirable _Guarnerius_ to fall from the -roof of the diligence. The instrument had sustained manifest injury;--but -Vuillaume was in Paris; and Paganini, fixing on _him_ all his hopes, -entrusted his violin to him, on descending from the vehicle. The repairs -were made with all the care demanded by the beauty of the instrument, -and the immense talent of its owner. Every minutest trace of the -accident was obliterated--and that which had been the confidant of -Paganini's inspirations was restored to its full charm and power. Whilst -yet the depositary of so excellent an instrument, Monsieur Vuillaume -was tempted by opportunity to make a copy of it--_such_ a copy as nobody -might distinguish from the original. On the day appointed for putting -the renowned performer again in possession of his instrument, Vuillaume -went to him, and, placing two violins on the table, thus addressed him: -"I have so completely succeeded in obliterating every vestige of the -accident sustained by your fiddle, as to be quite unable to distinguish -it from the _other_ Guarnerius, now beside it, which has been entrusted -to me, and which bears a striking resemblance to it. _You_, who are well -acquainted with your own instrument, will relieve me from this -embarrassment." At these words, Paganini changed countenance--stood up in -haste--seized a fiddle with each hand--scrutinized and compared them -both--and was struck dumb by their perfect similitude. _One_ hope -remains;--he snatches up his bow--sends it dancing alternately over the -strings of the two instruments--draws prodigies from each. Instead of -dissipating his anxiety, this experiment does but increase it. He -strides about the room--his hands are clenched--his eyes are on fire! -Vuillaume's triumph had reached its acme. "Compose yourself," said -he,--"_here_ is your violin!--and _there_--is the _copy_ I have made of -it. Keep them _both_, as memorials of this adventure--and think, -sometimes, on the _restorer_ of your instrument!" - -Fortunately, the probity of Monsieur Vuillaume is known to equal his -talent; _else_ were imitation, by so cunning an artificer, a very -ticklish thing. Instruments of his, in fact, _have_ been bought and -sold, by musical-instrument-makers themselves, as those of Straduarius, -or Guarnerius: law-proceedings have resulted; and Vuillaume's own -invoked testimony has established, by certain undetected private marks, -that _he_ was the real author of the instruments in question. - -The services rendered to the musical community by the successful labours -of Vuillaume, will be best appreciated by those who bear in mind the -commercial rarity of the genuine old instruments, and the difficult -prices at which it is usual to value them. Their acquisition, in fact, -belongs rigidly to the rich; and it often occurs that the best part of -an artist's life has gone by, before his savings have enabled him to -possess that which is wanted for the full manifestation of his talent. -The substitutes presented by the hand of the modern Frenchman, bear a -price somewhat analogous to the modesty of merit itself. Of their real -value, the recent "Great Exhibition" in our metropolis gave connoisseurs -the opportunity to form some estimate; and the conclusion arrived at is -sufficiently denoted by the awarded gold medal. Specimens creditable to -the skill of our English Makers, though not resulting from the like -diligent investigation into principles, were also displayed on the -above-named grand occasion. The names of Betts, Purdy and Fendt, and -Simon Forster, occur in connection with these. Examples claiming notice -on the convenient score of _cheapness_, too, were not wanting among the -foreign instruments there exhibited. The best of these were from the -Tyrol--while others were of the workmanship of Mericourt, in the Vosges, -a place which has been denominated the _Manchester_ of musical -instrument-making--and not without some show of reason, seeing that, for -about four shillings, it supplies the fiddler with a complete -instrument, strings and bow included! In the way of "a bargain," surely -nothing can beat _this_; unless, indeed, they were to throw in _the -case_! - -The latest improvement attempted in construction, is, I understand, a -discovery patented by an American. It is designed to give greater -freedom to the _vibration_, by omitting the end (or top and bottom) -blocks, and substituting an extra bass-bar, which runs longitudinally in -contiguity to the back, but without touching it. - -The possession of a good _bow_ may be readily conceived to be a matter -of no slight importance. With whatever reason the art of making violins -may be considered (with the exceptions noticed in this chapter) to have -declined since the days of the old makers, it is certain that the _bow_ -has been altered much for the better: so much, indeed, as to seem hardly -susceptible of further improvement. The bows of Tourte, of Paris, have -acquired a European celebrity. Their superiority lies in their -diminished weight, with increased elasticity in the stick; in the -beautiful uniformity of their bend, which is so regulated as to cause -the nearest approach made by the stick to the hair to be exactly in the -middle, between the head and the nut; and in the very exact and finished -workmanship of the whole. Here, too, acknowledgment is due to the -ability of Vuillaume, who has contrived a bow in which two -inconveniences, attendant on the previous method, are remedied; so that -the hand of the performer is no longer disturbed by those variations in -the length, and consequently in the weight, of the stick, which arose -from the necessity of making the thumb to follow the shiftings of the -nut, whenever the bow was altered as to its tension; while the hair, -firmly fixed to a kind of cylindrical nippers, is so arranged as to form -a perfectly even surface throughout its length, and to be renewable by -the performer himself, when he may desire it. - -Let me point the termination of this chapter with a bit of cautionary -advice, which, though it concerns bodies politic, invalids, and -picture-owners, is not the less suited to the possessors of valuable -instruments that require, through some casualty, the aid of a -restorative hand:-- - - BEWARE of _Vampers_! - -If, in some unhappy, incautious moment, you confide your cherished -_Steiner_ or _Stradivari_ to the barbaric hands of one of these profane -pretenders, its recovery is hopeless--its constitution is gone! - - - - -CHAPTER X. - -MISCELLANEOUS ANECDOTES, COLLECTED SCRAPS, ECCENTRIC VARIETIES, ETC. - - "Quæ quibus ante-feram?" - - -_Characteristics of the Fiddle Species._--In the _variety_ of expression, -as well as in its _quality_, the violin has often been signalized for -its approximation to the human voice. The _finesse_ of perception of a -clever woman has discovered in that remarkable instrument, and its -ligneous family, a yet closer approach to human character. The ingenious -parallels which this lady has drawn are described by Monsieur Beyle, in -a passage which I here translate from his curious and amusing work on -Haydn and Mozart.--"In listening to the quartetts of Haydn, this lady -felt as if present at a conversation held by four agreeable persons. She -found in the _First Violin_ the semblance of a man of considerable -intelligence, of the middle time of life, an accomplished talker, and -equally capable of sustaining the conversation, as of furnishing the -subject of it. In the _Second Violin_, she recognized a _friend_ of the -First, who endeavoured by every possible method to draw out his -brilliant qualities,--was rarely occupied about _himself_,--and kept up -the discourse rather by his approbation of what fell from the others, -than by advancing any ideas of his own. The _Tenor_ was a solid, -profound, and sententious personage, who gave support to the remarks of -the First Violin, by maxims of a laconic turn, but of striking truth. As -for the _Violoncello_, 'twas a good woman, of a somewhat babbling -inclination, who said nothing to signify overmuch, but yet would not be -without her share in the conversation. She contributed a certain grace -to it, however, and, whilst she was talking, the other interlocutors got -time to breathe! One thing, with respect to her, was not difficult to -discover--namely, that she cherished a secret bias for the _Tenor_, and -gave him the preference over his instrumental brethren." - -If these comparisons should appear too fanciful, let it be remembered -that the subject is inviting, and might even be carried a good deal -further. We should only wonder that Monsieur Beyle's clever female -friend, having contrived to make up so snug a little party, did not -still further develop their capabilities, and explain, "avec -circonstance," the _matter_ of their amiable chit-chat. _Why_ she should -have chosen, by the by, to assign to the _Violoncello_ the feminine -gender, is by no means obvious. According to the general rules of -proportion, which govern sex, it would be otherwise. Perhaps the -creation of that instrument subsequently to the fiddle, as a help-mate -to it, may have suggested this notion to our speculatist; but, -_n'importe_; let us be content, rather than differ with a lady, to allow -personification under the softer sex to the instrument in question, -which may then figure characteristically, like one of Byron's heroines, -as - - "Somewhat large, and languishing, and lazy." - -Apropos of personification--a curious little pamphlet, of a dozen pages -only, but containing some ingenious turns of fancy, was printed by Dove, -in 1828, from the pen of a Mr. K----, a gentleman of refined taste in -various matters of art and literature. It is entitled, "Carluccio and -Signora Violina; a musical _jeu d'esprit_ for the benefit of Violinists, -in the manner of Lucian;" and it consists of a sort of dialogue between -a lover and his mistress--the latter being represented by the Violin. In -assigning the feminine gender to the instrument, the author thus -accounts for the innovation he has hazarded:--"We have _Viola_ in -Shakspeare, and _Viola_ in music. Why not, then, _Violina_--especially as -her voice is treble?" - - Sit juvenis quondam, nunc fæmina.--_Virg._ - -To the foregoing hints on distinctive peculiarities among the Fiddle -tribe, I am tempted to add a few words about the two extremes that -constitute, respectively, the _giant_ and the _dwarf_ of the race; -namely, the _double-bass_ (or _contra-basso_) and the _kit_. The former -of these, then--the double-bass--is a fellow of imposing appearance, with -the weight and strength of an Ajax, and a voice that you might conceive -him to have borrowed from a thunder-cloud. In the assembled circle, he -is dogmatical, slow, and heavy; yet one is forced to confess that there -is a _depth_ in all he utters, and that what he wants in brilliancy, is -amply made up in profundity. He hears the _flourishes_ of those around -him, but seems to take little heed of them--and sometimes makes a solemn -pause, as if in meditation, while the rest are chattering away. His -manner, even when he perfectly _agrees_ with what is advanced by others, -has a bluffness in it, that is not _very_ unlike _dissent_. His -arguments are of the sledge-hammer kind, knocking down contradiction. -He is the Doctor Johnson of the society--he settles matters with a -_growl_. With all his surliness, however, he is a thoroughly good fellow -at bottom, and, as he is well-understood, and pretty much humoured, by -his associates, the general harmony is none the worse for his -presence--nay, rather, would be very sensibly subtracted from, were he -absent.--As for the _kit_, he is a pert little whipper-snapper, with a -voice as _uppish_ as his notions of _himself_, and a figure _any thing_ -but _symmetrical_, since it is, at once, by an odd contrariety, stunted -in height, and lanky in appearance. He is hardly ever seen in the -company of his own kith and kin, his own fraternity of the larger -growth--for his vanity leads him to seek distinction on _any_ -terms, and so he goes into dancing academies, or among family -step-hop-and-jump-learners, where he is a sort of cock-of-the-walk, and -where, to judge from the quaint and abruptly intermitted strains that -proceed from him, he seems to crow and chuckle at the absurdities of the -"awkward squad" whom he delights to set in motion. As he is prone to -imitation, and proud of his squeaking voice, you will sometimes hear him -mimic the style and accents of his bigger brethren, behind their backs; -but these attempts incline you only to a smile--which he mistakes for -approbation. On the whole, though tolerated, he is never respected. The -very person who _introduces_ him into such society as that just -mentioned, makes a mere convenience of him; but, because he is usually -carried thither in the _pocket_ of his introducer, he fancies himself, -forsooth, a prodigious pet! Was there ever such impudence? - -If there be, by a strange possibility, any special admirers of the -Pigmy, who shall think him too sharply dealt with in the above sketch, -let them turn for comfort to Sir John Hawkins, in whose pages they will -find mention of a certain London dancing-master, named Pemberton, who -was so consummate a handler of the kit, as to be able to play entire -_solos_ on it, and to exhibit in his performance (so declares the -statement) _all_ the graces and elegancies of _the violin_, although -himself a man of the most corpulent make! Besides this consolatory -reference, let me hint to the affecters of the kit, that possibly the -classic term "lyra jocosa" might, without much violence, be appropriated -to the honour of their queer little favourite! - -_A Caricature repudiated._--A correspondent of the _Harmonicon_, who has -played on the violin amusingly enough with his _pen_, but appears, from -sundry indicative points, to have been no _bowman_, has designated the -instrument as "a box, half beech, half fir, on which are stretched the -entrails of a cat," and from which, sounds are drawn "with a few -horse-hairs," and which, moreover, "cannot be held without a distortion -of the frame, and obliges us to assume an attitude so disagreeable to -the head, by the chin of which, it is held."--This is a description -wherewith the true Amateur will hold no sympathy: he will regard it no -otherwise than with "hatefullest disrelish." He will not fail to -remember, too, that it is the _sheep's_ interior which is laid under -contribution, and _not_ the _cat's_. Then, again, doubtless, the -depression of the chin _is_ sometimes the reverse of agreeable; but this -is an objection rarely in great force, except with those round-headed -gentlemen who have short chins. A little punchy man, with a broad, -baffling, double chin, cannot be great upon the fiddle--and should not -aim at it. It is the business of a perfect performer to have a _long_ -chin--a chin whose inclination or "facilis descensus" amounts to a fixed -welcome towards the instrument, which it embraces with a continuity -that in no degree compromises the head. Such a chin is the fiddler's -firm friend;--its holdfast properties entitle it, as fitly as the -virtuous man in Horace, to the appellation of "tenax propositi." Such a -chin, for example, had Paganini. - -_Ambition let down._--During the last year of Spagnoletti's Saturnian -rule at the Opera-House, when the reins of leadership were somewhat -relaxed in the hands of that good senior, it chanced that one of his -subjects, scarcely less ambitious than was Jove of old, and equally -hopeful of his own succession, aspired prematurely to a position in the -orchestral realm as elevated as the throne of the great directing power. -In plainer language, a certain noted First Violinist, scarcely satisfied -with being second to the Leader, sought to magnify his importance by the -help of a stool that was considerably more _stilted_ in its proportions -than that occupied by his brethren of the band. Thus raised into notice, -he managed, with many flourishes of his bow-arm, to divide the public -attention with the Leader himself, and was enabled to look down on all -besides. But pride does not triumph thus to _the end_. Spagnoletti -himself, perhaps indisposed, through his then feebler condition, to -contend with usurpation, took no notice of this upstart proceeding; but -the members of the band, feeling it to be an indignity to their Leader, -still more than to themselves, took counsel together for the purpose of -putting it down. The expedient they hit upon was equally ingenious and -successful. One of the carpenters of the establishment had private -instructions to saw off a small bit from the lanky legs of the stool, -previously to each night's sitting in the orchestra; and, by this -graduated system of reduction, or what musicians would term a "_sempre -diminuendo_," the obnoxious pretender was "let down easy," and brought -to a reasonable level. Thus, though not going down, in his own -estimation, he was much depressed, in the eyes of all beside. Whether he -thought it worth while, when he discovered his situation, to enquire how -it happened, is more than remains on record--but, if he did so, it is -easy to conceive the sort of vague reply by which his mystification -would be "made absolute." - -_A new resource in difficulty._--The following graphic sketch--a piece of -what our American brethren delight to designate as the _real grit_--is -from Colonel Crockett's "Adventures in Texas:"-- - -"As we drew nigh to the Washita, the silence was broken alone by our own -talk and the clattering of our horses' hoofs; and we imagined ourselves -pretty much the only travellers, when we were suddenly somewhat startled -by the sound of music. We checked our horses, and listened, and the -music continued. 'What can all that mean?' says I. We listened again, -and we now heard, 'Hail, Columbia, happy land!' played in first-rate -style. 'That's fine,' says I. 'Fine as silk, Colonel, and leetle finer,' -says the other; 'but hark, the tune's changed.' We took another spell of -listening, and now the musician struck up, in a brisk and lively manner, -'Over the water to Charley.' 'That's mighty mysterious,' says one; -'Can't cipher it out, no-how,' says a third. 'Then let us go ahead,' -says I, and off we dashed at a pretty rapid gait, I tell you--by no means -slow. - -"As we approached the river, we saw, to the right of the road, a new -clearing on a hill, where several men were at work, and running down the -hill like wild Indians, or rather like the office-holders in pursuit of -the depositees. There appeared to be no time to be lost; so they ran, -and we cut ahead for the crossing. The music continued all this time -stronger and stronger, and the very notes appeared to speak distinctly, -'Over the water to Charley!' - -"When we reached the crossing, we were struck all of a heap at beholding -a man seated in a sulky, in the middle of the river, and playing for his -life on a fiddle. The horse was up to his middle in the water: and it -seemed as if the flimsy vehicle was ready to be swept away by the -current. Still the fiddler fiddled on composedly, as if his life had -been insured, and he was nothing more than a passenger! We thought he -was mad,--and shouted to him. He heard us, and stopped his music. 'You -have missed the crossing,' shouted one of the men from the clearing.--'I -_know_ I have,' returned the fiddler.--'If you go ten feet farther, you -will be drowned.'--'I _know_ I shall,' returned the fiddler.--'Turn -back,' said the man.--'I _can't_,' said the other. 'Then how will you -_get out_?'--'I'm sure I _don't know_.' - -"The men from the clearing, who understood the river, took our horses, -and rode up to the sulky, and, after some difficulty, succeeded in -bringing the traveller safe to shore, when we recognised the worthy -_parson_ who had fiddled for us at the puppet-show at Little Rock. They -told him that he had had a narrow escape; and he replied, that he had -found that out an hour ago! He said he had been fiddling to the fishes -for a full hour, and had exhausted all the tunes that he could play -without notes. We then asked him what could have induced him to think of -fiddling at a time of such peril; and he replied, that he had remarked, -in his progress through life, that there was nothing in universal natur -so well calculated to draw people together, as the sound of a fiddle; -and he knew that he might bawl until he was hoarse for assistance, and -no one would stir a peg; but they would no sooner hear the scraping of -his catgut, than they would quit all other business, and come to the -spot in flocks." - -_A prejudice overcome._--Another story of a clergyman fond of -fiddling--in this instance, a Scotchman--is to be found in _Tait's -Magazine_.--"A number of his parishioners considered it as quite -derogatory to his calling, that he should play upon the fiddle; so a -deputation of them waited upon him, and remonstrated against this -_crying_ enormity. He said--"Gentlemen, did you ever see my fiddle, or -hear me play?"--"No!"--"You shall do both," said he; and immediately -brought a violoncello, on which he struck up a Psalm tone, asking if -they had any objection to join him with their voices. They complied; -and, when all was over, they expressed themselves perfectly satisfied of -his orthodoxy. "A muckle, respectable, _releegious_-sounding fiddle like -_that_, there was nae harm in. Na, na! it was nane o' yer scandalous -penny-weddin' fiddles that they had heard o'!" - -It will not have been forgotten, by some of my readers, that the musical -propensities of the Rev. Charles Wesley were made a subject of stringent -comment by the poet Cowper, who pointed his remarks by the line-- - - "With wire and catgut he concludes the day." - -It is recorded, however (if I rightly remember), that the candid and -kind-hearted Cowper saw reason, afterwards, to alter his impressions on -that head, and to regret that he had reflected, with such freedom of -pen, on the harmless recreations of the earnestly pious minister. - -----From the foregoing incidental references to men of the sacred -calling, we pass, by no violent transition, into the church-yard. On a -stone, in the porch at the southern entrance of the collegiate church, -Wolverhampton, is the following singular epitaph. "Near this place lies -Claudius Phillips, whose _absolute contempt of riches_, and _inimitable -performance upon the violin_, made him the admiration of all that knew -him. He was born in Wales, made the tour of Europe, and, after the -experience of _both_ kinds of fortune, died in 1733." - -Belonging to the same equivocal species of association with the grave, -and by no means to be commended for its admixture of the _quaint_ with -the solemn, is the following "musician's epitaph," from whence gotten, I -am unable to say:-- - - Ah! what avails, when wrapped in shroud and pall, - Who jigged, who fiddled, or who sang the best? - What are to _me_ the crotchets, quavers, all, - When I have found an everlasting _rest_? - -_Fifty Years' Fiddling._--"An interesting jubilee was lately kept here -(Mannheim). The scholars of our venerable Orchestra Director, M. Erasmus -Eisenmenger, now in his 70th year, met to celebrate the fiftieth year of -his life spent as an artist. It is worthy of remark that he played, in -the _same_ musical saloon, the _same_ concerto on the violin that he had -executed fifty years ago--as well as a double concerto of Viotti, which -he played with his pupil, Chapel-master Frey, with a spirit and vigour -quite wonderful at his age." (_Harmonicon_, 1830.)--[The curious in -coincidences ought to be informed whether it was also the _same fiddle_, -as formerly, that was thus eloquent in the hands of the worthy old -gentleman.] - -_Another fifty years of it!_--Teobaldo Gatti, a native of Florence, died -at Paris in 1727, at a very advanced age, after having been, for rather -more than half a century, a performer on the _bass-viol_ in the -orchestra of the Opera there. Is it possible to be more completely -identified with one's instrument? - -_Glory made out of Shame._--A stranger, visiting Greenwich Hospital, saw -a pensioner in a yellow coat, which is the punishment for disorderly -behaviour. Surprised at the singularity of the man's appearance, he -asked him what it meant? "Oh, sir," replied the fellow, "we who wear -yellow coats are the _music_, and it is I who play the _first fiddle_." -(_Hawkins's anecdotes._) - -_Discrimination._--"Gentlemen," said an auctioneer, addressing the -bargain-hunters by whom his sale-room was crammed--"the next lot is a -very fine-toned violin."--"_A violin_, sir!" exclaimed his clerk, in -surprise--"You must have made some mistake, sir,--the next lot is _the -fiddle_!" - -_The Cremona Fiddle._--Messrs. Schramm and Karstens, the principals of a -wealthy house of agency at Hamburg, were eager practitioners of the arts -of accumulation. In the month of May, 1794, their extensive warehouse -received the honour of a visit from an individual of unexceptionable -appearance and costume, who, after bargaining for a certain number of -ells of cloth, and ordering them to be cut off from the piece, found, on -examination of his purse, that his instant coin was somewhat short of -the sum required. He handed over, however, all the cash he had--took an -acknowledgment for it--ordered the cloth to be laid aside for him, and -arranged to return in a couple of hours with the balance of the money. -"By the by," added he, "I may just as well leave with you this -_Cremona_, which is rather in my way, while I'm running about the town. -It is an instrument of particular value, for which I refused yesterday a -matter of 300 ducats: place it there in the corner, on the top of the -cloth, and it will be quite safe till my return." - -It happened, about an hour afterwards, that a handsome carriage stopped -at the door of Messrs. S. and K.'s warehouse. A personage, dressed with -the utmost attention to effect, and decorated with various knightly -insignia, alighted under an escort of three lacqueys in livery. Mons. -Schramm pressed forward to receive him, and conducted him into the -warehouse. His highness purchased several small articles, and, whilst -expressing his satisfaction at the arrangement and variety of the goods -before him, chanced to rest his eyes on the violin. Caught by its -appearance, he took it up, turned it over and over, contemplated it with -a kindling eye, and, calling forward one of his lacqueys, ordered him to -make trial of it. The domestic proceeded to do so in a masterly manner, -and drew forth sounds of such harmony as to bring together, by the ears, -a listening crowd of mute gapers at so extraordinary a virtuoso. Mons. -Schramm and the clerks were warmed up into an admiration far above the -commercial temperature; and the whole scene appeared to partake of -enchantment. Presently, motioning his domestic to stop, the great man -enquired of him, in the presence of all, what he thought of the -instrument, and what estimate he should incline to form of its value. -"Why, certainly," said the livery-man, after a pause of examination, "if -your Excellency could make it your Excellency's own for 500 ducats, I -should say that your Excellency would be in possession of the finest -Cremona fiddle in the world!" The man of distinction took Mons. Schramm -aside, and offered him 400: from that he ascended to 500; but the man of -commerce told the man of distinction that the instrument belonged to a -stranger, and explained the circumstances under which it had been left -there. "Now, mark me, Mons. Schramm," said the great man; "if you can -secure me this violin, you shall not repent your having obliged me: do -your utmost to make the purchase for me, and go to 500 ducats, if -necessary; there's my address, and I shall expect to see you at five, -with the fiddle and the account."--Mons. Schramm, full of protestations -of his readiness to do all in his power, respectfully bows out his -visitor. - -In an hour or two, the impatiently-expected owner of the instrument -makes his re-appearance, takes up his parcel and violin, and is about to -depart. "Stay, sir," said Mons. Schramm, a little embarrassed--"one word -with you, if you please--would you feel inclined to s--, to sell that -violin? I could make you a good offer for it--say 350 ducats, cash." The -proposition, however, is met by a short and dry answer in the negative, -and a renewed movement to depart. Mons. Schramm then offers him 360, and -so on, till in short, after considerable discussion, the stranger -consents to part with the object of solicitation,--but still as a matter -of regret,--for the sum of 470 ducats, and to give a receipt for 500. The -bargain is completed, and Mons. Schramm, receiving the fiddle with a -chuckle of delight, takes leave of the stranger with lavish civility. - -Full of satisfaction at the idea of having made thirty ducats, and the -friendly acquaintance of a great man, Mons. Schramm, at the exact hour -of five, presented himself at the hotel of St. Petersburg, situated on -the Jungfernstieg. With the violin in his hand, and the receipt for 500 -ducats in his pocket, he demanded to speak to his Excellency the Baron -De Strogonoff, Ambassador from Russia, to the Court of St. James's--such -being the address given him in the morning by the gentleman with the -equipage. He was informed by the porter that he knew nothing of the said -nobleman, inasmuch as he had not come to their hotel. Mons. Schramm -hereupon insists and grows warm; the servants gather round, and the -dispute at length draws forth the master of the hotel, who pledges his -word, in positive terms, that the Ambassador in question is not at his -establishment! Enquiry is then made at all the large hotels in the -town--and, at all, the Baron De Strogonoff is unknown! - -It was now high time for Mons. Schramm to consider himself as having -been played upon! As for the rogues, they had so well concerted their -measures, that all subsequent efforts to discover them proved abortive. -Mons. Schramm had full leisure for maledictions upon his own credulity -and ultra-commercial spirit; nor did he very speedily get rid of the -jests and gibes of his fellow-townsmen, at the piquant fact of his -having paid so handsome a sum, for a fiddle that was not worth much more -than a ducat! - -_An apt Quotation._--The felicitous power of allusion which Dean Swift -had at his command, was never more pointedly shown, than in his seizure -of a line from Virgil, to _fit_ the circumstances of a certain domestic -disaster. Relating from memory, I give but the outline of the story. A -lady's gown (or _mantua_) accidentally caught fire, and damaged a -gentleman's fiddle, which was lying unfortunately near it. The Dean, -either witnessing the accident, or informed of it, exclaimed -pathetically, - - "_Mantua_, væ! miseræ nimiùm vicina _Cremonæ_!" - -_The "Leading Instrument" victorious._--Anseaume, a French gentleman, of -very limited income, hired a small house at Bagnolet, and invited his -friends once or twice a-week to come and amuse themselves there. On -these occasions, each brought some provisions: one, wine; another, cold -meat; another, patties; another, game. It unluckily happened that -Anseaume, as absent in mind as straitened in his finances, had -forgotten, for a whole year, to pay his rent. The landlord made a -descent upon him, precisely on the day when his friends Collé, Panard, -Piron, Gillet, the painter Watteau, the musician Degueville, and other -epicures, had assembled there. These gentlemen, according to custom, had -brought plenty of provender, but no money; and the landlord imperiously -demanded his rent of two hundred crowns. What was to be done, in order -to assist their friend? They immediately set about cooking the meat and -poultry; they levied contributions on the fruit and vegetables of the -gardens; Watteau drew a beautiful and inviting sign, and Degueville -borrowed a _violin_ of the parish beadle; in short, they got up a -_cabaret_ and _fête Champêtre_. The appearance of these new cooks, who -served their customers in habits of embroidered velvet, with swords by -their sides, had a curious effect, and greatly diverted the company, -which was so numerous, that the receipts amounted to five hundred -crowns! Anseaume paid his landlord, and his distress was converted into -joy and gladness. But now a question arose, that was discussed with no -small earnestness and interest:--To which of his guests was the host most -indebted? Those who played the part of cooks, declared that, without -their labours, there would have been nothing for the public to eat; -Watteau laid no little stress on the invitation held out by his sign; -and Degueville insisted that, without his music, the people's attention -would not have been drawn to the sign; and that, even if they had -noticed it, and come in, there would have been no mirth and spirit, -little eaten, and that little scantily and reluctantly paid for. The -dispute began to grow warm, when Degueville seized the violin, played -them all into good humour, and was, at length, allowed to be the victor! - -_Sending for Time-Keepers._--In treating of the importance of adjusting -the time of a composition to the sentiment and intention of the author, -it is stated by Kandler, an able German writer, that Haydn was so -offended at the rude and hurried manner in which he found his music -driven by us English, when he first visited our country, as to send for -the family of the Moralts from Vienna, to shew the Londoners the time -and expression with which he intended his quartetts to be -played.--Kiesewetter also, in leading Beethoven's symphonies at the -Philharmonic Concert (although himself a performer who particularly -shone in rapid playing), is said to have insisted upon their being -executed more slowly than that orchestra had been accustomed to perform -them. - -_Musical Exaction._--A rich, but penurious personage, who somehow aspired -to be thought a man of _taste_, was resolved, on one occasion, to make -exhibition of this quality, by giving to his friends an entertainment of -instrumental music. While the musicians were all at work, he seemed -satisfied with the performance--but when the principal Violin came to be -engaged upon an incidental solo, he enquired, in a towering passion, why -the others were remaining _idle_? "It is a _pizzicato_ for one -instrument," replied the operator. "I can't help that," exclaimed the -virtuoso, who was determined to have the worth of his money--"Let the -trumpets _pizzicato_ along with you!"--This hopeful amateur may serve to -recall the not unfamiliar anecdote about old Jacob Astley, of -"horse-theatre" celebrity, who observed a violinist in his band to be in -a state of temporary cessation from playing, during the continued -activity of the others, and asked him what he _meant_ by it. "Why, sir, -here's a _rest_ marked in my part--a rest of several bars."--"_Rest!_" -shouted Astley (who had always a great horror of being imposed upon), -"don't tell me about _rest_, sir. I pay you to come here and _play_, -sir, and not to _rest_!" - -_A Device for a Dinner._--Doctor Arne once went to Cannons, the seat of -the late Duke of Chandos, to assist at the performance of an oratorio in -the Chapel of Whitchurch, but such was the throng of company, that no -provisions were to be procured at the Duke's house. On going to the -Chandos Arms, in the town of Edgeware, the Doctor made his way into the -kitchen, where he found only a leg of mutton on the spit. This, the -waiter informed him, was bespoken by a party of gentlemen. The Doctor -(rubbing his elbow--his usual habit) exclaimed, "I'll have that -mutton--give me a _fiddle-string_." He took the fiddle-string, cut it in -pieces, and, privately sprinkling it over the mutton, walked out of the -kitchen. Then, waiting very patiently till the waiter had served it up, -he heard one of the gentlemen exclaim--"Waiter! this meat is full of -_maggots_: take it away!" This was what the Doctor expected.--"Here, give -it _me_."--"O, sir," says the waiter, "you can't eat it--'tis full of -maggots."--"Nay, never mind," cries the Doctor, "fiddlers have strong -stomachs." So, bearing it away, and scraping off the catgut, he got a -hearty dinner. - -_A "Practising" Coachman._--Too true it is that Nature has not gifted all -mortals with a taste for music. Shakspeare tells us that the man who -hath not music in his soul is fit for "broils;" and the Duchess of -Ragusa appears to have inclined to his opinion, if we may judge from an -occurrence in which she was concerned some years since. Finding herself -offended that the coachman of a certain Miss Ozenne, her neighbour, -should practise the violin too much in the vicinity of her ducal ears, -she summoned the lady, the coachman, and the violin, before the -_Tribunal de Police_, for making a "tapage injurieux et nocturne." In -vain the lady pleaded the right of her domestics to make musicians of -themselves, if they could: the Duchess declared it was done solely and -purely for her annoyance; the _Commissaire du Quartier_ declared that -the noise consisted of "sons aigus, bruyans, et dissonans;" and Miss -Ozenne was condemned to be imprisoned one day, and to be fined to the -amount of ten shillings.--(_New Monthly Magazine._) - -_A Footman, to match._--"The following curiously illustrative anecdote -may be relied on. A few days since, a footman went into Mori's -music-shop to buy a fiddle-string. While he was making his choice, a -gentleman entered the shop, and began to examine various compositions -for the violin. Among the rest, he found Paganini's celebrated -"Merveille--_Duo_ pour un _seul_ Violon," and, perceiving the -difficulties in which it abounded, asked the shopman if he thought that -Mori himself could play it. The young man, a little perplexed, and -unwilling to imply that his master's powers had any limit, replied that -he had no doubt he could perform it, _provided_ he practised it for _a -week_; upon which the footman, who stood intent on the conversation, -broke in on the discourse, and swore that Mori could do no such thing, -for that he himself had been practising the piece for _three weeks_, and -could not play it yet!"--(_Harmonicon_, _May, 1830_.) - -_A Royal "Whereabout."_--Salomon, who gave some lessons on the violin to -George the Third, said one day to his august pupil, "Fiddlers may be -divided into three classes: to the _first_ belong those who cannot play -_at all_; to the _second_, those who play _badly_; and to the third, -those who play _well_. You, Sire, have already reached the _second_." - -_Precocious Performers._--The violin, in the hands of _children_, has -been often rendered the theme of astonishment. In the foregoing pages, -many instances have been given of eminent players, whose powerful -maturity was prefigured, in the display of genius made in their tender -youth. Many blossoms there are, however, which _never_ pay their promise -afterwards in fruit; and many an "acute juvenal, voluble and full of -grace," has made early flourishes on the fiddle, that have led to -nothing of value in his fuller years. Apropos of this too commonly -observable disproportion, a French writer has the following epigram:-- - - -SUR LES PRODIGES À LA MODE. - - Plus merveilleux que nos ancêtres, - Ou peut-être plus singuliers, - A dix ans nous avons des maîtres, - Qui sont à vingt des écoliers! - -Which may be thus freely paraphrased:-- - - Our's is an age of wonders;--we behold - Precocious prodigies, in passing plenty: - We have our _masters_, now, at ten years old,-- - But then--they sink to _scholars_, when they're twenty! - -The Germans have an expressive denomination for these very early and -forced exhibitants. They style them _wunderkind_, or wonder-children. - -After hearing some violin variations rattled through at a Vienna Concert -by a six-year old performer, son of a M. Birnbach, a prognosticator was -heard to say, with a gravity that scarcely seemed unreasonable: "Well! I -foresee that, before many years are passed, we shall have a symphony of -Haydn's performed by babes in swaddling-clothes!" - -As a matter of curiosity, I will here subjoin a few records of early -feats, without attempting to distinguish those which may belong simply -to the class of _wunder-kinde_. - -Weichsel, the brother of Mrs. Billington, played in public with his -sister, when she was _six_ years old, and himself a year older--their -instruments being the violin and the pianoforte.--Balfe, the singer and -composer, made a kind of _début_ as a juvenile violin-player (according -to the _Harmonicon_) at a theatrical benefit.--Two Hungarian boys, of the -name of Ebner, one ten and the other eleven, played some of Mayseder's -difficult variations at a Concert at Berlin, in 1823.--A boy of twelve -years of age, named Khayll, pupil of Jansa, introduced by Moscheles at a -Concert at Vienna in 1827, played some admirable variations on the -violin, in which he displayed an ease and solidity far beyond his years, -and a great knowledge of his instrument.--At Limberg, in 1831, -Apollinarino Conski, _five_ years old, surprised all hearers by his -execution of a concerto of Maurer's; and the son of this last-named -Artist, at the age of twelve, performed in the same year some of -Mayseder's variations, at his father's Concerts at Berlin. - -At Stutgardt, in 1831, the brothers Eickhorn, the elder _nine_, and the -younger _seven_ years of age, gave a Concert at one of the saloons, and -astonished not only the public in general, but the connoisseurs, by -their early proficiency on that most difficult of instruments here under -notice. The elder played variations by Mayseder and Rode, and a -potpourri with his younger brother, composed by Jacobi--and some -variations of Kummer's. - -In various towns of Switzerland, during the same year, the four brothers -Koella, of Zurich, gave Concerts with great success. These boys were -then respectively twelve, ten, nine, and seven years of age--"small by -degrees, and beautifully less." The elder played the violin and -violoncello with great spirit and power; the third was a good -tenor-player; and the youngest executed concertos of Viotti's! Their -quartett-playing, however, was their strongest point. - -Dr. Crotch, when about _five_ years old, was capable of fiddling, and -after a fashion, too, by no means common to others--that is to say, -_left-handed_. - -_Fiddlers' Tricks._--In 1731, a Concert was announced at Hickford's room, -for the benefit of Signor Castrucci, _first violin of the Opera_, who, -as the advertisement stated, was to play, amongst other pieces, a solo, -in which he would execute "_twenty-four_" notes with one bow." On the -following day, this advertisement was burlesqued by another, in which -was promised a solo by the _last violin of Goodman's Fields' Playhouse_, -who would perform _twenty-five_ notes with one bow. Such a feat as -either of these, would, in our own days, be nothing at all. - -A Signor Angelo Casirola, of Tortona, mystified the good people of -Milan, in 1825, by playing the _reverse_ way--that is, playing with _a -fiddle_ upon _a bow_! His plan was to fasten the bow in an upright -position upon a table, and play upon it with the violin, according to -the best manner in which he could manage to "rub on." The effect was -unpleasing, both to ear and eye. Another of his tricks was a _sonata -scherzosa_, for which he had two violins _fixed_, with the heads screwed -on a table, and then worked away right and left, with a bow in each -hand, accompanied by a full orchestra. He fooled his audience to the top -of their bent, and was applauded to the very echo! It might assist the -gratification of the gapers after novelty, if the thaumaturgist, -operating with his left hand, as usual, on the finger-board of his -instrument, were to have the _bow_ held and worked by _another person_. -The Chinese flutists have done something like this in _principle_--one -blowing the flute which another has played on! More wonderful still--at -some entertainments given by their Emperor, two musicians played -together the same air, each having one hand on his own flute, and the -other on that of his companion! - -At Munich, in 1827, M. Féréol Mazas raised a public astonishment -somewhat akin to that created in London more recently by Paganini, as an -operator on _one string_: and, indeed, all the more _obvious_ -peculiarities in the performance of the great Italian artist--those -pertaining to mechanical dexterity--have been copied, more or less -successfully. Assuming to be "the English Paganini," a certain -individual, of no distinction at that time as a legitimate player, was -particularly prominent in this business of imitation. He presented, -sooth to say, but a soul-less exhibition, having some of the externals -of similitude, indeed, but none of that which "passeth _show_." Upon the -auditors scraped together, however, his "ad captandum" tricks appeared -to tell abundantly--more especially when he worked with his left hand the -pizzicato accompaniment to the bowed passages; when he brought out some -harmonics from _below_, instead of _above_, the finger-stops; when (by -way of going _beyond_ Paganini) he thrust the instrument between the -hair and stick of the relaxed bow, and thus played on the strings with -the _inner_ hair: and, above all, when he placed the bow between his -knees, and, taking the fiddle in both hands, rubbed the strings against -it, so as to execute some difficulties of which a judicious observer -might have well regretted the possibility! One of the least pardonable -of the faults attending this display, was that his instrument did not -always _tell the truth_: in other words, its intonation was sometimes -false. - - -ECCENTRIC VARIETIES OF THE VIOLIN KIND. - -_The Fiddle of Iceland._--"Sir Joseph Banks and Dr. Solander, when they -visited this island in 1773, brought thence a very ancient musical -instrument, of a long and narrow form, which used to be played on with a -bow; and of which they did me the honour to make me a present. It is -called by the natives the _Long-Spiel_, and has four strings of copper, -one of which is used as a drone. Pieces of wood are placed at different -distances upon the finger-board, to serve as frets. Though this -individual instrument has the appearance of great antiquity, yet, rude -and clumsy as it is, there can be no doubt but that it was still more -imperfect in its first invention: for, to have placed these frets, -implies some small degree of meditation, experience, and a scale; and as -to the bow, that wonderful engine! which the ancients, with all their -diligence and musical refinements, had never been able to discover, it -seems, from this instrument, to have been known in Iceland at least as -early as in any other part of Europe. Sir Joseph Banks and Dr. Solander, -when they found the _Long-Spiel_ on the island, had very great -difficulty in discovering a person among the inhabitants who either -could, or would dare to play on it. At length a wicked Icelander was -found, who, being rendered more courageous and liberal than the rest, by -a few glasses of generous gin, ventured, in secret, to exhilarate these -philosophers ... with a psalm-tune."--_Burney's Hist. of Music_, v. iii, -p. 40, 41. - -_Fiddle of Tartary._--The Tartars have an instrument peculiar to -themselves, which they denominate a _koba_. It is a _kind_ of violin, -half open at the top, in shape somewhat resembling a boat, having two -hair-strings, which are swept with a bow, the notes being stopped by the -fingers of the left hand, as in performing on the recognized violin. - -_African Fiddle._--The Mosees, Mallowas, Burnous, and natives from the -more remote parts of the interior, play on a _rude violin_. The body is -a calabash; the top is covered with deer-skin, and two large holes are -cut in it for the sound to escape: the strings, or rather the string, is -composed of cow's hair, and broad, like that of the bow with which they -play, which resembles the bow of a violin. Their grimace equals that of -an Italian _buffo_: they generally accompany themselves with the voice, -and increase the humour by a strong nasal sound.--_Bowdich's Mission to -Ashantee._ - -"At parting, he (Bee Simera, a king in the Kooranko Country) sent his -_griot_, or minstrel, to play before me, and sing a song of welcome. -This man had a sort of fiddle, the body of which was formed of a -calabash, in which two small square holes were cut, to give it a tone. -It had only one string, composed of many twisted horse-hairs, and, -although he could only bring from it four notes, yet he contrived to -vary them so as to produce a pleasing harmony(!) He played at my door -till I fell asleep, and, waking at day-break, his notes still saluted my -ears; when, finding that his attendance would not be discontinued -without a _douceur_, I gave him a head of tobacco, and told him to go -home and thank his master."--_Major Laing's Travels in Western Africa._ - -"The admirers of Paganini (says Dr. Hogg, in his "_Visit to -Alexandria_") may learn with surprise that a species of Violin, with a -single string, is not only well-known in Egypt, but is frequently played -in the streets, with extraordinary skill. Of the celebrated Italian, the -Egyptians never heard; but they often listen with delight to the -melodious sounds drawn forth from a single string by a wild untutored -Arab." - -_Greek Fiddle._--M. Fauriel, in his "Chants Populaires de la Grèce -Moderne," says that the Greeks accompany their songs by an instrument -with strings, which is played with a bow, and that this is exactly the -ancient lyre of the Greeks, of which it retains the name as well as the -form. This lyre, he adds, when perfect, consists of five strings, but it -has frequently but two or three. - -The _bow_ is of course a modern accessory, and must have changed, -materially, the mode of playing the instrument, as well as its effect. - -_An Eight-Stringed Violin._--Prinz, in his History, assures us that, -about the year 1649, Lord Somerset invented a new kind of violin, which -had eight strings, instead of four; and that, in the hands of a master -who knew how to avail himself of its advantages, it was productive of -very extraordinary effects. To the truth of this, Kircher bears witness. -A violin, with eight strings, was also played on by a M. Urhan, at a -concert at the French _Conservatoire Royal_, in 1830. - -_An intermediate Instrument._--With the plausible view of filling up a -void in the range of stringed instruments--that which occurs through the -interval of an _octave_ between the pitch of the viola and the -violoncello--a new instrument of the violin class was invented, a few -years ago, by a French Amateur, who proposed to designate it the -_Contralto_. Its four strings were tuned an octave below those of the -violin, and, consequently, a fourth below the common viola, or tenor, -and a fifth above the violoncello. In quartetts (according to the -inventor) the _second violin_ might in future be replaced by the -_viola_, and the viola by the _Contralto_; which latter would possess -the further advantage of enabling its player to execute with ease those -high passages that are so difficult on the violoncello.--That an -instrument thus designed _might_ sometimes participate effectively in -orchestral business, is extremely probable; but that it should displace -in quartetts the _second violin_, the importance of which, as an aid, -arises so much from its brilliancy, is not _at all_ to be supposed. The -truth appears to be, that what is here referred to as an invention, -possesses little claim to that character; for it was preceded by _the -baryton_, a stringed instrument of a character between the tenor and -violoncello, which has now entirely fallen into disuse. Prince Nicholas -Esterhazy, an ardent musical Amateur, was very fond of this instrument: -and Haydn, who composed a great number of pieces for it, in order to -supply the Prince's incessant demand for novelty, frequently said that -the necessity he was under of composing so much for the baryton, -contributed greatly to his improvement. - -_Something more than a Violin!_--M. Vincenti, a lute-master at Florence, -invented, some years ago, a violin with _eighteen strings_ and _two -bows_, and called it the _Violon-Général_, because it combined (or -professed to combine), with the tones of the violin, those of the -contra-basso, the violoncello, and the viola! - -_An Air Violin._--A new and ingeniously invented instrument was -presented, some years since, to the "Académie des Sciences" of Paris, by -M. Isoard. It resembled the common violin, with the strings extended -between two wooden (or metal) blades. It was vibrated upon at one end by -a _current of air_, while, at the other, the player shortened the -strings by the pressure of the finger. In fact, the strings of this -instrument were acted upon by the current of air, _instead_ of -the common _bow_. The sounds were said to vary between those of -the French horn and bassoon. Were it possible for this invention -to come into ordinary use, the violin would have to be classed as a -_wind_-instrument! - -_Automaton Violinist._--"After the extraordinary performance of Paganini -and Ole Bull, our readers will not be surprised at any new development -of the powers of this instrument, however great; but there are few in -the world who will hear, without wonder and admiration, of the -unequalled performance of Monsieur Marreppe's _automaton violin-player_, -which was recently exhibited before the Royal Conservatory at Paris. Our -informant, M. Bruyère, who was present, thus describes this wonderful -piece of mechanism: "On entering the saloon, I saw a well-dressed -handsome figure of a man, apparently between forty and fifty, standing -with a violin in his hand, as if contemplating a piece of music which -lay on a desk before him; and, had I not gone to see an automaton, I -should have believed the object before me to have been endowed with life -and reason, so perfectly natural and easy were the attitudes and -expression of countenance of the figure! I had but little time for -observation, before the orchestra was filled by musicians, and, on the -leader taking his seat, the figure instantly raised itself erect, bowed -with much elegance two or three times, and then, turning to the leader, -nodded, as if to say he was ready, and placed his violin to his -shoulder. At the given signal, he raised his bow, and, applying it to -the instrument, produced, _à la Paganini_, one of the most thrilling and -extraordinary flourishes I ever heard, in which scarcely a semitone -within the compass of the instrument was omitted; and this, executed -with a degree of rapidity and clearness perfectly astonishing. The -orchestra then played a short symphony, in which the automaton -occasionally joined in beautiful style: he then played a most beautiful -fantasia in E natural, with accompaniments, including a movement -_allegro molto_ on the fourth string solo, which was perfectly -indescribable. The tones produced were like any thing but a violin; and -expressive beyond conception. I felt as if lifted from my seat, and -burst into tears, in which predicament I saw most persons in the room. -Suddenly, he struck into a cadenza, in which the harmonics, double and -single, arpeggios on the four strings, and saltos, for which Paganini -was so justly celebrated, were introduced with the greatest effect; and, -after a close shake of eight bars' duration, commenced the coda, a -prestissimo movement, played in three parts throughout. This part of the -performance was perfectly magical. I have heard the great Italian--I have -heard the Norwegian--I have heard the best of music--but I never heard -such sounds as then saluted my ear. It commenced _p p p_, rising by a -gradual _crescendo_ to a pitch beyond belief, and then, by a gradual -_morendo_ and _calando_, died away, leaving the audience absolutely -enchanted. Monsieur Marreppe, who is a player of no mean order, then -came forward amidst the most deafening acclamations, and stated that, -emulated by the example of Vaucanson's flute-player, he had conceived -the project of constructing this figure, which had cost him many years -of study and labour before he could bring it to completion. He then -showed to the company the interior of the figure, which was completely -filled with _small cranks_, by which the motions are given to the -several parts of the automaton, at the will of the conductor, who has -the whole machine so perfectly under control, that Monsieur Marreppe -proposes that the automaton shall perform any piece of music which may -be laid before him, within a fortnight. He also showed that to a certain -extent the figure was self-acting, as, on winding up a string, several -of the most beautiful airs were played, among which were "Nel -cor più," "Partant pour la Syrie," "Weber's last Waltz," and "La -ci darem la mano," all with brilliant embellishments. But the -_chef-d'oeuvre_ is the manner in which the figure is made to obey -the direction of the conductor, whereby it is endowed with a sort of -semi-reason."--_Galignani's Messenger._ - - * * * * * - -_The Street Fiddler._--Behold the poor fellow, as he stands there in the -sun, against that dead wall, with a face that betrays many a foregone -year of patient endurance, and a figure that is the very index to -"narrow circumstances." His old brown great coat, loose and -hard-worn--his battered hat--his shoes unconscious of blacking--are the -vouchers of his low estate. He wears "the hapless vesture of humility." -He is half-blind, and will be _wholly_ so before long, for blindness is -the badge of his sad tribe;--but _then_--he will have a _companion_, in -the _dog_ that will lead him about! - -See, how sobered is his style of execution--how passive his action! The -fire of enthusiasm is not for _him_: he can but shew the plodding of a -quiet spirit. He holdeth his bow, not as your topping players do, but -with a third part of its length below his hand. He finds this plan the -easiest, because it is his wont to work more from the _shoulder_ than -the _wrist_! Think no scorn of him, ye great artists--ye _triumphant_ -euphonists! He is self-taught,--or, which is the same thing, hath learned -of his father, who was _alter ipse_, and who himself got his knowledge -"in the family." Yet, though his bow-arm hath none of the sweep that -belongs to science, behold how he puts mettle into the heels of infancy, -and even peradventure brings a wriggle into the sides of old age: such -power is there in the notes of a fiddle, even in the hands of -decrepitude itself! The nursery-maids, who cannot condescend to _talk_ -with a street-fiddler, as they would with a young policeman, accord a -smile, nevertheless, to some of his "passages," and a halfpenny to his -pauperism. Musician as he is, or would be _called_ (for poverty has its -pride), do not test him with terms, or ask him the meaning of a "common -chord:" he will think you design to insult his misery with a dependent -allusion! Him _harmony_ concerneth not, nor counterpoint either;--he is a -simple _melodist_, and, to him, a few old tunes are the entire world of -music. After all, too, the finest melody in _his_ ear, is the sound of -human sympathy; and the best of music is the rattle of frequent -halfpence in his hat--a hat by night, a money-box by day! His daily -gains, what are they? A sorry pittance, truly; yet the poor old fellow, -albeit no classic, manages to live on the Horatian plan, "contentus -parvo," and is very far from being the most thankless of mortals, -although - - "For all his _shifts_, he cannot shift _his clothes_." - -It is not always people of the finest ear, who are the most intolerant -of ambulating fiddlers. There are some _dull_ persons who have little -other notion of music in _any_ shape, than as so much _noise_. The -complaint of these against the poor starveling here described, is that -he makes so _loud_ a noise. Let us only (with sly allusion to the early -name for the barbarous instrument) ask them one question--although even a -bad joke may be quite thrown away upon the dull: - - Say, wherefore should it _not_ be loud, - The noise proceeding from a _crowd_? - -And, while employing this kind of excuse, which will perhaps be received -as better than none, in behalf of a fraternity, who, if they _torment_ a -little, unquestionably do much more _suffer_, I may as well go on to -offer the following such-as-it-is - - -APOLOGY FOR MATTHEW MARKIT, A "COMMON FIDDLER." - - Let not wrath against him gather-- - Call him not a useless bore! - Would you not, this dirty weather, - Have _a scraper at your door_? - Such is he;--nay, more than that, - He's a _Scraper, and a--Mat_! - -I do remember an itinerant, who used to sing a piece of dismal -merriment, with a squeaking violin accompaniment, to the appropriate -burden of "Heigh ho! fiddle de dee!" and a very wry face at each -recurrence of this peculiar interjection. He much affected Knightsbridge -and Hyde Park Corner, but was likewise visible at other points of the -metropolis. His wife, a diminutive body, with a small whine by way of -voice, helped to make "variety of wretchedness" in the exhibition. They -looked as if familiar with none but the copper coinage of the realm. Yet -they had generally their _côterie_ around them--their "assistance -admirative." To be musical, _any how_, passes for a talent! - -I will not suppose my readers so oblivious of an elderly joke, as not to -recognize the face of that which is about to greet them; but, having -found a version of it "turned to numbers," I present it--a little "rubbed -up" for the occasion--to the indulgent attention of those who have only -met with it in prosaic statement: - - A blind man, fed by fiddling, - Was known through many a street; - His "style," far short of "middling," - With some did pass for sweet. - He priz'd his fiddle greatly; - The _case_ had fainter praise-- - The _case_ by "wife" made lately, - With half a yard of baize. - One day, when, led by Rover, - He had a bridge to pass, - His fiddle tumbled over, - Stick, case, and all, alas! - He straight set up a roaring, - And added such grimace, - That folks around came pouring, - And pitied his sad case. - "Sad _case_! Psha! twiddle diddle!" - Cried he, with scornful face; - "Could I but get my _fiddle_ - D'ye think I'd mind _the case_?" - -Having thus made ourselves familiar with the street fiddler, and -thereby, as it were, "sounded the very base-string of humility," may we -not be fairly supposed to have reached the _fag-end_ of our subject? -Whilst on this lower level, however--or, in what may be termed the Vale -of Cacophony--I cannot conclude, without offering to the patience of my -kind readers two more scraps of verse, wherein I have sought to exhibit -a pair of specimens that belong, equally with the poor street fiddler, -to the class of--those that _might_ be dispensed with: - - -EPIGRAM - -ON AN UNFORTUNATE MAN, AND BAD FIDDLER. - - Though DIBBLE is feeble in all that he's _at_, - Few fools ever _fondled a failure_ before, so. - In love, as in music, he stands for a _flat_-- - (For his Fanny is false, and his fiddle is _more_ so), - While _he_ still ignoreth--what none can dispute-- - That his suit's out of tune, and his tune doesn't suit! - -ANOTHER, ON ANOTHER BAD FIDDLER. - - When SCREECHLEY on that _noise-box_ harshly grates, - What, what's the supposition that must follow? - _This_--that by some odd shifting of the Fates, - 'Tis _Marsyas_' turn to flay alive _Apollo_! - -[Illustration: FINIS] - - - - -ADDENDUM. - -FEMALE VIOLINISTS. - - "Place aux dames!" - - - [This section of the Work, which should have formed Chapter VIII, - having been accidentally omitted in the printing, there remained - no other course than, either to insert it here (as is actually - done), or, by a dismissal utterly at variance with the laws of - gallantry and of justice, to exclude it altogether, and so to - debar the fairer portion of the community from all participation - in the honours connected with the "King of Instruments"--an idea - not to be for a moment entertained. If, in this volume, as in a - campaigning army, the ladies find themselves placed altogether in - _the rear_--let them attribute the position, in _this_ case as in - _that_, to anything but disrespect.] - - -Instead of a _bow-arm_, must ladies be allowed only the _arm_ of a -_beau_? Why should not a lady play on the Violin? The common objection -is, that it is ungraceful. The ladies in Boccaccio's Decameron, -however--and who shall charge _them_ with want of grace?--played on the -_viol_, a bowed instrument requiring from the performer a similar -position and handling to those exacted by the violin. If this latter -instrument, considered in relation to a lady, _should_ be admitted to be -somewhat deficient in grace,--has not the lady, out of the overflowing -abundance of this quality, which is her sex's characteristic, some of it -to spare for communication to the instrument? Can she not impart some -of it to whatsoever object she chooses to associate with herself? -Surely, she who can transform the rudest of beings from a bear to a man, -and from a man to a gentleman, can lend a few spare charms to so -grateful a receiver as the fiddle, which is found to repay in so -eloquent a manner the attentions bestowed on it. But if the doubters -continue to shake their heads at this, I would ask them whether, after -all, we are to expect grace in _every_ act and habit of a lady's life, -and call on her to reject every thing that may be thought inconsistent -with it? Our modern respected fair one may, like Eve, have "heaven in -her eye;" but really, looking at some of the offices which we are -content to thrust upon her, it seems rather too much to insist that she -shall also, like our original mother, have "grace in _all_ her -movements." Is there grace in making a pie, or cutting bread and butter, -or darning a stocking? If we have grace in the _effect_, shall we be -rigid to require it in the _means_ also? Now, the grace which belongs to -violin-playing is _audible_ rather than _visible_, residing in the -effect more than in the means: nor ought we to be such cormorants of -pleasure, as to demand that the person who is filling our _ears_ with -rapture, shall, at the same time, be enchanting to the utmost our -_eyes_. If, then, a lady, full of soul and intelligence, is capable of -expressing these through the fine medium which this instrument offers, -should she be debarred from it, and restricted perhaps to the harp, -because, forsooth, the grace that is merely external is found most in -association with the latter? Let us only be reasonable enough to be -satisfied, on principle, with the delicious effect that visits us -through the ears, and we shall then give no hyper-critical heed to the -rapid action of a lady's arm in a _presto_ movement, or to the -depression of her head in holding the instrument; nor shall we continue -to demand, with a pertinacity more nice than wise, that a feminine -fiddler be - - "Graceful as Dian when she draws _her_ bow." - -That exquisite sensibility which is one distinguishing charm of the -female character, has its fittest musical exponent in the powers of -the violin, which, therefore, in this particular sense, might even be -styled the women's own instrument: but, without going so far as this, -there seems no sufficient reason why it should not, occasionally, -be honored by figuring in the hands of the fair. Should these -defensive remarks, however, be found unsatisfactory by your -anti-women's-playing-the-violin-at-all sort of people, I have nothing -farther to say to them, but leave them to quote, undisturbed, their "quæ -sunt virorum, mascula dicas," &c. For my own part, I think so highly -both of the ladies and the violin, that I rejoice at every opportunity -of their being introduced to each other, and am delighted to know that, -from time to time, certain clever and spirited women _have_ been found -ready to overcome the prejudices that have so long kept them asunder. -Let us by all means enquire who these are. - -A very high name meets us at the outset of our investigation--no less a -one than that of QUEEN ELIZABETH. This exalted personage, who is -recorded to have been musical "so far forth as might become a princess," -appears to have amused herself not only with the lute, the virginals, -and her own voice, but with the violin. An instrument of this -denomination, of the old and imperfect fashion, but splendidly "got up," -has been traced to her possession. If any particulars of Her Majesty's -style of performance could now be obtained, it would doubtless be found -that she displayed, in no common degree, what is called "a powerful -bow-arm," but that she neglected the "sweet little touches" that give -delicacy to execution. - -To arrive at instances nearer to our own time, let us go at once from -the Queen of England to Madame MARA, the Queen of Song. Her first -musical studies were directed to the violin. When yet an infant, the -little Gertrude Elizabeth Smaling (such was her name) discovered so -strong an inclination for the violin, that her father was induced to -give her a few lessons on that instrument. Her progress was so rapid, -that, as early as her tenth year, she excited the public surprise. It is -certain that the development of her vocal powers was not a little aided -by this cultivation of an instrument that may be called the friendly -rival of the human voice. She herself was known to declare, that, if she -had a daughter, she should learn the fiddle before she sang a note; for -(as she remarked) how can you convey a just notion of minute variations -in the pitch of a note? By a fixed instrument? No! By the voice? No! -but, by sliding the fingers upon a string, you instantly make the -slightest variations visibly, as well as audibly, perceptible. It was by -her early practice of the violin, that this celebrated woman had -acquired her wonderful facility of dashing at all musical intervals, -however unusual and difficult. She married a violoncellist, of no great -capacity, except for drinking. - -MADDALENA LOMBARDINI SIRMEN, who united to high accomplishment as a -singer such an eminence in violin-playing, as enabled her, in some -degree, to rival Nardini, had an almost European reputation towards the -end of the last century. She received her first musical instructions at -the Conservatory of the _Mendicanti_ at Venice, and then took lessons -on the violin from Tartini. About the year 1780, she visited France and -England. This feminine artist composed a considerable quantity of violin -music, a great part of which was published at Amsterdam. A curious -document is extant as a relic of the correspondence between this lady -and Tartini. It consists of a perceptive letter from the great master, -the original of which, along with a translation by Dr. Burney, was -published in London in 1771. From this pamphlet, which is now among the -rarities of musical literature, I shall here give the Doctor's English -version of the letter: - - "My very much esteemed - - "SIGNORA MADDALENA, - - - "Finding myself at length disengaged from the weighty business - which has so long prevented me from performing my promise to you, - I shall begin the instructions you wish from me, by letter; and - if I should not explain myself with sufficient clearness, I - entreat you to tell me your doubts and difficulties, in writing, - which I shall not fail to remove in a future letter. - - "Your principal practice and study should, at present, be - confined to the use and power of the _bow_, in order to make - yourself entirely mistress in the execution and expression of - whatever can be played or sung, within the compass and ability of - your instrument. Your first study, therefore, should be the true - manner of holding, balancing, and pressing the bow lightly, but - steadily, upon the strings, in such manner as that it shall seem - to _breathe_ the first tone it gives, which must proceed from the - friction of the string, and not from percussion, as by a blow - given with a hammer upon it. This depends on laying the bow - lightly upon the strings, at the first contact, and on gently - pressing it afterwards; which, if done gradually, can scarce have - too much force given to it--because, if the tone is _begun_ with - delicacy, there is little danger of rendering it afterwards - either coarse or harsh. - - "Of this first contact, and delicate manner of beginning a tone, - you should make yourself a perfect mistress, in every situation - and part of the bow, as well in the middle as at the extremities; - and in moving it up, as well as in drawing it down. To unite all - these laborious particulars into one lesson, my advice is, that - you first exercise yourself in a swell upon an open string--for - example, upon the second, or _la_: that you begin _pianissimo_, - and increase the tone by slow degrees to its _fortissimo_; and - this study should be equally made, with the motion of the bow up, - and down; in which exercise you should spend at least _an hour_ - every day, though at different times, a little in the morning, - and a little in the evening; having constantly in mind that this - practice is, of all others, the most difficult, and the most - essential to playing well on the Violin. When you are a perfect - mistress of this part of a good performer, a swell will be very - easy to you--beginning with the most minute softness, increasing - the tone to its loudest degree, and diminishing it to the same - point of softness with which you began; and all this in the same - stroke of the bow. Every degree of pressure upon the string, - which the expression of a note or passage shall require, will, by - this means, be easy and certain; and you will be able to execute - with your bow whatever you please. After this, in order to - acquire that light pulsation and play of the wrist from whence - velocity in bowing arises, it will be best for you to practise, - every day, one of the _allegros_, of which there are three, in - Corelli's solos, which entirely move in semiquavers. The first is - in D, in playing which you should accelerate the motion a little - each time, till you arrive at the greatest degree of swiftness - possible. But two precautions are necessary in this exercise. The - first is, that you play the notes _staccato_, that is, separate - and detached, with a little space between every two, as if there - was a rest after each note. The second precaution is, that you - first play with the point of the bow; and, when that becomes easy - to you, that you use that part of it which is between the point - and the middle; and, when you are likewise mistress of this part - of the bow, that you practise in the same manner with the middle - of the bow. And, above all, you must remember, in these studies, - to begin the _allegros_ or flights sometimes with an up-bow, and - sometimes with a _down-bow_, carefully avoiding the habit of - constantly practising one way. - - "In order to acquire a greater facility of executing swift - passages in a light and neat manner, it will be of great use if - you accustom yourself to skip over a string between two quick - notes in divisions. Of such divisions you may play extempore as - many as you please, and in every key, which will be both useful - and necessary. - - "With regard to the finger-board, or carriage of the left hand, I - have one thing strongly to recommend to you, which will suffice - for all, and that is the taking a violin part--either the _first_ - or _second_ of a concerto, sonata, or song (any thing will serve - the purpose)--and playing it upon the _half-shift_; that is, with - the first finger upon G on the first string, and constantly - keeping upon this shift, playing the whole piece without moving - the hand from this situation, unless A on the fourth string be - wanted, or D upon the first but, in that case, you should - afterwards return again to the half-shift, without ever moving - the hand down to the natural position. This practice should be - continued till you can execute with facility upon the half-shift - any violin part, not intended as a solo, at sight. After this, - advance the hand on the finger-board to the whole-shift, with the - first finger upon A on the first string, and accustom yourself to - this position, till you can execute every thing upon the whole - shift with as much ease as when the hand is in its natural - situation; and when certain of this, advance to the - _double-shift_, with the first finger upon B on the first string. - When sure of that likewise, pass to the fourth position of the - hand, making C with the first finger, upon the first string: and, - indeed, this is a scale in which, when you are firm, you may be - said to be mistress of the finger-board. This study is so - necessary, that I most earnestly recommend it to your attention. - - "I now pass to the third essential part of a good performer on - the Violin, which is the making a good _shake_; and I would have - you practise it slowly, moderately fast, and quickly; that is, - with the two notes succeeding each other in these three degrees - of _adagio_, _andante_, and _presto_; and, in practice, you have - great occasion for these different kinds of shakes; for the same - shake will not serve with equal propriety for a slow movement as - for a quick one. To acquire both at once with the same trouble, - begin with an open string--either the first or second, it will be - equally useful: sustain the note in a swell, and begin the shake - very slowly, increasing in quickness by insensible degrees, till - it becomes rapid. You must not rigorously move immediately from - semiquavers to demisemiquavers, or from these to the next in - degree; that would be doubling the velocity of the shake all at - once, which would be a _skip_, not a _gradation_; but you can - imagine, between a semiquaver and a demisemiquaver, intermediate - degrees of rapidity, quicker than the one, and slower than the - other of these characters. You are, therefore, to increase in - velocity, by the same degrees, in practising the shake, as in - loudness, when you make a swell. - - "You must attentively and assiduously persevere in the practice - of this embellishment, and begin at first with an open string, - upon which, if you are once able to make a good shake with the - first finger, you will, with the greater facility, acquire one - with the second, the third, and the fourth or little finger, with - which you must practise in a particular manner, as more feeble - than the rest of its brethren. - - "I shall at present propose no other studies to your application: - what I have already said is more than sufficient, if your zeal is - equal to my wishes for your improvement. I hope you will - sincerely inform me whether I have explained clearly thus far; - that you will accept of my respects, which I likewise beg of you - to present to the Princess, to Signora Teresa, and to Signora - Clara, for all whom I have a sincere regard; and believe me to - be, with great affection, - - "Your obedient and most humble servant, - - "GIUSEPPE TARTINI." - -REGINA SCHLICK, wife of a noted German Violoncellist and Composer, was -celebrated under her maiden name of Sacchi, as well as afterwards, for -her performance on the violin. She was born at Mantua in 1764, and -received her musical education at the _Conservatorio della Pietà_, at -Venice. She afterwards passed some years at Paris. This lady was a -particular friend of Mozart's, and, being in Vienna, about the year -1786, solicited the great composer to write something for their joint -performance at her concert. With his usual kindness, Mozart promised to -comply with her request, and, accordingly, composed and arranged in his -mind the beautiful Sonata for the piano and violin, in B flat minor, -with its solemn adagio introduction. But it was necessary to go from -_mind_ to _matter_--that is, to put the combined ideas into visible form, -in the usual way. The destined day approached, and not a note was -committed to paper! The anxiety of Madame Schlick became excessive, and, -at length, the earnestness of her entreaties was such, that Mozart could -no longer procrastinate. But his favorite and seductive game of -billiards came in the way; and it was only the very evening before the -concert, that he sent her the manuscript, in order that she might study -it by the following afternoon. Happy to obtain the treasure, though so -late, she scarcely quitted it for a moment's repose. The concert -commenced: the Court was present, and the rooms were crowded with the -rank and fashion of Vienna. The sonata began; the composition was -beautiful, and the execution of the two artists perfect in every -respect. The audience was all rapture--the applause enthusiastic: but -there was one distinguished personage in the room, whose enjoyment -exceeded that of all the other auditors--the Emperor Joseph II, who, in -his box, just over the heads of the performers, using his opera-glass to -look at Mozart, perceived that there was nothing upon his music-desk but -a sheet of white paper! At the conclusion of the concert, the Emperor -beckoned Mozart to his box, and said to him, in a half-whisper, "So, -Mozart, you have once again trusted to chance!"--"Yes, your Majesty," -replied the composer, with a smile that was half triumph and half -confusion. Had Mozart--not _studied_--but merely _played over_, this -music _once_ with the lady, it would not have been so wonderful: but he -had never even heard the Sonata _with_ the violin[68]. - -LOUISE GAUTHEROT, a Frenchwoman, was also distinguished on this -instrument. In 1789 and 1790, she performed concertos at the London -Oratorios, making great impression by the fine ability she manifested. -In referring to this lady's professional achievements, one of those who -refuse to consider violin-playing as "an excellent thing in woman," has -indulged in the following remarks: "It is said, by fabulous writers, -that Minerva, happening to look into a stream whilst playing her -favorite instrument, the flute, and perceiving the distortion of -countenance it occasioned, was so much disgusted, that she cast it away, -and dashed it to pieces! Although I would not recommend, to any lady -playing on a valuable Cremona fiddle, to follow the example of the -goddess, yet it strikes me that, if she is desirous of enrapturing her -audience, she should display her talent in a situation where there is -only just light enough to make darkness visible."--Shall we reply, -ladies, to a detractor who is forced to seek support for his opinions in -"fabulous writers," and, even then, drags forward that which is no -parallel case? Nay, nay, let him pass! Let him retire into the darkness -which he so unwarrantably recommends to others! - -LUIGIA GERBINI, who ranks among the pupils of Viotti, attained -considerable credit as a performer. In 1799, her execution of some -violin concertos, between the acts, at the Italian Theatre in Lisbon, -was attended with marked success; as were afterwards her vocal exertions -at the same Theatre. This lady visited Madrid in 1801; and, some years -later, gave evidence of her instrumental talent at some public concerts -in London. - -SIGNORA PARAVICINI, another pupil of Viotti's, earned a widely spread -fame as a violinist. At Milan, where various fêtes were given in -celebration of the battle of Lodi, the wife of Bonaparte was very -favorably impressed, during one of these, by the talents of Madame -Paravicini. Josephine, a woman of generosity as well as taste, became -the patroness of this lady, engaged her to instruct her son, Eugène -Beauharnois, and afterwards took her to Paris. However, for some reason -not publicly known, Madame Paravicini was, after a time, neglected by -Josephine; in consequence of which, and of other misfortunes, she became -so distressed in her circumstances, as to be compelled to live on the -money produced by the sale of her wearing-apparel. Driven at last to the -utmost exigence, she had no remaining resource, except that of applying -to the benevolence of the Italians then in Paris, who enabled her to -redeem her clothes, and return to Milan. There, her abilities again -procured her competence and credit. Her performance was much admired -also at Vienna, where, in 1827, she - - "Flourished her _bow_, and showed how _fame_ was won." - -According to the report which travelled in her favour from thence, she -evinced a full and pure tone--a touch possessing the solidity and -decision of the excellent school in which were formed a Kreutzer and a -Lafont--and a mode of bowing so graceful, as to triumph over all -preconceived ideas of the awkwardness of the instrument in a female -hand. Madame Paravicini, in the course of her professional migrations, -was performing at Bologna in the year 1832. - -CATARINA CALCAGNO, born at Genoa in 1797, received, as a child, some -instructions from the potential Paganini; and, at the age of fifteen, -astonished Italy by the fearless freedom of her play--but seems to have -left no traces of her career, beyond the year 1816. - -Madame KRAHMEN, in 1824, executed a violin concerto of Viotti's, with -great spirit and effect, at a concert in Vienna. At Prague, in the same -year, a young lady named SCHULZ gave public delight as a violin -performer. Mademoiselle ELEANORA NEUMANN, of Moscow, pupil of Professsor -Morandi, also astonished the public in like manner at Prague, and at -Vienna, when she had scarcely reached her tenth year! She is said to -have treated the instrument with great effect, and with a precision and -purity of tone not always to be found in those "children of _larger_ -growth" who are content to substitute feats of skill, in place of these -essential requisites. - -Madame FILIPOWICZ, of Polish derivation, has given us evidence, in -London, not many years since, of the success with which feminine sway -_may_ be exercised over the most difficult of instruments. - -The instances I have thus brought forward will probably be deemed -sufficient--_else_ were it easy to go backward again in date, and to -mention Horace Walpole's visit to St. Cyr, in one of the apartments of -which serious establishment, he beheld the young ladies dancing minuets -and country-dances, while a nun, albeit "not quite so able as St. -Cecilia," played on the violin!--Or, I might allude to the threefold -musical genius of Mrs. Sarah Ottey, who, in 1721-22, frequently -performed solos at concerts, on the harpsichord, violin, and base-viol! -Enough, however, has been produced, to shew "quid femina possit"--what -the fair sex _can_ achieve, upon the first and most fascinating of -instruments. - - -THE END. - - -FOOTNOTES: - -[1] M. Cartier, Musicien de la Chapelle du Roi, announced for -publication, several years ago, an "Essai Historique sur le Violon, et -sur les progrès de l'Art Musical, depuis le moyen age." This -announcement was accompanied by the following observations:--"An -Historical Essay upon the Violin may, at first sight, appear to many to -possess but little interest. They will not readily believe that it is -capable of exciting their liveliest curiosity, and of presenting an -object of real utility, inasmuch as an attempt will be made to lead the -mind from the mere mechanism of the art to a moral and scientific view -of the subject, and to a consideration how far the _beau idéal_ of music -is indebted to the violin. The author proves that this instrument was -unknown to _the ancients_, and derives its origin from the _Druids of -Gaul_, from whom it afterwards passed to the bards of Scotland--that, -from this obscure beginning, it made its way through the dark ages, with -slow but certain success, till the beginning of the 17th century, when -it attained the first rank among instruments."--(_Harmonicon_, 1827.) I -have not been able to discover whether this promised treatise has yet -seen the light. The idea of tracing the instrument to the _Druids of -Gaul_ seems more romantic than rational; but it would be something -gained for _la gloire de la France_, could such a theory be -substantiated. - -[2] In England, during the time here referred to, the instruments of the -viol class were so much in favour that every considerable family had, as -a necessary part of its establishment, a complete _chest of viols_, that -is to say, a treble, tenor and bass-viol, each played with a bow, and -bearing such proportion to one another as do the modern violin, tenor -and violoncello. - -[3] "Memoirs of the Musical Drama." - -[4] M. Baillot makes a somewhat longer draft upon the past tense; for he -states, that for nearly _three hundred years_ back there has been no -change in the structure of the violin.--Introduction to the "Méthode de -Violon du Conservatoire." - -[5] They who enjoy the advantage of access to curious books may see a -figure of a Provençal Fiddler in "Diez, Poesie der Troubadour." Viol was -the old Norman French name for the fiddle used by the minstrels of the -middle ages, which was furnished variously with 3, 4, 5, or 6 strings. -Viula was the Provençal term--and arson, or arçon, for the _bow_. - -[6] "It is a kinde of disparagement to be a cunning fiddler."--_Feltham._ - -[7] The lute, of which hardly the shape, and still less the sound, are -now known, was, during the 16th and 17th centuries, the favourite -chamber instrument of every nation in Europe. - -[8] According to Strutt, the name of _fiddlers_ was applied to the -_minstrels_ as early, at least, as the 14th century. "It occurs (says -that writer) in the Vision of Pierce the Ploughman, where we read, 'not -to fare as a fydeler, or a frier, to seke feastes.' It is also used, but -not sarcastically, in the poem of Launfel:-- - - They had menstrelles of moche honours, - Fydelers, sytolyrs, and trompoters. - -"I remember also (says Strutt) a story recorded in a manuscript, written -about the reign of Edward III, of a young man of family, who came to a -feast, where many of the nobility were present, in a vesture called a -coat bardy, cut short in the German fashion, and resembling the dress of -a minstrel. The oddity of his habit attracted the notice of the company, -and especially of an elderly knight, to whom he was well known, who thus -addressed him: "Where, my friend, is your fiddle, your ribible, or -suchlike instrument belonging to a minstrel?" "Sir," replied the young -man, "I have no crafte nor science in using such instruments." "Then," -returned the knight, "you are much to blame; for, if you choose to -debase yourself and your family by appearing in the garb of a minstrel, -it is fitting you should be able to perform his duty." - -[9] The miserable state of itinerant fiddlers, and other musicians, is -described by Putenham, in his _Arte of English Poesie_, printed in 1589; -and Bishop Hall, the satirist, adverting to their low condition, -describes them as - - Selling a laughter for a cold meale's meat. - -[10] The learned Wilhelm Grimm, who quotes this curious record from -_Storck, Darstellungen aus dem Rhein-und Mosellande_, conceives that -this armorial bearing fully explains the allusion to the fiddle of -Volker, the accomplished musician and warrior in the old poem of the -"Nibelungen Lied" (supposed of the 12th century), and forms a key to the -enigma of his being exhibited in the joint capacity of champion and -fiddler, and bearing his fiddle, that is, his _arms_, into the battle -with him. - -[11] The readiness of an apothecary to _take up a viol_ does not seem, -after all, a thing so much out of course. The singularity is, rather, -that he should be able to _make so little of it_. - -[12] The viol, less powerful and penetrating than its supplanter, the -violin, was not without its recommendatory qualities. Hawkins speaks of -"the sweet and delicate tone which distinguishes the viol species." Old -Thomas Mace, who wrote when the viol was declining in fashion, was -emphatic in its praise. "Your best provision," says he, "and most -compleat, will be a good _chest of_ viols; six in number, viz. 2 basses, -2 tenors, and 2 trebles; all truly and proportionally suited." - -[13] According to this loose diction of honest Anthony's, it would -appear as if Troylus and Achilles had exhibited a rivalry on the violin, -like Lafont and Paganini! - -[14] That the Italians (says M. Choron) have perfected every sort of -vocal composition, is generally agreed; but a fact which is apt to be -overlooked, is that they have been the instructors of all Europe in -instrumental composition, and that to them we are indebted for the first -and most esteemed models in that department of the art. It is the -Italians who invented all the various kinds of instrumental music which -we have called single pieces or solos, from the sonata to the concerto. -In violin music, Corelli, Tartini, and their pupils, preceded the -composers of all the other nations of Europe, to whom they have served -as models. The same may be said with regard to the harpsichord, from -Frescobaldi to Clementi. All other single pieces have been constructed -on the model of the compositions for the two instruments just named. - -[15] At the time of Corelli's greatest reputation, Geminiani asked -Scarlatti what he thought of him. The man of hard learning replied that -"he found nothing greatly to admire in his composition, but was -extremely struck with the manner in which he played his concertos, and -his nice management of his band, the uncommon accuracy of whose -performance gave the concertos an amazing effect, even to the _eye_, as -well as to the ear; for (as Geminiani explained) Corelli regarded it as -essential to a band that their bows should all move exactly together, -_all up_, or _all down_; so that, at his rehearsal, which constantly -preceded every public performance of his Concertos, he would immediately -stop the band, if he saw an irregular bow. - -We may smile a little at Scarlatti's criticism; but the smile may extend -at the same time to the quaint precision of the Corellian custom it -notices:--a custom which suggests the idea of military mechanism, as well -as military time; or rather, which reminds us, in a still more lively -manner, of the old nursery pæan. - - Here we go up, up, up, - And here we go down, down, downy! - -Scarlatti (it may be here observed) was the first who introduced into -his airs, accompaniments for the violin, as well as bits of -symphony;--thus both enriching the melody, and giving relief to the -singer. - -[16] The only English editions of the above-named works are those -published by Messrs. Robert Cocks and Co.; one of which editions is -printed from the original plates of copper, which formed part of the -stock of Walsh, who printed for Handel. - -[17] Burney has made the mistake of stating that the work dedicated to -the Cardinal was the _Opera Quinta_; and, although this was obviously a -mere slip of the pen, carrying with it its own contradiction, it is -curious to observe with what easy acquiescence the successive English -Compilers have reprinted the error. - -[18] The overture is inserted in the printed collections of Handel's -Overtures; and it is conjectured that it was the _first_ movement which -appeared so difficult to Corelli. - -[19] This must have happened about the year 1708; as it appears that -Scarlatti was settled at Rome from 1709 to the time of his decease. -Corelli's Concertos therefore must have been composed many years before -they were published. - -[20] The coincidences suggested by this juxta-position are so inviting -for an epigrammatic twist, that the indulgent reader will perhaps, -pardon the following attempt: - - Each heading, in his art, the school of Rome, - Painter and Fiddler here have found their tomb. - Though dead in body, both in fame are quick-- - Fame wrought with _hair_ appended to a _stick_! - So Genius triumphs, and her sway extends, - By means minute attaining greatest ends. - -[21] Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns -the date above given, is the more likely to be correct, as he was -personally acquainted with Geminiani. - -[22] According to Dr. Burney's reckoning, his term of years would have -been 96: the reason for supposing that authority erroneous has been -already stated. - -[23] It is a somewhat curious circumstance that the descendant of -Carbonelli, with an _i_ less than his progenitor, is at this day -exercising that very liquid calling which finally prevailed with the man -of music. Whether, besides selling superlative wine, he makes any -pretension to support the ancestral honors on the violin, is a point I -am unable to determine. - -[24] There is another account of this love episode in Tartini's life, -which does not conduct it so far as matrimony, but represents that, when -all the arguments of his friends against the match were found to be -without effect, his father was compelled to confine him to his room; and -that, in order to engage his attention, he furnished him with books and -musical instruments, by means of which he _soon overcame his passion_! -This statement, so opposed to the general experience of such matters, -will easily be discredited by all youthful hearts. Cure a young -gentleman's passion, his first love, by locking him up in a study! -Preposterous. Let us cling to the more current account, and confide in -probability and Dr. Burney. - -[25] Of several treatises which Tartini has written, the one most -celebrated, his "Trattato di Musica, secondo in vera scienza dell' -Armonia," is that in which he unfolds the nature of this discovery, and -deduces many observations tending to explain the musical scale, and, in -the opinion of some persons, to correct several of the intervals of -which it is composed. - -[26] For Tartini's judicious letter of elementary hints, addressed to -Madame Sirmen, see the chapter on _Female Violinists_. - -[27] Query, _Solo_?--PRINTER'S IMP. - -[28] See the reference to the old sacerdotal habit of fiddling, at page -55. - -[29] In his "Sonate Accademiche," _opera seconda_, published in London, -1744, we meet (observes Mr. G. F. Graham), on the page immediately -preceding the music, with the first example we have noticed in _Sonate_ -of that time, of an explanation of marks of bowing and expression that -occur in the course of the work. His marks for _crescendo-diminuendo_, -and for _diminuendo_, and for _crescendo_, are of the same form as the -modern ones--only _black_ throughout.--His mark for an up-bow consists -of a vertical line drawn from the interior of a semi-circle placed -beneath it. His mark for a down-bow is the same figure reversed in -position;--M^r. for _mordente_, &c. These are things worth noticing in -old music. In pages 67-9, of the same work, Veracini gives the Scottish -air of Tweedside, with variations; the first instance we know, of -Scottish music being so honored by an old Italian violinist. - -[30] "I cannot understand how _Arts_ and _Sciences_ should be subject -unto any such fantastical, giddy, or inconsiderate toyish conceits, as -ever to be said to be _in fashion_, or _out of fashion_."--_Mace's -Music's Monument._ - -[31] It was remarked, while he was in England, that his execution was -astonishing, but that he dealt occasionally in such tricks as tended to -excite the risible faculty, rather than the admiration, of his auditors. - -[32] Voltaire's contempt for _bad_ playing seems to have equalled his -indifference towards _good_, as may be evidenced in the following lines -from his caustic pen:-- - - toi, dont le violon - Sous un archêt maudit par Apollon - D'un ton si dur a _ráclé_, &c. - -[33] Michael Kelly, who heard this artist at Vienna, on his return from -Russia, makes the following mention of him:-- - -"Giornovick, who was on his way from Russia to Paris, had been many -years first concerto-player at the court of Petersburgh. He was a man of -a certain age, but in the full vigour of talent: his tone was very -powerful, his execution most rapid, and his taste, above all, alluring. -No performer, in my remembrance, played such pleasing music. He -generally closed his concertos with a rondo, the subject of which was -some popular Russian air, to which he composed variations, with -enchanting taste." - -[34] Apropos of this deficiency of English, I find an anecdote in the -book of Parke, the oboist. He is describing the return from a -dinner-party.--"When we arrived at Tottenham-court Road, there being -several coaches on the stand, one was called for Jarnovicki, to convey -him home; but, on its coming up, although he had been in London several -years, he could not muster up English enough to name the street in which -he lived; and, none of the party knowing his residence, it produced a -dilemma, in which he participated, till, suddenly recollecting himself, -he broke out singing, _Marlbrouk s'en va-t-en guerre_, which enabled his -English friends to direct the coachman to Marlborough Street." - -[35] Parke, also, mentions the occurrence of this dispute, and the -challenge--stating, as the occasion, that Shaw had refused to leave his -proper station in the orchestra, to accompany Giornovichi. - -[36] Authentic editions of these charming productions will be found in -the Catalogue of the Messrs. Robert Cocks and Co. who are the sole -publishers of Viotti's Duos and Trios. - -[37] It has been asserted that the _wire_ of his fourth string was -particularly fine and close, to ensure greater smoothness of surface, -and facilitate the sliding of the fingers. - -[38] It is right to add here, that M. Guhr has subsequently reduced to a -system the results of his investigation into the peculiarities of -Paganini's playing, and, illustrating the whole with copious examples, -has published it in a special work, of which an English version, under -the title of "Paganini's Method of Playing the Violin," has been put -forth by Messrs. Cocks and Co. The work is a curiosity in its kind, and -lays open, perhaps, as many of the great Artist's labyrinthine recesses, -as could well be traced upon paper, for the guidance of those who would -toil in his track. Many of the difficulties thus exhibited to view, are -truly astounding--difficulties that look as inexpugnable as the -fortifications of Gibraltar! The _simultaneous four A's flat_, do -"puzzle the will," while the _artificial double harmonics_, and other -eagle-flights, cause an aching of "the mind's eye," in the attempt to -follow them. Ordinary students, in beholding such things, may well -experience a double shake of apprehension; but those of more energetic -fibre, and devoted patience, should by no means despair of attaining, at -least, a partial success in the undertaking. - -Among the mechanical resources employed by Paganini, as essential for -the production of his extraordinary effects, M. Guhr mentions the -peculiar smallness or thinness of his strings--a quality the _reverse_ of -advantageous, as regards the _usual_ course of playing,--and his frequent -habit of screwing up his G string to B flat, through which device -certain passages, otherwise unmanageable, were brought within the scope -of possibility. Ordinary strings would resent this freedom of treatment -by a _snap_; but those of Paganini were, it seems, expressly fitted and -prepared for their _higher_ duty, in a way which M. Guhr minutely -explains. - -[39] When Paganini was afterwards in England, it was observed by a rigid -time-keeper, who happened to attend one of his Concerts (at Winchester), -that his own portion of the performance, for which the requital was the -sum of £200, occupied just twenty-eight minutes. - -[40] Duranowski, the Pole. - -[41] M. Fétis, in his _Notice Biographique_, enters into a defence of -Paganini in this matter--explains the advantages of the _contract_ -system, as liberating the artist from the petty cares that pertain to -concert-giving--and clears Paganini from the imputation of sordid -motives. - -[42] _Some_ enlightenment on this point may be derived from a scrutiny -of M. Guhr's Work, already referred to. - -[43] Dr. Bennati read, before the _Royal Academy of Sciences_, at Paris, -a physiological notice of this extraordinary man, in which he gave it as -_his_ opinion, that his prodigious talent was mainly to be attributed to -the peculiar conformation which enabled him to bring his elbows close -together, and place them one over the other, to the elevation of his -left shoulder, which was an inch higher than the right; to the -slackening of the ligaments of the wrist, and the mobility of his -phalanges, which he could move in a lateral direction at pleasure. Dr. -Bennati also alluded to the excessive development of the cerebellum, as -connected with the extraordinary acuteness of his organs of hearing, -which enabled him to hear conversations carried on in a low tone, at -considerable distance.--M. Geoffroy St. Hilaire remarked that he had been -particularly struck with the prominence of the artist's forehead, which -hung over his deeply-seated eyes like a pent-house. - -[44] "_De l'Opéra en France._" - -[45] Of harmony, or of fine melody, or of the higher relations between -poetry and music, the ostentatious Louis appears to have had no -conception. In a case of rivalry, wherein Battista, a scholar of -Corelli's, played against one of the French band who was an ordinary -performer, he (the royal Auditor) preferred an air in "Cadmus" (an opera -of Lully's, and not one of his best), as given by the Frenchman, to a -solo (probably of Corelli's) by the Italian,--saying, "Voila mon gout, à -moi; Voila mon gout!" - -[46] "Jamais homme n'à porté si haut l'art de jouer du violon: et cet -instrument était plus agréable entre ses mains qu'aucun autre de ceux -qui plaisent le plus."--_Moreri, Dict. Historique._ - -[47] The above anecdote suggests another, of a somewhat similar cast, -pertaining to the great Musical Commemoration at Westminster Abbey, in -1791. A person falling upon a double bass, as it lay on its side, -immediately disappeared--nothing being seen of him, except his legs -protruding out of the instrument; and for some time no one could assist -him, owing to the laughter occasioned by his predicament! - -[48] "Paris est le foyer musical de la France: les astres les plus -brillans roulent dans cette région préférée; mais hélas! leurs rayons ne -portent pas la lumière une grande distance. A peine sommes nous sortis -des portes de cette capitale, que nous tombons soudain dans une -obscurité profonde."--(_Castil-Blaze, de l'Opéra en France._) - -[49] "_Equisse de l'Histoire du Violon._" - -[50] The universal diffusion of musical tendencies among the Germans has -been often made the subject of remark. A late traveller, visiting the -Theatre at Cassel, says that the orchestra there was half filled with -_officers_, who fiddled in their regimental uniform, without considering -the practice as at all derogatory from their dignity. - -[51] Dr. Burney remarks that Geminiani used to claim the _invention_ of -the half-shift on the violin, and that he probably first brought it to -England; but that the Italians ascribed it to Vivaldi, and others to the -elder Matteis, who came hither in King William's time. - -[52] Of _Tassenberg_, a fine player, who came over to England with -William Cramer, little can be said. As he fell speedily into obscurity, -I place him here below in a note. With capacity for achieving a -position, but with no prudence for its retention, he endured much misery -through his own reckless follies. To some one who was once enquiring -where he _lived_, the reply was, "In and about the brick-kilns at -Tothill-Fields." - -[53] Apropos of the violoncello--let us here bestow a passing glance on -the name of _Merk_, distinguished more recently than that of Bernard -Romberg, in connection with the larger instrument. Merk seems to have -made a closer approach to our eminent Robert Lindley, in quality of -taste, than in firmness of hand, or brilliancy of tone. Mr. Novello, who -has rated him higher than any of our players, _except_ Lindley, adds a -remark with reference to the _double basses_ used in Germany--that they -have frequently, instead of _three_ strings, a complement of _four_, -thinner than those in use with us, and descending to E below the usual -scale--and that, when mixed with other instruments of the same class, the -depth and richness they produce are very fine. - -[54] Life of Anthony à Wood, Oxford, 1772, p. 88, &c. - -[55] In process of time, these compositions likewise were supplanted by -Martini's Concertos and Sonatas, which, in their turn, were abandoned -for the Symphonies of Van Malder, and the sonatas of the elder Stamitz. -Afterwards, the trios of Campioni, Zanetti, and Abel came into play, and -then the symphonies of Stamitz, Canabich, Holtzbauer, and other Germans, -with those of Abel, Bach, and Giardini; which, having done their duty, -"slept with their fathers," and gave way to those of Vanhall, Pleyel, -and Boccherini; and all have now gradually sunk into insignificance, -eclipsed by the superior brightness and grandeur of Haydn, Mozart, -Beethoven, Cherubini, and some others, whose symphonies are the delight -and wonder of the existing generation. So runs the changeful course of -musical success! - -[56] As a grandson of the individual here recorded, the writer of these -pages may perhaps find licence to mention that there is extant in his -family a fine portrait of Dubourg, by the Dutch painter Vander Smissen, -interesting for the qualities of intelligence and good-humour that are -blended in its expression. - -[57] Vide "Records of a Stage Veteran," in the New Monthly Magazine. - -[58] As to this asserted advantage of resorting to _chemical agency_, -the joke is somewhat of the oldest--so we may as well turn its coat, and -it will then wear the aspect of the following - -HINT TO PURCHASERS. - - To buy a fiddle when about, - Your way unto a Chemist's win, - Where, if but twelve-pence you lay out, - You're sure to get a _vial_ "_in_." - -[59] Should there be any to whom the foregoing estimate (which aims at -being a candid one) may seem to render imperfect justice to the claims -it deals with, I can only remind them that they have the same freedom as -myself to indulge their opinion, and to assert it. Nay, I will even -furnish them with four measured lines, by way of a text from which to -expand their own more propitious adjudication; provided only, that they -will accept them as conceived in any other spirit than that of -ill-nature, which is hereby wholly disavowed:-- - - Ask not how long shall flourish yet his fame, - Nor when shall cease the record of his glory! - Oblivion _dares not_ to efface his name, - Since e'en the _tomb_ cries out "_Memento Mori_!" - -[60] "Diffuse the tuneful lenitives of pain."--_Johnson._ - -[61] It must be borne in mind, that the three Quartett Concerts had been -given, with Mr. Dando as Leader, at the Horn Tavern; and the four -"Concerti da Camera," at the Hanover Square Rooms;--that both parties had -advertised their forthcoming series;--and that it was pretty extensively -rumoured that the Blagrove, Gattie, Dando, and Lucas party had combined -to try their fortune in the new field. - -[62] In the getting-up of Concertos for the annual _Concours_ in Paris, -the Violin students exercise a perseverance and length of labour truly -surprising; and, in the result, such is the perfect manner in which the -same Concerto is executed successively by sometimes a dozen candidates, -that it would puzzle the most skilful judges to discriminate the -individual to whom the prize should be awarded. In such cases, were it -not for the subsequent resource--the safe and certain test of -sight-playing, which brings into operation the intellect as well as the -hand--it would perhaps be impossible to give a single decision that -should not be open to dispute. Thus great is the power of execution -which practice confers--and thus rigorous, the _need_ of that practice! - -[63] If an Amateur, who is capable of murdering time, should yet have -the grace of a disposition to offer some _apology_ for the act, I would -suggest his quoting, for that purpose, the subjoined rhyming octave:-- - - "Cease, cease this fiddling," cried Sir John, - To Ned, his tune-perplexing son-- - "You _lose your time_, you idle lout." - "No, sir, my time I keep, throughout." - "Psha! _keep_ time! no, _kill_ time, you mean," - Mutter'd the father, full of spleen. - "_Kill_ him! well, sure, sir, I'm no zany, - For killing him who has killed _so many_." - -[64] The injurious and disqualifying effect of musical vanity, -complained of in France as well as here, is thus noticed by M. -Castil-Blaze:--"Although music is every where taught to our youth, and is -an art cultivated by a very considerable number of Amateurs, we find -very few amongst them who are really useful with regard to playing in -concert. And this proceeds, partly, from the fact of each individual -desiring to occupy the first place. I have known violin-players renounce -their instrument, because of finding themselves restricted to the -_second part_. As for your _tenor_, it is a department not to be -mentioned, and is left in the hands of those good elderly dullards who -have already forgotten the half of what they never very well knew." - -[65] As it is neither hoped nor intended that this chapter should -constitute a _gradus_, or complete code of instruction for the young -student, I do but hint at a _few_ of the streams of information that -Footnote: are open to him. A more extended view of these would result to -him from a reference to the printed catalogues of those very diligent -purveyors of _pabulum_ for auricular purposes, Messrs. Cocks and Co.; -but, should he look upon a copious Catalogue as little better than a -strange road without a guide, or a labyrinth without a _clue_--and should -he have no _live_ preceptor at hand, to consult--I would point his -attention to an available help from the same quarter, namely, -"_Hamilton's Catechism for the Violin_," small in compass as in cost, -wherein he will find, briefly indicated, the various steps by which, -with due regard to continuous advancement, he should make his way. - -[66] It is noticeable, as among the advantages due to this enterprise, -that the text of the great Master, whose name it borrows, has been -rescued (so far as relates to his Quartetts) from the numerous _errors_ -wherewith all the editions were chargeable; and that a new edition, -edited by Monsieur Rousselot (through whose labours that purification -was mainly accomplished) has been submitted to the public by Messrs. -Cocks & Co. - -[67] Among the meritorious doings of provincial Amateurs (albeit _not_ -in the way of Quartetts), I would here take occasion to mention the -Brighton "Choral Society," commenced in 1835, under the zealous -management of Mr. H. Woledge, whose funds, as well as his time and -talent, were liberally contributed to the undertaking. That social -combination, although not continued beyond its third season, has been -followed by the Brighton "Amateur Symphony Society," which, with Mr. B. -Thom for its Leader, and Mr. Woledge as its Secretary, is at this time -pursuing its career of recreative euphony. Such Societies as this last, -though they do not form quartett-players, can qualify their members to -supply, with creditable effect, some of the demands of an orchestra. - -[68] When twenty-four bits, instead of twelve, are used for the -_purfling_, and when the _tail-piece_ is made of _two_ bits, the total -number of pieces extends to _seventy-one_! - -[69] Anecdotes of Mozart, by Frederic Rochlitz. - - -PRINTED BY J. MALLETT, 59, WARDOUR STREET, LONDON. WORKS FOR -VIOLINISTS. - -OTTO ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN, ENLARGED EDITION, -8VO. BOARDS, BY JOHN BISHOP, - -(_With Illustrations_). - -PRICE THREE SHILLINGS. - - -A TREATISE - -ON THE - -STRUCTURE AND PRESERVATION - -OF THE - -VIOLIN, - -AND - -ALL OTHER BOW INSTRUMENTS; - -TOGETHER WITH - -An Account of the most celebrated Makers, and of the genuine -Characteristics of their Instruments; - -BY - -JACOBUS AUGUSTUS OTTO, - -_Instrument Maker to the Court of the Grand Duke of Wiemar_. - -Translated from the Original, with Additions and Illustrations, - -BY - -JOHN BISHOP, - -OF CHELTENHAM. - -ROBERT COCKS & CO. LONDON. - -OTTO ON THE CONSTRUCTION AND PRESERVATION OF THE VIOLIN, ENLARGED -EDITION, BY JOHN BISHOP. - - -_From the Author's Preface._ - -"I have been induced to draw up a minute description of the construction -of the Violin and all other bow instruments, together with a careful -explanation of the forms of the genuine Italian instruments, by which -they may be clearly distinguished from the spurious imitations. I shall -specify those makers who, next to the Cremonese, have produced the best -instruments and worked on the most correct mathematical principles, and -shall treat at large of the rules which should be observed in repairing; -because, through this, most of the good Italian violins, and those of -other celebrated makers, have been spoiled." - -"... many good Violinists are unacquainted with the construction and -the various component parts of their instruments...." _Chap. II, p. 4._ - - -_From the Morning Herald._ - -"The famous Treatise of Otto on the Violin has been ably translated by -Mr. John Bishop, whose book will be welcome to those who are curious in -the history of the instrument, in the biographies of its most renowned -makers, and in its mechanism philosophically considered." - - -"The appendix (only found in this edition) contains a valuable article -on the proportions, &c. of the several parts of the violin, illustrated -by elaborate diagrams; and also another upon the bow, which was a -desideratum in the original work--thus completing the necessary circle of -information which every violinist should possess respecting the -mechanism of his instrument--and which will prove an effectual safeguard -against the mischievous practices of so-called restorers and repairers." - - -"The study of this book will show any unfair dealing on the part of -dealers in old violins."--_Harmonicon._ - - -See also _Chap. IX, p. 342_, of "The Violin." - -A LIST - -OF - -BOOKS OF INSTRUCTION - -FOR THE - -VIOLIN, - -INCLUDING - -THE METHODS OF THE MOST CELEBRATED MASTERS. - - -STANDARD EDITION OF DR. SPOHR'S GREAT WORK, - -_With the Author's own Sanction._ - - LOUIS SPOHR'S CELEBRATED VIOLIN SCHOOL, translated by JOHN - BISHOP, with two portraits of the Author--large music folio, whole - cloth boards, £1 11s. 6d. - - -TESTIMONIAL FROM THE AUTHOR. - - "London, June, 1843. - -"I have carefully looked over the English edition of my Violin School, -published by Messrs. Cocks and Co. and have no hesitation in -recommending it as a faithful translation of the original work. - - "LOUIS SPOHR." - - -The following is the reply to the Inscription Letter of the Publishers, -received by them from the Secretary to the - -ROYAL ACADEMY OF MUSIC: - - "Royal Academy of Music, February 13th, 1843. - - "Sir,--I am directed by the Committee of Management of this - Institution, to state that they have much pleasure in granting - your wish to publish their names as patronizing your edition of - SPOHR'S VIOLIN SCHOOL. I am farther instructed to return you - their best thanks for your donation of a copy of the above Work, - and which they have felt much pleasure in directing to be placed - in the Library of the Academy. - - "I am, Sir, your obedient Servant, - - "To Robert Cocks, Esq." - - "J. GIMSON, Secretary." - - -_From the Morning Chronicle._ - -"This edition is fully equal in value to the original German; or, -indeed, superior to it, when we consider the useful notes added by the -Translator, and the correct and beautiful manner in which the Volume has -been brought out by the Publishers." - - -_From the Spectator._ - -"Any criticism on a work of such standing and repute as SPOHR'S VIOLIN -SCHOOL would now be superfluous, if not impertinent. Its reputation has -long been established throughout Europe; and the testimony of the best -judges has stamped it as the most perfect work of its kind." - - -INSTRUCTION BOOKS FOR THE VIOLIN. - - - CAMPAGNOLI'S New and Progressive Method for the Violin, - translated by John Bishop, and dedicated to His late - Royal Highness the Duke of Cambridge--large music - folio, whole cloth boards £1 4 0 - - PAGANINI'S Method of Playing the Violin, by Charles Guhr, - translated by James Clarke 12 0 - - RODE, BAILLOT, and KREUTZER'S Method of Learning the - Violin, as adopted by the Conservatoire de Musique, - in Paris, translated by J. A. Hamilton 10 6 - - Supplement to Rode, Baillot, and Kreutzer's Method 8 0 - - HAMILTON'S Catechism of the Violin, with an Appendix - by John Bishop, 6th Edition 1 0 - - PACINI'S Easy Method, with 50 Airs, 13th Edition, revised - by Hamilton 2 0 - - ABBÉ'S (fils) Treatise on Harmonics 1 6 - - GUHR'S Treatise on Single and Double Harmonics 4 0 - - PRAEGER'S Elementary and Practical School for the Violin, - in Three Parts. - - Part 1. Easy Method, with 28 Airs, &c. 5 0 - - Part 2. The Indispensable, containing Scales, &c. 5 0 - - Part 3. Studies selected from Beethoven, Haydn, &c. - &c. &c. fingered 5 0 - - T. GOODBAN'S Violin Method 10 6 - - HOWELL'S Instruction Book 10 6 - - HOWELL'S Elementary Examples 6 0 - - MULLER'S Twenty Lessons for the acquirement of Time, - for one or two Violins 4 0 - - - FOR THE VIOLA, OR TENOR VIOLIN. - - INSTRUCTION BOOKS, SCALES, &c. - - BRUNT'S Method for the Tenor, followed by 12 Studies 4 0 - - PRAEGER'S (H. A.) Scales and Chords in all the Keys, - with their proper fingering, at one view 1 0 - - PRAEGER'S (H. A.) 12 easy Preludes in different keys, - fingered for the use of those who wish to play - with feeling and expression 2 0 - - PRAEGER'S (H. A.) 18 Easy Studies, fingered 3 0 - - -THE VIOLA FOR SOLO PERFORMERS.--"Why is the VIOLA so little cultivated -among amateurs in comparison with the rest of the Violin Family? It -would seem, in my judgment, to be especially adapted for them, as it -does not embrace that wide range and execution that the violin does, but -depends on the sweetness and volume of tone. For the performance of -_Notturnos_, perhaps no instrument is more suitable, as any one, who has -heard Mr. Hill on it, will confess."--_Correspondent of Cocks's Musical -Miscellany, July, 1851._ - - -FOR THE VIOLONCELLO. - - BAILLOT, LEVASSEUR, CATEL, and BAUDIOT's Method for - the Violoncello, adopted by the Conservatoire, translated - by A. Merrick--fingered by T. Binfield 12 0 - - Supplement to ditto 6 0 - - HUS-DESFORGES' Instruction Book for the Violoncello 10 6 - - HAMILTON'S Catechism for the Violoncello 1 0 - - DUPORT'S celebrated Essay for the Violoncello, translated - by John Bishop (_in the press_). - - -FOR THE CONTRE-BASSO, OR DOUBLE BASS. - - MINE and FROLICH'S Method for the Double Bass (edited - by Hamilton) 8 0 - - -STANDARD CLASSICAL WORKS - -FOR VIOLIN, &c. - - -CORELLI'S TRIOS AND SOLOS. - - CORELLI'S Forty-eight Trios for Two Violins and Violoncello, - Four Books, each 8 0 - - Or, complete in Three Volumes £1 4 0 - - CORELLI'S 12 celebrated Solos, newly arranged by Czerny 10 6 - - CORELLI'S 12 Solos, printed from the plates (copper) - originally belonging to Walsh 10 6 - - DE BÉRIOT'S Six Airs, varied for the Violin, - with accompaniment for the Pianoforte: - - Nos. 1 to 5, each 4 0 - - 8th Air 5 0 - - - VIOTTI'S DUETTS AND TRIOS. - - VIOTTI'S complete Collection of Duetts, Op. 1. 12 Duetts, - 2 books, each 8 0 - - VIOTTI'S Six Duetts, Op. 5, 2 books, each 8 0 - - VIOTTI'S Six Duetts, Op. 6, 2 books, each 8 0 - - VIOTTI'S Three Duetts, Op. 18 8 0 - - VIOTTI'S Three Duetts, Op. 21 8 0 - - VIOTTI'S Three Duetts, Homage à l'Amitié 8 0 - - VIOTTI'S complete Collection of Trios, - - First Set, Six Trios, Op. 2 10 6 - - Second Set, Op. 16 8 0 - - Third Set, Op. 17 8 0 - - Fourth Set, Op. 20 8 0 - - VIOTTI'S Three Airs, with Variations (Violin & Piano), each 2 0 - - - BEETHOVEN'S Four Grand Trios, edited by Scipion Rousselot: - - Nos. 1, 2, 3 (Op. 4) 12 0 - - No. 4 (Op. 3) 8 0 - - (_The only complete Edition_). - - MOZART'S Original Trio for Violin, Tenor, and Bass 6 0 - - TRIOS by PLEYEL, HUMMEL, &c. for Violin, Tenor, and - Violoncello, or Pianoforte. - - -QUARTETTS. - -TWO VIOLINS, TENOR, AND VIOLONCELLO. - - BEETHOVEN'S 17 Quartetts for Two Violins, Tenor, and - Violoncello, edited by M. Scipion Rousselot, as performed - at the Beethoven Quartett Society in London, - with a Portrait and Memoir of the Composer. The - entire set, engraved in the best style, on extra large - plates, and printed on fine stout paper £6 6 0 - - _Separately._ - - Nos. 1, 2, 3, 4, 5, 6, composed for, and dedicated to, - Prince Lichnowsky (Op. 18), each 9 0 - - Nos. 7, 8, 9, dedicated to Prince Rasumowsky - (Op. 58), each 10 6 - - Nos. 10, 11, 12, and 14 (Ops. 74, 95, 97, and 133), each 10 6 - - Nos. 13, 15, 16, 17 (Ops. 130, 131, 132, and 135), each 12 0 - - HAYDN'S 83 Quartetts for Two Violins, Tenor, and Violoncello; - a new edition, revised and corrected, with - Portrait of the Author, and a Catalogue Thématique, - 4 vols. bound in cloth £6 6 0 - - The Quartetts may be had singly, at 2s. 6d. 3s. and 4s. each; - or in Operas, or Sets of Six, at from 12s. to 16s. each set. - - _N.B.--A Catalogue Thématique may be had, on application, - gratis and postage free._ - - MOZART'S Ten Quartetts, 4 vols. boards £2 2 0 - - First Set of Three 15 0 - - Second Set of Three 15 0 - - Third Set of Three, dedicated to the King of Prussia 15 0 - - Single Quartett 6 O - - The Ten Quartetts in Score, 8vo. 10 Nos. £1 10 0 - - - These unique and splendid Editions are - - THE ONLY UNIFORM EDITIONS EXTANT - - of the Quartetts of Haydn, Mozart, & Beethoven. - - QUINTETTS. - - TWO VIOLINS, TWO TENORS, AND VIOLONCELLO. - - BEETHOVEN'S Quintetts, complete edition, as performed by - the Beethoven Society; edited by Scipion Rousselot--engraved - in the same style as the Quartetts, on large sized plates, - and printed on extra paper: - - Grand Quintett--No. 1, in E flat (Op. 4) 10 6 - - No. 2, in C (Op. 29) 10 6 - - No. 3, in E flat (Op. 20) 10 6 - - No. 4, in B flat (Op. 20) 10 6 - - (The only complete English Edition,) - - BEETHOVEN'S Grand Quintett, in E flat, for Piano, Violin, - Tenor, Flute, and Violoncello 6 0 - - DUSSEK'S Quintett for Piano, Violin, Tenor, Violoncello, - and Double Bass (Op. 41) 7 0 - - HAYDN'S Twelve Grand Symphonies, arranged by Dr. Hague - for Flute, two Violins, Tenor, and Violoncello, 4 books, - each 15 0 - - Pianoforte parts, each 4 0 - - MOZART'S Six Quintetts for two Violins, two Tenors, - and Violoncellos--6 books, each 8 6 - - Or, the Six complete in 5 volumes, boards £2 2 0 - - The first Five Quintetts, in score £1 2 6 - - The only correct editions of these Quintetts extant.. - - A. ROMBERG'S Quintetts for Violin, Flute, two Tenors, - and Violoncello - - Six Quintetts, each 5 0 - - Three Quintetts, each 6 0 - ----------- - -SEPTETTS, &c. - -All the Symphonies and Overtures of Auber, Beethoven, Haydn, Mozart, - Romberg, Rossini, &c. - - (Catalogues gratis and postage free.) - ----------- - - SYMHONIES AND OVERTURES FOR A FULL ORCHESTRA. - - BEETHOVEN'S Grand Symphony. No. 1, in C (Op. 21) 12 0 - - HAYDN'S Grand Symphony, The Surprise 7 6 - - HAYDN'S Grand Military Symphony 7 6 - - MOZART'S Grand Symphonies, each 10 6 - - A. ROMBERG'S Grand Symphony in E flat (Op. 6) 10 6 - - *** Duplicate Violin, Tenor, and Bass Parts, each 1 0 - - OVERTURES FOR A FULL ORCHESTRA - - BEETHOVEN'S Overture to Prometheus (Op. 48) 7 0 - - CHERUBINI'S Overtures to Anacreon and Lodoiska, each 6 0 - - MOZART'S Overtures--viz. Le nozze di Figaro, Il Flauto Magico, - Il Don Giovanni, Idomeneo, La Clemanza di Tito, - Cosi fan Tutti, La Vilanella Rapita, each 7 0 - - B. ROMBERG'S Overture in D (Op. 11) 7 6 - - C. M. VON WEBER'S Overture to Der Freyschütz 10 6 - - Duplicate Violin, Tenor, and Bass parts, each 1 6 - - ---------- - - DANCE MUSIC - - All Lanner, Strauss, Labitzky, and Musard's Dances may be had - for a Full Orchestra. - - ---------- - - VIOLIN AND PIANOFORTE - - (with accompaniments.) - - Haydn's Twelve Grand Symphonies, arranged for the Pianoforte by - Czerny, with Accompaniments for Violin, &c. Mozart's Symphonies, - arranged by Clementi, with similar Accompaniments. Brilliant - Duetts for Pianoforte and Violin Concertante, by Mozart, Beethoven, - Rossini, Auber, Mayseder, Weber, Spohr, &c. with a large collection - of Music for Violin, &c. and Pianoforte. - - ---------- - - Just Published - - A Catalogue of Standard and New Music for the Violin, Tenor, and - Violoncello. 11th Edition. - - --> This catalogue is not equalled throughout Europe for the number, - variety, and value of the Works it contains. It will be furnished - on application, gratis and postage free. - - Applicants may also have, free by post, a List of Violins, Tenors, - Violoncellos, and other Instruments; including some undoubted - originals by the Italian Makers, with the Prices affixed. - - ALSO - - A Catalogue of the Original Works of Louis van Beethoven, with various - arrangements. - - CATALOGUES, &c. FREE BY POST. - - GENERAL CATALOGUES of Music for all Instruments, embracing a - stock printed from no less than a quarter of a million of plates, - may be had, on application, _gratis and postage free_. - - A MISCELLANEOUS CATALOGUE of Standard and other Musical Works, - ancient and modern, including Treatises on the Theory of Music, - Historical Treatises, &c. with rare and curious works, printed, - and in manuscript, including a copious selection from the Musical - Library of His late R. H. the Duke of Cambridge (_gratis and - postage free_). - - SELECT CATALOGUE of Sacred Music, Vocal, and for the Organ, with - tables of the contents of the several works (_gratis and postage - free_). - - -IN COURSE OF PUBLICATION. - - ORGAN WORKS, by W. T. Best; viz. The Organ Student, in Parts, at - 2s. 6d. each; Six Adagios for the Organ, 5s.; Pedal Exercises, - &c. 12s. - - Several Copies of Handel's Complete Works, £25 to £42. - - DR. BOYCE'S COLLECTION OF CATHEDRAL MUSIC, with Portrait, and - Memoirs of the Composers, by Joseph Warren, dedicated to H. R. H. - Prince Albert--3 vols. extra music folio, £6 6s. - - A LARGE COLLECTION OF PORTRAITS OF MUSICAL MEN, at various - prices. Also Busts in bisque China of Haydn, Mozart, Beethoven, - Handel, J. S. Bach, Mendelssohn, and Weber, each 2s. 6d. - - -_Just Published_, - -Vol. I. in Royal 8vo. Price £1 1s. of - -(COCKS'S EDITION OF) - -THE SCHOOL OF MUSICAL COMPOSITION, - -BY DR. ADOLPH MARX. - -This Edition, under the supervision of the Author himself (with -additions exclusively for the English translation), is published -simultaneously with the FOURTH GERMAN EDITION, _now in course of issue -at Liepzig_. - - -VIOLINS, BOWS, &c. - -Vuillaume's Copies of Straduarius, Guarnerius, the Amatis, Magini, &c. -price £14 each instrument. - -Brazil Wood Violin, Tenor, and Violoncello Bows, by Vuillaume, at the -uniform price of thirty shillings; Moveable Hair, by the same, -eighteen-pence each hank; and his Patent Rosin, one shilling the box. - - -ROBERT COCKS & Co. NEW BURLINGTON STREET, _Music Publishers, by Special -Warrant, to the Queen_. - - - -***END OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -******* This file should be named 40289-8.txt or 40289-8.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/0/2/8/40289 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40289-8.zip b/40289-8.zip Binary files differdeleted file mode 100644 index e58ffb7..0000000 --- a/40289-8.zip +++ /dev/null diff --git a/40289-h.zip b/40289-h.zip Binary files differdeleted file mode 100644 index ee60b3e..0000000 --- a/40289-h.zip +++ /dev/null diff --git a/40289-h/40289-h.htm b/40289-h/40289-h.htm index 0745045..9864bd8 100644 --- a/40289-h/40289-h.htm +++ b/40289-h/40289-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of The Violin, by George Dubourg</title> <style type="text/css"> @@ -139,26 +139,9 @@ </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 40289 ***</div> <h1 class="pg">The Project Gutenberg eBook, The Violin, by George Dubourg</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: The Violin</p> -<p> Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.</p> -<p>Author: George Dubourg</p> -<p>Release Date: July 21, 2012 [eBook #40289]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK THE VIOLIN***</p> <p> </p> -<h4 class="pg">E-text prepared by Linda Cantoni, Turgut Dincer, Bryan Ness,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by the<br /> - Google Books Library Project<br /> - (<a href="http://books.google.com">http://books.google.com</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -16885,360 +16868,6 @@ shilling the box.</td> <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK THE VIOLIN***</p> -<p>******* This file should be named 40289-h.txt or 40289-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/0/2/8/40289">http://www.gutenberg.org/4/0/2/8/40289</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. -</p> - -<h2>*** START: FULL LICENSE ***<br /> - -THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</h2> - -<p>To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at -<a href="http://www.gutenberg.org/license">www.gutenberg.org/license</a>.</p> - -<h3>Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works</h3> - -<p>1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8.</p> - -<p>1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below.</p> - -<p>1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others.</p> - -<p>1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States.</p> - -<p>1.E. Unless you have removed all references to Project Gutenberg:</p> - -<p>1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed:</p> - -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> - -<p>1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9.</p> - -<p>1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work.</p> - -<p>1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm.</p> - -<p>1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License.</p> - -<p>1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1.</p> - -<p>1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9.</p> - -<p>1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that</p> - -<ul> -<li>You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation."</li> - -<li>You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works.</li> - -<li>You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work.</li> - -<li>You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works.</li> -</ul> - -<p>1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below.</p> - -<p>1.F.</p> - -<p>1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment.</p> - -<p>1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE.</p> - -<p>1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem.</p> - -<p>1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.</p> - -<p>1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions.</p> - -<p>1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause.</p> - -<h3>Section 2. Information about the Mission of Project Gutenberg-tm</h3> - -<p>Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life.</p> - -<p>Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 and -the Foundation information page at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> - -<h3>Section 3. Information about the Project Gutenberg Literary Archive -Foundation</h3> - -<p>The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws.</p> - -<p>The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at <a -href="http://www.gutenberg.org/contact">www.gutenberg.org/contact</a></p> - -<p>For additional contact information:<br /> - Dr. Gregory B. Newby<br /> - Chief Executive and Director<br /> - gbnewby@pglaf.org</p> - -<h3>Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation</h3> - -<p>Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS.</p> - -<p>The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit <a -href="http://www.gutenberg.org/donate">www.gutenberg.org/donate</a></p> - -<p>While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate.</p> - -<p>International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff.</p> - -<p>Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: <a -href="http://www.gutenberg.org/donate">www.gutenberg.org/donate</a></p> - -<h3>Section 5. General Information About Project Gutenberg-tm electronic -works.</h3> - -<p>Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support.</p> - -<p>Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition.</p> - -<p>Most people start at our Web site which has the main PG search facility: -<a href="http://www.gutenberg.org">www.gutenberg.org</a></p> - -<p>This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks.</p> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 40289 ***</div> </body> </html> diff --git a/40289.txt b/40289.txt deleted file mode 100644 index ded5879..0000000 --- a/40289.txt +++ /dev/null @@ -1,13322 +0,0 @@ -The Project Gutenberg eBook, The Violin, by George Dubourg - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: The Violin - Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc. - - -Author: George Dubourg - - - -Release Date: July 21, 2012 [eBook #40289] - -Language: English - -Character set encoding: ISO-646-US (US-ASCII) - - -***START OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -E-text prepared by Linda Cantoni, Turgut Dincer, Bryan Ness, and the -Online Distributed Proofreading Team (http://www.pgdp.net) from page -images generously made available by the Google Books Library Project -(http://books.google.com) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 40289-h.htm or 40289-h.zip: - (http://www.gutenberg.org/files/40289/40289-h/40289-h.htm) - or - (http://www.gutenberg.org/files/40289/40289-h.zip) - - - Images of the original pages are available through - the the Google Books Library Project. See - http://books.google.com/books?vid=7y0DAAAAQAAJ&id - - -Transcriber's note: - - A carat character is used to denote superscription. A - single character following the carat is superscripted - (example: M^r). Multiple superscripted characters are - enclosed by curly brackets (example: Mad^{lle.}). - - Unmatched double quotation marks appear as they did in - the original book. - - - - - -THE VIOLIN: - -Some Account of That Leading Instrument, and Its Most -Eminent Professors, from Its Earliest Date to the -Present Time; with Hints to Amateurs, Anecdotes, etc. - -by - -GEORGE DUBOURG. - -FOURTH EDITION, - -Revised and Considerably Enlarged. - - - - - - - -LONDON: - -Robert Cocks and Co. -Publishers to the Queen, -New Burlington Street; -Simpkin, Marshall and Co. Stationers'-Hall Court. - -MDCCCLII. - -London: -Printed by J. Mallett, -Wardour Street. - - - -PREFACE - -TO THE PRESENT EDITION. - - -After a lapse of nearly sixteen years since this little work first -appeared in print, I have been called upon to prepare it anew for the -press, incorporating with it the additional matter necessary for the -extension of the subject to the present time. - -My new readers may like to know, at the outset, what is the intended -scope of the following pages. This is soon explained. My object has been -to present to the cultivators of the Violin, whether students or -proficients, such a sketch (however slight) of the rise and progress of -that instrument, accompanied with particulars concerning its more -prominent professors, and with incidental anecdotes, as might help to -enliven their interest in it, and a little to enlarge what may be called -their _circumstantial_ acquaintance with it. This humble object has not -been altogether, I trust, without its accomplishment;--and here, while -commending my renovated manual to the indulgent notice of the now -happily increasing community of violin votaries, I would not forget to -acknowledge, gratefully, the liberal and generous appreciation with -which, when it first ventured forth, it was met by the public press, and -introduced into musical society. - - G. D. - - _Brighton, August, 1852._ - - - - -CONTENTS. - - - CHAPTER I. - - ORIGIN AND EARLY HISTORY OF THE VIOLIN. - - The Fiddle Family--the Epigonion--the Semicon--the Plectrum--the - Magadis and Sambuce--Orpheus and the lyre--the Plectrum an implement - of percussion, not a bow--the Egyptian Chelys--Orpheus at - Versailles--the fidicula of the Latin Dictionary--Welch claims--Crowd - and Crowder--Instrument of the Saxon Glee-men--Strutt's sports and - pastimes--Italy--Successive stages of the invention--the - Sounding-board--the neck--the bow--the Rebec--the viol--conversion of - the viol into the violin--the tenor viol, &c.--chest of - viols--Cremona fiddles--Hieronymus Amati--Galilei's dialogues--claim - of the Neapolitans--violins and organs in Verona in 1580--Corelli's - Violin, and Annibale Caracci--Piccoli Violini alla - Francese--Monteverdi's _Orfeo_--Mersennus--the Barbiton--the Kit--the - Musurgia of Luscinius--the Rebec and Viol-di-Gamba--Violars - accompanying the troubadours--Saxon word Fidle, German Videl, - Icelandic Fidla, &c.--Fythelers of the old English romances--passage - from the Life of St. Christopher--Chaucer and the Canterbury - Tales--Absolon, the parish clerk--the ribible--the violin in low - esteem before the Restoration--minstrels included among rogues, - vagabonds, and sturdy beggars--Percy's reliques--King of the - minstrels--Butler's Hudibras--Crowdero--France--sculptures on the - portal of Notre Dame, in Paris--the Decameron--Michele Todini--the - first to introduce the Double Bass--Arms of the Town of - Alzei--Inhabitants called Fiddlers--Cushion Dance described--Hone's - table book--Miss Hutton's Oakwood Hall--Punch and the fiddler--'a - regularly educated Zany'--Purcell's catches--Epigram upon Young, - father and son--Anthony a Wood's Autobiography--the Restoration - favourable to music--the Violin introduced at Court--Matthew Lock, - master to the Court band--Cambert, Lulli's predecessor--the music of - the drama: act tunes--arrival of Nicolo Matteis--first - music-engraving in England--'Musick's Monument,' and Thomas - Mace.--_pp. 1, et seq._ - - - CHAPTER II. - - THE ITALIAN SCHOOL. - - The Italians the first to develope the powers of the violin--the - old and modern schools--BALTAZARINI the early violin - player--GIUSEPPE GUAMI--AGOSTINO AGGAZZARI introduced instrumental - concertos into churches--CARLO FARINA--MICHAEL-ANGELO - ROSSI--GIAMBATTISTA BASSANI--violin master of Corelli-- - TORELLI--VALENTINI--ARCANGELO CORELLI--Lulli's jealousy of - him--publishes his first twelve sonatas--his solos--becomes - acquainted with Handel--visits Naples--anecdotes--sickens and - dies--anniversary performance in the Pantheon--his private - character--anecdotes--his will--contemporary performers--DON ANTONIO - VIVALDI--FRANCESCO GEMINIANI--visits Naples--comes to England--visits - Ireland--his death in Dublin--his character--anecdotes--LORENZO - SOMIS--his Suonate printed at Rome in 1722--STEPHANO - CARBONELLI--resides with the Duke of Rutland--leads the opera-band, - &c.--becomes a wine-importer--dies in 1772--epigram--PIETRO - LOCATELLI--Arte di nuova modulazione--dies in 1764--GIUSEPPE - TARTINI--marries, and is discarded by his family--settles at - Venice--his appointment at the church of St. Anthony of Padua--his - Suonate and Concerti--his Adagios--dies at Padua--the Devil's - sonata--the dream--a legend in verse--FRANCESCO MARIA VERACINI, the - younger--anecdotes--an excellent contrapuntist--PIETRO NARDINI--a - favourite pupil of Tartini--visits Tartini in his last - illness--Thomas Linley one of his pupils--LUIGI BOCCHERINI--settles - in Spain--dies at Madrid in 1806--his compositions--FELICE - GIARDINI--studies at Milan and Turin--visits Rome and Naples--arrives - in London--visits St. Petersburg, and dies at Moscow--his - character--ANTONIO LOLLI--dies at Naples--anecdote--GAETANO - PUGNANI--founds a school at Turin--his style--his - compositions--anecdotes--dies at Turin--GIOVANNI MANE GIORNOVICHI - (_Jarnowick_) pupil of Lolli--loses his popularity--dies of - apoplexy--anecdotes--GIOVANNI BATTISTA VIOTTI--eclipses - Giornovichi--quits public life--anecdotes--ordered to quit - England--embarks in the wine trade--loses his fortune--proceeds to - Paris--retires on a pension--dies in England in 1824--his character - and compositions--FRANCESCO VACCARI--his early proficiency--performs - in England--MASONI--leaves Italy for South America--goes to - India--visits England, 1834--an invitation in rhyme--SPAGNOLETTI--his - enthusiasm--his liberality--his quarrel with Ambrogetti.--_pp. 37, et - seq._ - - - CHAPTER III. - - PAGANINI. - - Birth and parentage--surmises and false rumours--his early - education--his public debut at Genoa--begins to travel on his own - account--his father's rapacity--youthful excesses--a bidding for his - violin--renounces gaming--his favorite Guarnerius--enters the service - of the Princess of Parma--origin of his performances on one and two - strings--follows the Princess to Florence--his intense - application--his "Studies"--revisits Leghorn--anecdote--visits Turin - and Ferrara--attacked with disease--the story of his uniform--his - friendship with Rossini--contends with Lafont--remarks of M. Fetis - and others--Paganini's tribute to the excellence of Louis - Spohr--gives two concerts at Pavia--remarkable announcement--invited - to Vienna in 1828, by Prince Metternich--the Pope confers on him - the order of the Golden Fleece--Mayseder's despair--absurd and - injurious rumours--Paganini's manifesto--his great popularity at - Vienna--concert for the benefit of the poor--anecdotes--visits - Prague, Dresden, Berlin, and Warsaw--opinions of the Berlin - journalists--declines to compete with Praun--epigram--visits - Frankfort--mimicked on the stage--goes to Paris--description of - Paganini's performance from _La Globe, (with cuts)_--attempts to - explain his method--M. Guhr's Treatise--manner of tuning the - instrument--management of the bow--use of the left - hand--harmonics--double effects--Paganini's wonderful gains--his - letter to the _Revue Musicale_--what occurred at Padua--the devil - seen at his elbow--foundation of the rumours--comes to - England--quotation from the "Athenaeum"--stringing a gridiron--raising - the prices of admission--the Claqueurs--his first English - concert--Mr. Gardner's description--quotations--Mori's joke and - Cramer's thankfulness--harmonic notes and staccato runs--farewell - concert--revisits Italy--purchases the Villa Gajona--proposes to - publish--decorated by Maria Louisa--want of health--gambling - speculation--serious illness--his last moments at Nice--his son - Achilles--his burial refused--superstitious rumours--his - will--bequeaths his favorite violin to the city of Genoa--his - personal habits and peculiarities--his mode of travelling--his - habits at home--his desire of repose--anecdote of an - amateur--Paganini's slender general knowledge--his projects--mistrust - of friends--his visitors--invitations--habits in company--aversion to - light--recollection of names--preparation for a - concert--rehearsal--his physical conformation--his influence on the - art--a "farewell"--his compositions--critical remarks of M. - Fetis--conclusion.--_pp. 110, et seq._ - - - CHAPTER IV. - - THE FRENCH SCHOOL. - - Italian and French Schools compared--state of instrumental - performance at the present time--style of Kreutzer, Rode, Baillot, - and Lafont--the _Conservatoire de Musique_--its origin and - effects--epigram--BALTAZARINI (M. de Beaujoyeux)--JEAN BAPTISTE DE - LULLY--becomes scullion to Mdlle. de Montpensier--elevated to the - rank of Court Musician--his career at Court--Louis the Fourteenth's - taste in music--the establishment of an Opera--Lulli's Te Deum for - the King's recovery--an accident--his death--anecdote of his last - score--his style--JEAN MARIE LE CLAIR (Lecler)--born at Lyons--style - deviating from the Italian school--appointed Symphonist to Louis - XV--assassinated in the streets of Paris--JEAN BAPTISTE - SENAILLE--goes to Italy--returns to Paris, 1719--his pupils--JEAN - PIERRE GUIGNON--his sonatas, duetts, trios, and concertos--instructs - the Dauphin--dies at Versailles--GABRIEL GUILLEMAIN--loses his - faculties and destroys himself--PIERRE GAVINIES--appointed Professor - at the Conservatoire--his works--FRANCOIS JOSEPH GOSSEC--founds the - Concert of Amateurs--his symphonies--Pagin--instructed by - Tartini--jealousy of the French musicians--their revenge--PIERRE - LAHOUSSAYE--plays at the _Concert Spirituel_ when nine years - old--Pagin undertakes his instruction--goes to Italy--hears Tartini - at church--spends three years in London--appointed Professor of the - first class at the Conservatoire--PAISIBLE--makes a progress through - several parts of Europe--dies by his own hand in 1781--SIMON - LEDUC--his extant compositions--anecdote of the Chevalier St. - George--F. HIPPOLITE BARTHELEMON--serves as a midshipman--comes to - England--engaged at Vauxhall--MONDONVILLE, and others--Viotti's - influence on the French School--CASTELS DE LABARRE--_premier violon_ - at the Theatre Francois--VACHER--pupil of Viotti--performs at the - Vaudeville Theatre, &c.--PIERRE RODE--shipwrecked on the English - coast--obliged to quit England--appointed Professor of the Violin at - the Conservatoire--travels--his death from paralysis in 1830-- M. - Fetis on his style--RODOLPHE KREUTZER--his mode of instruction--dies - at Geneva--his compositions--CHARLES PHILIPPE LAFONT--appears at - Paris as a vocalist--studies under Kreutzer and Rode--his residence - at St. Petersburg--his contest with Paganini--PIERRE - BAILLOT--Professor at the Conservatory--his System for the - violoncello--ALEXANDRE JEAN BOUCHER--his likeness to - Napoleon--LIBON--first violinist to the Empress Josephine, to Marie - Louise, and to Charles X--BELLON--his performance at the - Philharmonic Concert--FRANCOIS-ANTOINE-HABENECK--appointed Director - of the Opera, and Inspector General of the Conservatoire--M. - TOLBECQUE and his brother--PROSPER SAINTON--admitted Bachelor of - Letters--enters the Conservatory--appears at the Philharmonic - Concerts in London--Belgian Artists--CHARLES AUGUSTE DE BERIOT--early - development--visits England--his marriage with - Malibran--anecdotes--HENRI VIEUXTEMPS--his success at Vienna, &c.--his - sojourn at St. Petersburg--crosses the Atlantic--JOSEPH ARTOT--pupil - of the Kreutzers.--_pp. 176, et seq._ - - - CHAPTER V. - - THE GERMAN SCHOOL. - - The Schools of Germany, Italy, and France, compared--early - performers--DAVID FUNK--a capital performer and general scholar--the - irregularity of his life--his visit to the Castle of Schleitz--found - dead--THOMAS BALTZAR--first taught the _whole shift_ in - England--buried in Westminster Abbey--HENRY JOHN FRANCIS BIBER--his - solos--GODFREY FINGER--his style--Chapel-Master to King James II--JOHN - GOTTLIEB GRAUN--Concert-Master to the King of Prussia--FRANCIS - BENDA--acquaintance with the Hebrew, Loebel--engaged by the Prince - Royal of Prussia--JOHN STAMITZ--his works--LEOPOLD MOZART--appointed - _Valet-de-Chambre Musicien_--publishes his "Method" for the - Violin--travels with his son and daughter--his symphonies--WILLIAM - CRAMER--leads at the Commemoration of Handel--succeeded at the Opera - by Viotti--his two sons--TASSENBERG--JOHN PETER SALOMON--his concerts - in 1791--treaty with Mozart--engagement with Haydn--his compositions, - &c.--his pupil Pinto--CHARLES STAMITZ--JOHN FREDERICK ECK--ANDREAS and - BERNARD ROMBERG--their works--FRANCOIS CRAMER--his character as a - leader--FRIEDRICH ERNST FESCA--his quartetts--CHRISTOPH GOTTFRIED - KIESEWETTER--his last performances at Leicester--LOUIS - SPOHR--patronized by the Duke of Brunswick--travels--becomes - Concert-Master, &c. to the Duke of Saxe Gotha--visits England in - 1820--his style criticised--the Norwich Musical Festival in 1839--his - "Violin-Schule"--his compositions--CHARLES WILLIAM FERDINAND - GUHR--his work on Paganini's mode of playing--JOSEPH - MAYSEDER--BERNHARD MOLIQUE--his appointments--his reception in - Paris--his compositions--ERNST-OLE BULL, the Norwegian artist--his - arrival in Paris during the prevalence of the cholera--his life and - history--gives a concert--his successes detailed--his style--The - BROTHERS LABITSKY.--_pp. 222, et seq._ - - - CHAPTER VI. - - THE ENGLISH SCHOOL. - - State of the musical art in England--Purcell's Sonatas and - Trios--JOHN BANISTER--DAVIS MELL--described by Anthony a Wood--Sonatas - published by John Jenkins--history of JOHN BANISTER the elder--JOHN - BANISTER, jun.--OBADIAH SHUTTLEWORTH--HENRY ECCLES--assisted in the - second part of the "Division Violin"--Purcell's Airs composed for - the Theatre--the arrival of Geminiani and Veracini, forming an - epoch--WILLIAM CORBETT--resides in Rome--political suspicions--his - works--his bequest to Gresham College--MICHAEL CHRISTIAN - FESTING--founds the Royal Society for the support of Decayed - Musicians--succeeded by Abraham Brown--THOMAS PINTO--joint leader - with Giardini at the Opera--MATTHEW DUBOURG--pupil of - Geminiani--appointed Master and Composer of the State Music in - Ireland--instructs the Prince of Wales and the Duke of - Cumberland--his odes--his solos and concertos--his intimacy with - Handel--anecdotes--JOHN CLEGG--promoted by Handel--confined in - Bedlam--THOMAS COLLET--remarkable accident--_Francis - Hackwood_--convivial anecdotes--ABEL and the Viol-da-Gamba--RICHARD - CUDMORE--his early distinction--instances of his versatile talent--G. - F. PINTO--the victim of dissipation--THOMAS LINLEY, jun.--taught by - Dr. Boyce and Nardini--his death from the upsetting of a pleasure - boat--THOMAS COOKE--his career--anecdotes and _bon mots_--NICHOLAS - MORI--his precocious performances--becomes a Director of the - Philharmonic Concerts, and Professor at the Royal Academy of - Music--becomes affected with cerebral disease--his character and - ability--Mr. LODER, of Bath--HENRY GATTIE--ANTONIO JAMES OURY--his - early career in arms and art--marries Mdlle. Belleville, with whom - he makes the tour of Europe--his pupils--JOSEPH HAYDON BOURNE - DANDO--introduces public quartett-playing in England--music in the - City--a _jeu d'esprit_--the several Quartett Societies--HENRY C. - COOPER--EDWARD WILLIAM THOMAS--BREAM THOM--CHARLES FREDERICK - HALL--remarks on Chamber Concerts, and the Royal Academy of - Music--NEIL GOW.--_pp. 258, et seq._ - - - CHAPTER VII. - - AMATEURS. - - The amateur compared with the professor--the witty DUKE of - BUCKINGHAM--a saying of Dr. Johnson's--Dr. Cooke giving a lesson--The - BARON BACH--characteristic sketches--amateur quartett-parties--a - story, with a _mistake_!--Sir WILLIAM HAMILTON--Epigrams--on an aged - musical trifler--_Ralph Rasper_--advice to amateurs--the - scales--Corelli's solos--Spohr's Violin-School--no real self-taught - violinists--epigram--self-knowledge necessary--qualities necessary to - the leader of an amateur party--opera music--listening to classical - quartetts--a story--friendly advice in rhyme.--_pp. 312, et seq._ - - - CHAPTER VIII. - - FEMALE VIOLINISTS. - - (_See Addendum, page 397_). - - Objections to ladies playing the violin, answered--Queen ELIZABETH - and her violin--Madame MARA--her early practice on the - violin--MADDALENA LOMBARDINI SIEMEN--reprint of a letter from - Tartini to her--REGINA SCHLICK--her maiden name Sacchi--a particular - friend of Mozart--anecdote of Mozart and the Sonata in B flat - minor--LOUISE GAUTHEROT--Minerva and the flute--LUIGIA GERBINI--pupil - of Viotti--Signora PARAVICINI--patronized by the Empress - Josephine--her reverses and subsequent success--her graceful mode of - bowing--CATARINA CALCAGNO--receives instructions from - Paganini--Madame KRAHMEN--Mdlle. SCHULZ--Mdlle. ELEANORA - NEUMANN--Madame FILIPOWICZ--Horace Walpole's visit to St. Cyr--Mrs. - SARAH OTTEY. - - - CHAPTER IX. - - ON THE CONSTRUCTION OF THE VIOLIN. - - The subject stated--Otto's treatise--the component parts of the - violin--the _Cremonas_ and their makers--HIERONYMUS AMATI--ANTONIUS - AMATI--NICHOLAS AMATI--ANTONIUS STRADUARIUS--JOSEPH - GUARNERIUS--distinguishing characteristics of these makers--Tyrolese - instruments--JACOB STEINER--later Tyrolese makers--KLOTZ--STATELMANN, - of Vienna, and others--repairers--the principles of construction--the - bass-bar, sound post, bridge, _f_ holes, &c.--strings (called - Roman) from Milan--means of producing a smooth, clear tone--ANDREAS - AMATI--GASPAR DE SALO--GIOVANNI GRANZINO--GIOVANNI PAOLO - MAGINI--career of ANTONIO STRADIVARI, GIUSEPPE GUARNERI, and of - JACOB STEINER--notable sums offered for - instruments--imitators--RICHARD DUKE and the London makers--M. - CHANOT'S investigation into the true form of the violin--result--M. - SAVART'S experiments--M. VUILLAUME'S copies--his adventures in - search of materials--copies Paganini's Guarnerius--his - probity--specimens at the Great Exhibition of All - Nations--construction of bows--Beware of Vampers!--_pp. 341, et seq._ - - - CHAPTER X. - - MISCELLANEOUS ANECDOTES, COLLECTED SCRAPS, ECCENTRIC VARIETIES, - &C. - - Characteristics of the fiddle species--a caricature - repudiated--ambition let down--a new resource in difficulty--a - prejudice overcome--fifty years' fiddling--another fifty years of - it--glory made out of shame--discrimination--the Cremona fiddle--an - apt quotation--the leading instrument victorious--sending for - time-keepers--musical exaction--a device for a dinner--a 'practising' - coachman--a footman to match--a royal 'whereabout'--precocious - performers--fiddlers' tricks--eccentric varieties of the violin - kind--the fiddle of Ireland--of Tartary--African fiddle--Greek - fiddle--an eight-stringed violin--an intermediate - instrument--something _more_ than a violin--an air violin--automaton - violinist--the street-fiddler--epigrams.--_pp. 364, et seq._ - - - - - THE VIOLIN, - - ETC. - - - - -CHAPTER I. - -ORIGINAL AND EARLY HISTORY OF THE VIOLIN. - -First seat him somewhere, and derive his race.--DRYDEN. - - -The Fiddle Family, like other tribes that have succeeded in making a -noise in the world, has given exercise to the ingenuity of learned -theorists and time-seekers, who have laboured to discover for it an -origin as remote from our own era, as it is, I fear, from any kind of -truth. It has probably been conceived that the Fiddle, associated as he -has been, from generation to generation, with jigs, country-dances, -fairs, junketings and other rusticities, had descended too low in the -scale of society--that he had rendered himself, as Shakspeare for a -while did his own genius, "stale and cheap to vulgar company"--and that -he required to be reminded of his primitive dignity, and of his very -high ancestral derivation--if he _had any_. This latter point was of -course to be first established; but, as your zealous antiquary is a -wholesale dealer in time, and is never at a loss for a few centuries to -link his conjectures to, the matter was easy enough; indeed, the more -doubtful, the better, since doubt is the very life of theory. -Accordingly, we have been invited to fall back upon "the ancients," and -to recognize the _Epigonion_ as the dignified and classic prototype of -our merry and somewhat lax little friend, the Fiddle. To certain ancient -Greek tablets relative to music, which have been somewhere brought to -light, Professor Murchard has minutely assigned the date of 709 years -before the Christian era; and the following passage, Englished from his -translation, is stoutly alleged by the antiquarian advocates of the -glories of the violin race:--"But Pherekydes began the contest, and sat -himself down before all the people, and played the _Epigonion_;--for he -had improved the same; and he stretched four strings over a small piece -of wood, and played on them with a smooth stick. But the strings sounded -so, that the people shouted with joy." - -This is plausible enough, but far from conclusive. It is but the outline -of a description, and admits of various modes of filling up. _If_ the -instrument partook _at all_ of the violin character, it might seem, from -the reference which its name bears to the _knees_, to have been the rude -progenitor of either the double-bass or the violoncello, which have -both, as is well known, their official post between the knees: but then, -the prefix of [Greek: epi] would denote that it was played _upon_ the -knees of the artist. "Very well," says the antiquarian; "it was a fiddle -_reversed_." "Nay, Dr. Dryasdust, if you yourself _overturn_ what you -are about, I have no need to say more." _Au reste_, let any body stretch -four strings over a small piece of wood, and play on them with a smooth -stick, and then take account of what it comes to. No, no; whatever the -_Epigonion_ may have been to the Greeks, he is nothing to _us_: he may -have been a respectable individual of the musical genus of _his_ day, -when people blew a shell or a reed, and called it music; but we cannot -for a moment receive him as the patriarch of the Fiddle Family. As soon -should we think of setting up Pherekydes against Paganini. - -Dismissing the Epigonion, we come to the _Semicon_, another pretender of -Greek origin. This also, we are farther told, was a _kind of violin_: -but we deny that he was father to the _violin kind_. The Semicon is said -to have been played on with a bow; and yet a learned German (Koch), in -the fulness of his determination to have _strings_ enough to his bow, -has claimed no less than thirty-five, as the complement of the Semicon. -How could any bow pay its devoirs distinctly to thirty-five strings? -Here, then, the dilemma is this: either to translate the thing in -question into a _bow_ is to _traduce_ the term, or else the _strings_ -are an impertinence. _Utrum horum mavis, accipe._ - -If the word _plectrum_ could, by any ingenuity, be established to mean -_a bow_, quotations enough might be accumulated to prove that -instruments played with bows had their origin in a very remote period. -But the translation of the word into _a bow, or such like thing_, as we -find it in the Dictionaries, arises simply from the want of a known -equivalent--a deficiency which makes it necessary to adopt any term that -offers even the shadow of a synonym. - -It has been stated, on the authority of a passage from Euphorion's book -on the Isthmian Games, that there was an ancient instrument called -_magadis_, which was surrounded by strings; that it was placed upon a -pivot, upon which it turned, whilst the performer touched it with _the -bow_ (or, at least, the _plectrum_); and that this instrument afterwards -received the name of _sambuce_. - -The hieroglyphics of Peter Valerian, page 628, chap. 4, present the -figure of a muse, holding, in her right hand, a kind of bass or -contra-violin, the form of which is not _very_ unlike that of our -violins or basses. - -Philostratus, moreover, who taught at Athens, during the reign of Nero, -gives a description of the lyre, which has been thus translated:-- - -"Orpheus," he says, "supported the lyre against his left leg, whilst he -beat time by striking his foot upon the ground; in his right hand he -held _the bow_, which he drew across the strings, turning his wrist -slightly inwards. He touched the strings with the fingers of his left -hand, keeping the knuckles perfectly straight." - -From this description (if _bow_ it could be called, which bow was none), -it would appear as if the lyre to which Philostratus alludes were, -forsooth, the same instrument which the moderns call the -_contra-violin_, or _viola di gamba_! To settle the matter thus, -however, would be _indeed_ to beg the question. - -As before observed, the word _plectrum_ is, in the dictionaries, -translated by _bow_; but, even if this were a warranted rendering of the -word, it remains to be ascertained not only whether the bows of the -ancients were of a form and nature corresponding with ours, but also -whether they were used in the modern _way_. Did the ancients strike -their bow upon the strings of the instrument--or did they draw forth the -sound by means of friction? These questions are still undecided; but -opinions preponderate greatly in favor of the belief that the plectrum -was an implement of _percussion_, and therefore not at all a bow, in our -sense. - -A recent French writer, Monsieur C. Desmarais, in an ingenious inquiry -into the Archology of the Violin, takes us back to the ancient -Egyptians, to whom he assigns the primitive violin, under the name of -the _chelys_, and suggests that its _form_ must have resulted from a -studious inspection of one of the heavenly constellations! - -M. Baillot, in his Introduction to the _Methode de Violon du -Conservatoire_, speculating on the origin of the instrument, has a -passage which, in English, runs thus:-- - -"It is presumed to have been known from the remotest times. On ancient -medals, we behold Apollo represented as playing upon an instrument with -three strings, similar to the violin. Whether it be to the God of -Harmony that we should attribute the invention of this instrument, or -whether it claim some other origin, we cannot deny to it somewhat that -is divine. - -"The form of the violin bears a considerable affinity to that of the -lyre, and thus favors the impression of its being no other than a lyre -brought to perfection, so as to unite, with the facilities of -modulation, the important advantage of expressing prolonged sounds--an -advantage which was not possessed by the lyre." - -This is pretty and fanciful, but far too vague to be at all -satisfactory. Apollo might appear to play on an instrument, in which -antiquarian ingenuity might discover some latent resemblance to the -violin; but where was his _bow_? M. Baillot has not ventured to assert -that he had one--and we may safely conclude that he had _not_, if we -except the bow that was his admitted attribute. As for the affinity to -the lyre, it is indeed as faint as the most determined genealogist, -studious of an exercise, could wish. - -It has been remarked, by some curious observer, that, among the range -of statues at the head of the canal at Versailles, an Orpheus is seen -(known by the three-headed dog that barks between his legs), to whom the -sculptor has given _a violin_, upon which he appears scraping away with -all the furor of a blind itinerant. But is the statue, or its original, -an antique? We may rest in safe assurance that it is a modern-antique; -as much so, as the ingenious figment of Nero's _fiddling_ a capriccio to -the roaring accompaniment of the flames of Rome! - -As for the _fidicula_ of the Romans (or rather, of the Latin -Dictionary), it is evidently, as far as it has been made to apply to the -fiddle, no legitimate family name. The _violin_ very positively disowns -all relationship with it, and leaves it to settle its claims with the -_guitar_. - -As far as the _mere name_ goes, however, it is not impossible that a -connection may exist, and that the word-hunting Skinner may be right in -deriving the Anglo-Saxon word _fithele_ from the older German _vedel_, -and thence from the Latin _fidicula_, which, it is hardly necessary to -state, was any thing but a fiddle, and therefore "had no business" to -lend its appellation in the way here noticed. - -On the whole, as regards the pretensions alleged on the side of the -ancients for the honor of having had the violin in existence among them, -it may be safely remarked, that, if nothing like the _bow_, which is -obviously connected most essentially with the expression and character -of the violin, can be traced to their days, the violin itself, _a -fortiori_, cannot be said to have belonged to them; and all those -questionable shapes which have been speculatively put forward as -possible fiddles, must be thrown back again into the field of -antiquarian conjecture, to await some other appropriation. The -following remarks by Dr. Burney may be taken as a fair summary of all -that needs to be observed on this head: - -"The ancients seem to have been wholly unacquainted with one of the -principal expedients for producing sound from the strings of modern -instruments: this is the _bow_. It has long been a dispute among the -learned whether the violin, or any instrument of that kind, as now -played with a _bow_, was known to the ancients. The little figure of -Apollo, playing on a kind of violin, with something _like_ a bow, in the -Grand Duke's _Tribuna_ at Florence, which Mr. Addison and others -supposed to be antique, has been proved to be _modern_ by the Abbe -Winkelmann and Mr. Mings: so that, as this was the only piece of -sculpture reputed ancient, in which any thing like a bow could be found, -nothing more remains to be discussed relative to that point."--(_Hist. -of Music_, 4to. vol. i, p. 494.) - -The Welch, who are notoriously obstinate genealogists, have not failed -to mark the Fiddle for _their_ own, and to assign him an origin, at some -very distant date, among their native mountains. In support of this -pretension, they bring forward a very ugly and clownish-looking fellow, -with the uncouth name of _crwth_. This creature certainly belongs to -them, and is so old as to have sometimes succeeded in being mistaken, in -this country, for the father of the violin tribe--a mistake to which the -old English terms of _crowd_ for fiddle, and _crowder_ for fiddler, seem -to have lent some countenance. A little investigation, however, shows us -that it was merely the name, and not the object itself, that we -borrowed, for a time, from our Welch neighbours; and that, by a -metonymy, more free than complimentary, we fastened the appellation of -_crowd_ upon the _violin_, already current among us by transmission from -the continent. The confusion thence arising has occasioned considerable -misapprehension: nor has the effect of it been limited to our own island -boundaries; for a French writer, M. Fetis, in one of his Letters on the -State of Music in England, reports the error, without any apparent -consciousness of its being such. Let us quote his passage in English: - -"The _cruth_ is a bowed instrument, which is thought to have been the -origin of the viola and violin. Its form is that of an _oblong square_, -the lower part of which forms the body of the instrument. It is mounted -with four strings, and played on like a violin, but is more difficult in -the treatment, because, not being hollowed out at the side, there is no -free play for the action of the bow." - -"What!" exclaims the enquiring virtuoso, "is this box of a thing, this -piece of base carpentry, this formal oblong square, to be supposed the -foundation of that neat form and those graceful inflections which make -up the 'complement externe' of what men call the violin? Can dulness -engender fancy--and can straight lines and right angles have for their -lineal descendant the 'line of beauty?'" The soberest person would -answer, this is quite unlikely; the man of taste would deny it to be in -the nature of things. No, no; our Cambrian codger _may_ have been a -tolerable subject in his way--a good fellow for rough work among the -mountains, and instrumental enough in the amusement of capering -rusticity--but he must not be allowed, bad musician though we freely -admit he may have been, to give himself _false airs_, and to assume -honors to which his form and physiognomy give the lie. Let him be -satisfied to be considered "_sui generis_," unless he would rashly -prefer illustrious illegitimacy, and be styled the _base violin_.[1] - -If we were disposed, in England proper, to get up a claim for the first -local habitation afforded to the violin, we might put together a much -better case for the instrument that was familiar to the Anglo-Saxon -gleemen, as early as the 10th century, than can be shown in behalf of -the candidate just dismissed. We could produce an individual that should -display a far better face, and should appear with, at least, no great -disgrace to the Fiddle Family, though bearing about him none of the -refinements of fashion. It may be as well to exhibit him at once:-- - -[Illustration] - -In this representation (borrowed from "Strutt's Sports and Pastimes of -the People of England") we discern something which it is possible to -call a fiddle, without much violence to our notions "de rerum natura." -There is grotesqueness, but not deformity: there is much of the general -character of the true violin, though some of its most particular -beauties are wanting. It is true that the sound-holes look as if no -notes save _circulars_ were to be permitted to issue through them--that -the tail-piece seems forced to do duty for a bridge--that the sides have -no indented middle, or waist, to give the aspect of elegance, and -accommodate the play of the bow over the two extreme strings--that the -finger-board is non-existent--and that the scroll, that crowning charm -of the fiddle's form, is but poorly made amends for by the excrescent -oddity substituted at the end of the neck. With all this, however, there -_is_ visible warrant for calling it a _sort_ of fiddle. Though even a -forty-antiquary power might fail to prove it the origin of the stock, it -has claims to be regarded as exhibiting no very remote analogy to the -violin; and thus far, therefore, it may defy the competition of the -_Crwth_. Whether it was really born in Saxon England, however, or -introduced from Germany, might be a point for nice speculation, were it -worth while to agitate the enquiry. - -Whither, then, are we to turn, after all, for the solution of this -problem in musical genealogy? That the violin is of a respectable age, -though not so old as what is commonly called antiquity, is a fact -apparent to the least laborious of enquirers; and it seems to have been -the practice, with those who have had occasion to touch on this point, -either to announce the said fact simply, and leave the reader to make -the most of it, or to mix up with it, by way of elucidation, some -general remark about the absence of light on the matter. "The origin of -the violin," observes one of these authorities, "like that of most of -the several musical instruments, is involved in obscurity. As a species -of that genus which comprehends the viola, violoncello, and violone, or -double-bass, _it must be very ancient_." Similarly indefinite are the -conclusions of others who have approached the subject; so that it -becomes necessary to dispense with such embarrassing aid, and to _help -oneself_ to the truth, if it is, peradventure, to be gathered. To me, -much meditating on this matter (if I may borrow Lord Brougham's classic -form of speech), there seems reason to fix on Italy as the quarter to -which we must look for the "unde derivatur" required. Say, thou soft -"Ausonia tellus," mother of inventions and nurse of the arts, say, soft -and sunny Italy, is it not to _thee_ that belongs the too modest merit -of having produced and cherished the infancy, even as thou hast -confessedly supported and developed the after-growth and advancement, of -the interesting musical being whose history, in its more secret -passages, we are here exploring? Is it a world (as Sir Toby feelingly -asks), is it a world to hide virtues in? Well, if we cannot obtain -_direct_ satisfaction, let us pursue the investigation of our point a -little more circuitously. - -The perfect instrument which we now delight to honor by the name of the -violin--the instrument complete in form and qualities--"totum in se -teres atque rotundum"--appears to have been the result of a highly -interesting series of improvements in the art of producing musical -sounds from strings. How long a duration of time was occupied by the -elaboration of these improvements respectively, is not readily to be -ascertained, nor, perhaps, would the enquiry repay the trouble--but the -general order of progression in the improvements themselves, is as clear -as it is agreeable to contemplate. The first great advancement consisted -in the _sounding-board_, by means of which invention a tone was -produced, through the vibration of the wood, that was incomparably -better and fuller than what was previously procured, through the mere -vibration of the strings. As the human voice is evolved from the mouth -under a concave roof, which serves it as a sounding-board, and gives -additional grace and vigour to its inflections, so does the upper shell -of the violin add a power of its own to the language of the strings. The -next improvement in the instrument, thus extended in capability, was the -_neck_ or _finger-board_, which increased the range and variety of the -sounds, by giving to each string the power of producing a series of -notes. The _bow_ was the next great step of advancement; and this, like -other important inventions, has provoked much learned dispute as to the -time and place of its origin, which however we shall not here more -particularly revert to, for indeed, "non nostrum tantas componere -lites." With all these additions and appliances, we come not yet to the -instrument _par excellence_, the true violin; for an intermediate and -inferior state remains to be gone through. The consideration of that -state brings us to the regular construction of the several instruments -known by the general name of _viol_ (for we pass by the _rebec_, as -being only a spurious or illegitimate kind of fiddle), that were in the -most common use during the 16th, and till about the middle of the 17th, -century. These were similar to each other in form, but in size were -distinguished into the treble-viol, tenor-viol, and bass-viol. They had -six strings, and a finger-board marked with frets, like that of the lute -or guitar[2]. Finally, as the crowning change, the glorious -consummation, came the conversion of the _viol_ into the _violin_, -effected by a diminution of size, a reduction of strings, from six to -four, and the abolition of those impediments to smoothness, and helps to -irritation, the _frets_. The same reformation attended the other -instruments of the viol tribe, which now became, _mutato nomine_, the -viola and the violoncello. - - In former days, we had the _viol_ in, - 'Ere the _true_ instrument had come about: - But now we say, since _this_ all ears doth win, - The _violin_ hath put the _viol out_. - -Thus, through a considerable tract of indefinite time, and a succession -of definite changes, we reach the matured and accomplished instrument, -the _Violin proper_; and then, if we recur to the question, to _whom_ -does it belong? the answer becomes less difficult. It is to this -instrument, this perfected production, that the Italians may, I think, -exultingly point as their own; and, in doing so, they may well afford to -be indifferent to all disputes about the title to those earlier -apparitions, those crude and half-made-up resemblances to the fiddle, -that were but as the abortions which, in human experience, sometimes -precede a perfect birth. It is of sufficient notoriety that the earliest -instruments _of excellence_, bearing the name of Violin, as well as the -earliest players of eminence, were Italian. The Cremona fiddles of -Hieronymus Amati (to go no farther back) were sent into this breathing -world about two centuries and a half ago; and Baltazarini, the earliest -great player of the genuine Violin on record, is known to have been -imported as a curiosity from Italy, by Catherine de Medicis, in 1577. It -is tolerably clear, too, that, as a _court_ favourite, the Violin began -its career in Italy--its progress, in that capacity, having been, as -Burney observes, from Italy to France, and from France to England. - -But the tie of Italian connection may be drawn more closely than this. -Galilei, in his Dialogues (p. 147), states that both the Violin and the -Violoncello were _invented_ by the Italians; and he suggests more -precisely the Neapolitans, as the rightful claimants of this honor. Dr. -Burney, who does not attempt to settle the point, quotes the passage, to -the above effect, from Galilei, and admits his own inability to confute -it. Montaigne, whose travels brought him to Verona in 1580, has -recorded, that there were _Violins_ as well as organs there, to -accompany the mass in the great Church. Corelli's Violin, an instrument -specially Italian, which afterwards passed into the possession of -Giardini, was made in 1578, and its case was decorated by the -master-hand of Annibale Caracci, probably several years _after_ the -instrument was finished; as Caracci at that date had numbered but eight -of his own years. - -Towards the end of the 16th century, the Violin is found indicated in -some Italian scores, thus:--_piccoli Violini alla Francese_; which -circumstance has been sometimes alleged as rendering it probable, that -the reduction of the old viol or viola to the present dimensions of the -Violin took place in _France_, rather than in Italy: but the fact does -not seem to offer a sufficient basis for the conjecture, when it is -considered that no instruments of French construction, corresponding -with the Violin in its present form, and of as early a date as those -which can be produced of Italian make, are known to exist. It is -reasonable to suppose, therefore, that these _piccoli Violini_, or -little Violins, were not identical with the Violin proper;--although Mr. -Hogarth[3] (from whose respectable authority I am rather loth to differ) -quotes the phrase as one tending to the support of the French claim. The -term in question, which occurs, particularly, in Monteverde's Opera of -_Orfeo_, printed at Venice in 1615, seems to me to imply merely some -French modification of the already invented Italian model--a -modification applying to the size, and possibly also to some minor -details in the form. - -The French writer, Mersennus, who designates all instruments of the -violin and viol class under the term _barbiton_, describes one of them, -the least of the tribe, as the _lesser barbiton_. This latter was a -small violin invented for the use of the dancing-masters of France, and -of such form and dimensions as to be capable of being carried in a case -or sheath in the pocket. It is the origin of the instrument which in -England is called a _Kit_, and which is now made in the form of a -violin.--Is it too great a stretch of conjecture, to hint, that this -may, possibly, have been the kind of thing intended by the term above -quoted? - -That curious enquirer, Mr. Gardiner, in his "Music of Nature," assigns -to Italy the local origin of the Violin, but without placing the date as -near to exactness as it might have been. He makes it to have been "about -the year 1600." He might safely have gone thirty or forty years farther -back, at least, notwithstanding that the shape of the instrument, -towards the end of the 16th century, has been supposed, by Hawkins, to -have been rather vague and undetermined[4]. The transition from the old -shapes to the new _had_ occurred, though it was as yet far from -universal. It is sufficient that the change had commenced. - -Admitting the genuine and perfect violin to be rightfully assignable to -the Italians, it may be of some interest, now, to present a few more -records relating, principally, to the instrument in its _imperfect_ -character, when it bore only that sort of analogy to the true -instrument, that the 'satyr' is said to have borne to 'Hyperion.' - -The "Musurgia, seu Praxis Musicae," of the Benedictine Monk Luscinius, -published in 1542, represents (coarsely cut in wood) as the bowed -instruments then in use, the _rebec_, or three-stringed violin, and the -_viol di gamba_. The instruments of the viol tribe, however, which are -supposed to have been those that led more immediately to the -construction of the true violin, considerably precede the above period -in their date of origin. _Violars_, or performers on the viol, whose -business it was to accompany the Troubadours in their singing of the -Provencal poetry[5], were common in the 12th century; and, in a treatise -on music, written by Jerome of Westphalia in the 13th century, there is -particular mention made of the instrument known by the name of viol. - -Under various modifications of the term _fiddle_, there are to be found -many very early allusions to an instrument, such as it was, bearing some -resemblance to the violin. _Fidle_ is a Saxon word of considerable -antiquity; and from the old Gothic are traced the derivations of - - - 1. Middle High German. _Videl_ (noun), _Videloere_ (noun - personal), _Videln_ (verb, to fiddle), _Videl-boge_ - (fiddle bow). - - 2. Icelandic. _Fidla._ - - 3. Danish. _Fedel._ - -Then we have _Vedel_, _Veel_, _Viool_ (Dutch); _Vedel_, _Vedele_ -(Flemish), _Fiedel_, _Fidel_, _Geige_ (Modern German). - -_Fythele_, _Fithele_,--and _Fythelers_ (fiddlers) are alluded to in the -Old English Romances. In the legendary life of St. Christopher, written -about the year 1200, is this passage:-- - - . . . . . . . . . . . . . Cristofre hym served longe; - The Kynge loved melodye of _fithele_ and of songe. - -The poet Lidgate, at the beginning of the 15th century, writes of - - Instrumentys that did excelle, - Many moo than I kan telle: - Harpys, _Fythales_, and eke Rotys, &c. - -Chaucer, in his "Canterbury Tales," says of the Oxford Clerk, that he -was so fond of books and study, as to have loved Aristotle better - - Than robes rich, or _fidel_, or sautrie-- - -and his Absolon, the Parish-Clerk, a genius of a different cast, and -exquisitely described, is a spruce little fellow, who sang, danced, and -played on the species of fiddle then known. An instrument remotely -allied to the fiddle--the _ribible_, a diminutive of _rebec_, a small -viol with three strings--is also alluded to by Chaucer. Referring to a -later period, there is evidence to show that an instrument of the violin -kind was used in England before the dissolution of monasteries, in the -time of our eighth Henry, in the fact that something similar to it in -shape is seen depicted upon a glass window of the chancel of Dronfield -church, in the county of Derby; an edifice which was erected early in -the sixteenth century. - -At what period the _legitimate_ violin may have found its way from Italy -into this country, it would, I fear, be very difficult to ascertain with -exactness; but it is easy to suppose that, when once that event had -occurred, the neater shape and superior qualities exhibited by the new -comer, would speedily render him the model for imitation, and lead to -the multiplication of his species here, and to the displacement of the -baser resemblances to him. The true instrument, however, was for a long -while among us, ere its merits came into just appreciation. Until the -period of the Restoration, it was held, for the most part, in very low -esteem, and seldom found in less humble hands than those of fiddlers at -fairs, and such like itinerant caterers of melody for the populace[6]. -Its grand attribute, the superior power of expressing almost all that a -human voice can produce, except the articulation of words, was at first -so utterly unknown, that it was not considered a gentleman's instrument, -or worthy of being admitted into "good company." The lute[7], the harp, -the viol, and theorbo, were in full possession of the public ear, and -the poetic pen; nor has this latter authority ever been thoroughly -propitiated by the later-born child of Melos, whose first screams on -coming into the world may perhaps have irrecoverably alarmed the -sensitive sons of Apollo. Moreover, poetry is ever apt to prefer the old -to the new, and often recoils with distaste from what is modern. -"Though the violin surpasses the lute," says a recent ingenious writer, -"as much as the musket surpasses the bow and arrow, yet Cupid has not -yet learned to wound his votaries with a bullet, nor have our poets -begun to write odes or stanzas to their violins." - -In the 39th Queen Elizabeth, a statute was passed by which "Ministrels, -wandering abroad," were included among "rogues, vagabonds, and sturdy -beggars," and were adjudged to be punished as such. "This act," says -Percy, in his Reliques of English Poetry, "seems to have put an end to -the profession." That writer suggests, however, that although the -character ceased to exist, the appellation might be continued, and -applied to fiddlers, or other common musicians; and in this sense, he -adds, it is used in an ordinance in the time of Cromwell (1656), wherein -it is enacted that if any of the "persons commonly called _Fiddlers_ or -_Minstrels_ shall at any time be taken playing, fiddling, and making -music in any inn, alehouse, or tavern, or shall be taken proffering -themselves, or desiring or intreating any ... to hear them play or make -music in any of the places aforesaid," they are to be "adjudged and -declared to be rogues, vagabonds, and sturdy beggars[8]." By a similar -change or declension, according to Mr. Percy, John of Gaunt's _King of -the Minstrels_ came, at length, to be called, like the _Roi des Violons_ -in France, _King of the Fiddles_--it being always to be borne in mind, -nevertheless, that it was only as yet a baser kind of instrument which -brought its professors into such _scrapes_[9]. - -The term _crowd_, as well as that of _fiddle_, was commonly used in -England before the appearance of the perfect Violin, but appears to have -been soon disused (along with the barbarous instrument it designated) -after that period. Butler, in his "Hudibras," employs both terms -indiscriminately, and seems to find enjoyment in linking them with mean -and ludicrous associations--a tendency which must be allowed to have -been quite in keeping with the feeling of the times he describes. His -motley rabble, whom he puts in the way of the knight and his squire, -were special affecters of the instrument he delights to dishonour, - - And to _crack'd fiddle_, and hoarse tabor, - In merriment did drudge and labor. - -He makes contemptuous allusion, also, to certain persons - - That keep their consciences in cases, - As fiddlers do their _crowds_ and bases. - -Crowdero, the fiddle-noted agent in the story, is made to cut, on the -whole, a very sorry figure. Thus, as to his instrument, and his manner -of calling it into exercise: - - A _squeaking engine_ he applied - Unto his neck, on north-east side, - Just where the hangman does dispose, - To special friends, the knot of noose. - -When the knight, in the outset of his career, meets the aforesaid -rabble, with the aggravating accompaniment of the bear and fiddler, and -counsels them to peace and dispersion, he says - - But, to that purpose, first surrender - The fiddler, as the prime offender! - -It is true that the mettle put forth by Crowdero, in the ensuing general -fight, raises him a little out of the mire of meanness: but then, the -weapon with which he batters the cranium of the prostrate Hudibras--to -wit, his own wooden leg--has the effect of disturbing the small dignity -which his gleam of valour might have shed over him; and, besides, he is -speedily exhibited in reverse, being vanquished in turn by Ralpho the -Squire, and forced into the ignominious confinement of the stocks; while -Ralpho exultingly says to Hudibras, the fiddle is your _trophy_, - - And, by your doom, must be allow'd - To be, or be no more, a crowd. - -In France, certain ancient and respectable monuments, and particularly -a figure on the portico of the venerable Cathedral of Notre Dame at -Paris, representing King Chilperic with a sort of Violin in his hand, -have been referred to as proofs that an instrument of this nature was -very early held in esteem in that country; and the minstrels in the -highest estimation with the public, were at all times the best -_Violists_ of their age. Among the instruments represented in the -beautiful illuminations of the splendid copy of the _Roman d'Alexandre_, -in the Bodleian library at Oxford, are Viols with three strings, played -upon with a clumsy bow. - -In Italy, as in France, the viol appears to have enjoyed earlier favour -than in England, where the fiddle or _crowd_ (the descendant, probably, -of the Welsh instrument _crwth_) was its predecessor. The instruments -chiefly used by the ladies and gentlemen in the Decameron, are the lute -and the viol--upon which latter some of the _ladies_ are represented as -performing. - -An ingenious Piedmontese, Michele Todini, published a pamphlet at Rome, -1676, wherein are described various musical inventions of his own, "of -special merit, though of little note." Amongst them were two Violins, -the pitch of one of which could, by an adroit mechanical contrivance, be -at once heightened a whole tone, a third, or even a fifth; while the -other, under the usual strings, had a second set of strings, like those -of a kit, tuned in the octave above, and was so contrived that the -Violin and kit might either be played separately, or both together, at -the pleasure of the performer. In the 23rd Chapter of this little tract -is a description of a _Viola di gamba_, so constructed, that, without -shifting the neck, all the four kinds of Violins, namely, the treble -Violin, the contralto (or _Viola bastarda_), and the tenor and bass -viol, could be played upon it. Todini had originally given the bass of -this instrument an unusual depth; but he abandoned that, when he -invented the _double bass_,--which instrument he was the first to -introduce and play upon in oratorios, concerts, and serenades. - -The arms and seal of the town of Alzei, in the neighbourhood of Worms, -consist of a crowned lion rampant, holding a _fiddle_ in his paws. The -_fiddle_ alone appears to have been the original bearing; for the -palatine lion was first joined to the _fiddle_ when Duke Conrad of -Hohenstauffen was enfeoffed by the Emperor Frederick I with the -Palatinate of the Rhine. His son-in-law, the Palsgrave Henry, calls the -Steward (_Trucksess_) of Alzei, his vassal, in a bill of feoffment, -dated in 1209, and in another document, 1211. This Steward, however, and -Winter of Alzei, bore the _fiddle_ as their arms. On account of these -arms, the inhabitants of Alzei are mockingly called _fiddlers_ by their -neighbours[10]. - -Connected with the history of the instrument in England, there is a -curious old custom, now "invisible, or dimly seen," and I know not when -commenced, which is thus described in Hone's Table Book:-- - -"The concluding dance at a country wake, or other general meeting, is -the 'Cushion Dance;' and if it be not called for, when the company are -tired with dancing, the _fiddler_, who has an interest in it, which will -be seen hereafter, frequently plays the tune to remind them of it. A -young man of the company leaves the room, the poor young women, -uninformed of the plot against them, suspecting nothing; but he no -sooner returns, bearing a cushion in one hand and a pewter pot in the -other, than they are aware of the mischief intended, and would certainly -make their escape, had not the bearer of cushion and pot, aware of the -invincible aversion which young women have to be saluted by young men, -prevented their flight by locking the door, and putting the key in his -pocket. The dance then begins. - -"The young man advances to the fiddler, drops a penny in the pot, and -gives it to one of his companions. Cushion then dances round the room, -followed by pot, and when they again reach the fiddler, the cushion -says, in a sort of recitative, accompanied by the music, 'This dance it -will no farther go.' - -"The fiddler, in return, sings or says (for it partakes of both), 'I -pray, kind Sir, why say you so?' - -"The answer is, 'Because Joan Sanderson won't come to.' - -"'But,' replies the fiddler, 'she must come to, and she _shall_ come to, -whether she will or no.' - -"The young man, thus armed with the authority of the village musician, -recommences his dance round the room, but stops when he comes to the -girl he likes best, and drops the cushion at her feet. She puts her -penny in the pewter pot, and kneels down with the young man on the -cushion; and he salutes her. - -"When they rise, the woman takes up the cushion, and leads the dance, -the man following, and holding the skirt of her gown; and, having made -the circuit of the room, they stop near the fiddler, and the same -dialogue is repeated, except that, as it is now the woman who speaks, -it is _John_ Sanderson who won't come to, and the fiddler's mandate is -issued to _him_, not to her. - -"The woman drops the cushion at the feet of her favourite man: the same -ceremony and the same dance are repeated, till every man and woman (the -pot-bearer last) have been taken out, and all have danced round the room -in a file. The _pence_ are the perquisite of the _fiddler_. There is a -description of this dance in Miss Hutton's 'Oakwood Hall.'" - -Then follows, in Hone's Book, a further illustration of this curious -custom, in "numerous verse"--but the prose account is here sufficient. - -The dialogue in the old puppet dramas (says Strutt) were mere jumbles of -absurdity and nonsense, intermixed with low immoral discourses passing -between Punch and the fiddler, for the orchestra rarely admitted of more -than one minstrel; and these flashes of merriment were made offensive to -decency by the actions of the puppet. In the reign of James II, there -was a noted merry-andrew named Philips; "This man," says Granger, "was -some time fiddler to a puppet-show; in which capacity he held many a -dialogue with Punch, in much the same strain as he did afterwards with -the mountebank doctor, his master upon the stage. This zany, being -regularly educated, had confessedly the advantage of his brethren." - -The following may be seen in volume the 1st of Purcell's Catches, on two -persons of the name of Young, father and son, who lived in St. Paul's -Churchyard--The one was an excellent instrument-maker, and the other an -excellent performer on the fiddle. - - You scrapers that want a good fiddle, well strung, - You must go to the man that is old, while he's Young; - But if this same fiddle you fain would play bold, - You must go to his son, who'll be Young when he's old. - There's old Young and young Young, both men of renown, - Old sells, and Young plays, the best fiddle in town; - Young and old live together, and may they live long, - Young, to play an old fiddle; old, sell a new song! - -The zealous, ingenious, minute and gossiping Anthony Wood, to whose -journalizing propensity we are indebted for a free insight into the -state of music at Oxford, during the time of the Civil War (when musical -sounds were scarcely any where else to be heard in the kingdom), was an -ardent admirer of the violin, while its admirers were yet scarce; and -has left us, in his life, written by himself, some particulars relating -to the instrument, that are too pleasant, as well as curious, to be here -passed by. Let me introduce this quaint worthy, speaking of himself in -the third person, and under the abridged designation of A. W. - -In 1651, "he began to exercise his natural and insatiable genie to -music. He exercised his hand on the violin, and, having a good eare to -take any tune at first hearing, he could quickly draw it out from the -violin, but not with the same tuning of the strings that others used. He -wanted understanding, friends and money, to pick him out a good master; -otherwise he might have equalled in that instrument, and in singing, any -person then in the University. He had some companions that were musical, -but they wanted instruction as well as he." - -The next year, being obliged to go into the country, for change of air -and exercise, with a view to rid himself of an ague, he states that -"while he continued there, he followed the plow on _well_-days, and -sometimes plowed: and, having had, from his most tender years, an -extraordinary ravishing delight in music, he practised there, without -the help of an instructor, to play on the Violin. It was then that he -tuned his strings in fourths, and _not_ fifths, according to the manner; -and having a good eare, and being ready to sing any tune upon hearing it -once or twice, he could play it also in a short time, with the said way -of tuning, which was never knowne before. - -"After he had spent the summer in a lonish and retired condition, he -returned to Oxon; and, being advised by some persons, he entertained a -Master of Musick to teach him the usual way of playing on the violin, -that is, by having every string tuned _five_ notes lower than the one -going before. The master was Charles Griffith, one of the musicians -belonging to the City of Oxon, whom he then thought to be a most -excellent artist: but when A. W. improved himself on that instrument, he -found he was not so. He gave him 2_s._ 6_d._ entrance, _and so -quarterly_. This person, after he had extremely wondered how he could -play so many tunes as he did by _fourths_, without a director or guide, -tuned his violin by _fifths_, and gave him instructions how to proceed, -leaving then a lesson with him to practice against his next coming. - -"Having, by 1654, obtained a proficiency in musick, he and his -companions were not without silly frolicks, not now to be -maintained."--What should these frolics be, but to disguise themselves -in poor habits, and, like country fiddlers, scrape for their livings! -After strolling about to Farringdon Fair, and other places, and gaining -money, victuals and drink for their trouble, they were overtaken, in -returning home, by certain soldiers, who forced them to play in the open -field, and then left them - - But if this same fiddle you fain would play bold, - You must go to his son, who'll be Young when he's old. - There's old Young and young Young, both men of renown, - Old sells, and Young plays, the best fiddle in town; - Young and old live together, and may they live long, - Young, to play an old fiddle; old, sell a new song! - -The zealous, ingenious, minute and gossiping Anthony Wood, to whose -journalizing propensity we are indebted for a free insight into the -state of music at Oxford, during the time of the Civil War (when musical -sounds were scarcely any where else to be heard in the kingdom), was an -ardent admirer of the violin, while its admirers were yet scarce; and -has left us, in his life, written by himself, some particulars relating -to the instrument, that are too pleasant, as well as curious, to be here -passed by. Let me introduce this quaint worthy, speaking of himself in -the third person, and under the abridged designation of A. W. - -In 1651, "he began to exercise his natural and insatiable genie to -music. He exercised his hand on the violin, and, having a good eare to -take any tune at first hearing, he could quickly draw it out from the -violin, but not with the same tuning of the strings that others used. He -wanted understanding, friends and money, to pick him out a good master; -otherwise he might have equalled in that instrument, and in singing, any -person then in the University. He had some companions that were musical, -but they wanted instruction as well as he." - -The next year, being obliged to go into the country, for change of air -and exercise, with a view to rid himself of an ague, he states that -"while he continued there, he followed the plow on _well_-days, and -sometimes plowed: and, having had, from his most tender years, an -Proctor, a young man and a new comer:--John Packer, one of the -university musitians. But Mr. Low, a proud man, could not endure any -common musitian to come to the meeting, much less to play among them. Of -this kind I must rank Joh. Haselwood, an apothecary, a starch'd formal -clister-pipe, who usually played on the base-viol, and sometimes on the -counter-tenor. He was very conceited of his skill (though he had but -little of it), and therefore would be ever and anon ready to take up a -viol[11] before his betters; which being observed by all, they usually -called him _Handlewood_. The rest were but beginners. Proctor died soon -after this time; he had been bred up by Mr. John Jenkins, the mirrour -and wonder of his age for musick, was excellent for the lyra-viol and -division-viol, good at the treble-viol, and violin, and all comprehended -in a man of three or four and twenty yeares of age. He was much admired -at the meetings, and exceedingly pitied by all the facultie for his -loss." - -"A. W. was now advised to entertain one William James, a dancing-master, -to instruct him on the violin, who, by some, was accounted excellent on -that instrument, and the rather because it was said that he had obtained -his knowledge in dancing and music in France. He spent, in all, half a -yeare with him, and gained some improvement; yet at length he found him -not a compleat master of his facultie, as Griffith and Parker were not: -and, to say the truth, there was no compleat master in Oxon for that -instrument, because _it had not been hitherto used in consort_ among -gentlemen, only by common musitians, who played but two parts. The -gentlemen in private meetings, which A. W. frequented, played three, -four, and five parts with viols[12]--as treble-viol, tenor, -counter-tenor, and bass, with an organ, virginal, or harpsicon joined -with them; and they esteemed _a violin_ to be an instrument only -belonging to a _common fiddler_, and could not endure that it should -come among them, for feare of making their meetings to be vain and -fiddling. But, before the restoration of King Charles II, and -_especially after_, viols began to be out of fashion, and only violins -used, as treble violin, tenor, and base violin; and the King, according -to the French mode, would have _twenty-four violins_ playing before him -while he was at meals, as being more airie and brisk than _viols_." - -Under the year 1658, he tells us that "Tho. Baltzar, a Lubecker borne, -and the most famous artist for the violin that the world had yet -produced (!), was now in Oxon, and this day, July 24, A. W. was with -him, and Mr. Ed. Lowe, at the house of Will. Ellis. A. W. did then and -there, to his very great astonishment, heare him play on the violin. He -then saw him run up his fingers to the end of the finger-board of the -violin, and run them back insensibly; and all with alacrity and _very -good tune_, which he nor any in England saw the like before. A. W. -entertained him and Mr. Low with what the house could then afford, and -afterwards he invited them to the taverne; but they being engaged to goe -to other company, he could no more heare him play or see him play at -that time. Afterwards he came to one of the weekly meetings at Mr. -Ellis's house, and he played to the wonder of all the auditory, and -exercising his finger and instrument several wayes to the utmost of his -power. Wilson thereupon, the public Professor, the greatest judge of -musick that ever was, did, after his humoursome way, stoope downe to -Baltzar's feet, to see whether he had a huff (hoof) on, that is to say, -to see whether he was a devil or not, because he acted beyond the parts -of man." - -"About this time it was that Dr. John Wilkins, warden of Wadham, the -greatest _curioso_ of his time, invited him (Baltzar) and some of the -musitians to his lodgings in that Coll. purposely to have a consort, and -to see and heare him play. The instruments and books were carried -thither, but none could be persuaded there to play against him in -consort on the violin. At length the company perceiving A. W. standing -behind in a corner neare the dore, they haled him in among them, and -play, forsooth, he must against him. Whereupon he, being not able to -avoid it, took up a violin, as poor Troylus did against Achilles[13]. He -abashed at it, yet honour he got by playing with and against such a -grand master as Baltzar was." - -The restoration of monarchy and episcopacy in England (observes Dr. -Burney) seems to have been not only favorable to sacred music, but to -secular; for it may be ascribed to the particular pleasure which Charles -II received from the gay and sprightly sound of the violin, that this -instrument was introduced at Court, and the houses of the nobility and -gentry, for any other purpose than country-dances, and festive mirth. -Hitherto there seem to have been no public concerts; and, in the music -of the chamber, in the performance of _Fancies_ on instruments, which -had taken place of vocal madrigals and motets, the violin had no -admission, the whole business having been done by _viols_. Charles II, -who, during the usurpation, had spent a considerable time on the -continent, where he heard nothing but French music--upon his return to -England, in imitation of Louis XIV, established a band of violins, -tenors and bases, instead of the viols, lutes and cornets, of which the -Court Band used to consist. Soon after the establishment of this band, -Matthew Lock held the appointment of master to it; and the same title -was conferred, about 1673, on Cambert, a French musician, who had -preceded Lulli in composing for, and superintending, the Opera at Paris, -and who came over to England after Lulli had obtained the transfer of -his patent. - -From this time, the Violin Family began to rise in reputation among the -English, and had an honorable place assigned them, in the music of the -Court, the theatres and the chamber; while the succession of performers -and compositions, with which the nation was afterwards supplied from -Italy and elsewhere, stimulated the practice and established the -character of this class of instruments, which have ever since been -universally acknowledged to be the pillars of a well-ordered orchestra, -and more capable of perfect intonation, expression, brilliancy, and -effect, than any other that have ever been invented. It should be -observed, however, that, although the revival of the theatres at the -Restoration was followed by the introduction of what were termed -_act-tunes_ (short compositions played betwixt the acts of the drama), -whereby the public services of the violin were brought into requisition, -yet the state of dramatic music was, for some years, too low to admit of -those services being very important. The music of the drama had attained -scarcely any separate development, but was still confounded with that of -the church, to the disadvantage of both. All the most noted composers -for the theatre, for several years after the Restoration, were members -of cathedral and collegiate churches--a circumstance which encouraged a -jester, Tom Brown, to remark that "men of the musical profession hung -betwixt the church and the play-house, like Mahomet's tomb betwixt two -load-stones." - -A general passion for the violin, and for pieces expressly composed for -it, as well as a taste for Italian music, seem to have been excited in -this country about the _end_ of Charles the Second's reign, when French -music and French politics became equally odious to a great part of the -nation. The hon. Mr. North, who listened attentively to every species of -performance, says that "the decay of French music, and favor of the -Italian, came on by degrees. Its beginning was accidental, and -occasioned by the arrival of _Nicola Matteis_; he was an excellent -musician; performed wonderfully on the violin. His manner was singular; -but he excelled, in one respect, all that had been heard in England -before: his _arcata_, or manner of bowing, his shakes, divisions, and -indeed his whole style of performance, was surprising, and every _stroke -of his bow_ was _a mouthful_. When he first came hither, he was very -poor; but not so poor as proud, which prevented his being heard, or -making useful acquaintance, for a long time, except among a few -merchants in the City, who patronized him; and, setting a high value on -his condescension, he made them indemnify him for the want of more -general favor. By degrees, however, he was more noticed, and was -introduced to perform at Court. But his demeanor did not please, and he -was thought capricious and troublesome, as he took offence if any one -whispered while he played; which was a kind of attention which had not -been much _in fashion_ at our Court. It was said that the Duke of -Richmond would have settled a pension upon him, though he wished him to -change his manner of playing, and would needs have one of his pages show -him a better. Matteis, for the sake of the jest, condescended to take -lessons of the page; but learned so fast, that he soon outran him in his -own way. But he continued so outrageous in his demands, particularly for -his _solos_, that few would comply with them, and he remained in narrow -circumstances and obscurity a long while; nor would his superior talents -ever have contributed to better his fortune, had it not been for the -zeal and friendly offices of two or three dilettanti, his admirers. -These, becoming acquainted with him, and courting him in his own way, -had an opportunity of describing to him the temper of the English, who, -if humoured, would be liberal; but, if uncivilly treated, would be -sulky, and despise him and his talents; assuring him that, by a little -complaisance, he would neither want employment nor money. By advice so -reasonable, they at length brought him into such good temper, that he -became generally esteemed and sought after; and, having many scholars, -though on moderate terms, his purse filled apace, which confirmed his -conversion. After this, he discovered a way of acquiring money which was -then perfectly _new_ in this country: for, observing how much his -scholars admired the lessons he composed for them (which were all -_duos_), and that most musical gentlemen who heard them wished to have -copies of them, he was at the expense of having them neatly engraved on -copper plates, in oblong octavo, which was the beginning of engraving -music in England; and these he presented, well bound, to lovers of the -art and admirers of his talents, for which he often received three, four -and five guineas. And so great were his encouragement and profits in -this species of traffic, that he printed four several books of _Ayres -for the Violin_, in the same form and size." - -Of the jealousy which attended the progress of the violin in public -favor among the English, there occurs some amusing evidence in the -"_Musick's Monument_" of that rich, exuberant and right pleasant -egotist, Thomas Mace, published in 1676. This worthy, who exalted the -lute and viol, his own peculiar instruments, looked with distrust on the -growing importance and credit of that which had been before so -imperfectly understood and insufficiently employed. In speaking of the -instruments till then in chief use, and the propriety of balancing their -relative proportions of sound in concerted pieces, he remarks, -complainingly--"_the scoulding violins will out-top them all_." In a -sort of dialogue, in rhyme, between the author and his lamenting lute, -he makes the latter exclaim:-- - - The world is grown so slight! full of new fangles, - And takes its chief delight in jingle-jangles, - With _fiddle-noises_, &c. - - - - -CHAPTER II. - -THE ITALIAN SCHOOL. - - "Oh! known the earliest, and esteemed the most" - - BYRON. - - -Having shown, on such evidence as I have been able to adduce, that the -Italians are, most probably, the rightful claimants of the distinction -which attaches to the _invention_ of the modern or _true_ violin, it is -now to be considered by what bright array of names, by what successive -efforts of skill and genius, they have likewise become entitled to the -greater distinction of having been the first to develop the wonderful -powers of the instrument, and the chief agents through whom its charming -dominion in the realms of music was diffused, ere the great German -composers, in more recent days, applied their powers to the extension -and enrichment of the field for stringed instruments. - -In casting a glance over the catalogue of bright Italian names, we find -two, that demand to be especially noted for their great influence in -advancing the progress of the "leading instrument," and that serve -indeed to mark two main epochs in its history. These are Corelli and -Viotti--the first constituting the head of the old school, the last that -of the modern; and each (it may be parenthetically said) almost as -interesting to contemplate in personal character, as in professional -eminence. The intermediate names, most entitled to attention, are -Tartini, Geminiani and Giardini. These, with others of considerable -celebrity, though of less effective influence in the formation of what -we have designated the Italian School, will be here noticed critically -and biographically, according to their several pretensions and -proceedings. Before we come to Corelli, however, there are some few to -be treated of in the character of his predecessors, and as having -prepared the way for his more dignified and important career. - -BALTAZARINI has been already designated as the earliest violin-player of -real eminence that the annals of music present to notice. His celebrity -was much extended by the transplanting of his talent into France, where -he acquired the new appellation of De Beaujoyeux, by virtue of the -delight he afforded to a people whose natural gaiety of temperament -could not but assort happily with the lighter range of sounds so readily -evoked from the violin. It was in 1577, that Baltazarini, with _a band -of violins_, was sent from Piedmont by Marshal Brissac to Queen -Catherine de Medicis, who appointed him her "Premier Valet de Chambre," -and Master of her Band. France has reason to be grateful to his memory, -and Italy may fairly be proud of it. - -GIUSEPPE GUAMI, organist of Lucca Cathedral, who published, in 1586, -some voluminous compositions belonging to the class of _cantiones -sacrae_, or motetts, is cited by Draudius, in his "Bibliotheca Classica," -as an excellent performer on the violin. - -Another early violinist, AGOSTINO AGGAZZARI, born of a noble family at -Siena, and a scholar of Viadana, appears to have been the first who -introduced instrumental Concertos into the Church; though Dr. Burney -supposes that these Concertos must only be understood in the very -qualified sense of _Salmi Concertati_, or psalms accompanied with -violins; and he adds, that Concertos _merely_ instrumental, either for -the church or chamber, seem to have had no existence till about the time -of Corelli. - -CARLO FARINA, of Mantua, who published, in 1628, a Collection of "Pavans -and Sonatas" for the violin, is recorded by Walther (in his Musical -Lexicon), as having figured in the service of the Elector of Saxony, as -a celebrated performer on the instrument. - -MICHAEL ANGELO ROSSI, a composer, as well as an able violinist, -signalized himself somewhat oddly at Rome, in 1632, by performing the -part of Apollo, in a musical drama, with the violin as the expressive -symbol and exponent of his melodial powers, _instead_ of the classically -attributed lyre. The strangeness of the anomaly was doubtless lost sight -of amidst the enjoyment it was the means of conferring: nor would the -example, were it taken up in our own times, by a competent artist, be -likely to fail in producing a similar subserviency of taste to pleasure. - - If, in _these_ days, the man who plays Apollo - Like charms could conjure from the fiddle's hollow, - _We_, too, should find the heaven-descended lyre - Omitted "by particular desire!" - And Phoebus, fitted with a fiddle so, - Would dart fresh wonders from his newer _bow_! - -Though there was only one violin employed (observes Dr. Burney) in the -first operas by Jacopo Peri and Monteverdi, yet, as the musical drama -improved, and the orchestra was augmented, the superiority of that -instrument was soon discovered by its effects, not only in the theatre, -but in private performances; and the most eminent masters, without -knowing much of its peculiar genius or powers, thought it _no -degradation_ to compose pieces expressly for the use of its votaries. -Among the most early of these productions, may be ranked the _Suonate -per Chiesa_ of Legrenzi, published at Venice, 1655; _Suonate da Chiesa e -Camera_, 1656; _Una Muta di Suonate_ (a Variety of Sonatas), 1664; and -_Suonate a due Violini e Violone_, 1677. - -The next individual of eminence in connexion with the instrument is -GIAMBATTISTA BASSANI, of Bologna, whose name derives additional lustre -from his having been the violin-master of Corelli. Bassani was a man of -extensive knowledge and abilities in his art, having been a successful -composer for the church, the theatre and the chamber, between the years -1680 and 1703, as well as an excellent performer on the violin. His -sonatas for that instrument, and his accompaniments for it to his -masses, motetts, psalms and cantatas, manifest a knowledge of the -finger-board and the bow, which appears in the works of no other -composer anterior to Corelli; and the lovers of the pure harmony and -simple melody of that admirable master, would still receive great -pleasure from the performance of Bassani's sonatas for violins and a -bass. Specimens of Bassani's music may be found in Latrobe's and -Stephens's Selections. - -The names of TORELLI, VALENTINI, and the elder VERACINI, may be -dismissed with a brief mention; because, though of eminence in their -day, they are not connected with any very marked influence on the art; -and the published works which they have given to the world have long -since attained a dormant state. It should be observed, however, as -illustrating the very capricious nature of _fashion_, that Valentini for -a while eclipsed Corelli himself in popularity. - -ARCANGELO CORELLI, under whose able direction the violin may be said to -have first acquired the definite character and regulated honors of _a -school_,[14] was a native of Fusignano, a town situated near Imola, in -the territory of Bologna, and was born in the month of February, 1653. -His first instructor was Matteo Simonelli, by whom he was taught the -rudiments of music, and the art of practical composition; but, the -genius of Corelli leading him to prefer secular to ecclesiastical music, -he afterwards became a disciple of Bassani. - -Corelli entertained an early propensity for the violin, and, as he -advanced in years, laboured incessantly in the practice of it. It has -been said, though without authority, that, in the year 1672, he went to -Paris, and was driven thence by the jealousy and violence of Lully, who -could not brook so formidable a rival. - -In 1680, he visited Germany, and met with a reception suitable to his -merit, from most of the German princes, but particularly from the -Elector of Bavaria, in whose service he was retained, and continued for -some time. After a few years' residence abroad, he returned to Rome, and -there pursued his studies with assiduity. It was at Rome that he -published (about 1683) his first _twelve Sonatas_. In 1685, the second -set appeared, under the title of _Balletti da Camera_. In 1690, he gave -to the press the third "Opera" of his Sonatas; and in 1694, the fourth, -which, consisting of movements fit for _dancing_, like the second, he -called _Balletti da Camera_. This species of instrumental composition, -the sonata, first imagined in the course of the 17th century, has been -fixed, in many respects, by Corelli. - -The proficiency of Corelli on his favourite instrument became so great, -that his fame was extended throughout Europe, and the number of his -pupils grew very considerable; for, not only his own countrymen, but -even persons from distant kingdoms, resorted to him for instruction, as -the greatest master of the violin that had, at that period, been heard -of in the world. It does not appear, indeed, that he had attained a -power of _execution_ in any degree comparable to that of later -professors. The style of his performance was, however, learned, elegant, -and occasionally impressed with feeling; while his _tone_ was firm and -even. Geminiani, who was well acquainted with it, used expressively to -compare it with that of a sweet trumpet. One of those who heard him -perform, has stated that, during the whole time, his countenance was -distorted, his eyes were as red as fire, and his eye-balls rolled as if -he were in agony. This was the enthusiasm of genius--the influence of -the "praesens divus," Apollo--the exalted state so well characterized by -the poet's exclamation, - - "Est Deus in nobis--agitante calescimus illo!" - -About the year 1690, the Opera had arrived at a flourishing state in -Rome, and Corelli led the band as principal Violin[15]. It was not till -ten years after this date, that he published his _Solos_,[16] the work -by which he acquired the greatest reputation during his life-time, and -to which, in its established character of a text-book for students, the -largest share of attention on the whole has been directed. It was the -fifth in the series of his publications, and was issued at Rome under -the following title:--"Sonate a Violini e Violone o Cimbalo: Opera -Quinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, -Gighe, Sarabande, Gavotte, e Follia." This work was dedicated to Sophia -Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that -the author himself was accustomed to perform on particular occasions. - -Corelli's great patron at Rome was Cardinal Ottoboni, the distinguished -encourager of learning and the polite arts, to whom, in 1694, he -dedicated his Opera Quarta,[17] and in whose palace he constantly -resided, "col spezioso carrattere d'attuale Servitore" of his Eminence, -as he expresses himself in the dedication--with more of the humility of -gratitude, by the by, than of the independence of genius. Crescembini, -speaking of the splendid and majestic "Academia," or Concert, held at -Cardinal Ottoboni's every Monday evening, observes that the performance -was regulated by Arcangelo Corelli, that most celebrated professor of -the violin--"famosissimo professore di violino." Another title, -expressive of the high consideration in which he was held by his -contemporaries, is that applied to him by Francesco Gasparini, who calls -him "Virtuosissimo di violino, e vero _Orfeo_ di nostro tempo." - -It was at Cardinal Ottoboni's that Corelli became acquainted with -Handel, of whom the following anecdote is related. On one of the musical -evenings given there, a Serenata, written by the latter, entitled _Il -Trionfo del Tempo_, was ordered to be performed, out of compliment to -this great composer. Whether the style of the overture was new to -Corelli, or whether he attempted to modify it according to his taste and -fancy, does not appear[18]; but Handel, giving way to his natural -impetuosity of temper, snatched the violin from his hand. Corelli, with -that gentleness which always marked his character, simply replied:--"Mio -caro Sassone, questa musica e nello stile Francese, di che io non -m'intendo."--"My dear Saxon, this music is in the French style, with -which I am not acquainted." - -The biography of Corelli has received the accession of several -interesting anecdotes, through one of his most illustrious pupils, -Geminiani, who was himself an eye and an ear witness of the matters he -has related. These may find a fitting place here. - -At the time when Corelli was at the zenith of his reputation, a royal -invitation reached him from the Court of Naples, where a great curiosity -prevailed to hear his performance. The unobtrusive _Maestro_, not a -little loth, was at length induced to accept the invitation; but, lest -he should not be well accompanied, he took with him his own second -violin and violoncello players. At Naples he found Alessandro Scarlatti -and several other masters[19], who entreated him to play some of his -concertos before the king. This he, for a while, declined, on account of -his whole band not being with him, and there was no time, he said, for a -rehearsal. At length, however, he consented, and, in great fear, -performed the first of them. His astonishment was very great to find -that the Neapolitan band executed his concertos almost as accurately at -sight as his own band after repeated rehearsals, and when they had -almost got them by heart. "_Si suona_ (said he to Matteo, his second -violin) _a Napoli_!"--"They _play_, at Naples!" - -After this, he being again admitted into his Majesty's presence, and -desired to perform one of his sonatas, the king found the adagio so long -and dry, that, being tired of it, he _quitted the room_, to the great -mortification of Corelli. Afterwards, he was desired to lead, in the -performance of a masque composed by Scarlatti, which was to be executed -before the king. This he undertook, but, owing to Scarlatti's very -limited acquaintance with the violin, Corelli's part was somewhat -awkward and difficult; in one place it went up to F, and when they came -to that passage, Corelli failed, and could not execute it; but he was -astonished, beyond measure, to hear Petrillo, the Neopolitan leader, and -the other violins, perform with ease that which had baffled his utmost -skill. A song succeeded this, in C minor, which Corelli led off in C -major. "_Ricomminciamo_" (let us begin again), said Scarlatti, -good-naturedly. Still, Corelli persisted in the major key, till -Scarlatti was obliged to call out to him, and set him right. So -mortified was poor Corelli with this disgrace, and the deplorable figure -which he imagined he had made at Naples, that he stole back to Rome, in -silence. Soon after this, a hautboy-player (whose name Geminiani could -not recollect) acquired such applause at Rome, that Corelli, disgusted, -would never again play in public. All these mortifications, superadded -to the success of Valentini, whose Concertos and performance, though -infinitely inferior to those of Corelli, were become fashionable, threw -him into such a state of melancholy and chagrin, as was thought to have -hastened his death. - -The account thus furnished by Geminiani, of Corelli's journey to Naples, -is something beyond mere personal anecdote; for, as Dr. Burney fitly -observes, it throws light upon the comparative state of music at Naples -and at Rome in Corelli's time, and exhibits a curious contrast, between -the fiery genius of the Neapolitans, and the meek, timid and gentle -character of Corelli, so analogous to the style of his music. To this -reflection it might have been added, that the latter part of the -narrative forms a painful contribution to the catalogue of instances in -which public caprice has done the work of ingratitude, and consigned the -man of genius to a neglect which his sensitive nature must render the -worst of cruelties. - -In 1712, the _Concertos_ of Corelli were beautifully engraved, at -Amsterdam, by Etienne Roger, and Michael Charles La Cene, and dedicated -to John William, Prince Palatine of the Rhine. The author survived the -publication of this admirable work but six weeks; the Dedication bearing -date at Rome, the 3rd of December, 1712, and he dying on the 18th of -January, 1713. - -Corelli was interred in the church of the Rotunda, otherwise called the -Pantheon, in the first chapel on the left hand of the entrance of that -beautiful temple. Over the place of his interment, there is a sepulchral -monument with a marble bust, erected to his memory, at the expense of -Philip William, Count Palatine of the Rhine, under the direction of -Cardinal Ottoboni. The monument bears an inscription in tributary Latin, -and the bust represents him with a music-paper in his hand, on which are -engraved a few bars of that celebrated air, the _Giga_, in his 5th -Sonata. It is worthy of remark, that this monument is contiguous to -that of the greatest of painters, Raffaelle[20]. - -During many years after Corelli's decease, a solemn service, consisting -of selections from his own works, was performed in the Pantheon by a -numerous band, on the anniversary of his funeral. This custom was not -discontinued, until there were no longer any of his immediate scholars -surviving to conduct the performance. Sir John Hawkins and Dr. Burney, -who have both cited testimony as to this practice, concur in -representing, that the works of the great master used to be performed, -on this occasion, in a slow, firm and distinct manner, just as they were -written, without changing the passages in the way of embellishment: and -this, it is probable, was the manner in which he himself was wont to -play them. - -Of the private life and moral character of this celebrated musician, no -new information is now likely to be obtained; but the most favorable -impression on this head is derived from analogy, in addition to what we -possess of fact. If we may judge of his natural disposition and -equanimity by the mildness, sweetness and even tenor of his musical -ideas, the conclusion must be that his temper and his talents had pretty -equal share in the office of endearing him to all his acquaintance. It -appears, moreover, that his facile habit did not always render him -insensible of that respect which was due to his character as well as to -his skill. It is said that, when he was once playing a solo at Cardinal -Ottoboni's house, he observed the Cardinal and another person in -discourse, on which he laid down his instrument; and, being asked the -reason, answered that he "feared the music interrupted the -conversation"--a reply in which modesty and dignity were nicely blended. -He is related, also, to have been a man of humour and pleasantry. Some -who were acquainted with him have censured him for parsimonious habits, -but on no better ground than his accustomed plainness of dress, and his -disinclination to the use of a carriage. - -His taste, which was not limited to the circle of his own art, evinced -itself enthusiastically in favor of pictures; and he lived in habits of -intimacy with Carlo Cignani and Carlo Maratti. It seems that he had -accumulated a sum equal to L6000. The account that is given of his -having bequeathed the whole of this amount, besides a valuable -collection of pictures, to his patron, Cardinal Ottoboni, has been -observed to savour more of vanity than of true generosity; and, indeed, -the Cardinal evinced the most considerate appreciation of the bequest, -by reserving only the pictures, and distributing the remainder of -Corelli's effects among his indigent relations. - -In regard to the peculiar merits of Corelli's productions, it may be -briefly said, that his Solos (or _Opera Quinta_), as a classical book -for forming the hand of a young practitioner on the violin, has ever -been regarded, by the most eminent masters of the instrument, as a truly -valuable work; and it is said, of this elaborate work (on which all good -systems for the instrument have since been founded), that it cost him -three years to revise and correct it. Indeed, all his compositions are -said to have been written with great deliberation, to have been -corrected by him at many different times, and to have been submitted to -the inspection of the most skilful musicians of his day. Of his Solos, -the second, third, fifth, and sixth are admirable; as are the ninth, -tenth, and, for the elegant sweetness of its second movement, the -eleventh. The ninth is probably the most perfect, as a whole; and the -Solos, generally, seem to have been drawn from the author's native -resources, more extensively than any of his other productions. The most -emphatic evidence of the value of these Solos lies in the fact of their -adoption by the highest instructors. Tartini formed all his scholars on -them; and it was the declaration of Giardini, that, of any two pupils of -equal age and abilities, if the one were to begin his studies by -Corelli, and the other by Geminiani, or any other eminent master -whatever, the first would become the better performer. Let it be -observed, however, that it is not from Corelli, that the niceties and -dexterities of _bowing_, which characterize the modern state of the art, -are derived. The qualities he is capable of imparting are tone and time: -or, in other words, he teaches the full extraction of sound, and the -utmost steadiness of hand. - -The _Concertos_ of Corelli (the sixth and last of his works) appear to -have withstood the attacks of time and fashion with more firmness than -any of his other productions. The harmony is so pure; the parts are so -clearly, judiciously, and ingeniously disposed; and the effect of the -whole, from a large band, is so majestic, solemn and sublime, that they -nearly preclude all criticism, and make us forget that there is any -other music of the same kind existing. They are still performed, now -and then, at the Philharmonic Concerts. Though composed at a time when -the faculties of the author might be supposed to have been on the -decline, they exhibit the strongest proof of the contrary. To speak more -definitely of their merits, nothing can exceed, in dignity and majesty, -the opening of the First Concerto, nor, for its plaintive sweetness, the -whole of the Third; and that person must have no feeling of the power of -harmony, or the effects of modulation, who can listen to the Eighth -without rapture. - -The following further comments on them are from the pen of a sensible -anonymous writer in a periodical work:--"Though they are no longer -calculated to show off the bow and fingers of the principal -violin-player, yet their effect, as symphonies for a numerous orchestra, -is excellent, and never fails to delight the audience. Their melody is -flowing and simple, and of a kind which is independent of the changes of -fashion: the harmony is pure and rich, and the disposition of the parts -judicious and skilful. The Eighth of these Concertos, composed for the -purpose of being performed on Christmas Eve, has probably had more -celebrity than any piece of music that ever was written. It is -exquisitely beautiful, and seems destined to bid defiance to the attacks -of time. The whole is full of profound religious feeling; and the -pastoral sweetness of the movement descriptive of the 'Shepherds abiding -in the fields,' has never been surpassed--not even by Handel's movement -of the same kind in the 'Messiah.' If ever this music is thrown aside -and forgotten, it will be the most unequivocal sign of the corruption of -taste, and the decay of music, in England." - -The compositions of Corelli, taken altogether, are celebrated for the -harmony resulting from the union of all the parts; but the fineness of -the airs is another distinguishing characteristic of them. The -Allemande, in the Tenth Solo, is as remarkable for spirit and force, as -that in the Eleventh is for its charming delicacy. His _jigs_ are in a -style peculiarly his own; and that in the Fifth Solo was, perhaps, never -equalled. In the gavot movements, in the Second and Fourth Operas, the -melody is distributed, with great judgment, among the several parts. In -his Minuets alone, he seems to fail; Bononcini, Handel, Haydn, Martini -and others, have excelled him in this kind of air. - -The music of Corelli is, generally speaking, the language of nature. It -is equally intelligible to the learned and to the unlearned. Amidst the -numerous innovations which the love of change had introduced, it still -continued to be performed, and was heard with delight in churches, in -theatres, and at public solemnities and festivals, in all the cities of -Europe, for nearly forty years. Persons remembered and would refer to -passages of it, as to a classic author; and, even at this day, the -masters of the science do not hesitate to pronounce, of the compositions -of Corelli, that, for correct harmony, and for elegant modulation, they -are scarcely to be exceeded. Yet there is one deficiency, that should -not be passed over in a review of the compositions of this master: and -it is one that may suggest itself from what has been already said of -him. They want that stirring quality of passion, which ministers so -importantly to the life of a production, whether in the world of music, -of poetry, or of painting. They lose, through this omission, nearly all -the benefits of the principle of contrast, on which effect, in so -material a degree, depends. Their beauties, wanting this relief, are -scarcely able, sometimes, to escape the charge of insipidity. The -absence of intensity in the works of Corelli, seems to be partly a -consequence of the natural character of the man: but it is doubtless -also partly owing to the state of musical taste at that period. There -was little or no melody in instrumental music before his time; and -although, considering how much slow and solemn movements abound in his -works, they display but a slender portion of the true pathetic, yet has -he considerably more grace and elegance in his _Cantilena_, more -vocality of expression, than his predecessors. Indeed, when we recollect -that some of his productions are more than a hundred and fifty years -old, we must regard, with some admiration and astonishment, the healthy -longevity of his fame, which can only be accounted for on the principle -of the ease and simplicity that belong characteristically to his works. - -The following summary of the character of Corelli's music has been given -by Geminiani. Dr. Burney's remark, that it seems very just, may be very -fairly assented to.--"His merit was not depth of learning, like that of -his contemporary, Alessandro Scarlatti; nor great fancy, nor a rich -_invention_ in melody or harmony; but a nice ear, and most delicate -taste, which led him to select the most _pleasing_ melodies and -harmonies, and to construct the parts so as to produce the most -delightful effect upon the ear." - -An extensive and rapidly diffused impression in favor of the Violin, and -the larger homogeneous instruments, was produced in Europe by the -publication of the works of Corelli, who indeed must be considered as -the author of the greatest improvements which music, simply -instrumental, underwent at the commencement of the 18th century. As a -consequence of the impulse thus communicated, there was scarcely a town -in Italy, about that period, where some distinguished performer on the -violin did not reside. Dr. Burney enumerates about a dozen of these, in -one paragraph; but the apparent similarity of their merits, which does -not encourage any circumstantial commemoration, may serve to bring to -the mind of the classical reader the "fortemque Gyan fortemque -Cloanthum" of Virgil. One of these locally great individuals, Nicola -Cosimo, who came to England about 1702, has derived some little -accession of fame, from the fact of his portrait having been painted by -Kneller, and _coppered_ by Smith. It is probable, that he is now more -known to print-collectors than to musicians, although his _Twelve -Solos_, published in this country, possess considerable merit, for the -time--a merit not free, however, from pretty large obligations to -Corelli. - -Don ANTONIO VIVALDI, Chapel-master of the _Conservatorio della Pieta_, -at Venice, seems to have enjoyed, in his day, a popularity of the most -animated and unhesitating kind, both as composer and performer. Besides -a number of dramatic compositions, in the form of Opera, he published -eleven instrumental works, exclusively of his pieces called -_Stravaganze_, which, among flashy players, whose chief merit was the -novelty of rapid execution, occupied the highest place of favor. To be -loud and brisk, appears to have been the chief ambition of this -exhibitor; no bad method of ensuring a predominance of applause in all -"mixed company." His _Cuckoo Concerto_ was once the wonder and delight -of all frequenters of English country concerts; and Woodcock, one of the -Hereford _Waits_, was sent for, far and near, to perform it. If -Vivaldi's musical fame were to rest on this production, it would figure -but poorly; for the thing, though reprinted in London a few years ago, -is indeed, when put to the test, "full of sound and fury, signifying -nothing." It is just of the order of stuff that might serve to agitate -the orchestral elbows in a pantomime. Doubtless, it found a fitting -exponent in "Mr. Woodcock, of the Hereford Waits:" Vivaldi's _own_ -playing must have been too good for it. Of the pieces styled his -_Solos_, it has been critically remarked, that they are extremely tame -and vapid, while the characteristic of his _Concertos_ is a singular -wildness and irregularity, in which he oftentimes transgresses the -bounds both of melody and modulation. Though, in some of his -compositions, the harmony and the artful contexture of the parts are -their least merit, there is one (the eleventh of his first twelve -concertos) which is esteemed a solid and masterly composition, and is an -evidence that the writer possessed a greater portion of skill and -learning than his works in general discover. To account for the -singularity of Vivaldi's style, it should be observed that he had been -witness to the dull _imitations_ of Corelli that prevailed among the -masters of his time; and that, for the sake of variety, he unfortunately -adopted a style which had little but novelty to recommend it, and could -serve for little else but "to please the itching vein of idle-headed -fashionists." - -The title of Don, prefixed to Vivaldi's name, was derived from the -_clerical_ character which belonged to him; and he must, indisputably, -have been one of the most lively of priests. Mr. Wright, in his "Travels -through Italy, from 1720 to 1722," has a passage indicative of this -union of the clerical and musical functions:--"It is very usual to see -priests play in the orchestra. The famous Vivaldi, whom they call the -_Prete Rosso_, very well known among us for his concertos, was a topping -man among them at Venice." - -Vivaldi, together with Albinoni, Alberti, and Tessarini, is to be -classed among the light and irregular troops. For the more disciplined -and efficient forces, we must look to the Roman school, formed by -Corelli, in which were produced the greatest composers and performers -for the violin that Italy could boast, during the first half of the 18th -century. - -FRANCESCO GEMINIANI, the ablest of Corelli's scholars, and who forms one -of the brightest parts in the chain of Violinists - - "In linked sweetness long drawn out," - -was born at Lucca, about the year 1680[21]. His first instructions in -music were derived from Alessandro Scarlatti; and his study of the -violin was commenced under Lunati (surnamed Il Gobbo), and completed -under the great archetype, Corelli. - -On leaving Rome, where Corelli was then flourishing, Geminiani went to -Naples, preceded by a degree of fame which secured his most favorable -reception, and placed him at the head of the orchestra. If, however, we -are to credit Barbella, the impetuosity of his feelings, and the fire of -his genius, too ardent for his judgment, rendered him, at this period, -so vague and unsteady a _timeist_, that, instead of guiding, combining, -and giving concinnity to the performers under his direction, he -disordered their motions, embarrassed their execution, and, in a word, -threw the whole band into confusion. - -In the year 1714, he came to England, where his exquisite powers, as a -solo performer, commanded universal admiration, and excited, among the -nobility and gentry, a contention for the honor of patronising such -rare abilities. The German Baron, Kilmansegge, was then chamberlain to -George the First, as Elector of Hanover, and a great favorite of the -King. To that nobleman Geminiani particularly attached himself, and, -accordingly, dedicated to him his first work--a set of Twelve Sonatas, -published in 1716. The style of these pieces was peculiarly elegant; but -many of the passages were so florid, elaborate and difficult of -execution, that few persons were adequate to their performance; yet all -allowed their extraordinary merit, and many pronounced them superior to -those of Corelli. They had, indeed, such an effect, that it became a -point of eager debate, whether skill in execution, or taste in -composition, constituted the predominant excellence of Geminiani; and so -high was the esteem he enjoyed, among the lovers of instrumental music, -that it is difficult to say, had he duly regarded his interest, to what -extent he might not have availed himself of public and private favor. -Kilmansegge, anxious to procure him a more effective patronage than his -own, represented his merits to the notice of the King, who, looking over -his works, became desirous to hear some of the pieces performed by their -author; and soon after, accompanied, at his own earnest request, by -Handel on the harpsichord, Geminiani so acquitted himself, as at once to -delight his royal auditor, and to give new confirmation of the -superiority of the violin over all other stringed instruments. - -In 1726, he arranged Corelli's first six _Solos_, as _Concertos_; and, -soon after, the last six, but with a success by no means equal to that -which attended the first. He also similarly treated six of the same -composer's _Sonatas_, and, in some additional _parts_, imitated their -style with an exactitude that at once manifested his flexible ingenuity, -and his judicious reverence for his originals. Encouraged, however, as -he might be considered, by the success of this undertaking, to proceed -in the exercise of his powers, six years elapsed before another work -appeared--when he produced his own first set of _Concertos_; these were -soon followed by a second set; and the merits of these two productions -established his character as an eminent master in that species of -composition. The opening Concerto in the first of these two sets is -distinguished for the charming minuet with which it closes; and the last -Concerto in the second set is esteemed one of the finest compositions -known of its kind. - -His second set of Solos (admired more than practised, and practised more -than performed) was printed in 1739: and his third set of Concertos -(laboured, difficult and fantastic), in the year 1741. Soon after this, -he published his long-promised, and once impatiently-expected work, -entitled "_Lo Dizionario Armonico_." In this work, after giving due -commendation to Lully, Corelli and Bononcini, as having been the first -improvers of instrumental music, he endeavours to refute the idea, that -the vast foundations of universal harmony can be established upon the -narrow and confined modulation of these authors; and makes many remarks -on the uniformity of modulation apparent in the compositions that had -appeared in different parts of Europe for several years previously. - -This didactic production possessed many recommendatory qualities; many -combinations, modulations and cadences, calculated to create, and to -advance the science and taste of a _tyro_; but it appeared too late. -Indolence had suffered the influence of his name to diminish, and his -style and ideas (new as, in some respects, they were) to be superseded -by the more fashionable manner, and more novel conceptions, of fresh -candidates for favour and fame. - -This work was succeeded by his "_Treatise on Good Taste_," and his -"_Rules for playing in Good Taste_;" and, in 1748, he brought forward -his "_Art of Playing on the Violin_;" at that time a highly useful work, -and superior to any similar publication extant. It contained the most -minute directions for holding the instrument, and for the use of the -bow; as well as the graces, the various shifts of the hand, and a great -number of applicable examples. - -About 1756, Geminiani was struck with a most curious and fantastic idea; -that of a piece, the performance of which should represent to the -imagination all the events in the episode of the thirteenth book of -Tasso's Jerusalem. It is needless to say, that the chimera was too -extravagant, of attempting to narrate and instruct, describe and inform, -by the vague medium of instrumental sounds. Musical sounds may possibly, -according to a conjecture sometimes entertained, constitute the language -of heaven; but as we, on earth, are possessed of no _key_ to their -meaning in that capacity, we must be content to employ, for our purposes -of intercommunion, the _articulate_, which alone is, to us, the -_definite_. - -In 1750, Geminiani went to Paris, where he continued about five years; -after which, he returned to England, and published a new edition of his -first two sets of Concertos. In 1761, he visited Ireland, in order to -spend some time with his favourite and much-attached scholar, Dubourg, -master of the King's band in Dublin. Geminiani had spent many years in -compiling an elaborate Treatise on Music, which he designed for -publication; but, soon after his arrival in Dublin, by the treachery of -a female servant (who, it has been said, was recommended to him for no -other purpose than that she might steal it), the manuscript was -purloined out of his chamber, and could never afterwards be recovered. -The magnitude of this loss, and his inability to repair it, made a deep -impression on his mind, and seemed to hasten fast his dissolution. He -died at Dublin on the 17th of September, 1762, in the eighty-third year -of his age.[22] - -Endowed with feeling, a respectable master of the laws of harmony, and -acquainted with _some_ of the secrets of fine composition, Geminiani can -hardly be said to have been unqualified either to move the soul, or to -gratify the sense: yet truth, after being just to his real deserts, will -affirm that his bass is not uniformly the most select; that his melody -is frequently irregular in its phrase and measure; and that, on the -whole, he is decidedly inferior to Corelli, with whom, by his admirers, -he has been too frequently and too fondly compared. - -For what was deficient in his compositions, as well as for what was -unfavourable in his fortune, the unsettled habits of his life, and his -inherent inclination for rambling, may perhaps partly account. His -fondness for pictures (a taste very strongly developed in him) was less -discreetly exercised than it had been by his prototype, Corelli. On the -contrary, to gratify this propensity, he not only suspended his studies, -and neglected his profession, but oftentimes involved himself in -pecuniary embarrassments, which a little prudence and foresight would -have enabled him to avoid. To gratify his taste, he bought pictures; -and, to supply his wants, he sold them. The consequence of this kind of -traffic was loss, and its concomitant, necessity. Under such -circumstances, the concentration of thought, requisite for giving to his -productions the utmost value derivable from the natural powers of his -mind, was almost impossible. - -A trait creditable to his character, on a graver score, presents itself -in the following transaction. The place of Master and Composer of the -state-music in Ireland became vacant in the year 1727, and the Earl of -Essex obtained from Sir Robert Walpole, the minister, a promise of it. -He then told Geminiani that his difficulties were at an end, as he had -provided for him a place suited to his profession, which would afford -him an ample provision for life. On enquiry into the conditions of the -office, Geminiani found that it was not tenable by a member of the -Romish communion. He therefore declined accepting, assigning this as a -reason, and at the same time observing that, although he had never made -any great pretensions to religion, yet to renounce that faith in which -he had been first baptized, for the _sake_ of temporal advantages, was -what he could in no way answer for to his conscience. The post was given -to Matthew Dubourg, who had formerly been the pupil of Geminiani, and -whose merits were not excluded by similar grounds for rejection. - -LORENZO SOMIS, chapel-master to the King of Sardinia, was recorded in -Italy as an imitator of Corelli, but in a style somewhat modernized, -after the model of Vivaldi. - -He printed, at Rome, in 1722, his "_Opera Prima di Sonate a Violino e -Violoncello, o Cembalo_," the pieces contained in which are much in -Corelli's manner; some of them with double-stopped fugues, like those of -his model, and some without. Somis was one of the greatest masters of -the violin of his time; but his chief professional honour,--"the pith -and marrow of his attribute,"--is the having formed, among his scholars, -such a performer as Giardini. - -STEFANO CARBONELLI, who had studied the violin under Corelli, was one of -the Italian Artists who contributed to diffuse the celebrity of the -instrument in this country. About the year 1720, he was induced by the -Duke of Rutland to come to England, and was received into the house of -that nobleman. During his residence there, he published _Twelve Solos -for a Violin and Bass_, which he frequently played in public with great -applause. In each of the first six of these, there is a double-stopped -fugue; and the rest, it has been observed, have pleasing melodies, with -correct and judicious counterpoint. In the progress of his success in -England, Carbonelli was placed at the head of the opera band, and soon -became celebrated for his excellent performance. - -About the year 1725, he quitted the opera orchestra for an employment in -Drury Lane Theatre, where he also led, and frequently played select -concert pieces between the acts. After continuing there some time, he -engaged himself with Handel, as a performer in his oratorios. For -several years, he played at the rehearsal and performance at St. Paul's, -for the benefit of the Sons of the Clergy. - -In the latter part of his life, he in a great measure neglected the -profession of music, having become a merchant, and an importer of wine -from France and Germany. He obtained the place of one of the purveyors -of wine to the King; and died in that employment in the year 1772. - -At the time of Carbonelli's relaxing in his homage to Apollo, for the -sake of becoming a minister of Bacchus, the following lines (which have -been admirably set, for two voices, by Dr. Cooke) were made up for the -occasion:-- - - Let Rubinelli charm the ear, - And sing, as erst, with voice divine,-- - To Carbonelli I adhere; - Instead of music, give me wine! - But yet, perhaps, with wine combin'd, - Soft music may our joys improve; - Let both together, then, be join'd, - And feast we like the gods above![23] - -PIETRO LOCATELLI, another of Corelli's pupils, but one who made the -boldest innovations upon the manner of that great master, and deviated, -exploringly, into remarkable paths of his own, was born at Bergamo, -about 1693. Being still a youth, at the time of Corelli's decease, and -full of ardent impulses in relation to the art he had embraced, -Locatelli gave way to these, and soon became conspicuous for a boldness -and originality which, even in our own days, would not pass -unacknowledged. He developed new combinations, and made free use of -arpeggios and harmonic sounds. The compositions of this master, as well -as those of Mestrino, who flourished somewhat later, and was the more -graceful of the two in his style of playing, are supposed to have -furnished hints of no small profit to the penetrating genius of -Paganini. - -Locatelli died in Holland, in 1764. The crabbed passages in which he -delighted to display his force, are to be found in his work entitled -"Arte di nuova Modulazione," or, as it is termed in the French editions, -"Caprices Enigmatiques." - -We now approach one of those names on which the biographer may fairly -delight to dwell, for its association not only with the great and -beautiful in art, but with the interesting in personal character, and -the romantic in incident. - -GIUSEPPE TARTINI, of Padua, the last great improver (save Viotti) of the -practice of the violin, was born in April, 1692, at Pirano, a sea-port -town in Istria. His father had been ennobled, in recompense of certain -substantial benefactions, exercised towards the Cathedral Church at -Parenza. Giuseppe was originally intended for the law; but, mixing the -more seductive study of music with the other objects of his education, -it soon gained the ascendant over the whole circle of the sister -sciences. This is not so surprising as another strong propensity, which, -during his youth, much fascinated him. This was the love of fencing--an -art not likely to become necessary to the safety or honor of one -possessed of the pious and pacific disposition that belonged to him, and -one engaged, too, in a civil employment: yet he is said, even in this -art, to have equalled the master from whom he received instructions. In -1710, he was sent to the University of Padua, to pursue his studies as a -civilian; but, before he was twenty, having committed the sin of -sacrificing prudence to love, in a match which he entered into without -the parental _fiat_, he was forsaken, in return, and reduced to wander -about in search of an asylum. This, after many hardships, he found in a -convent at Assisi, where he was received by a monk, his relative, who, -commiserating his misfortunes, let him remain there till something -better might be done for him. While thus secluded and sorrowful, he took -up the violin, to "manage it against despairing thoughts"--an expedient -which the devotion of his soul to music must have lent some efficacy to. -Not only his solace, but, by a singular turn of fortune, his rescue -also, was connected with his violin. On a certain great festival, when -he was in the orchestra of the convent, he was discovered, through the -accident of a remarkably high wind, which, forcing open the doors of the -church, blew aside the orchestral curtain, and exposed all the -performers to the sight of the congregation. His recognition, under -these circumstances, by a Paduan acquaintance, led to the accommodation -of differences; and he then settled with his wife, for some time, at -Venice[24]. This lady proved to be of that particular race which has -never been wholly extinct since the time of Xantippe; but as, -fortunately, poor Tartini was more than commonly Socratic in wisdom, -virtue and patience, her reign was unmolested by any domestic war, or -useless opposition to her supremacy. - -His residence at Venice was rendered memorable to him, by the arrival of -the celebrated Veracini (the younger) in that city. The performance of -this "homme marquant" awakened a vivid emulation in Tartini, who, though -he was acknowledged to have a powerful hand, had never heard a great -player before, nor conceived it possible for the _bow_ to possess such -varied capabilities for energy and expression. Under this feeling, he -quitted Venice with prompt decision, and proceeded to Ancona, in order -to study the use of the bow in greater tranquillity and with more -convenience than at Venice, as he had a place assigned him in the -operatic orchestra, of that city. In the same year (1714), his studious -application enabled him to make a discovery--that of the phenomenon of -the _third sound_--which created a great sensation in the musical world, -both in his own time and long afterwards, though it has led to no -important practical results. This phenomenon of the third sound is the -sympathetic resonance of a third note, when the two upper notes of a -chord are sounded. Thus, if two parts are sung in thirds, a sensitive -ear will feel the simultaneous impression of a bass or lower part. This -effect may be more distinctly heard, if a series of consecutive thirds -be played on the violin perfectly in tune. "If you do not hear the -bass," said Tartini to his pupils, "the thirds or sixths which you are -playing are not perfect in the intonation[25]." This mysterious -sympathy, by which sound is enabled to call up a fellowship of sound, -may be fancifully expressed in a line from the old poet, Drayton:-- - - "One echo makes another to rejoice!" - -His diligence and exemplary devotion to his art, while at Ancona, led -also to another prominent occurrence in his career--the appointment, in -1721, to the distinguished place of first violin, and master of the -band, to the church of St. Anthony, of Padua. To St. Anthony, as his -patron saint, he consecrated himself and his instrument, with a species -and a constancy of attachment, that may find not only their excuse, but -their credit, in the nature and sentiment of the times he lived in. His -extending fame brought him repeated offers from Paris and London, to -visit those capitals; but, holding to his conscientious allegiance, he -uniformly declined entering into any other service, and was, like St. -Anthony himself, a pattern of resistance to temptation. - -By the year 1728, he had made many excellent scholars, and established a -system of practice, for students on the violin, that was celebrated all -over Europe, and increased in reputation to the end of his life. Great -numbers of young men resorted to Padua from different countries, in -order to receive instruction from him in music, but chiefly in the -practice of the violin. - -In the early part of his life, he published "_Sonate a Violino e -Violoncello, o Cembalo, Opera Prima_." This, and his Opera Seconda, of -_Six Sonatas_ or _Solos_ for the same instrument, and another work -entitled "_XVIII Concerti a cinque Stromenti_," were all published by Le -Cene, of Amsterdam, and prove him to have been a truly excellent -composer. Such, however, was the ascendancy of Corelli's name, and so -ambitious was Tartini of being thought a follower of the precepts and -principles of that master, that, during the zenith of his own -reputation, he refused to teach any other music to his pupils, till they -had studied the _Opera Quinta_, or _Solos_, of Corelli; and the -excellence of this foundation was made manifest by the result. His -favorite pupils were Bini and Nardini. These, as well as others of -Tartini's _eleves_, formed, in their turn, scholars of great abilities, -who contributed to spread his reputation and manner of playing all over -Europe. - -Tartini's own first master was an obscure musician, of the name of -Giulio di Terni, who afterwards made a fitting change of position, and -descended into the pupil of his own scholar--a circumstance related by -Tartini himself, who used to say that he had studied very little till -after he was thirty years of age[26]. At the age of fifty-two, Tartini -made a marked alteration in his style of playing, from extreme -difficulty (or what was _then_ so considered) to grace and expression. -His method of executing an adagio has been represented by his -contemporaries as inimitable, and was almost, in their idea, -supernatural--an impression to which the idea of the patron saint must -have not a little conduced. - -The particulars that have been preserved respecting his scholar, -Pasquale Bini, are not without interest. Recommended to him at the age -of fifteen, by Cardinal Olivieri, Tartini found him a youth after his -own heart, possessing excellent moral dispositions, as well as musical; -and he accordingly cherished a very marked regard for him. This young -musician practised with such assiduity, that, in three or four years, he -vanquished the most difficult of Tartini's compositions, and executed -them with greater force than the author himself. When he had finished -his studies, his patron, Cardinal Olivieri, took him to Rome, where he -astonished all the Professors by his performance,--particularly -Montagnari, at that time the principal violinist there; and it is -generally believed, that Montagnari was so mortified by the superiority, -as to have died of grief! When informed that Tartini had changed his -style and taste in playing, Bini returned to Padua, - - "Nil actum reputans, si quid superesset agendum,"-- - -and placed himself for another year under that excellent and worthy -master; at the end of which period, so intense had been his application, -that he played with a degree of certainty and expression truly -wonderful. - -On a certain occasion, in recommending a scholar to him, after his -return to Rome, Tartini expressed his sense of Bini's powers and -character, and gave evidence of his own modest and ingenuous -disposition, in the following words:--"Io lo mando a un mio scolare chi -suona piu di me; e me ne glorio, per essere un angelo di costume, e -religioso."--"I recommend him (the applicant) to a scholar of mine, who -plays better than myself; and I am proud of it, as he is an angel in -religion and morals." Such praise has its value enhanced by the source -whence it proceeds; for it was truly "laudari a laudato viro." - -The death of Tartini occurred at Padua, on the 26th of February, 1770, -to the general regret of the people of that city, where he had resided -nearly fifty years, and not only was regarded as its most attractive -ornament, but, owing to the serious and contemplative turn of his mind, -had attained the estimation of being a saint and a philosopher. - -Of the general character of Tartini's compositions, Dr. Burney, who -appears to have studied them closely, has given the following -judgment:--"Though he made Corelli his model in the purity of his -harmony and simplicity of his modulation, he greatly surpassed that -composer in the fertility and originality of his invention; not only in -the subjects of his melodies, but in the truly _cantabile_ manner of -treating them. Many of his adagios want nothing but _words_, to be -excellent pathetic opera-songs. His allegros are sometimes difficult; -but the passages fairly belong to the instrument for which they were -composed, and were suggested by his consummate knowledge of the -finger-board, and the powers of the bow. As a harmonist, he was perhaps -more truly scientific than any other composer of his time, in the -clearness, character and precision of his bases, which were never -casual, or the effect of habit or auricular prejudice and expectation, -but learned, judicious and certain. And yet I must, in justice to -others, own that, though the adagio and solo playing, in general, of his -scholars are exquisitely polished and expressive, yet it seems as if -that energy, fire, and freedom of bow, which modern symphonies and -orchestra-playing require, were wanting." - -The applicability of the latter remark is, of course, considerably -greater in these days than in the Doctor's time. Another and more recent -critical opinion is subjoined:-- - -"Tartini's compositions, with all the correctness and polish of -Corelli's, are bolder and more impassioned. His slow movements, in -particular, are remarkably vocal and expressive; and his music shows a -knowledge of the violin, both in regard to the bow and the finger-board, -which Corelli had not been able to attain. His works, therefore, though -no longer heard in public, are still prized by the best musicians; a -proof of which is, that some of them have been recently reprinted for -the use of the _Conservatoire_ of Paris. He has frequently injured their -effect, to modern ears, by the introduction of trills and other -ornaments, which, like the flounces and furbelows of the female dress of -his day, have become old-fashioned; but, at the same time, his -compositions are full of beauties, which, belonging to the musical -language of nature and feeling, are independent of the influence of -time." - -Few of my readers have failed, probably, to hear or read of "The Devil's -Sonata," that forms so singular a "passage" in the experience of this -remarkable man, and is to be met with in Records, Musical, Literary, and -Pictorial. Monsieur De Lalande informs us that he had, from Tartini's -own mouth, the following singular anecdote, which conveys an account of -it, and shows to what a degree his imagination was inflamed by the -genius of composition. "He dreamed, one night, in the year 1713, that he -had made a compact with the Devil, who promised to be at his service on -all occasions; and, during this vision, every thing succeeded according -to his mind; his wishes were anticipated, and his desires always -surpassed, by the assistance of his new servant. At length, he imagined -that he presented to the Devil his violin, in order to discover what -kind of a musician he was; when, to his great astonishment, he heard him -play a _solo_, so singularly beautiful, and executed with such superior -taste and precision, that it surpassed all the music he had ever heard -or conceived in his life! So great was his surprise, and so exquisite -his delight, upon this occasion, as to deprive him of the power of -breathing. He awoke with the violence of his sensations, and instantly -seized his instrument, in hopes of expressing what he had just heard; -but in vain. He, however, then composed a piece, which is, perhaps, the -best of all his works, and called it the _Devil's Sonata_; but it was so -inferior to what his sleep had produced, that he declared he would have -broken his instrument, and abandoned music for ever, if he could have -subsisted by any other means." - -This remarkable legend, under its obvious associations with the fearful -and the grotesque, is so inviting for poetic treatment, that I have -ventured on the following attempt:-- - - -TARTINI'S DREAM. - - Grim-visag'd Satan on the Artist's bed - Sat--and a cloud of sounds mirific spread! - Wild flow'd those notes, as from enchantment's range, - "Wild, sweet, but incommunicably strange!" - Soft Luna, curious, as her sex beseems, - Shot through the casement her enquiring beams, - Which, entering, paler grew, yet half illum'd - The shade so deep that round the Arch-One gloomed: - And listening Night her pinions furled--for lo! - The Devil's Soul, O![27] breathed beneath that bow! - Tranquil as death Tartini's form reclin'd, - And sealing sleep was strong his eyes to bind; - But the wild music of the nether spheres - Was in a key that did unlock his ears. - Squat, like a toad or tailor, sat the Fiend, - And forward, to his task, his body leaned. - His griffin fingers, with their horny ends, - Hammer the stops; the bow submissive bends: - His lengthy chin, descending, forms a vice - With his sharp collar-bone, contrariwise, - To grasp the conscious instrument, held on - With 'scapeless gripe;--and, ever and anon, - As flows the strain, now quaint, and now sublime, - He marks, with beatings of his tail, the time! - Snakes gird his head; but, in that music's bliss, - Enchanted, lose the discord of their hiss, - And twine in chords harmonic, though all mute, - As if they owned the sway of Orpheus' lute. - Satan hath joy--for round his lips awhile - Creeps a sharp-set, sulphuric-acid smile; - - And, at the mystic notes, successive sped, - Pleas'd, winketh he those eyes of flickering red, - And shakes the grizzly horrors of that head! - List! what a change! Soft wailings fill the air: - Plaintive and touching grows the demon-play'r. - Doth Satan mourn, with meltings all too late, - The sin and sorrow of his own sad state? - - * * * * * - - Night flies--the dream is past--and, pale and wan, - Starts from his spell-freed couch the anxious man. - Is it a marvel greater than his might, - Those winged sounds to summon back from flight? - To clutch them _whole_, in vain fond Hope inclin'd, - For Memory, overburthen'd, lagged behind, - Partly the strain fell 'neath Oblivion's pall, - But it had partly "an _un_-dying fall;" - And, in that state defective, to the light - Brought forth--it lives--a relic of that night! - -The next name for notice, in connexion with the Italian School of the -instrument, is that of - -FRANCESCO MARIA VERACINI (the younger), a great, -but somewhat eccentric performer, who was born at Florence, at the close -of the 17th century. Unlike his contemporary, Tartini, whose sensitive -and modest disposition led him to court obscurity, Veracini was vain, -ostentatious, and haughty. Various stories have been current in Italy -about his arrogance and fantastic tricks, which obtained for him the -designation of _Capo pazzo_. The following anecdote is sufficiently -characteristic of him. - -Being at Lucca at the time of the annual "Festa della Croce," on which -occasion it was customary for the principal professors of Italy, vocal -and instrumental, to meet, Veracini put down his name for a Solo -Concerto. When he entered the choir, to take possession of the principal -place, he found it already occupied by the Padre Girolamo Laurenti,[28] -of Bologna, who, not knowing him, as he had been some years absent, -asked him whither he was going? "To the place of first violin," was the -impetuous answer. Laurenti then explained that _he_ had been always -engaged to fill that post himself; but that if he wished to play a -concerto, either at vespers or during high mass, he should have a place -assigned to him. Veracini turned on his heel with contempt, and went to -the lowest place in the orchestra. When he was called upon to play his -concerto, he desired that the hoary old father would allow him, instead -of it, to play a solo at the bottom of the choir, accompanied on the -violoncello by Lanzetti. He played this in so brilliant and masterly a -manner as to extort an _e viva!_ in the public church; and, whenever he -was about to make a close, he turned to Laurenti, and called out, _Cosi -si suona per fare il primo violino_--"This is the way to play the first -fiddle!" - -Another characteristic story respecting this performer is the -following:-- - -Pisendel, a native of Carlsburg, and one of the best violinists of the -early part of the eighteenth century, piqued at the pride and hauteur of -Veracini, who thought too highly of his own powers not to disdain a -comparison of them with those of any performer then existing, -determined, if possible, to mortify his conceit and self-consequence. -For this purpose, while both were at Dresden, he composed a very -difficult concerto, and engaged a _ripienist_, or inferior performer, to -practise it till he had conceived the whole, and rendered the most -intricate passages as familiar to his bow and finger as the more -obvious and easy parts of the composition. He then took occasion, the -practitioner being present, to request Veracini to perform it. The great -executant condescended to comply; but did not get through the task -without calling into requisition all his powers. When he had concluded, -the _ripienist_, agreeably to his previous instructions, stepped up to -the desk, and began to perform the same piece; upon which Veracini, in a -passion, tore him away, and would have punished on the spot his perilous -presumption, had not Pisendel actively interfered, and persuaded him, -were it only for the jest of the thing, to "let the vain creature expose -himself." Veracini became pacified, the ripienist began again, and -executed the whole even more perfectly than his precursor, who stamped -on the floor with rage, swore he would never forgive Pisendel, and, -scarcely less abashed than tormented, immediately quitted Dresden. - -Veracini would give lessons to no one, except a nephew, who died young. -The only master he himself had was his uncle, Antonio Veracini, of -Florence; but, by travelling all over Europe, he formed a style of -playing peculiar to himself. Besides being in the service of the King of -Poland, he was for a considerable time at the various courts of Germany, -and twice in England, where he composed several _operas_, and where Dr. -Burney had the opportunity of witnessing and commenting on the bold and -masterly character of his violin performance. Soon after his being here -(about 1745), he was shipwrecked, and lost his two famous Steiner -violins, reputed the best in the world, and all his effects. In his -usual light style of discourse, he used to call one of these instruments -St. Peter, and the other St. Paul. - -As a composer, he had certainly a great share of whim and caprice; but -he built his freaks on a good foundation, being an excellent -contrapuntist; and indeed it is probable enough that these very freaks, -if tested by a contact with some of the fiddle _capriccios_ and -_pots-pourris_ of our own day, would fall very much in the measure of -extravagance, and leave us to wonder at what constituted a wonder in the -more sober musical times of Burney and Hawkins. The peculiarities in his -performance were his bow-hand, his shake, his learned arpeggios, and a -tone so loud and clear that it could be distinctly heard through the -most numerous band of a church or theatre[29]. - -PIETRO NARDINI, a noted Tuscan Violinist, was born at Leghorn, in 1725. -Instructed by Tartini, he soon became his most distinguished pupil;--nor -as such only was he regarded by that great master, who, besides loving -and admiring his rising genius, found in him a congeniality of character -and sentiment, that served to establish a firm mutual friendship. In -this instance, as in that of his other favourite pupil, Bini, we may -remark the exemption of Tartini's mind from that sordid spot of -jealousy, that too often dims the lustre of professional talent. -Attached, in 1763, to the Chapel of the Duke of Wirtemberg, Nardini soon -evinced abilities that made him conspicuous. On the reduction or -suppression of that establishment, a few years afterwards, he returned -to Leghorn, where he composed almost all his works. In 1769, he went to -Padua, to revisit Tartini, whom he attended in his last illness, with -attachment truly filial. On his return to Leghorn, the generous offers -of the Grand Duke of Tuscany determined him to quit that city, and enter -the Duke's service. Joseph the Second, when he visited Italy, was -greatly struck with the execution of this distinguished virtuoso, and -made a curious gold snuff-box the memorial of his admiration. In 1783, -the president, Dupaty, being in Italy, listened to him with a rapture -which occasioned his exclaiming, "His violin is a voice, or possesses -one. It has made the fibres of my ear to tremulate as they never did -before. To what a degree of tenuity Nardini divides the air! How -exquisitely he touches the strings of his instrument! With what art he -modulates and purifies their tones!" - -Michael Kelly makes reference to this distinguished artist, in speaking -of a private concert at Florence. "There," observes he, "I had the -gratification of hearing a sonata on the violin played by the great -Nardini. Though very far advanced in years, he played divinely. He spoke -with great affection of his favourite scholar, Thomas Linley, who, he -said, possessed powerful abilities."--Kelly adds, that Nardini, when -appealed to on that occasion, as to the truth of the anecdote about -Tartini and the Devil's Sonata, gave distinct confirmation of it, as a -thing he had frequently heard the relation of from Tartini himself. - -Like some other masters of the old school, Nardini exhibited his powers -to most advantage in the performance of _adagios_; and a high tribute -to his capacity for expression is conveyed in what has been recorded of -the magic of his bow--that it elicited sounds, which, when the performer -was concealed from view, appeared rather those of the human voice than -of a violin. Of his Sonatas, now almost consigned to oblivion, the style -is ably sustained, the ideas are clear, the motive well treated, and the -expression natural, though of a serious cast, as was the character of -the composer. - -Nardini died at Florence, in 1796, or, according to others, in 1793. -Among the compositions of this pupil of Tartini, are to be reckoned six -concertos for the violin; six solos for the same instrument (opera -seconda); six trios for the flute; six other solos for the violin; six -quartetts, six duetts; and, in manuscript, many concertos for the same -instrument. - -LUIGI BOCCHERINI, a composer of distinguished talents, to whom, and to -Corelli, stands assigned the honour of being considered the fathers of -_chamber-music_ for stringed instruments, was a native of Lucca, and -born in the year 1740. His first lessons in music and on the violoncello -were imparted by the Abbate Vanucci. His disposition for music was early -and strong; and his father, himself an ingenious musician, after -attending with care to the cultivation of his son's talent, sent him to -Rome, where he soon acquired a high reputation for the originality and -variety of his productions. Returning, a few years afterwards, to Lucca, -he gave there the first public performance of his Sonatas. It chanced -that another Lucchese, Manfredi, a pupil of Nardini's, was also present -at the time of Boccherini's return from Rome; and they executed -together, with great public success, the Sonatas of the latter for -violin and violoncello--his seventh work. The two professors, becoming -further associated in friendship, as well as in the musical art, quitted -Italy together for Spain, where they met with such encouragement as -determined Boccherini to establish himself in that country. Basking in -the sunshine of royal favour, the only condition required of Boccherini -for the continuance of its rays, was that he should work enough to -produce, annually, nine pieces of his composition, for the use of the -Royal Academy at Madrid; and he adhered faithfully to the engagement. He -appears to have passed through life smoothly, as well as with honour. -His death occurred at Madrid, in 1806, at the age of 66. - -The compositions of this master, which have been of marked importance in -connection with the progress of stringed instruments, are characterized -by a noble sweetness, a genuine pathos, deep science and great nicety of -art. It belongs to him, as a distinction, to have first fixed (about -1768) the character of three several classes of instrumental -composition--the _trio_, the _quartett_, and the _quintett_. In the -trio, he was followed by Fiorillo, Cramer, Giardini, Pugnani, and -Viotti; and in the quartett, by Giardini, Cambini, Pugnani, and, in -another style, by Pleyel, Haydn, Mozart, and Beethoven; while, in his -quintetts for _two_ violoncellos, he may be said to have no successor -but Onslow. His productions of this last species, of which he has left -no fewer than ninety-three--for he was little inferior to Haydn in -fecundity of genius--are particularly deserving of study; and it was the -remark of Dr. Burney, that he had supplied the performers on bowed -instruments, and the lovers of music in general, with more excellent -compositions than any other master belonging to that time, except Haydn. -His manner, as the same writer adds, "is at once bold, masterly and -elegant; and there are movements in his works of every style, and in the -true genius of the instruments for which he wrote, that place him high -in rank among the greatest masters who have ever written for the violin -or violoncello." - -"As in the symphonies of Haydn," says a writer in the _Harmonicon_, "so -in the quintetts of Boccherini, we observe the genuine stamp of genius, -differing in the manner, but alike in the essence. Boccherini had -studied, profoundly and thoroughly, the nature and capabilities of the -_violoncello_. He composed nearly the whole of his music for this -instrument, and was the first who wrote quintetts for two violoncellos. -Striving to impart to these productions the sweet, pathetic, and, if the -expression may be allowed, the religious character which distinguished -most of his works, he conceived the idea of giving the _leading_ part to -the _violoncello_, and of throwing the harmony into the violin, alto and -bass; the second violoncello, in the mean time, sometimes accompanying -the first, and occasionally playing the air in concert with it." - -The beautiful style of his quintetts, and the exquisite manner in which, -in some of them, he has thus combined the two violoncellos, constrained -an impassioned amateur to compare them to the music of the angels. -Boccherini's first work was published at Paris, where it excited the -highest admiration: his _Stabat Mater_ is worthy of being placed by the -side of that of Pergolesi, of Durante, or of Haydn; and to his genius -for composition he added so much executive skill on the violin, -violoncello and pianoforte, that a musical enthusiast said (with a -rapture probably too honest to be regarded as altogether profane), "If -God chose to speak to man, he would employ the music of Haydn; but, if -he desired to hear an earthly musician, he would select -Boccherini:"--and Puppo, the celebrated violinist, has described him -thus:--"The tender Boccherini is the softer second self of Haydn." It is -said, indeed, that Boccherini kept up a regular correspondence with -Haydn,--these two great musicians endeavouring to enlighten each other -respecting their compositions. - -FELICI GIARDINI, by the novel powers and grace of his execution, appears -to have made, in England, almost as great a sensation as that created, -eighty years later, by Paganini, with whom, also, he may be placed in -competition, on the score of a capricious and difficult temper. He was -born at Turin, in 1716; his musical education was received, at Milan, -under Paladini, and subsequently, for the violin in particular, at -Turin, under Somis, one of the best scholars of Corelli. At the age of -17, animated by the hope of fame, he went to Rome, and afterwards to -Naples. At the latter city, he obtained, by the recommendation of -Jomelli, a post far too humble for his large ambition--that of one of -the _ripieni_, or make-weights, in the opera orchestra. Here his -talents, nevertheless, began to appear, and he was accustomed to -flourish and change passages, much more frequently than he ought to have -done. "However," said he himself, in relating the circumstance to Dr. -Burney, "I acquired great reputation among the ignorant for my -impertinence; till, one night, during the opera, Jomelli, who had -composed it, came into the orchestra, and seated himself close by me, -when I determined to give the _Maestro di Capella_ a touch of my taste -and execution. In the symphony of the next song, which was in a pathetic -style, I gave loose to my fingers and fancy; for which I was rewarded by -the composer with--a violent slap in the face; which (added Giardini) -was the best lesson I ever received from a great master in my life." -Jomelli, after this, was very kind, in a different and less indirect -way, to this young and wonderful musician. - -After a short continuance at Naples, followed by visits professional to -the principal theatres in Italy, and by an enthusiastic reception at -Berlin, Giardini came to England, and arrived in London in the year -1750. Here his performance on the violin, in which, at that time, he was -considered to excel every other master in Europe, was heard, both in -public and in private, with the most rapturous applause. His first -public performance in London afforded a scene memorable among the -triumphs of art. It was at a benefit Concert for old Cuzzoni, who sang -in it with a thin, cracked voice, which almost frightened out of the -little Theatre in the Haymarket the sons of those who had, perhaps, -heard her, at the Great Theatre of the same street, with ecstacy -supreme. But when Giardini came forward, and made a display of his -powers in a solo and concerto, the applause was so long, loud and -furious, as nothing but that bestowed on Garrick had probably ever -equalled. His tone, bowing, execution, and graceful carriage of himself -and his instrument, formed a combination that filled with astonishment -the English public, unaccustomed to hear better performers than Festing, -Brown and Collett. - -Such was the estimation accruing to Giardini from his talents, that, in -1754, he was placed at the head of the opera orchestra. Two years -afterwards, he joined the female singer Mingotti in attempting that -labyrinth of disaster, the management of the Italian Opera; but, -although they acquired much fame, their management was not attended with -success. During this time, Giardini composed several of the dramas that -were performed. In leading the Opera band, he had the merit of -introducing improved discipline, and a new style of playing, much finer -in itself, and more congenial with the poetry and music of Italy, than -the level and languid manner of his predecessor, Festing, who had -succeeded Castrucci (Hogarth's "Enraged Musician"), and had since, with -inadequate powers, continued to maintain the post, with the exception of -one or two seasons, during which Veracini had been in the ascendant. - -Fashion, in the folly of its excess, has not often been seen to cut so -extravagant a figure as on the occasion of the associated performances -in private by Giardini and Mingotti, during the "high and palmy state" -of their credit. The absolutism of Mrs. Fox Lane (afterwards Lady -Bingley) over the fashionable world, as the enthusiastic patroness of -these two artists, is a thing that satire might feast on. Rank, wealth, -manhood, and beauty, prostrate before the domination of this "pollens -matrona," were content (lest, forsooth! they should have "argued -themselves unknown") to pay tax and tribute to her two favourites, and -take a passport to the notice of "the town," in the shape of a -benefit-ticket. At such scenes, it is not using too strong a figure to -say that Folly must have clapped her hands, displayed her broadest grin, -and given an extra jingle to the bells on her cap. To all who reflect, -it scarcely needs to be observed that the false raptures and artificial -stimulus, belonging to a system like this, are nearly as injurious as -they are absurd; that to pamper thus the artist, is not only to spoil -him, but to injure the interests of the art, by making it the object of -popular ridicule or disgust. - -The contrast afforded by the close of Giardini's career with the -brilliancy of its middle course, makes one think of Johnson's bitter -association of "the patron and the jail." Those were, truly, the days -when patronage was a thing of rank luxuriance, that sometimes overgrew -and choked the flowers of genius to which it fastened itself. The case -is now, happily, become somewhat different--the free and fostering -breath of general opinion being the air in which talent has learned to -seek and attain its full growth; and a more limited resort being had to -the forcing influence of the aristocratic temperature.[30] - -The losses that Giardini had sustained on that ready road to ruin, the -Italian Opera, drove him back to the resources of his own particular -talent; and he entered upon the occupation of teaching in families of -rank and fashion, at the same time continuing unrivalled as a leader, a -solo-player, and a composer for his favourite instrument. - -Mr. Gardiner, of Leicester, has made the following record concerning -him, in his "_Music and Friends_," on the occasion of a concert at the -above town, in 1774:--"There I heard the full and prolonged tones of -Giardini's violin. He played a concerto, in which he introduced the then -popular air "Come, haste to the wedding," which moved the audience to a -state of ecstacy, but now would disgust every one by its vulgarity. He -was a fine-figured man, superbly dressed in green and gold; the breadth -of the lace upon his coat, with the three large gold buttons on the -sleeve, made a rich appearance, which still glitters on my imagination." - -Giardini resided in England until the year 1784, when he went to Naples, -under the protection and patronage of Sir William Hamilton. There he -continued five years, and then returned to this country; but his -reception was not what it had formerly been. Fashion is a goddess of so -gay a turn as cannot assort with infirmity; and an old favourite is but -too likely to find that favour easily gets a divorce from age. The -health of the Italian was greatly impaired, and sinking fast under a -confirmed dropsy. With a dimmer eye, a feebler hand, and doubtless an -aching heart, he found himself still doomed to the prosecution of his -calling, when all his former excellence was lost. Instead of _leading_ -in all the most difficult parts, he now played in public only the tenor -in quartetts that he had recently composed. After attempting, -unsuccessfully, a burletta opera at the little Theatre in the Haymarket, -he was at length (in 1793) induced to go to St. Petersburgh, and -afterwards to Moscow, with his burletta performers. The most cruel -disappointment, however, attended him in each of these cities; in the -latter of which, he died, at the age of 80, in a state (as far as it -could be discovered) of poverty and wretchedness. - -It is certain that the wayward and splenetic character evinced by this -brilliant artist, was his bane through the greater part of his life. To -enquire how much of that character was indigenous to the man, and how -much the evil fruit of the private-patronage system, were, perhaps, to -consider too curiously. That he was careless of his own interest, and -that he quarrelled with some of his most valuable friends, can excite -little surprise, when we note the furor of favoritism, the perversity of -petting, that were thrust upon him. We must not expect, in the _morale_ -of the musician - - "Made drunk with honor, and debauch'd with praise," - -that "sterner stuff," which we look for in the philosopher. - -As a composer for the instrument on which he shone, Giardini is not -entitled to rank very high. His Solos and Concertos, numerous, pleasing -and of neat effect, were not of so marked a character as to ensure any -great duration to their popularity; nor did they admit of any severe -analysis as to science in their structure. It is from his _playing_ that -his high reputation is derived; and he confirmed into triumph, by more -than thirty years of brilliant performance, the previously growing -favour of the instrument in England, where indeed he may be said to have -completely reformed the Violin system. A living testimony to the -excellence of his playing, with a few words as to its manner, has been -given, not long since, by Parke, the oboist, who heard him in 1776, and -states that he displayed a fund of grace and expression--that his tone -united sweetness with power--and (an odd addendum) that he made use of -strings so large as to give rise to the idea that his fingers must have -been blistered by the necessary pressure he gave them. - -ANTONIO LOLLI, born at Bergamo, in 1728, attained eminence in his own -country, and afterwards (from 1762 to 1773) became Concert-Master to the -Duke of Wurtemburg. Subsequently he went to Russia, where he obtained, -from the Empress, Catherine II, a signal token of her admiration, in the -shape of a violin-bow, made for him by her order, and bearing on it an -inscription in her own potential autograph:--"_Archet fait par ordre de -Catherine II, pour l'incomparable Lolli_." In 1785, he visited England, -whence he proceeded to Spain, and thence to Paris, where he performed at -the _Spirituel_ and other Concerts. In 1788, he returned to Italy, where -he glorified his own name with the title of Concert-Master to the -Empress of Russia; and in 1794, he was at Vienna, ascribing himself -under the same character to the King of Naples. He died, after a -lingering illness, at Naples, in 1802. His excellence in practice was -chiefly evinced in quick movements: he was rarely inclined to exhibit in -an adagio.[31] An anecdote in proof of his professional assiduity is -recorded by Gerber. When he entered on his engagement at Stuttgard, in -1762, he found a superior there, in the person of Nardini. This -circumstance roused all his energies, which speedily took a settled -purpose. He requested the Duke to allow him a year's leave of absence, -to travel; instead of which, he retired, diligent, but disingenuous, to -a secluded village, and applied himself indefatigably to his instrument. -At the end of the accorded absence, he returned from his pretended -journey, "clarior e tenebris," and shone forth with such effect, that -Nardini gave up the contest, and returned to Italy. - -With regard to the compositions of Lolli, it is known that he never -wrote more than the theme, and obtained from other hands the bass, or -the parts for the several instruments: yet it is curious to note that he -gives difficult passages, of considerable compass, to be executed on the -_fourth string_ only. There are extant various sets of his Solos, a -Preceptive Treatise on the Violin, &c. - -GAETANO PUGNANI, first violinist to the King of Sardinia, was born at -Turin, in the year 1728. At a very early age, he began to practise the -instrument on which he was destined to excel. His first tutor was Somis, -his countryman, already named as one of the most distinguished scholars -of Corelli. After displaying his extraordinary abilities at the -Sardinian Court, Pugnani went to Paris, and received the highest -applause at the _Concert Spirituel_, as an admitted rival of J. Stamitz, -Gavinies, and Pagin. - -Pugnani afterwards visited many parts of Europe, and remained a -considerable time in England. It was here that he composed a great -portion of his violin music. In 1770, he returned to Italy; and, at -Turin, founded a school for violinists, as Corelli had at Rome, and -Tartini at Padua. From this practical academy issued the first -performers of the latter part of the eighteenth century; among whom were -Viotti, Bruni and Oliveri. Pugnani's style of execution is recorded to -have been broad and noble, and characterized by that commanding sweep of -the bow which afterwards formed so grand a feature in the performance of -Viotti; the germs of whose high qualities are clearly traceable to his -master. It has been remarked, that all the pupils of Pugnani proved -excellent leaders. To lead well, was his most distinguishing excellence; -and he possessed the art of transmitting it to others. In the orchestra, -says Rangoni, he commanded like a general in the midst of his soldiers. -His bow was the baton of authority, which every performer obeyed with -the most scrupulous exactitude. With a single stroke of this bow, he -could correct the erroneous, or animate the lethargic. He even indicated -to the _actors_ the tone and sentiment in which they ought to deliver, -their respective melodies, and brought every thing to that harmony of -expression, without which the operatic scene fails of its most powerful -charm. His strong and acute mind possessed with the great object to -which every leader ought to attend, he promptly and powerfully seized -all the grand points, the character, the style and taste of the -composition, and impressed it upon the feelings of the performers, both -vocal and instrumental. - -Pugnani, in addition to the display of brilliant and powerful abilities -as a performer, gave, in his compositions, evidence of a free and -elegant imagination. His several instrumental pieces, which consist of -solos, trios, quartetts, quintetts and overtures, were published -variously, in London, Amsterdam and Paris. On the Continent, they are -still in some request, but are become very scarce. They display an -eloquence of melody, and an animated and nervous manner. The ideas are -natural, both in themselves and in their succession; and, however -pointed and striking, never desert the style of the _motivo_. The operas -of this distinguished master, seven or eight in number, were all highly -successful; and there is scarcely a theatre in Italy, at which some of -them have not been performed. - -Amongst the anecdotes that have been related of Pugnani, are the -following. In his early youth, but when already much advanced on the -violin, feeling far from satisfied with the degree of excellence he had -attained, he resolved to quit Paris for Padua, in order to see Tartini, -to consult him on his playing, and to improve himself under his -instruction. Desired by that great master to give him a specimen of his -performance, he requested of him, beforehand, to express frankly his -opinion of his style and manner. Before he had played many bars, Tartini -suddenly seized his arm, saying, "Too loud, my good friend; too loud!" -Pugnani began afresh; when, arriving at the same passage, his auditor -again stopped him short, exclaiming, "Too soft, my good friend; too -soft!" He immediately laid down his instrument, and solicited Tartini to -admit him among his scholars. His request was granted; and, excellent -violinist as he really already was, he began his practice _de novo_, -and, under the guidance of his new instructor, soon became one of the -first performers of his time. Not long after this, at the house of -Madame Denis, Pugnani heard Voltaire recite a poetical composition, in a -style that enchanted him; and he, in his turn, at the lady's request, -began to perform on his violin; when, vexed at the interruption and -ill-breeding of Voltaire's loud conversation,[32] he suddenly stopped, -and put his violin into the case, saying, "M. Voltaire fait tres-bien -les vers, mais, quant a la musique, il n'y entend pas le diable." Once, -in performing a concerto before a numerous company, he became so -excited, on arriving at an _ad libitum_ passage, and so lost in -attention to his playing, that, thinking himself alone, he walked about -the room, "turbine raptus ingenii," till he had finished his very -beautiful cadence. - -Pugnani died at the city of his birth, in 1798. The violinist, Cartier, -has written his eulogium in few words, but of strong import:--"He was -the master of Viotti." - -GIOVANNI MANE GIORNOVICHI (or Giarnovick, or Jarnowick, as he has been -variously called) was born at Palermo, in 1745, and had Antonio Lolli -for his preceptor. Resorting to Paris for his first public display, he -appeared at the _Concert Spirituel_, with indifferent success, but, by -perseverance, soon turned the scale of opinion in his favour so -effectually, that, during a space of ten years, the style of Giornovichi -was in fashion in the French capital. His sway there was terminated by -the superior power of Viotti, and he quitted France about the year 1780, -proceeding to Prussia, where, in 1782, he was engaged as first violin in -the Royal Chapel of Potsdam. He was, subsequently, for some time in -Russia.[33] Between the years 1792 and 1796, he was in high vogue in -various parts of England, but lost his popularity through a dispute with -an eminent professor, in which the sense of the public went against him. -A residence of some years in Hamburgh, a shorter stay at Berlin, and -then a change to St. Petersburgh, brought him to the end of his career. -He died of apoplexy, in 1804. - -The eccentricity which marked the character of this artist, is shown in -various anecdotes that have been current respecting him. On one -occasion, at Lyons, he announced a concert, at six francs a ticket, but -failed to collect an audience. Finding the Lyonnese so retentive of -their money, he postponed his performance to the following evening, with -the temptation of tickets at half the price. A crowded company was the -result; but their expectations were suddenly let down by the discovery -that "the advertiser" had quitted the town _sans ceremonie_. At another -time, being in the music-shop of Bailleux, he accidentally broke a pane -of glass. - -"Those who break windows must pay for them," said Bailleux. "Right," -replied the other; "how much is it?" "Thirty sous." "Well, there's a -three-franc piece." "But I have no small change." "Never mind that," -Giornovichi replied; "we are now quits!" and immediately dashed his cane -through a second square--thus taking _double panes_ to make himself -disagreeable. - -The authoress of the "Memoirs of the Empress Josephine" has furnished an -anecdote connected with his sojourn in London. He gave a concert, which -was very fully attended. On the commencement of a concerto which he had -to perform, the company continued conversing together, while their -whispering was intermingled with the clattering of tea-cups and -saucers--for it was then customary to serve the company with tea -throughout the evening, during the performance as well as in the -intervening pauses. Giornovichi turned to the orchestra, and desired the -performers to stop. "These people," said he, "know nothing about music. -I will give them something better suited to their taste. Any thing is -good enough for _drinkers of warm water_." So saying, he immediately -struck up the air, "J'ai du bon tabac." The best of the matter was, he -was overwhelmed with applause; the second piece was listened to with -great attention, and the circulation of the tea-cups was actually -suspended until its conclusion. - -"Giornovick," says Michael Kelly, again, in his "Reminiscences," "was a -desperate duellist, quarrelled with Shaw, the leader of the Drury Lane -orchestra, at an oratorio, and challenged him. I strove all in my power -to make peace between them. Giornovick could not speak a word of -English[34], and Shaw could not speak a word of French. They both agreed -that I should be the mediator between them. I translated what they said -to each other, most faithfully; but, unfortunately, Shaw, in reply to -one of Giornovick's accusations, said, "Pooh! pooh!"--"Sacre!" said -Giornovick, "what is the meaning of dat 'pooh! pooh?' I will not hear a -word until you translate me 'pooh! pooh!'" My good wishes to produce -harmony between them, for some time, were frustrated, because I really -did not know how to translate 'pooh! pooh!' into French or Italian. I, -however, at last succeeded in making them friends; but the whole scene -was truly ludicrous."[35] - -The mettlesome _vivacity_ of this strange being was further shown in his -intercourse with the Chevalier St. George, who was expert at the sword, -as well as the _bow_. Giornovichi often disagreed with this formidable -master of fence, and, one day, in the heat of a dispute, dealt him a box -on the ear. Instead of resenting it, however, by means of his "so potent -art," St. George turned round, with laudable self-restraint, to a person -who was present, and said, "_J'aime trop son talent pour me battre avec -lui!_" ("I am too fond of his talent, to fight him.") - -"Jarnowick," says a recent critic, "was a sort of erratic star or -meteor, which cannot be brought into the system of the regular planets -of the violin. Slightly educated, and shallow as a musician, his native -talent, and the facility with which he was able to conquer mechanical -difficulties, rendered him so brilliant and powerful a player, that, for -a time, he was quite the rage, both in France and England. We have been -told, by a gentleman who knew him well," adds this writer, "that he has -seen him, with his violin in his hand, walking about his room, and -groping about on the strings for basses to the melodies he was -composing. His concertos are agreeable and brilliant, but destitute of -profundity and grandeur, and are, therefore, totally thrown aside. His -performance was graceful and elegant, and his tone was pure. He was -remarkably happy in his manner of treating simple and popular airs as -_rondos_, returning ever and anon to his theme, after a variety of -brilliant excursions, in a way that used to fascinate his hearers. But, -both as a composer and a performer, the effect he produced was -ephemeral, and has left no trace behind it. He contributed nothing -either to the progress of music, or to that of the instrument which he -cultivated." - -In giving the reverse side of the picture, there appears to be here a -little exaggeration of its defects. That so eminent a performer should -have contributed _nothing_ to the progress of his instrument, is -scarcely to be held probable. The crowds he drew, and the admiration he -excited, must surely have been the means of diffusing some increased -regard for the instrument of whose single powers he made such brilliant -exhibition. To the steady advancement of the art, through the formation -of pupils, he might contribute nothing; but he must have added something -to its success, by stimulating the public disposition to encourage it. -To create admirers, is of less importance than to make proficients; and -yet it is an achievement of _some_ value, inasmuch as it promotes the -_demand_ for proficients. Even when the public, for personal reasons, -withdrew their patronage from Giornovichi, they only transferred, in -favor of others, the admiration for violin solo-playing, which he had -been one of the agents to instil into them: and thus it is that no -performer of great abilities, unless, by introducing a vicious style, he -corrupts taste (which has not been charged upon Giornovichi), can be -justly said to be destitute of advantageous influence upon his art. - -GIOVANNI BATTISTA VIOTTI, the first violinist of his age, and the -enlightened originator of the modern order of violin-playing, was born -in 1755, at Fontaneto, a small village in Piedmont. Possessing the -happiest dispositions for his art, the progress he made under Pugnani -was so rapid, that, at the age of twenty, he was chosen to fill the -situation of first violinist to the Royal Chapel of Turin. After about -three years' residence there, he proceeded on his travels, having -already attained maturity of excellence. From Berlin, he directed his -course towards Paris, where he displayed his talents in the _Concert -Spirituel_, and speedily obliged Giornovichi, who was then figuring as a -star of the first pretensions, to "pale his ineffectual fire." The -concertos of Giornovichi, agreeable and brilliant as they were, and -supported by his graceful and elegant playing, lost their attraction -when brought into rivalry with the beauty and grandeur of Viotti's -compositions, aided by the noble and powerful manner in which he -executed them. - -Viotti's fame very soon drew on him the notice of the French Court; and -he was sent for to Versailles by Marie Antoinette. A new concerto of his -own composition, to be performed at a courtly festival, was to afford a -treat worthy of Royalty; and every one of the privileged was impatient -to hear him. At the appointed hour, a thousand lights illumined the -magnificent musical saloon of the Queen; the most distinguished -symphonists of the chapel-royal, and of the theatres (ordered for the -service of their Majesties) were seated at the desks where the parts of -the music were distributed. The Queen, the Princes, the ladies of the -royal family, and all the persons belonging to their Court, having -arrived, the concert commenced. The performers, in the midst of whom -Viotti was distinguished, received from him their impulse, and appeared -to be animated by the same spirit. The symphony proceeded with all the -fire and all the expression of him who conceived and directed it. At the -expiration of the _tutti_, the enthusiasm was at its height; but -etiquette forbade applause; the orchestra was silent. In the saloon, it -seemed as if every one present was forewarned by this very silence to -breathe more softly, in order to hear more perfectly the _solo_ which he -was about to commence. The strings, trembling under the lofty and -brilliant bow of Viotti, had already sent forth some prelusive sounds, -when suddenly a great noise was heard from the next apartment. _Place a -Monseigneur le Comte d'Artois!_ His Highness entered, preceded by -servants carrying flambeaux, and accompanied by a numerous train of -bustling attendants. The folding-doors were thrown open, and the concert -was interrupted. A moment after, the symphony began again; "Silence! -Viotti is going to play." In the meantime, the _Comte d'Artois_ cannot -remain quietly seated: he rises, and walks about the room, addressing -his discourse loudly to several ladies. Viotti looks round with -indignant surprise at the interruption, puts his violin under his arm, -takes the music from the stand, and walks off, leaving the concert, her -Majesty and his Royal Highness, to the reproaches of all the -audience--and leaving his biographers, afterwards, in some doubt whether -a just independence of spirit, or a petulance beyond the occasion, -should be regarded as the motive to this premature _finale_. Of those -who read the anecdote, some may associate it with the story of "the -_bear_ and fiddle," while others, siding with Viotti, may consider the -interruption that provoked him as something parallel to Beranger's -ironical summons of - - Bas, bas! - Chapeau bas! - Place au Marquis de Carabas! - -It has never been satisfactorily discovered what were the reasons which -induced Viotti, at an early period of his life, to relinquish all idea -of ever performing in public. Some have referred to the incident above -narrated, as the cause of this; but they who pretended to be well -acquainted with his character, have asserted that he disdained the -applause of the multitude, because it was afforded, almost -indiscriminately, to superiority of talent, _and_ to presumptuous -mediocrity. It is well known that he rejected the solicitations of -people who were termed of the great world, because he would have no -other judges than such as were worthy of appreciating him; and that, -notwithstanding the pretensions asserted by the great and fashionable -persons of his day, on the score of knowing every thing, and of being -the supreme arbiters of arts, of artists, and of taste, he observed that -it was very rare to find among them men capable of a profound sentiment, -or who could discover in others any thing beyond their exterior, and -judge of things otherwise than by the same superficial admeasurement. -He, however, yielded again to the eagerness which was evinced for -hearing him,--but on two occasions only; of which the one did honour to -his heart; and the other, as it serves to acquaint us more intimately -with his character, may be here related. - -On the fifth story, in a little street in Paris, not far from the _Place -de la Revolution_, in the year 1790, lodged a deputy of the Constituent -Assembly, an intimate and trusty friend of Viotti's. The conformity of -their opinions, the same love of the arts and of liberty, an equal -admiration of the genius and works of Rousseau, had formed this -connection between two men who thenceforward became inseparable. It was -during the exciting times of enthusiasm and of hope, that the ardent -heart of Viotti could not remain indifferent to sentiments which -affected all great and generous minds. He shared them with his friend. -This person solicited him strongly to comply with the desire which some -of the first personages in the kingdom expressed to hear him--if only -for once. Viotti at last consented, but upon one condition--namely, that -the concert should be given in the modest and humble retreat of _the -fifth floor! La fortune passe par tout_--'We have,'said he, 'long enough -descended to _them_: but the times are changed; they must now mount, in -order to raise themselves to _us_.' This project was no sooner thought -of, than prepared for execution. Viotti and his friend invited the most -celebrated artists of the day to grace this novel festival:--Garat, whom -nature had endowed with a splendid voice, and a talent of expression -still more admirable--Herman, Steibelt, Rode (the pupil of Viotti). To -Puppo was confided the direction of the orchestra; and to Breval, the -office of seconding Viotti. Among the great female _artistes_ of the -day, were Madame Davrigny, with Mandini, Viganoni, and Morichelli, a -lady as celebrated for her talents as for her charms. On the appointed -day, all the friends arrived. The bust of Rousseau, encircled with -garlands of flowers, was uncovered, and formed the only ornament of this -novel music-saloon. It was there that Princes, notwithstanding the pride -of rank; great ladies, despite the vanity of titles; pretty women, and -superannuated fops, clambered for the first time up to the _fifth -story_, to hear the almost celestial music of Boccherini, performed by -Viotti; and, that nothing might be wanting to complete the triumph of -the artist, there was not one of these persons who, after the concert, -descended without regret, although it was the lot of some of them to -return to sumptuous palaces, and into the midst of etiquette, luxury and -splendour. - -Among those friends who enjoyed the envied privilege of hearing this -great artist in private, was Madame Montgerault, who had a country-house -in the valley of Montmorency. Some of his most brilliant ideas had their -access in the society of this amiable and gifted woman, in whom he found -an enthusiasm for the art equal to his own. She would frequently seat -herself at the piano, and begin a Concerto _all'improvviso_; while -Viotti, catching in an instant the spirit of the _motivo_, would -accompany her extemporaneous effusions, and display all the magic of his -skill. - -The spirit and honesty of Viotti's character are not ill shewn in the -following anecdote. Giuseppe Puppo, who possessed no mean command over -the violin, and whose talents were acknowledged by Viotti with the -readiest candour, cherished the more than foolish vanity of boasting -himself a scholar of the great Tartini, which was known to be an -untruth, or, as a French term leniently expresses such deviations, "une -inexactitude." On some public occasion, when M. Lahoussaye chanced to be -present (who was really a disciple, and an enthusiastic one, of -Tartini's), Viotti begged him, as a favor, to give him a specimen of -Tartini's manner of playing. "And now," said he, in a tone loud enough -to be heard by all the company--"now, Signor Puppo, listen to my friend, -Monsieur Lahoussaye, and you will be enabled to form an idea as to how -Tartini played!" - -Viotti's stay in Paris was abruptly terminated by the bursting of the -revolutionary storm in 1790, which drove him to England. His debut in -London, at the memorable concerts under the management of Salomon, was -as brightly marked as it had been in Paris. The connoisseurs were -delighted by his originality and felicitous boldness, tempered as these -qualities were by a pure and exalted taste. In the years 1794 and 1795, -he had some share in the management of the King's Theatre, and -subsequently became leader of the band in that Temple of (occasional) -Concord. But, as an ancient author has said, success is a thing of -glass, and, just when it begins to wear its brightest looks, it -provokingly meets with a fracture. The quiet and blameless habits of -life of the great musician had not sufficed to exempt him from the -officious visitations of political suspicion, prompted, it has been -supposed, by some whispering tale of slander, from professional envy. -The result was, that poor Viotti suddenly received an order from the -Government to leave England immediately. By what subtle ingenuity of -apprehension, the proceedings of a violin-player came to be associated, -at the Home-Office, with the Revolutions of Empires, is as yet a mystery -more dark than Delphos. Possibly some future D'Israeli, enquiring for -"farther particulars within," may find the means of enlightening the -world on this transaction, which certainly does seem, at present, to -afford scantier material for the historian than for the epigrammatist. - -Thus expelled from the country which had evinced towards others so many -generous proofs of hospitality, Viotti passed over to Holland, and -subsequently fixed himself in the seclusion of a beautiful spot near -Hamburgh, named Schoenfeld. Here he gave up his mind to the cares of -composition, as most likely to displace or diminish those more painful -ones which harassed his sensitive mind, on account of the treatment he -had been subjected to. Some of his best works were the product of this -retreat; including his celebrated _Six Duetts Concertante_, for two -violins; in the preface to which, he touches on the circumstance that -was still affecting him:--"Cet ouvrage est le fruit du loisir que le -malheur me procure. Quelques morceaux ont ete dictes par la peine, -d'autres par l'espoir;"--and indeed it has been justly remarked that it -would be difficult to find any musical work that should seem to have -proceeded more directly from a feeling heart, than these exquisite -Duetts. - -In Hamburgh, he met with his former competitor, Giornovichi, who, like -himself, had been compelled to fly from Paris, the scene of his pristine -glories. The latter gave two concerts in this place, attended with the -meed of money, as well as that of praise; but the graver-minded Viotti -could not be persuaded to appear in public, and imitate his example. - -In 1801, Viotti found himself at liberty to return to London. Having -determined to relinquish the musical profession, he devoted his -resources, like Carbonelli of foregone fame, to the ministry of Bacchus, -and associated himself with a respectable member of the wine-trade. -Disappointment was the issue, however, of this undertaking; and, after -years of endeavour, he discovered that his whole fortune was gone. Thus -reduced, he prevailed with his own struggling spirit to solicit some -appointment from the French Court, and received, from Louis XVIII, the -nomination to the management of the Grand Opera. Impelled anew by what -Byron calls - - "The various joltings of life's hackney coach," - -he proceeded to Paris, and entered upon the office; but neither his age, -nor his quiet character, was congenial with the temper of such a scene; -and he retired, unsuccessful, but with the grant of a pension. He then -came over to end his days in England, loving rather to be an _habitue_ -of London, than a citizen of the world; for he had become closely -familiarized with the ways and habits of our metropolis, and seemed to -have cherished an almost Johnsonian attachment to it. His previous cares -and misfortunes, however, had left him little power to continue the race -of life, already a protracted one; and, after visibly declining for some -time, he died on the 3rd of March, 1824. - -Viotti's long retirement from the profession of that art on which his -fame was built, had not impaired his love of it, nor his inclination to -support it. On the institution of the Philharmonic Society, that "decus -et tutamen" of instrumental music in this country, he was one of the -original members, and, as an honorary performer, not only led the band -in turn with Salomon, F. Cramer, Yaniewicz, Spagnoletti and Vaccari, -but, like them, interchanged direction and submission, by taking his -seat, on the other nights, among the _ripieni_; thus assisting to form -an orchestral phalanx that certainly never was witnessed before, and is -little likely to be surpassed. - -Viotti was a person of feelings and sentiments far less artificial than -are commonly produced in men whose intercourse with society is fostered -by their powers of contributing to its amusement. Mixing, of necessity, -a great deal with the world, he seems, nevertheless, in a remarkable -degree, to have preserved himself from its corrupting influence; and -though, as just remarked, he loved London much, there is very -interesting evidence to shew that he loved nature more. The purity and -rectitude of his taste--its association with the poetic and the -true--stand thus recorded by one who had good opportunities of -appreciating him:--"Never did a man attach so much value (says M. Eymar) -to the simplest gifts of nature; and never did a child enjoy them more -passionately. A simple violet, discovered in its lowly bed among the -grass, would transport him with the liveliest joy; a pear, a plum, -gathered fresh by his own hands, would, for the moment, make him the -happiest of mortals. The perfume of the one had always something new to -him, and the taste of the other something more delicious than before. -His organs, all delicacy and sensibility, seemed to have preserved, -undiminished, their youthful purity. In the country, everything was, to -this extraordinary man, an object of fresh interest and enjoyment. The -slightest impression seemed communicated to all his senses at once. -Every thing affected his imagination; every thing spoke to his heart, -and he yielded himself at once to its emotions." - -The natural bias of his character receives further illustration in the -sketch which he himself has given, descriptive of his picking up one of -the varieties of the popular _Ranz des Vaches_, among the mountains of -Switzerland. - -"The _Ranz des Vaches_ which I send you," says he to a friend, "is -neither that with which our friend Jean Jacques has presented us, nor -that of which M. de la Borde speaks, in his work upon Music. I cannot -say whether it is known or not; all I know is, that I heard it in -Switzerland, and, once heard, I have never forgotten it since. - -"I was sauntering alone, towards the decline of day, in one of those -sequestered spots where we never feel a desire to open our lips. The -weather was mild and serene; the wind (which I detest) was hushed; all -was calm--all was unison with my feelings, and tended to lull me into -that melancholy mood which, ever since I can remember, I have been -accustomed to feel at the hour of twilight. - -"My thoughts wandered at random, and my footsteps were equally -undirected. My imagination was not occupied with any particular object, -and my heart lay open to every impression of pensive delight. I walked -forward; I descended the valleys, and traversed the heights. At length, -chance conducted me to a certain valley, which, on rousing myself from -my waking dream, I discovered to abound with beauties. It reminded me of -one of those delicious retreats so beautifully described by Gesner: -flowers, verdure, streamlets, all united to form a picture of perfect -harmony. There, without being fatigued, I seated myself mechanically on -a fragment of rock, and again fell into that kind of profound reverie, -which so totally absorbed all my faculties, that I seemed to forget -whether I was upon earth. - -"While sitting thus, wrapped in this slumber of the soul, sounds broke -upon my ear, which were sometimes of a hurried, sometimes of a prolonged -and sustained character, and were repeated, in softened tones, by the -echoes around. I found they proceeded from a mountain-horn; and their -effect was heightened by a plaintive female voice. Struck, as if by -enchantment, I started from my lethargy, listened with breathless -attention, and learned, or rather engraved upon my memory, the _Ranz des -Vaches_ which I send you. In order to understand all its beauties, you -ought to be transplanted to the scene in which I heard it, and to feel -all the enthusiasm that such a moment inspired." - -This susceptibility of pure and simple emotions, which it is delightful -to recognize as one of the attributes of real genius, was in Viotti -associated with a clear and cultivated intellect. He passed much of his -life in the society of the accomplished, the literary, and the -scientific; and his active mind gathered strength and refinement from -the intercourse. If the Horatian dictum be right, that - - "Principibus placuisse viris haud ultima laus est," - -it may be added to the sum of Viotti's personal merits, that he gained -the respect and esteem of the great, with whom he mixed on proper terms, -not forgetful of their rank as persons of birth and fortune, nor of his -own, as a man of rare talent. The strictest integrity and honour -regulated his transactions; and his feelings were kind and benevolent. -Thus it may be seen that his character, as a man, was calculated to give -increased dignity and influence to his name as a musician. - -In the latter capacity, it has, with great truth, been remarked of him, -that though the _virtuosi_ of the present day contrive to execute manual -difficulties exceeding those which were attempted in his time, he has -never been surpassed in all the _highest_ qualities that belong to -performance on his instrument. His compositions for it remain, to this -day, unrivalled in spirit and grandeur of design, graceful melody, and -variety of expression; and they still furnish, when performed by the -surviving disciples of his school, one of the most delightful treats -which a lover of the great and beautiful in music can receive. The -_Concerto_, in particular, which attained some of its improvements in -the hands of the elegant Jarnowick, and the sweetly-expressive Mestrino, -derived a marked advancement from Viotti, who gave to this style the -character which seems so peculiarly its own, and brought it to a degree -of elevation which it seems incapable of surmounting. The specimens of -his composition in this line, that principally claim the attention of -the amateurs of instrumental music, are those in G, in A minor, in D, -and in E minor. The theme of the Concerto in D is in the highest degree -brilliant, though it must not be forgotten that it is taken from a trio -of Pugnani's in E flat. - -It has been well suggested, as a hint to the solo-players at our London -Concerts, that Viotti's Concertos offer material far more desirable for -their use than those eternal "Airs with Variations," which convey to the -feelings of the auditor so little sense of variety, and in general tend -to exhibit nothing beyond the dexterity of what the Italians call a -_spacca-nota_, or note-splitter. - -The most popular of his _Trios_ are Op. 16, 17, and 18. The whole of his -_Duos_ are admirable, as respects both invention and energy: they may be -called Concertos in miniature[36]. - -Among the disciples of the school of this great master, may be -enumerated Rode (on the whole regarded as the best), Alday, Labarre, -Vacher, Cartier, Pixis, Madame Paravicini, Mademoiselle Gerbini, and our -countryman, Mori. - -FRANCESCO VACCARI, born at Modena, about the year 1772, commenced his -practice of the instrument at the infantine age of five years, under the -tutelage of his father, who, delighted with his quickness of -apprehension, would frequently encourage him to play at sight, not by -the gauds and "immoment toys" that are the common habits of childhood, -but by gifts of new music. After four years of domestic study, he was -introduced by his father to Pugnani, who, with a natural mistrust of -precocious powers, did not like, at first, to be troubled with -"child's-play," although, on hearing him, he could not refrain from -applauding his execution. The boy went afterwards to Florence, and had -instructions from Nardini. The habit so early instilled into him by his -father, of playing at first sight, procured him a triumph at Mantua, -when he was yet but thirteen; for he was enabled to execute, without -hesitation, a new Concerto which Pichl, its composer, placed before him. -In 1804, after he had visited most of the great towns in Italy, he -obtained from the King of Spain the appointment of First Violin of his -chamber-band. The disturbed state of that country drove him into -Portugal; and he was, at two several periods, performing in England. -Vaccari was distinguished by purity of tone and of taste, a tender -expression, execution without trick, and a nice exactitude of -intonation. - -MASONI, a Florentine, born 1799, attained very brilliant powers of -execution, which he displayed chiefly in foreign countries--quitting -Italy in 1817, for South America, from whence, after various migratory -musical labours, he passed over to India, and stirred to liveliest -emotion the languid people of Calcutta. In the spring of 1834, he -visited England, where his _tours de force_, and surprising dexterities -of bowing, would have won for him a more copious admiration than they -did, if, instead of coming so closely in the rear of the Genoese -"Miracle of Man," who had well nigh exhausted our stock of musical -sympathies, he had been his antecedent. I would here ask the gentle -reader's indulgence towards the following bit of measured hyperbole, -perpetrated at the above time, and admitted into a weekly publication of -Mr. Leigh Hunt's:-- - - If your soul be not too _drony_, - Haste, to hear renowned Masoni! - Scarce Napoleon (nick-named Boney) - Was more wondrous than Masoni! - 'Pollo's pet, Euterpe's crony, - Is the exquisite Masoni. - All the sweets that live in honey - Are concentred in Masoni! - Fiddlers _should_ be rich and _toney_-- - This--and _more_, is great Masoni. - Swifter, far, than hare or poney, - Run the triplets of Masoni-- - And Astonishment bends _low_ knee - To the flights of high Masoni! - Utterly _himself_ unknown he - Should be, who _not_ knows Masoni. - Dead must be the heart, and _stony_, - That is moved not by Masoni! - Money, without ceremony, - _Shower'd_ should be on Masoni! - E'en from Greece Colocotroni - Well might come, to hear Masoni! - So, again I tell ye, _on'y_ - Go, and listen to Masoni! - -The length to which these notices of the artists of Italy has already -extended, is one of the reasons precluding detail with respect to some -others of the later names belonging to that country. Paganini, however, -is neither to be thus dismissed, nor to be here briefly treated of at -the end of a chapter. To him, as standing alone in the history and -practice of his art, and as forming an object of very widely-diffused -curiosity, I propose devoting a separate notice in the ensuing chapter. -I cannot, in the mean time, omit wholly to advert to the name of -Spagnoletti, whose taste and refinement, in the conspicuous situation -which he filled for so many years in London, rendered him a highly -valued model for the attention of our own cultivators of the instrument. -Who is there amongst those who were frequenters of the King's Theatre, -during his time of office, that will not recollect, with feelings of -interest, the delicate grace of Spagnoletti's playing--his obviously -intense, yet not obtrusive, enthusiasm--and his oft-repeated sidelong -depressions of the head, as if to drink in more fully, at the left ear, -the delicious tones which he enticed from his own instrument? His -peculiar sensitiveness under the impression of a false note, and his -liberality of spirit, and readiness to speak commendingly of his -brethren of the bow, are among the further traits which denoted him to -those who had the opportunity of closer observation. Spagnoletti's -original name is said to have been Paolo Diana. I have heard an anecdote -which, if it may be depended on, exemplifies his quickness of temper. It -was to the effect that Spagnoletti, having chanced to quarrel one -morning with Ambrogetti, challenged him on the spot; and that the singer -put aside the abrupt invitation, by the phlegmatic remark that he had -_not breakfasted_! - - - - -CHAPTER III. - -PAGANINI. - - "Natura il fece, e poi ruppe la stampa."--_Ariosto._ - - "The glory, jest, and riddle of the world."--_Pope._ - - -Who has not heard of Paganini--and who, that boasts of an ear, has not -heard Paganini himself? Fame, catching up the echoes of his glory, has -caused them to reverberate through her trump, and to _far furore_ even -to the uttermost parts of the civilized world; and the hero himself, -following in her rear, has gone forth to fulfil her proclamations, to -reap his laurels, to achieve the general conquest of ears, and to -receive in gold the tribute of admiring nations! Tongues and pens have -vied with each other in celebrating his name; and _'Ercles' vein_ has -been drawn upon in his behalf, till its exhausted stream could no -further go. - -NICOLO PAGANINI came into this breathing world at Genoa. The date of his -birth, like most of the circumstances of his life, has been variously -represented; but the most probable account fixes it on the 18th of -February, 1784. His parents were of humble rank, but not so low as has -been pretended in some of the "supposures hypothetical" that have been -mixed up with the history of their marvel-moving son. To suit the humor -of these fancies, the _conjectured_ father has been depressed to the -condition of a street-porter, bearing (along with his burdens) some name -too obscure to be recorded; while the person known as Paganini _pere_ -has been asserted to possess no other rights of paternity than what are -conferred by adoption. This story, were it a true one, would reflect no -discredit on an artist who has owed to his own genius the wide celebrity -attaching to his name. "Miserum est aliorum incumbere famae," says the -Roman poet; and the feeling of modern times is daily more and more -confirming the sentiment. By another version, the father of Paganini has -been styled a small trader, with a large tendency to seek his fortune -through the calculation of lottery-chances. His actual station, as -appears most likely, was originally that of a mercantile clerk; and it -is concurrently allowed that this father, putative or positive, had -music enough in his soul, or in his head, to perceive the indications of -the faculty in his infant son, and to resolve on its full development; -although the means he took for this purpose were as little creditable to -his paternal pretensions, as they were injudicious with reference to -their object. Ere yet the boy, however, had received into his tiny hands -the instrument that was destined to make him "a miracle of man," the -world, it appears, was very near being deprived of him altogether! It is -stated that, at the age of four years, he was attacked by the measles, -attended, in his case, with unusually aggravated symptoms. So -extraordinary an influence did the disease exercise on his nervous -system, that he remained during an entire day in the state of catalepsy, -or apparent death, and had actually been enveloped in a shroud, when a -slight movement fortunately revealed the fact of his existence, and -saved him from the horrors of a premature interment. - -The musical discipline adopted by his father appears to have begun in -pretty close sequence to this shock; and the days of hard work for poor -little Paganini were made to commence, by a shameful perversion, before -he could plainly speak. As soon as he could hold a violin, his father -put one into his hands, and made him sit beside him from morning till -night, to practise it. The willing enthusiasm of the child, as well as -the tenderness of his age, might have disarmed the severity of any -ordinary preceptor; but the rigor of a stern father, when sharpened by -ambition and avarice, _can_ forget the measure of an infant's powers. -The slightest fault, the most pardonable inadvertence, was harshly -visited upon the Liliputian performer; and even the privation of food -was sometimes resorted to, as part of the barbarous system to enforce -precocity. A lasting influence of baneful kind was thus wrought upon a -constitution naturally delicate and sensitive: the sickly child, -incapable of attaining a healthful maturity, was merged into the -suffering man. - -His mother, with equal but more tender zeal for the development of the -talent of young Paganini, succeeded in inspiring him with no slight -portion of her own enthusiasm, by persuading him that an angel had -appeared to her in a vision, and had assured her that he should outstrip -all competition as a performer on the violin. Whether this vision was -the result of a pardonable stratagem, or whether it was really the dream -of a southern imagination, it is certain that it had the greatest effect -on the mind of the infant artist, whose instinctive and irresistible -inclination for the art made him an easy recipient of this maternal tale -of encouragement. He began also to relish the domestic plaudits which -were occasionally awarded to him for the boldness wherewith he produced -new, if not legitimate, effects, indicative of future mastery over the -powers of the instrument; for the instinct of his mind towards _the -extraordinary_ was, even thus early, a thing clearly discernible. He -speedily outstripped his father's slender reach of musical knowledge, as -well as that of a minor violinist named Cervetto, who, for a short time, -attempted to teach him. Giacomo Costa, director of the orchestra, and -first violin in the principal churches, at Genoa, was next charged with -his musical direction, and led him more rapidly onwards. At this period -(when he was about eight years old), he was to be seen performing some -three times a week in the churches, and at private musical parties, upon -a fiddle that looked nearly as large as himself. At this time, too, he -composed his first Violin Sonata, which, with others of his early -musical pennings, is, unfortunately, not extant. A year later, he made -what was considered his public _debut_, in the great theatre of Genoa, -at the request of the noted singers, Marchesi and Albertinotti, who -begged of his father to allow the youthful artist to play for their -benefit, undertaking, in return, to sing for Paganini at the first -concert he should offer to the public. On both occasions, he played a -series of variations, believed to be his own, on the French republican -air, "La Carmagnole," which were received with a force of approbation -that seemed to carry with it the conviction of his future fame. Already, -indeed, had his native genius urged him into a new path, both as to -_fingering_ and the management of the _bow_. - -Stimulated by the opening prospects of solid advantage, his father next -carried him to Parma, then the residence of Alessandro Rolla, in order -to place him under the care of that celebrated composer. It so happened -on their arrival, that Rolla was confined to his room by indisposition; -and the strangers, having been shown into a neighbouring apartment, -found there, on a table, the score of a work which the composer had just -finished. At the suggestion of his father, Paganini took up the violin -which lay by the manuscript, and performed the new concerto at sight, -with so much point and precision as to raise the sick composer from his -bed, that he might ascertain to what master's hand he owed this -agreeable surprise! The father, having explained the object of their -visit, was assured by Rolla that he was incapable of adding any thing to -his son's acquirements: he advised them to go to Paer, who was then the -director of the Conservatory at Parma. Paer, in his turn, directed his -visitors to his old master, Giretti, who received young Paganini as one -of his pupils, and for six months gave him regular lessons in -counterpoint. The good use which he made of this short apprenticeship is -proved by the four-and-twenty fugues which he composed in the course of -it. His rapid progress inspired Paer with so lively an interest in his -success, that he also devoted several hours a day to his instruction, -and, at the end of four months, entrusted him with the composition of a -_duo_, which was eminently successful. But these advantages were -interrupted by the removal of Paer to Venice, where he had undertaken -the composition of an opera. - -Thus additionally qualified for the gratification of the "auri sacra -fames" in the paternal breast, Paganini was now hawked about the country -in a professional tour (at the commencement of 1797), through the -principal cities of Lombardy; after which the father and son returned to -Genoa, where the youthful artist was again subjected to those daily -toils which had previously been forced on him with such wanton rigor: -but the bonds were not to be of much longer endurance. In his 14th year, -he was permitted, under the protection of an elder brother, to attend -the Musical Festival of St. Martin, which is annually celebrated at -Lucca, in the month of November; and, after meeting with a very -flattering reception in all his public appearances, he extended his tour -among the towns in the neighbourhood. The extreme degree of severity and -restraint, with which his education had hitherto been conducted, was now -beginning to work its natural result. At the age of fifteen, finding -himself relieved from all effectual control by means of the ascendancy -of his talent, and capable of attaining, through the same means, -unlimited pecuniary supplies, he commenced the itinerant system on his -own account; and soon, by a reaction of mind, that is in no degree -surprising, acquired a decided partiality for a course of life that was -accompanied by freedom from the trammels of such a father. The bonds of -affection towards that persecuting parent were only loosened, however, -not severed; for, after acquiring, by his independent exertions, a sum -equal to about a thousand pounds, he proposed to assign a portion of it -towards the maintenance of his father and mother. The cupidity of the -former rejected this, and demanded the whole. The interest of the -capital was then offered, equally in vain; and the violence of the -father proceeded to the extent (as it has been asserted) of threatening -Paganini with instant death, unless the whole of the principal were -relinquished to him. This outrage, supposing it true, appears but a -concentration, as it were, of the ill usage more diffusely applied -before. To procure peace--perhaps to save his life--Paganini gave up the -greater part of the sum. - -Resuming the exercise of his emancipated powers, Paganini visited many -parts of Italy, and was flattered and rewarded in all. The intoxication -of his rapid successes, combined with his joy at the escape from -domestic fetters, seem to have led him into some youthful excesses at -this period, and to have made the roving course of his travel rather -_too_ close a type of his moral career-- - - Erring here, and wandering there, - Pleas'd with transgression every where. - -The increased celebrity which he afterwards acquired, or rather, -perhaps, the jealous envy by which such celebrity is commonly pursued, -has exercised a magnifying effect upon these early aberrations, and -presented them as crimes of a serious and disgraceful nature. Whenever -duly examined, they will be probably found to shrink back into something -not greatly beyond peccadillo proportions. The feverish and unhealthy -excitement besetting his peculiar position should be taken into full -account, in forming a moral estimate of his youthful course. That the -seductions of the gaming-table for a while swayed his fancy, and -checquered his fortunes, is made clear by his own confession, which I -will here extract from the interesting "Notice Biographique" by Monsieur -Fetis (written as a _pendant_ to the Collection of Paganini's -Compositions, about to appear in Paris), to which pamphlet I am indebted -for some of the additional facts in the present sketch. - -"I shall never forget," says Paganini, "that I once placed myself in a -position which was to form the turning point of my whole career. The -Prince De * * * * * had long felt a desire to become the possessor of my -excellent violin, which I still retain, and which was _then_ the only -one I had. He sent to me one day, in the endeavour to make me fix a -price for it; but, reluctant to part with my instrument, I declared -that I would only do so for 250 gold Napoleons. The Prince remarked to -me, shortly afterwards, that I was probably joking when I asked so much, -but that he was disposed to go as far as 2000 francs. I was, that very -day, in much embarrassment as to funds, owing to a considerable loss -encountered at _play_; so that I was on the point of resolving to give -up my violin for the sum offered, when a friend came in, with an -invitation to join a party in the evening. My whole supply amounted to -thirty francs; and I had already stripped myself of my watch, jewels, -rings, pins, &c. I formed the instant resolve to hazard my last -pittance, and then, if fortune were adverse, to sell the violin for what -had been offered, and set off for Petersburgh, without either instrument -or property, there to re-establish my circumstances. My thirty francs -were presently reduced to _three_,--and I fancied myself already on the -road towards the great city, when fortune, shifting like the glance of -an eye, turned my petty remainder into a gain of 160 francs. That -favorable moment rescued my fiddle, and set me on my feet. From that -day, I renounced gaming, to which a portion of my youth had been -sacrificed; and, in the conviction that a gambler is universally -despised, I abandoned for ever that fatal passion." - -The imperilled instrument above referred to, appears to have been the -same that figures in the following anecdote, as related by M. Fetis. -Whilst the youthful artist was still under the dominion of the passion -for play, that sometimes robbed him, in a single evening, of the produce -of more than one concert, and sometimes did not leave to him even his -violin, he had recourse (at Leghorn) to the kindness of a French -merchant, Monsieur Livron, a zealous musical amateur, who very readily -lent him a fine Guarnerius instrument. After the concert for which it -had been required, Paganini took it back to the owner, who, however, -declined to receive it, saying, "I shall take good care how I profane -the strings that your fingers have touched! It is to _you_ that my -violin now belongs." The instrument was afterwards used by Paganini at -all his concerts. - -A similar incident occurred to him at Parma, though under different -circumstances. Pasini, a painter, with musical propensities, had refused -to credit the prodigious facility attributed to Paganini, in the way of -playing the _crabbedest_ music at sight, like one who had fully studied -it. The sceptic therefore placed before him a manuscript concerto, in -which all manner of difficulties had been brought together, and, handing -to him an excellent Straduarius instrument, exclaimed, "This is _yours_, -if you play that at sight, like a master." "In that case," observed -Paganini, "you may say farewell to it at once;" and, in fact, his -_fulminating_ execution presently threw the convinced Pasini into an -ecstasy of admiration. - -To those earlier days belongs also the fact of Paganini's transient -passion for the _guitar_, or rather for a certain fair Tuscan lady, who -incited him to the study of that feebler instrument--of which she was -herself a votary. Applying his acute powers to the extension of its -resources, he soon made the guitar an object of astonishment to his fair -friend; nor did he resume in earnest that peculiar symbol of his -greatness, the violin, till after a lapse of nearly three years. -Paganini tickling the guitar, may almost suggest, for analogy, Hercules -dallying with the distaff! - -After declining, for the freer indulgence of his rambles, various offers -of profitable engagement on permanent grounds, he was induced to enter, -in 1805, the service of Napoleon's sister with the exquisite name (Elisa -Bacciocchi), then Princess of Lucca and Piombino, to whose elegant -little court several distinguished artists were at that time attracted. -Paganini became concertist and director of the orchestra there; and it -was in this situation that he first attempted the execution of those -triumphs of art under _diminished resources_, that have had, in the -sequel, so large a share in the production of his success with the -multitude. I allude to his acquired habit, displayed from time to time, -of dispensing with the aid of _two_ or even _three_ of the strings of -his instrument, and working apparent impossibilities with the remaining -_two_ or _one_--a habit which, owing to his occasional abuse of it, has -laid him open to a charge of charlatanism, even from the Italians. His -incredible address in these extraordinary efforts, produced a degree of -astonishment which may probably have given rise to some of those -rumours, both romantic and ludicrous, that have been so freely -associated with his name. The explanation he has himself given of the -origin of these performances, in the following letter to a friend, seems -so consistent with his disposition at the period, that it may very -readily command the preference in point of credibility:-- - -"At Lucca," he says, "I led the orchestra whenever the Reigning Family -attended the opera. I was often sent for also to the court circle,--and -once a fortnight I gave a grand concert,--but the Princess Eliza retired -always before the conclusion, declaring that her nerves were too keenly -affected by the sounds of my instrument. A certain lady, on the -contrary, whom I had long adored in secret, was constant and assiduous -in her attendance at these musical meetings. I thought I could perceive -that some secret influence attracted her towards me. Our mutual passion -insensibly increased; but, as motives of prudence made secrecy -indispensable, and forbade any open declaration, the idea occurred to me -of surprising her with a piece of musical gallantry, which would convey -to her the expression of my feelings. Having announced my intention to -produce a novelty at Court, under a title (that of "A Love Scene") well -calculated to excite the general curiosity, I could observe that that -feeling was not diminished on my entering the music-room, with a violin -provided with only _two strings_, the first and the fourth. The _first_ -was intended to express the sentiments of a lady; the _fourth_, those of -a despairing lover. Between the two, I established a sort of impassioned -dialogue, in which the tenderest accents succeeded the violence of -repeated fits of jealousy. Alternately plaintive and insinuating, there -was at one moment a cry of grief or anger, and the next, of joyful -reconciliation. The whole scene was eminently successful; the lady to -whom it referred rewarded me by looks full of delighted amiability; and -the princess Eliza, after loading me with praises, enquired if, after -doing the impossible with _two_ strings, _one_ might not possibly -suffice me. I instantly gave my promise to make the attempt; and, a few -weeks afterwards, I produced a _Sonata on the fourth string_, which I -entitled "Napoleon," and executed it on the 25th of August, before a -brilliant and numerous Court. Its success having far surpassed my -expectation, I may date from that period my predilection for the lower -string; and, as my audience seemed never to tire of the pieces I had -composed for it, I have at length arrived at that degree of facility -which appears to have so much surprised you." - -To find out sufficient scope for an entire field of melody, as the -produce of a single musical string, must have demanded great study, as -well as unremitting manual practice. Paganini extended the capability of -the string to three octaves, including the harmonic sounds, which he -developed into a most important resource. The success of this novelty -was prodigiously increased, after he had presented it beyond the courtly -circle, and made it public[37]. - -When the Princess Eliza became Grand Duchess of Tuscany, Paganini -followed her to Florence, where he became an object of even fanatic -admiration. His talent developed itself daily in new forms; but he had -as yet very imperfectly learned to regulate its exercise. The amount of -study, however, to which he had subjected himself, after ceasing to be -the slave of his father, is a thing to excite astonishment. He had -abandoned himself, in solitude, to the research with which his mind was -occupied; and had then formed the plan of the _Studies_ which are known -under his name, and wherein he proposed difficulties that he himself -could not surmount without immense labour. It is a remarkable fact, -also, that he suddenly interrupted his enquiries as to the possibility -of augmenting the resources of the violin, in order to study seriously -the works of Corelli, Vivaldi, Tartini, Pugnani and Viotti, and to -ascertain the successive progress of his instrument. He afterwards -familiarized himself with the works of the Violinists of France. - -In the summer of 1808, after three years passed at Lucca, Paganini, with -the consent of his patroness, visited Leghorn, which city had been a -scene of triumph to him seven years previously. How, at his first -concert on this re-appearance, a cloud was converted into sunshine, has -been pleasantly enough recorded by himself:-- - -"Having accidentally run a nail into my heel, I came on the stage -_limping_--and the public greeted me with _a laugh_. At the moment when -I was beginning my concerto, the tapers fell from my music-stand, -drawing a fresh burst of laughter from the audience. Again, after the -first few bars of the solo, my upper string broke--which raised the -merriment to a climax:--but I went through the piece upon three -strings--and the laughter was turned into shouts of enthusiasm." - -Still retaining his engagement in the service of the Princess -Bacciocchi, who was now become Grand Duchess of Tuscany, and established -at Florence with her court, the great artist made professional -excursions to various Italian cities--including one to Turin (where he -was first attacked by the abdominal ailment which, in the sequel, so -much enfeebled his health, and so often interrupted his travels, and -disturbed the order of his concerts)--and another to Ferrara, where his -grotesque mode of retaliation for an affront received in public, led to -such a misunderstanding with the townspeople, as caused some jeopardy to -his life. - -About the commencement of 1813, his position at the Court of the Grand -Duchess Eliza was suddenly and disagreeably abolished. On a certain -state occasion, Paganini appeared in the orchestra in the full-blown -uniform of a Captain of the _Gendarmerie Royale_, which, as a general -privilege, his fair patroness had authorized him to wear. He was now -requested, however, to exchange it immediately for a suit of plain -black. The sudden shock to his dignity was met by a refusal to comply -with the order, and the result of this bearding of authority was his -precipitate retreat from Florence, with (it is probable) a resolution to -decline all future offers of a "fixed position." - -In the city of Milan, where Paganini found many congenial attractions, -he passed a considerable time, at various epochs of his life. There he -first saw, and entered into friendship with, Rossini. There, too (in -March 1816), occurred, within the walls of _La Scala_, his contest with -Lafont, the champion of French renown in the fiddle field. The story has -been variously represented. It appears that Lafont challenged Paganini -to join him in a concert, and conceived great hopes of beating him, -when, after acceptance of the proposal, the wary Italian was found to -make a very indifferent exhibition of power at the previous rehearsal. -When the rival display came on in earnest, however, the impression -produced by Lafont, with his fine tone, and his graceful and elegant -performance, was presently eclipsed _in toto_ by the superlative mastery -shewn in the performance of the Genoese enchanter, who purposely -followed in the track of his competitor, to establish his superiority at -all points--outweighing him in the deliberate _adagio_, and outstripping -him in all the agile feats of execution, besides transcending him wholly -in the nicer _arcana_ of the art. Of this purport, at least, is the more -common and probable account of the affair. But, if the Frenchman was -thus conspicuously beaten, it would seem that (as in the case of -Falstaff) it would "discolor too much the complexion of his greatness" -to acknowledge it: Monsieur Lafont wrote a letter of negation to a -French journal, some fourteen years after the momentous day. In this -letter he even decides himself to have obtained a partial advantage, -alluding to some particular "phrase de chant,"--and he indulges in this -passage:--"On all occasions I have taken pleasure in rendering homage to -his great talent but I have never said that he was the _first violinist -in the world_: I have not done such injustice to the celebrated men, -Kreutzer, Rode, Baillot, and Habeneck and I declare now, as I have -always done, that the French school is the first in this world for the -violin!"--To this self-and-country-vaunting epistle, as translated in -the _Harmonicon_, Lafont found a respondent (April 7, 1830) in Signor -Francesco Cianchettini, who asserts, as one present on the occasion, -that the public decision was in favour of the Italian, and compares the -vain glory of French fiddlers, in their talk of Paganini, to the empty -freedom of the gladiators of the Neronian age, in speaking of Hercules. - -Paganini's own account of the affair exhibits a modest simplicity, -tending to confirm any previous impressions of his having been the -victor. After quoting it, however, Monsieur Fetis, who has repeatedly -heard Lafont's relation of the circumstances, offers some remarks, which -it is but right here to subjoin:--"It is not to be denied," says he, -"that Lafont displayed much imprudence on that occasion. Doubtless he -possessed qualities of a classic order, more pure, and more analogous to -the French taste of his time, than those of Paganini. Doubtless he had -greater volume and evenness of tone: but, with respect to original -fancy, the poetry of playing, and the mastery over difficulties, he -could place himself in no comparison with his antagonist. In a concert -at the Paris _Conservatoire_, the palm, in 1816, would perhaps have been -awarded to _him_ (Lafont): but, in presence of an Italian audience, -eager for novelty, originality, and impulsion, he must needs have -succumbed." To continue our narrative of Paganini's "life, behaviour and -conversation,"--the French musical Amateur, Count de Stendhal (Monsieur -Beyle) has alluded to him descriptively at two periods. In 1814, he -observes, "Paganini, the Genoese, is, it appears to me, the first -violinist in Italy. He cultivates an exceeding softness of expression. -He plays concertos as unmeaning as those which set us gaping at Paris; -but his delicate softness is always a distinction in his favour. I love -especially to hear him execute variations on the fourth string of his -instrument." And again, in 1817, he writes of him, as of a Genoese who -played very finely on the violin--being "_equal to the French_ in -execution, and superior in fire and originality!"--Mathews, the author -of the "Diary of an Invalid," offers the following remarks on him in the -year 1818:--"He is a man of eccentric character and irregular habits. -Though generally resident at Turin, he has no fixed engagement, but, as -occasion may require, makes a trading voyage through the principal -cities of Italy, and can always procure a theatre, upon the condition of -equal participation in the receipts. Many stories are told of the means -by which he has acquired his astonishing style; such as having been -imprisoned ten years, with no other resource. His performance bears the -stamp of the eccentricity of his character. His tone, and the thrilling -intonation of his double stops, are electric. His bow moves as if it -were part of himself, and endued with life and feeling." - -In proof of the extensive sphere of his attraction, the following -anecdote, having reference to the year 1824, has been published. A -northern traveller, and passionate lover of music, M. Bergman, reading -accidentally, the evening before, in the Journal, at Leghorn, an -announcement of Paganini's concert, instantly set out for Genoa, a -distance of 100 miles, and luckily reached the spot just half an hour -before the concert began! He came with his expectations raised to the -utmost; but, to use his own expression, the reality was as far above his -anticipations, as the heavens are above the earth. Nor could this -enthusiastic amateur rest content with once hearing Paganini, but -actually followed him to Milan, to hear him _de novo_. Of the two -concerts which the great artist gave at _La Scala_ at that time, the -first consisted entirely (as far as regarded his own performance) of -exhibitions on the fourth string! and may be said to form a remarkable -antithesis to the case of the man so specially indicated by the late -Charles Mathews, as having _lost_ his G! The public were in ecstacies; -but it was observed, with some regret, by the judicious among Paganini's -auditors at these two concerts, that he was neglecting the _cantabile_, -and the nobler powers of his instrument, for the difficult and -astonishing. Yet it was to no want of sensibility in the soul of the -artist, that this deviation was to be attributed; for he had before -expressed his high admiration of Spohr, the German violinist, so -celebrated for the excellence of his _cantabile_, and had given him full -credit for being the greatest and most perfect _singer_ upon his -instrument--retaining, however, the satisfactory consciousness, as it -has been supposed, of his own immeasurable superiority in the -_aggregate_ of the qualities for which all the greatest masters have -been distinguished. - -At Pavia, Paganini likewise gave two concerts, and was received with no -less enthusiasm than at Milan. The bill which set forth the pieces to be -performed was headed with the following autocratical annunciation:-- - - PAGANINI. - - _Fara sentire il suo Violino!_ - - ("_Paganini will cause his violin to be heard!_") - -In the bills of a concert he gave at Naples, in 1825, his name was -announced with the style and title of _Filarmonico_; and various sage -debates and conjectures were the consequence, among the idlers of the -place. - -But it is needless to go thrice over the map of Italy, and detail all -the triumphs of our acoustic hero among his own countrymen. Let us shift -the scene to Germany, and the time to the year 1828, when he was -exhibiting before the people at Vienna, and exciting the admiration and -astonishment of the most distinguished professors and connoisseurs of -that critical city. His inducement to quit his native Italy had been -furnished, it appears, by Prince Metternich, who had witnessed his -performances in the preceding year at Rome, when the Pope (_soit dit en -passant_) had conferred on our Artist the order of the Golden Spur, an -honor which had formerly been awarded to Gluck and Mozart. - -All notion of rivalling the foreigner was at once banished from among -the Germans; and it is said that Mayseder, their violinist of then -highest fame, with an ingeniousness that did him honor, intimated, in a -letter to a London friend, that he felt he might now lock up his violin -as soon as he liked! - -The successes of Paganini gave new currency to the tales of crime and -_diablerie_ which inventive fame, "ficti pravique tenax," had so often -circulated in connection with him. A captain of banditti--a Carbonaro--a -dungeon-detenu--a deadly duellist--a four-mistress man--a friend of -Beelzebub--a "bowl-and-dagger" administrator--_these_ are some of the -characters that were freely assigned to him. Over the mouth of his aged -mother, _in articulo mortis_, he was asserted to have placed a leathern -tube, and to have caught her last breath at the S holes of his -fiddle!--He was made out, in short, the very _beau ideal_ of a fellow -that might do the "First Murderer" in a Melodrama. These romantic -rumours, however they might assist his success with the public, could -not be passed by in silence. The injured, yet profited, object of them, -made a public manifesto of his innocence in the leading Journals of -Vienna, and appealed to the magistrates of the various States under -whose protection he had lived, to say if he had ever offended against -the laws. This was all very well; but, what was still better, enough of -the pleasing delusion remained, in spite of all disavowals, to render -Paganini the continued pet of the public. Indeed, a general intoxication -with regard to him prevailed for some time with the Viennese public. -Verses were daily poured forth in honour of him--medals were struck--and -Fashion made profuse appropriation of his name to her various objects. -Hats, gloves, gowns, stockings, were _a la Paganini_:--purveyors of -refreshment fortified their dishes with his name; and if a brilliant -stroke were achieved at billiards, it was likened unto a stroke of his -bow! snuff-boxes and cigar-cases displayed his portrait--and his bust -was carved upon the walking-stick of the man of mode. - -Amid the glare of the enchanter's triumphs, it is pleasing to discover, -in a record of a concert given for the benefit of the poor, that the -cause of benevolence was not forgotten;--nor will it be uninteresting to -bestow a moment's attention on the following little anecdote, which -certainly reveals something not unlike a heart:-- - -One day, while walking in the streets of Vienna, Paganini saw a poor boy -playing upon his violin, and, on entering into conversation with him, -found that he maintained his mother, and an accompaniment of little -brothers and sisters, by what he picked up as an itinerant musician. -Paganini immediately gave him all the money he had about him; and then, -taking the boy's violin, commenced playing, and, when he had got -together a crowd, pulled off his hat, and made a collection, which he -gave to the poor boy, amid the acclamations of the multitude. - -The following fact will give some idea of the hearty love of music, the -real _dilettantism_, prevailing among the peasants of Germany. In the -autumn of 1829, Paganini was summoned to perform before the Queen -Dowager of Bavaria, at the Castle of Tegernsee, a magnificent residence -of the Kings of Bavaria, situated on the banks of a lake. At the moment -when the concert was about to begin, a great bustle was heard outside. -The Queen, having enquired the cause, was told that about sixty of the -neighbouring peasants, informed of the arrival of the famous Italian -violinist, were come, in the hope of hearing some of his notes, and -requested that the windows should be opened, in order that _they_ also -might enjoy his talent. The Queen went beyond their wishes, and, with -truly royal good nature, gave orders that they should all be admitted -into the saloon, where she had the pleasure of marking their -discernment, evidenced by the judicious manner in which they applauded -the most striking parts of the performance. - -Prague, Dresden, Berlin and Warsaw were successively visited by the -triumphant ear-charmer. Great was the excitement he produced at -Berlin--but somewhat contradictory the opinions about him. "Most -assuredly," said one journalist, "Paganini is a prodigy; and all that -the most celebrated violinists have executed heretofore is mere child's -play, compared with the inconceivable difficulties which he has created, -in order to be the first to surmount them." The same writer declared -that Paganini executed an air, quite _sostenuto_, on one string, while, -at the same time, a _tremolo_ accompaniment upon the next was perfectly -perceptible, as well as a very lively _pizzicato_ upon the fourth -string: that he executed runs of octaves on the single string of G with -as much promptitude, precision and firmness, as other violinists on -_two_. Nay, his celebrator went so far as to say that, in order to -produce this latter effect, he employed one finger only; and further -declared him able to render the four strings of the instrument available -to such a degree, as to form concatenations of chords that could be -heard together, and that produced as full and complete harmony as that -of six fingers of a pianoforte-player on the key-board; adding, -moreover, that, in moments of the most _daring vivacity_, every one of -his notes had all the roundness and sonorousness of a bell! Another -journalist averred that he was incapable of producing a _grand_ tone, -but that he executed the _adagio_, and impassioned _cantilenas_, with -profound sensibility and great perfection of style. It was the remark of -another critic, that "whoever had not heard Paganini, might consider -that there existed a _lacuna_ in the chain of his musical sensations." - -Lipinski, a Pole, had ventured to seek, at Placentia, in 1818, a contest -with Paganini, such as Lafont had previously sought. Whilst at Berlin, -he met with a _third_ challenge to a trial of skill. Sigismund Von -Praun, an ambitious youth, asserting claims to universal genius--a -counterfeit Crichton--attempted to dispute the palm with him, and -paraded a public defiance in the papers: but, this time, Apollo would -not compete with Marsyas Praun, who had made some impression, a few -years before, at Malta and other places, appears to have had talents far -from contemptible, although immature, but his presumption exposed him to -merited ridicule:-- - - Low sinks, where he would madly rise, - This most pretentious imp! - See! while with Paganin' he vies, - _Praun_ looketh _less_ than _shrimp_! - -After returning from Warsaw, Paganini visited Frankfort. It is related -that, while he was in this latter city, an actor from the Breslau -Theatre, taking advantage of his marked peculiarities of look, manner -and gesture, made successful public mimicry of him; and that he had the -good sense, himself, to attend one of these performances, and join in -the general laugh with the best grace imaginable. He remained for a year -at Frankfort; and it seemed as if he had renounced the previously -well-circulated notion of his visiting Paris and London, when he -suddenly made his appearance at Strasbourg, and soon afterwards arrived -upon the banks of the Seine, to delight and astonish those idolators of -novelty, the inhabitants of the French metropolis. - -Of the impression produced by Paganini among the Parisians, as well as -of his personal and musical characteristics, I find so graphic and -picturesque an account in a French journal (_Le Globe_), that I am -induced to translate, for my purpose, the chief portion of it, under the -conviction that the length of passages leading to what is so far the -_reverse_ of "nothing" will be easily pardoned. Whether the writer's -moral estimate of the spectacle-hunting branch of the Parisian public be -not a little overcharged with severity, is a point which I have no -pretensions to determine. That there is some eloquence in the thoughts -of the French writer, whoever he might be (and, alas! for common sense, -he is, or was, a St. Simonian), will be, I think, admitted, even by -those who would not so far admire his composition as to "mark it for a -rapture nobly writ." Here follows his sketch, however; and Paganini -himself (in pictorial effigy) shall attend, and give it a sort of -personal confirmation. - -"_The Artist_ is about to make his appearance--silence begins to be -restored--the overture is over, without having been listened -to--somewhat less of coldness and unconcern is expressed on the faces -around--and the hands of the white-gloved are all armed with the double -opera-glass. _Enter Paganini and his Violin!_ - -"A universal clapping of hands attends his first advent on the scene. He -advances, with sundry awkward and heavy steps; he makes obeisance, and -the applause is renewed: he moves forward, with increased oddity of -gait, and the noise of hands is prolonged on all sides. - -[Illustration] - -"He makes several further salutations--he endeavours to animate his -countenance with a smile of acknowledgment, which is instantly succeeded -by a look of icy coldness.... He makes a halt, and, with still greater -eccentricity of manner, it may be, than in his reverences and his walk, -he seizes his fiddle, hugs it betwixt chin and chest, and fixes on it a -look at once of pride, penetration and gentleness. Thus resteth he -several seconds, leaving the public at leisure to examine and make him -out in his strange originality--to note with curiosity his gaunt body, -his lengthy arms and fingers, his dark hair descending to his shoulders, -the sickness and suffering denoted in his whole frame, his sunken mouth, -his long eagle nose, his wan and hollow cheeks, his large, fine, -manifest forehead, such as Gall would have delighted to -contemplate,--and, beneath the shelter and shadow of that front, eyes -that dilate, sparkle and flash at every instant! - -"Such doth Paganini show himself, formed, at every point of his person, -to catch the greatest possible quantum of applause from a public whom it -is his office to _amuse_. Behold him, a compound of chill irony and -electric enthusiasm,--of haughtiness, with seeming humility,--of sickly -languor, and fitful, nervous, fatal exultings,--of wild oddity, -chastened by some hidden and unconscious grace--of frank abandonment, of -charming attractiveness, of a superiority of talent that might fix the -most indifferent,--but, above all this, a very _man-fiddle_--a being of -extraordinary nature, created as if expressly for the gratification of a -public delighting, before all things, in the extraordinary! - -"'Sufficient for the eyes!' seems he now to say within himself, as he -notes in their operation the incoherent reveries and speculations of his -beholders. Promptly his looks descend from his violin to the -orchestra--he gives the signal--he raises his right hand briskly into -the air, and dashes his bow down upon the instrument! - -[Illustration] - -"You anticipate the rupture of all its strings! On the contrary, the -lightest, the finest, the most delicate of sounds comes forth to win -your surprise. He continues for some moments to sport with your -pre-conceptions, to look askance at you, to irritate you; and every whim -that occurs to him, is employed to draw you out from your supposed -indifference. He teases you, he pleases you: he springs, he runs, he -wanders from tone to tone, from octave to octave; achieves, with -incredible lightness and precision, the widest intervals; ascends and -descends the chromatic and diatonic scales; touches harmonic -accompaniments in his way; extracts unknown sounds; searches, with easy -success, for difficulties and tricks of skill; exhausts, within the -space of a few bars, the whole range of chords and sounds possible upon -the instrument--discourses, sings, bewails, ejaculates, describes! 'Tis -suddenly a murmur of waves, a whistling in the air, a warbling of birds; -a something undefinably musical, in the most acute as well as the lowest -tones--an unrestricted impulse of caprices, and contrasts, without guide -or measure! 'Tis, in a word, a perfect union of incoherence and nameless -clatter, beyond which, the world-worn and vitiated beings around, the -worshippers of singularity, can see nothing, imagine nothing, desire -nothing! - -"The great Artist has, nevertheless, resources other than those of -phantasy, by which to captivate the public--and presently there succeeds -to this musical phantasmagoria a broad, stately, harmonious (albeit -somewhat too bare) simplicity. The fatigue of the public and of the -Artist now gives place to a species of joy, that visibly blooms on every -countenance. Chords that are pure sweet, melodious, brilliant, stream -from beneath the bow; and then come accents of nature that seem to flow -from the heart itself, and affect you with a perspiring thrill of -delight; and then (prodigy of harmony!) the vague moans and unfinished -plainings of a melancholy abandonment! You sympathize, in gentle pain, -with the touching and melodious artist; you dispose yourself to follow, -at his direction, the course of (as it should seem) some mournful, -fleeting, intangible vision--when instantly a fit of violent distress, a -sort of shuddering fury, seizes him, and we are startled, chilled, -tormented, by cries which pierce the inmost recesses of our frame, and -make us tremble for the hapless being whom we behold and hear! We dare -not breathe--we are half suffocated;--fearfully the head burns, and the -heart aches. - -[Illustration] - -"And yet--and yet, despite this too positive pain which the unfortunate -artist has forced both upon us and himself, he bethinketh him mindfully -that 'tis his vocation to serve for _sport_ to the public that does him -the _honor_ to come and listen to him. He snatches away, therefore, your -ladies with delicate nerves, and your men of effeminacy, from the -suffocation and syncope that threaten them. Truce to the cries of agony! -truce to despair! A fantastic chaunt, a wild laugh, springs up--and then -succeeds a sort of buffoon dance, to complete the relief of these -people, and restore them to _life_. _Encore_ he sings, he laughs, he -dances: each face is completely reassured, and its owner, to prove to -the rest, and to his own satisfaction, that he has not so far forgotten -himself as to quit the precincts of _bon ton_ and eternal frigidity, -smiles listlessly upon his neighbour, strokes his cravat adjustingly, -and throws a careless glance from side to side! Amidst this returning -indifference, let there come a new passage of arduous brilliancy, some -more or less astonishing sleight of hand--and a reiterated clapping of -palms convinces the unhappy purveyor of diversion that he has but too -well served the public according to their taste! - -"And now, should the rondo come, in its light and laughing -gaiety--should the hymn of love and delight succeed, 'twill be the same -case as with the cry of grief or despair. Each burst of simple gaiety -must be followed by an air in the coquettish style, an impulse from the -head, to give it stimulus. Amid the passionate harmonies of love, you -shall hear interspersed the accents of coldness, of disdain, of -raillery. After a voluptuous transport, you shall have mincings and -caprices:-- - -[Illustration] - -for there is no gaiety, whether for _him_, or for the listening public, -of a natural, fresh and youthful character; there is no frank and -confiding attachment; there is no serene and grateful pleasure; there is -no sadness that pours itself out for the sake of consolation; no joys -but such as are like scentless flowers, that one picks to pieces in -sport; no passion save what is akin to delirium, debauchery, or deadly -poison! What the public must have, and the artist, are your _pizzicati_, -your contrasts, your satanic schooleries, your touches of the -extravagant;--'tis a dose of madness or despair,--'tis an agony--the -sensation of a man suspended over a bottomless abyss;--'tis a violin, -which is at once a flute, a bass, a guitar, and a whole orchestra, -intermixed, confounded, and getting into harmony only by fits;--'tis a -professional visage, revealing a wounded and withered heart; 'tis a -human skeleton--death, in grotesque attire; 'tis the "talented -exhibition" of a rebellious angel, who gnashes his teeth, and howls, and -jeers! And so the public, seeing their artist hold forth to them, under -convenient forms, all possible monstrosities, seem to applaud themselves -inwardly, and to exclaim instinctively, 'Here is our interpreter, our -plaything, and our own handywork!' - -"Of such a public, and such an artist, how saddening the sight!... The -public, made up of idlers--of beings isolated, selfish, cold, -corrupt--must be _amused_, forsooth! and the artist exhausts his taste -and his sentiment, and well nigh perspires blood and water, to comply -with their exactions--to _amuse_ them!--and if he attain this end, the -public clap their hands, the manager of the theatre counts out to him a -heap of gold, and he goes away, with his ears deafened at the noise -which has surrounded him, and which, for a moment, (it may be), has made -his heart beat high;--he goes away, with a loving grasp tightened over -the coin he has so hardly won; and inwardly exclaims, with a smile of -pity, 'The blockheads--the barbarians! Who is there among them that can -comprehend me--that can _feel_ my intentions?'--and then the -home-returning public, selfish to the very soul, indemnify themselves -for their fingers'-end applause, by sottish contempt, by remarks that -are empty, or worse--that are scornful, bitter, shocking, disgusting -even--such as those which may have been buzzed into one's ears in Italy -or in Paris, but varied in a hundred ways, and aggravated at will, just -as _he_ varies and enlarges, twists and turns, beneath his magic bow, a -subject of apparently the most simple and insignificant kind. And now -the voices most distinguishable among the ebbing crowd murmur out the -words, 'Gambler! Libertine!' or worse.... And the privileged public -resort again to the theatre, to admire the talent of him whom they -comprehend not; and the artist returns in like manner, to _amuse_ those -who provoke his pity, and whom he beholds so far below him! Thus, we -have contempt on one side, compassion on the other--applause from hands -chilled with the touch of gold, on the one part,--on the other, sounds -that borrow their animation from no social sympathy! Such are the -relations between the public and the professor--such the bonds that -connect them!" - - -So much for the pungently descriptive, as regards this singular being. -It is less difficult, however, to exhibit effects and appearances, than -to analyze the causes or means which produce them--and it is in this -latter endeavour, accordingly, that there has been least success -attained by those who have made Paganini their theme, in Paris, as -elsewhere. That which was already obscure in relation to him, has been -forced into denser obscurity by the attempted demonstrations of certain -pompous literary showmen, who have succeeded only in illustrating the -proverb of "ignotum per ignotius." Mystification and generalization, the -resources of ambitious ignorance, have been copiously employed in these -endeavours. Of a less unsatisfactory character, however, are the -pretensions of M. Guhr, the able violinist, of Frankfort, who has -attempted an analysis of the means employed, and the effects produced, -by Paganini. Like most professors of a secret, the arch Italian was -always studious of maintaining the mystery so provocative of curiosity -and admiration. He assumed the air cabalistic, and, with a severe front -and sullen eye, would stimulate and foster the impression of his being -"profited in strange concealments." M. Guhr, though he had the seeming -advantage of personal and friendly access to him, found he could make -nothing of him by the interrogatory system, and therefore adopted the -alternative of becoming a silent student of his peculiarities, till he -made certain discoveries of more or less importance, which he shaped -into five heads, to show that Paganini's chief points of difference from -other violinists were-- - -1. In his manner of tuning the instrument. - -2. In a management of the _bow_, entirely peculiar to himself. - -3. In his mode of using the left hand in the _passages chantans_, or -passages of a singing character. - -4. In the frequent employment of harmonic sounds. - -5. In the art of putting the violin into double employ, so as to make it -combine with its own usual office the simultaneous effects of a -mandolin, harp, or other instrument of the kind, whereby you seem to -hear two different performers. - -As to the first of these points, "his manner of tuning the instrument," -observed M. Guhr, "is wholly original, and to me appears -incomprehensible in many respects. Sometimes he tunes the first three -strings half a tone _higher_, while that of G is a third _lower_, than -ordinary. Sometimes he changes this with a single turn of the peg, and -he invariably meets the due intonation, which remains sure and firm. -Whoever is aware how much the higher strings stretch with the least -relaxation of the G, and how much all the strings generally lose, by a -sudden change in tuning, the faculty of remaining with certainty at one -point, will join me in the lively desire that Paganini may decide on -communicating his secret in this respect. It was surprising to find, -especially on one occasion, when he played for nearly an hour and a half -in the most opposite keys--without its being perceptible that he had -changed his tuning--that none of the strings became disturbed. In an -evening concert, between the _Andante_ and the _Polacca_, his G string -snapped, and that which he substituted, though afterwards tuned to B, -remained firm as a rock. His manner of tuning his instrument contains -the secret of many of his effects, of his succession of chords, and -striking vibrations, which ordinarily appear impossible to the -violinist." - -According to this statement, "curious, if true," Paganini improved his -effects by playing on an instrument _out of tune_, and, with something -like a miracle of creative power, produced harmony out of discord. -Paganini must of a surety have "pegged hard," and with a screwing that -was inscrutable, to have attained such a management of his pegs! Was M. -Guhr a misty demonstrator, or was Paganini inexplicable? As to the G, -that can bear to be pulled about in this fashion without resenting it, -we must suppose it to possess a passive virtue, a habit of -accommodation, quite beyond the custom of the stringy tribe.[38] - -In expatiating on the _second_ point, M. Guhr seems content to describe -effects, rather than to labour (in vain) for the indication of a -cause--but his description is not infelicitous:-- - -"Paganini's management of the bow is chiefly remarkable by the -_tripping_ movement which he imparts to it in certain passages. His -_staccato_ is no way similar to that ordinarily produced. He dashes his -bow on the strings, and runs over a succession of scales with incredible -rapidity, while the tones proceed from beneath his fingers, round as -pearls. The _variety_ of his strokes with the bow is wonderful. I had -never before heard marked with so much precision, and without the -slightest disturbance of the measure, the shortest unaccented notes, in -the most hurried movements. And again, what force he imparts in -prolonged sounds! With what depth, in the adagio, he exhales, as it -were, the sighs of a lacerated heart!" - -However he might sometimes err in his doctrine, M. Guhr was at least -right in his faith. The supremacy, which he assigned to the great -Genoese genius, was expressed in the language of a handsome -enthusiasm:-- - -"Rode, Kreutzer, Baillot, Spohr--those giants among violinists--seemed -to have exhausted all the resources of the instrument. They had extended -its mechanism, introduced the greatest imaginable variety in the use of -the bow, which was made subservient to all the shades of expression and -execution: they had succeeded, by the magic of their sounds, which -rivalled the human voice, in painting all passions and all the movements -of sentiment. In short, advancing rapidly in the path marked out by -Corelli, Tartini, and Viotti, they had raised the violin to that rank -which ensures to it the dominion of the human soul. In _their_ style, -they are, and remain, great and unsurpassed. But, when we hear Paganini, -and compare him with the other masters, it must be confessed that he has -passed all the barriers which custom had hitherto raised, and that he -has opened a way peculiar to himself, and which essentially separates -him from those great Artists; so much so, that whoever hears him for the -first time, is astonished and transported at hearing what is so -completely new and unexpected;--astonished by the fiend-like power with -which he rules over his instrument;--transported that, with a mechanical -facility which no difficulty resists, he at the same time opens to the -fancy a boundless space, gives to the violin the divinest breathings of -the human voice, and deeply moves the inmost feelings of the soul." - -But we have left Paganini himself at Paris, where we must now rejoin him -and his fortunes. As for the latter, in the moneyed meaning, they grew -with a ratio of increase that would have been more wonderful, had it not -been afterwards outdone by that of his gains in London. As it was, they -were sufficient to inspire one of the Parisian dilettanti, a nicer -worker in figures, with a special access of passion for calculating the -value of notes--that is to say, of Paganini's musical "notes of hand." -The result, based upon a concert given at the Opera at Paris, producing -16,500 francs, and presenting 1365 bars of _the_ fiddling, indicated a -quotient of 12 francs for _each bar_, and was still more curiously -distributed into proportions as follows:--for a semibreve, 12 francs; a -minim, 6 francs; a crotchet, 3 francs; a quaver, 1 franc, 50 centimes; a -semiquaver, 15 sous; a demisemiquaver, 7-1/2 sous. This exemplary -calculation did not overlook, moreover, the cash value of each of the -occurring sorts of _rests_; besides working out a "contingent remainder" -of 420 francs--that residue happening to be, by the most curious -coincidence, exactly the price of such a violin as the Conservatory -usually awards by way of prize to its most successful pupils![39] - -The provoking impertinence of Rumour, with her thousand busy tongues -darting conjecture and accusation, drew forth, at Paris, as at Vienna, -some effort at self-defence on the part of the assailed Artist. His -letter to the Editor of the _Revue Musicale_ may claim a place here (in -translated form), as well for its pleasantry and ingenuity, as for the -clue it affords to the origin of some of the slanderous liberties which -had and have been taken with his character. Of this letter, it -subsequently appears that the materials were furnished by Paganini, and -the diction arranged by his friend, M. Fetis:-- - - "Sir, - - _Paris, 21 April, 1831._ - - "So many marks of kindness have been lavished on me by the - Parisian public,--so many plaudits have been awarded to me,--that I - am bound to give credit to that celebrity which is said to have - preceded my arrival. But, if any doubt on the subject could have - remained, it must have been dissipated by the care I see taken by - your artists to make representations of my likeness,--by the - numerous portraits of Paganini, more or less like the original, - with which the walls of your capital are covered. It is not, - however, to simple portraits, Sir, that their speculations are - confined. While walking yesterday along the Boulevard des - Italiens, I saw, in a print-shop, a lithograph representing - _Paganini in prison_. "Well!" said I to myself, "here have we - some worthy citizen who, in imitation of Don Bazilio, has been - turning to account the calumny which has pursued me for the last - fifteen years." While smilingly examining all the details of this - mystification with which the fancy of the artist had furnished - him, I perceived that a numerous circle had gathered around me, - and that every one, as he compared my features with those of the - young man represented in the lithograph, was taking pains to - satisfy himself as to the degree in which I was altered since the - period of my imprisonment! Thus I found that the thing was taken - _au serieux_, and that the speculation, at least, was no bad one. - It occurred to me that, as every one _must live_, I might as - well, of myself, furnish a few anecdotes to those enterprising - persons who take so much interest in me and my affairs; so that, - if so disposed, they may have a few more subjects for prints, as - good, and quite as true, as that in question. It is with this - view that I beg you, Sir, to do me the favour of inserting this - letter in your Musical Review. - - "These gentlemen have represented me _in prison_, but they do not - seem to know what _took me there_; and, so far, they are about as - wise as myself, or as those who have brought the story into - circulation. It bears, in fact, a great many versions, and - presents a corresponding variety for the designer. It has been - said, for instance, that, having surprised a rival in the chamber - of my mistress, I had bravely stabbed him from behind, when he - was incapable of defending himself. By others, it has been - pretended that it was against the person of my mistress herself, - that my fury had been directed; but they are not agreed as to the - _mode_ I had adopted to accomplish her destruction,--some - contending for the poniard, and others for poison; so that, as - each has indulged his imagination in describing the affair, it - would be hard to deny a similar license to the dealers in - lithographs. I will relate what occurred to me at Padua some - fifteen years ago. - - "I had given a concert there, and had met with considerable - success. On the following day, I was one of sixty at a _table - d'hote_, where I had entered the room without being recognized. - One of the guests was pleased to express himself in very - flattering terms on my public appearance the evening before. - Another concurred in the praise thus bestowed, but added, by way - of explanation, "There is nothing in the talent of Paganini which - ought to excite surprise. He is indebted for it to the sojourn he - has made for eight years of his life within the walls of a - dungeon, with nothing but his violin to mitigate the rigors of - his captivity. He was condemned to this long confinement for - having basely assassinated a friend of _mine_, who was his - rival." - - "The whole company, as you may well believe, exclaimed against - the enormity of the offence. For _my_ part, I got up, and, - addressing the person who seemed so well acquainted with my - previous history, begged him to tell me where, when and how, the - adventure had taken place. Every eye was turned towards me as I - spoke, and you may judge of the general astonishment, when one - amongst themselves was thus recognized as the chief actor in the - tragedy. The historian was sadly embarrassed. It was no longer - one of _his friends_ who had fallen; "he had heard it said,"--"he - had been credibly informed,"--"he had believed,--but it was - possible that he might have been mistaken!" - - "It is thus, Sir, that the reputation of an artist is trifled - with, because others, of more indolent habits, are at a loss to - understand how a man should apply himself as effectually to - study, while at full liberty in his own house, as within the - walls of a dungeon! - - "At Vienna, a still more preposterous rumour put the credulity of - the inhabitants to the test. I had been playing those variations - known by the name of _Le Stregghe_ (the Witches). A young man, - who was described to me as of a pale and melancholy aspect, with - eyes of the most inspired cast, said that he saw nothing - surprising in my performance, for, while I was executing my - variations, he had distinctly perceived the devil at my elbow, - guiding my fingers, and directing my bow; that the said devil was - dressed in red; had horns and a tail; and that, moreover, the - striking likeness of our countenances plainly established the - relationship between us! It was impossible to refuse credence to - so circumstantial and descriptive an account: and the curious - became satisfied that this was the true secret of what are called - my _tours de force_. - - "For a long time, I was weak enough to allow my tranquillity to - be disturbed by such idle rumours. I tasked myself to demonstrate - their absurdity. I called attention to the fact, that, from the - age of fourteen, I had been constantly under the public eye, and - giving concerts; that I had been employed, for sixteen years, as - chief of the orchestra and director of the music, to the Court; - and that, if it were true that I had been eight years in prison - for killing my mistress or my rival, it must have been before my - first appearance in public; so that I must have had a mistress, - and a rival, before I was seven years of age. I invoked even the - testimony of my country's ambassador at Vienna, who declared that - he had known me, for nearly twenty years, in the situation which - became an honest man; and I thus succeeded, for the moment, in - silencing the calumny; but calumny is never totally extinguished, - and it does not surprise me to find it revive in this city. - - "Under such circumstances, Sir, what ought I to do? I see nothing - for it but to submit with resignation, and give free scope to - the exercise of an ingenious malignity. Before concluding, - however, I may as well communicate an anecdote, which has - probably given rise to some of these injurious rumours about me. - It is as follows: - - "A performer on the violin, named D...i,[40] who was at Milan in - 1798, had connected himself with two men of bad character, who - persuaded him to go with them during the night to a neighbouring - village, to assassinate the clergyman, who was reported to have - been possessed of great wealth. Happily, the heart of one of the - associates failed him at the decisive moment, and he resolved to - denounce his confederates. The gendarmerie went to the spot, and - arrested D...i, and his friend, at the moment of their arrival at - the house of the _cure_. They were condemned to twenty years' - confinement, and thrown into prison; but General Menou, then - Governor of Milan, at the end of the second year, set the artist - at liberty. - - "Would you believe it, Sir? It was on this foundation, that all - my history has been raised. A performer on the violin was in - question, and his name ended in _i_--so that it _must_ have been - _Paganini_. It was _I_ who had been in prison, and the - assassination became that of my mistress, or my rival. Thus, to - explain the discovery of my new style of performance, they - encumber me with fetters which would but add to the difficulty. - Let me hope, Sir, that if I must yield to the propagators of a - calumny so obstinately persevered in against all verisimilitude, - they will at least consent to abandon their prey _after - death_,--and that those who so cruelly avenge themselves of my - success, will leave my ashes to rest in peace. Accept, Sir, the - assurance, &c. - - "PAGANINI." - -Largely profited in honours and revenue, through his exertions in -France, the great artist directed his course to the shores of England, -where the reception which awaited him was destined to form a climax to -his previous triumphs. Fame, that most eager, but inexact lady-usher, -who had introduced him to the French with so many whispers of wild -import, took similar liberties when she presented him to the marvelling -Londoners. "The page will be a strange one in the history of Art, to be -written some fifty years hence (says a writer in the _Athenaeum_), which -shall contain all the rumours that heralded Paganini's first appearance -in England, and were quoted in explanation of his outward eccentricities -of person and manner. Our children will laugh at the credulity of their -fathers, when they read of a magician who strung his instrument with the -heart-strings of his mistress--a sort of demon Orpheus, who had been -initiated into his power by the gentle ordeals of murder and solitary -confinement;--and yet such reports were widely spread, and, strange to -say, believed! The writer of this notice remembers having heard it -gravely said in society, "that Paganini could play upon his violin when -all its strings were taken off!" and, when another of the party, to -expose the absurdity of the tale, declared that this wonder of the world -had done more, having once actually _strung a gridiron_ (his own violin -not arriving in time), on which he performed a concerto with immense -applause--this second and surpassing marvel (of course fabricated in the -humour of the moment) was not only swallowed, but absolutely retailed, -as an accredited fact!" - -The capacious area of the King's Theatre, scarcely adequate to the large -expectations founded upon his fame, was selected as the scene of his -London debut. An awkward collision with public opinion marked, however, -the interval immediately preceding his appearance. An endeavour to -elevate the prices of admission above the usual _concert-pitch_, raised -a storm of opposition, that was only allayed by prompt and necessary -concession. To attribute the attempt, thus properly frustrated, to an -extortionate spirit on the part of Paganini, as was pretty generally -done at the time, seems hardly fair. It is more reasonable to suppose -that his ignorance of the English customs was taken advantage of, for -the sordid purposes of others; and on this point it may be worth while -here to say a few words. There is in London a class of needy and -adventurous foreigners, who, with no available talent of their own, have -just industry enough to make them beset those of their countrymen, whose -genius or good fortune enables them to figure successfully in our -metropolis. Whoever, at the period here referred to, has had occasion to -direct his course through the Regent's Quadrant, either in the twilight -of a departing day, or during the brighter reign of gas and night, must -have noted the loose, idle, swaggering gait, the tawdry and _outre_ -habiliments, and the dark and dirty looks, of certain figures who -loitered about in obstructive knots, or sauntered on in pairs or threes, -among the more regulated passengers. Their equipment was ordinarily -completed by a reeking cigar, which added to their sense of importance, -and was an auxiliary to their impertinencies of demeanour towards the -females, of whatever grade, who chanced to pass within their track. But -their "high and _palmy_ state" was in the gallery of the King's Theatre, -where their pertinacious "manual exercise," and their laudatory -vociferations, in favour of the dancers who successively occupied the -stage during the ballet, were a serious annoyance to all around them. -Under this character, which seems to have no English term that will -exactly fit it, they were (and still are) known as the _claqueurs_. -Externally, they are altogether the personification of impudent -pretence--and, to enable them to support their equivocal character, they -seek out the private quarters of the great singer, or the fortunate -artist, in whatever line, and, by all the arts of the meanest flattery, -contrive to extract from his purse such tribute as his vanity, or his -complaisance, may be willing to afford. It is no unnatural conjecture to -suppose that, on the occasion just named, Paganini acted under a mistake -produced by influence of this kind.[41] - -Perhaps no achievement in the musical art, performed by one person, has -ever been attended with more enthusiasm than marked the exhibition made -by Paganini at his first concert in London, given on the 3rd of June, -1831. Certain it is that nothing in the way of musical performance, that -had ever preceded it in this country, had exceeded it in _novelty_. It -was the prevalent theme of talking wonder; and all the ingenuities of -written criticism were tasked to describe and estimate it. Allowing for -the difficulty of appreciating, where the singularity was so great, -there was a remarkable acuteness shewn in some of the accounts that -appeared in the journals of the day. From these I propose to make a few -extracts, selecting such as seem best to illustrate the peculiarities -with which they had to deal. Let us commence with a statement given in -the first person, by Mr. Gardner, of Leicester. - -"At the hazard of my ribs, I placed myself at the Opera door, two hours -and a half before the concert began; presently, the crowd of musicians -and violinists filled the Colonnade to suffocation, all anxious to get -the front seat, because they had to pay for their places, Paganini not -giving a single ticket away. The Concert opened with Beethoven's Second -Symphony, admirably performed by the Philharmonic band; after which -Lablache sang _Largo al Factotum_, with much applause, and was encored. -A breathless silence then ensued, and every eye was watching the action -of this extraordinary violinist: and, as he glided from the side scenes -to the front of the stage, an involuntary cheering burst from every part -of the house, many rising from their seats to view the _spectre_ during -the thunder of this unprecedented cheering--his gaunt and extraordinary -appearance being more like that of a devotee, about to suffer martyrdom, -than one to delight you with his art. With the tip of his bow, he set -off the orchestra, in a grand military movement, with a force and -vivacity as surprising as it was new. At the termination of this -introduction, he commenced with a soft streamy note of celestial -quality: and, with three or four whips of his bow, elicited points of -sound that mounted to the third heaven, and as bright as the stars. A -scream of astonishment and delight burst from the audience at the -novelty of this effect. Immediately, an execution followed, that was -equally indescribable, in which were intermingled tones more than human, -which seemed to be wrung from the deepest anguish of a broken heart. -After this, the audience were enraptured by a lively strain, in which -you heard, commingled with the tones of the instrument, those of the -voice, with the _pizzicato_ of the guitar, forming a compound of -exquisite beauty. If it were possible to aim at a description of his -manner, we should say that you would take the violin to be a wild animal -which he is endeavouring to quiet in his bosom, and which he -occasionally, fiend-like, lashes with his bow; this he dashes upon the -strings as you would whip with a walking switch; tearing from the -creature the most horrid as well as delightful tones. He has long legs -and arms, and his hands, in his playing, often assume the attitude of -prayer, with the fingers pointed upwards. The highest notes (contrary to -every thing we have learnt) are produced as the hand recedes from the -bridge; overturning all our previous notions of the art. During these -effects, a book caught fire upon one of the desks, which burned for some -time unobserved by the musicians, who could neither see nor hear (though -repeatedly called to by the audience) any thing but the feats of this -wonderful performer. Some few pieces were played by the orchestra, that -gave repose to the admiring audience. He then entered upon his -celebrated performance of the single string, introducing the air of _Nel -cor piu_ (_Hope told a flattering tale_), to which he imparted a tone so -'plaintive and desolate that the heart was torn by it;' in the midst of -this he was so _outre_--so comic--as to occasion the loudest bursts of -laughter! This feat was uproariously encored. He then retired to put on -three other strings, and ended this miraculous performance with the -richest _arpeggios_ and echoes, intermingled with new effects that no -language can describe! Though he retired amidst a confusion of huzzas -and bravos that completely drowned the full orchestra, yet he was called -for to receive the homage of the audience. There was no trick in his -playing; it was all fair, scientific execution, opening to us a new -order of sounds, the highest of which ascended two octaves above C in -alt." - -Our next demonstration is from the able pen that gave life and eloquence -to the new "Tatler:"-- - -"Those of our readers who have heard the most eminent of violin -performers, eminent for strength, sweetness, and purity of tone, will -hear all these requisites to absolute perfection in Paganini. They who -have heard difficulties in the way of execution overcome, which it -seemed bordering on desperation to attempt, may tax their faculties to -invent new enormities, and they will not only fall short in their -imaginings, but he will perform all, and more, not merely without show -of effort, but as if they were a fanciful prelude, or pastime, to some -laborious undertaking. In the course of the concert given last evening -at the Opera-house, he performed four pieces, in which, we conceive, he -exhibited every feature that the instrument can display, and many more -than it has hitherto been thought capable of. The first was a concerto -of the most florid character, varied with movements of exquisite -expression and tenderness. The second was a composition in the minor -key, and which, for its own intrinsic merit, made the strongest appeal -to our feelings. In it he satisfied at once any doubt we might have that -he would prove unequal in a _cantabile_.--His expression in this piece -was the most genuine display of passionate feeling we ever remember to -have heard on any instrument. It required no explanatory chorus, no -voice of accompaniment--it was the perfection of musical sighing, and -gentle sorrow. The third performance was a military rondo, the whole of -which he played upon one string--the fourth. In it he introduced the -subject of '_Non piu andrai_' from _Figaro_, with variations of the most -astonishing description. He introduced passages of imitation in octaves, -with wonderful rapidity and neatness, and with a purity of tone that was -delicious. The precision, too, with which he dashed from the lowest -note of the string to the opposite extreme, and all with the utmost -indifference of manner, was one of the commonest of his achievements. -The last piece, which was a brilliant rondo, he played entirely without -the orchestral accompaniment; and this was the triumph of the evening. -It consisted of an air with variations, crowded with enharmonic -passages. The subject, now legato, and now hurried, was at one time -attended with a florid, and at another with a _pizzicato_ accompaniment; -and, as he drew to a close, he accelerated his time to a _prestissimo, -the air and the pizzicato moving on together_, and ending with a _rapid -shake upon the latter_! The violin-player will fully appreciate the -difficulty of this achievement. It is scarcely necessary to state that -the audience were _satisfied_. The applause was showered upon him in -torrents." - -Another commentator thus expresses himself:-- - -"Paganini's playing is in a very high degree intellectual. It is mental, -as well as physical and mechanical. The instant he seizes his violin, -which he usually coquets with for a time before bringing it up to its -proper place, a sudden animation passes over his countenance. He has the -advantage, which all concerto players, by the way, ought to adopt, of -_never using a book_. This mode, in itself, has as much the superiority -as a speech delivered has over one that is read. When the first bow is -drawn, Paganini is evidently lost to every other thought, and is -revelling probably in a world of his own creation. All his passages seem -free and unpremeditated, as if conceived on the instant. One has no -impression of their having cost him either forethought or labour. The -word difficulty has no place in his vocabulary, so completely is all -brought under his subjection and mastery. - -"Nothing can be more intense in feeling than his conception and delivery -of an adagio passage. His tone is not, perhaps, so full and round as -that of some other players--as Baillot, or De Beriot, for example: it is -delicate, rather than strong; but that delicacy is inconceivable, unless -one has heard it, and was probably never possessed equally by any other -player. His touch is occasionally so fine, that the note seems to float -in the air, and not to spring from any instrument. In point of -expression, it is impossible to imagine any thing more perfect. The -melancholy or tender (as should be the case in slow movements) mostly -predominates; but there is no shade or form of expression which the -genius of Paganini does not draw forth. His adagios are intermixed with -passages of rapid execution, which go off with the rapidity of a rocket, -or a falling star--a break of the subject, or an impertinence, in any -hands but his own--but, if analyzed, all is in perfect keeping. - -"The only thing that can be said to lessen the wonder of Paganini's -powers in the way of mere mechanism, is that he is indebted for them, in -some measure, to his own peculiar conformation. His long arms, and -slender frame, allow him to place the instrument in the most -advantageous position that is possible; and his left arm is brought so -completely under it, that his hand seems to cover the whole extent of -the finger-board. Such is the flexibility, besides, of his joints, that -he can throw his thumb nearly back upon his wrist, and extend his little -finger, at the same time, in the opposite direction. By these means, -when in the first position, as it is called, of the violin, he can -reach, without shifting, to the second octave. His extreme high -notes--for he contrives to play three octaves on each string--are given, -consequently, with a precision and certainty never heard before. This -flexibility, without doubt, is indispensable to the execution of many of -the passages, though it is, probably, not wholly natural to him, but -acquired, in part, by his long and severe practice. His solo on the -fourth or G string (the other three being discarded for the occasion) we -consider among the most charming, as well as the most wonderful, -specimens. There are few players, we apprehend, who, in point of mere -difficulty, could do on four strings what Paganini does on one; but that -is nothing. The charm lies in the peculiar effect--in the soft and -silvery tone of that string, which one almost imagines to be increased, -though, perhaps, without reason, by taking the others away. No defect is -felt, as regards compass, in this piece. There appear to be as many -notes as in the violin in its ordinary state; and, in fact, by the aid -of the harmonics, he does make nearly as many." - -Such were the wonders achieved, and such the impressions created, by -this superlative master of the most versatile of instruments. After he -had performed at this his first concert, Mori went about with the -jesting enquiry, "Who'll buy a fiddle and bow for eighteen-pence?" and -John Cramer exclaimed, "Thank Heaven, I am not a violin-player!" It -seemed, in short, to be commonly admitted, that, as nothing had been -heard before, in violin performance, equal to this exhibition, so -nothing could be expected ever to exceed it--that "the force of fiddling -could no further go." One of the numerous critics whom he kindled into -rapture, observed that in the style of Paganini were united the majesty -of Rode, the vigour of Baillot, the sentiment of Spohr, the -_sensibilite_ of Kiesewetter, the suavity of Vaccari, the mastery of -Maurer, the _justesse_ of Lafont, and the elegant expression of De -Beriot! - -The excitement produced by the first public display of these powers in -our metropolis was fully sustained on the subsequent occasions. It would -fill a volume of itself, were I to treat, "avec circonstance," of the -successive concerts at theatres and other places, in which the Genoese -genius electrified attending mortals - - "With heav'nly touch of instrumental sounds." - -With no intention to be thus particular, I must beg permission, -nevertheless, to extract a few more passages of contemporary notice. The -celebrated _Capriccio_, in which he introduced the air from the -_Carnaval de Venise_, merits a separate description:-- - -"On reaching his position in the centre of the stage, he seemed at once -to lose all consciousness of the presence of mortals, and to live and -breathe for his violin alone. He touched its strings lightly and -trippingly, as if to awaken it, and then, after having given it three or -four of those sweeping, switching strokes, which almost justify the -expression that he thinks to lash it into submission to his spirit, he -threw off a most singular mutilation of the Venetian Air, "Oh! come to -me!" in which, while he appeared to retain only the sad part of the -original, he communicated to it an odd wailing character. On this -subject he _capriccio'd_ some four or five variations, all in a -consistent style, in which he introduced most of his peculiar movements -of hand and bow. At the end, he was rapturously applauded, and he -retired as he had entered. The applause, however, being continued, mixed -with some cries of _encore_, he came forth again, but without his -violin, and, making a most eloquent bow, retired once more. The plaudits -were, however, now redoubled, and the wicked audience, having got the -crotchet into their heads, pretty unanimously vociferated _encore_; -when, after some delay, the good Signor absolutely did make his -appearance with his second self--or his _pickaninney_--his violin; and -did vouchsafe two little variations more, of the wizard strain:--the -last was altogether performed by the hand which held the instrument, and -without the aid of the bow. On the whole, so strange, so whimsical an -outpouring of melancholy we never heard before, and probably never shall -again:--one really did not know whether to laugh or cry at it. Nothing -upon record, that we know of, comes near it, with the exception of -_Corporal Trim's_ pathos in the kitchen." - -In the region of the harmonic notes, which was before (comparatively -speaking) almost a "terra incognita," Paganini may claim the undoubted -merit of having made extensive discoveries:-- - -"The _staccato_ runs, performed with the bow and concluded with a guitar -note, are quite original with Paganini; and this is one of the few -novelties in which he may find successful imitators. But his manner of -producing the harmonic notes, which ascend to a height never before -imagined, will probably remain a perpetual mystery[42]; it is not their -least marvellous characteristic that, exquisitely attenuated as they -are, the distinctness and strength of the sound is not, in the smallest -degree, impaired. In performing on the fourth string only, he introduces -the harmonics as part of the regular scale, thus obviating, in effect, -all deficiency as to compass. The introduction of _pizzicato_ runs, on -this solitary string, is another inexplicable mechanical feat." - -And again, as to these wonder-working harmonics:-- - -"Signor Paganini having, through vast exertion, procured himself the aid -of two entire additional octaves with their half-notes, making in all 28 -notes _on the fourth string_, by means of the harmonics, is able to -execute pieces of a very extensive scale on that string alone. The -labour he must have gone through, before he could so completely obtain -the command of the harmonic notes, none but violin performers of -experience can form a notion of. The most surprising part of the use he -makes of them is in the clearness and strength of their tone, which -render them as audible as the full notes, at any distance." - -At his (so called) farewell Concert at the King's Theatre, on the 20th -of August, two of the pieces he selected for his display were especially -remarkable in the treatment. One of them, a _fandango_ of very bizarre -character, performed on the fourth string, consisted, in part, of a sort -of whiningly amorous colloquy between two birds. An incidental -_crowing_, like that of a cock, was privately conjectured, by one of the -musical men present, to be the artist's medium of conveying an oblique -satire upon _the audience_, as the subdued vassals of his will. No -impression of the kind, however, existed with _them_, for they demanded -the repetition of the affair. The other piece was our National Anthem of -God save the King, certainly an ill-selected subject for exhibition on a -single instrument, and, in the treatment of it (if I may venture to -advance my own impressions experienced at the time), too full of -sliding, and, as it were, _puling_, to satisfy the pre-conceptions -derived from the fullness, steadiness and grandeur, characteristic of -the original composition. Indeed, as it appeared to my own humble -judgment, there was intermixed in the general performances of this -wonderful artist, "something too much" of this sliding and tremulous -work, the result, seemingly, of an overstraining at expression--of an -attempt, if I may so speak, to make the note carry more than it could -_bear_. The effect, in such cases, was in some degree analogous to that -of Velluti's singing; it bespoke intentions outstripping the possibility -of execution. But then, amid so much splendid achievement, must we not -always expect to find some mark or other of the imperfection belonging -to that poor human nature which is the agent? - -Whatever may have been, in the _artistic_ sense, the relative -appreciation of Paganini's talent, in the various European countries -that had witnessed its display--it is certain that he was no where so -highly estimated, according to the _monetary_ scale, as in England, -where it has been supposed (though the exact computation of such matters -is difficult) that his receipts amounted to about twenty-four thousand -pounds. Whilst the golden shower was descending on him, he was not so -absorbed in its fascination, as to forget the silent claims of the -penny-less;--nor would it be fair to measure his impulses in this -direction, by the side of that largeness of soul which we have all so -greatly delighted to honour in the excellent Jenny Lind. - -In the summer of 1834, after an absence of six years, spent partly in -Europe and partly in America, Paganini revisited Italy--where, looking -wistfully towards the sweets of retirement, he invested a portion of his -accumulated funds in the purchase of an agreeable country-residence in -the environs of Parma, called the _Villa Gajona_. Among the projects he -at that time entertained, was the thought of preparing his various -compositions for publication--a measure towards which the eager -curiosity, of those especially interested in the violin, had long been -pointedly turned, under the impression that all which was mysterious in -the production of his extraordinary effects would thus be freely -elucidated. Exaggerated notions, however, as to the pecuniary value of -such a work, seem to have possessed the mind of Paganini; for, an -enterprising Parisian publisher, who had made hopeful approaches to him -whilst in London, had been frightened away by the discovery, that if he -were to enter on the speculation by payment of the sum expected, he must -look through a vista of ten years, for the commencement of his profits! - -Received every where with honour in his own country, as the result of -his foreign ovations, and decorated, by Maria Louisa, Duchess of Parma, -with the Imperial Order of St. George, the caressed Artist was, -nevertheless, incapable of any continuous enjoyment, for the want of -that health which his restless and transitive spirit had no where been -able to attain. A speculation of no sound character, with which he was -induced to connect himself (in ignorance, as it is believed, of its real -nature), drew him away to Paris, in 1838, and, in the result, damaged -his pocket, and did not wholly spare his reputation. In that project, -designed professedly for concerts, but covertly for gambling, he became -involved, through a legal verdict, to the extent of 50,000 francs. - -In the midst of the troubles associated with that affair, his ailments -had deepened into consumption; and he made a painful journey through -France, under medical prescription, to reach Marseilles. There, in -retirement, beneath the roof of a friend, a brief return of energy -enabled him to take up, now and then, his violin or his guitar; and he -one day showed so much animation as to join effectively in a certain -quartett of Beethoven's, which he passionately admired. The necessity -for change, so peculiarly felt by consumptive patients, impelled him -again to his own Genoa; but the _great_ change was at hand--and another -journey brought him to his last earthly scene, which was at Nice. The -closing process was rapid. His voice became hardly distinguishable from -silence itself--and sharp attacks of cough, that grew daily more -obstinate, completed the exhaustion of his strength. - -Of the final moments of this memorable man, an Italian writer has -furnished some account, in terms which, touching as they are, yet leave -in the heart a sense of something to be desired--something which no -reflecting mind will be at any loss to understand. The account is (in -English) as follows:-- - -"During the evening that was his last, he manifested more tranquillity -than was habitual to him. On awaking, after a short slumber, he had the -curtains of his bed drawn aside, that he might contemplate the full -moon, serenely marching through the immensity of the clear heaven. In -the midst of that contemplation, he again sank into drowsiness; but the -whispering of the contiguous trees excited in his bosom that stir of -gentle emotion, which is the very life of the beautiful. As if he would -have rendered back to Nature the sweet sensations he was receiving from -her in that final hour--he extended his hand toward his charm-haunted -violin--toward the faithful companion of his wanderings--toward the -magic thing that had been as an opiate to his troubles;--and then--he -sent up to heaven, along with its expiring sounds, the last sigh of a -life that had been all melody!" - -The date of the event was the 27th May, 1840--and the age of the -deceased, fifty-six. The great Artist left considerable wealth, together -with the title of Baron (conferred on him in Germany) to his only son, -Achilles, the offspring of a union with a certain vocalist, named -Antonia Bianchi--a union which, not having been secured and sanctioned -by the church's testimony, was soon severed by the lady's temper. - -The life of Paganini had been a "fitful fever"--and the desire to "sleep -well" may indeed be conceived to have been as an abiding thirst within -him. Even his cold remains, however, were not permitted, by jealous and -jaundiced authority, to repose undisturbed. Slander had been furtively -busy with his name--he had died without the _stamp_ conferred by -official religious ministrations--his Catholicity was dubious--his -mortal relics could not (_so_ decided the Bishop of Nice) be committed -to consecrated ground. In vain did his son, his friends, and the chief -professors of art in that city, make solicitation of leave for a solemn -service to be performed in behalf of his eternal repose, under the plea -that, like many another victim of consumption, he had not supposed his -death to be imminent, and had departed this life suddenly;--the leave -was refused; and all that could be obtained, was the offer of an -authentic declaration of demise, with license to transport the corpse -whithersoever it might be wished. This was declined--and the affair was -brought before a public tribunal, which gave verdict in favour of the -Bishop. Appeal was then had to Rome, where the Bishop's decision was -cancelled, and the Archbishop of Turin was charged, conjointly with two -Canons of the Cathedral at Genoa, to make enquiry into Paganini's -Catholicity. During all this time, the corpse had remained in a room at -the Hospital at Nice. It was then transferred, by sea, from the -lazaretto of Villa Franca, near that city, to a country-seat in the -neighbourhood of Genoa. There, a report soon got into circulation, of -strange and lamentable sounds being heard by night. To arrest these -popular impressions, the young Baron Paganini undertook the cost of a -solemn service to the memory of his father, which was celebrated in one -of the churches at Parma. After this expenditure, the friends of the -deceased had permission from the Bishop of Parma to bring the corpse -within that Duchy--to transfer it to the _Villa Gajona_--and to inter it -near the village church:--and this funeral homage was at length rendered -to the remains of the man of celebrity, in May 1845, but without any -display, in conformity with orders from the government. - -The sum bequeathed by Paganini to his son (for whom a documentary -legitimacy had been procured) amounted to two millions of francs (about -L80,000), charged with legacies of fifty, and sixty thousand francs, -respectively, to his two sisters, and with an annual _pittance_ of 1200 -francs to the mother of his loved Achilles. He left also some valuable -instruments, including an incomparable _Straduarius_, a charming -_Guarnerius_, of the small pattern, an excellent _Amati_, a _bass_ of -Straduarius, agreeing with the violin by the same maker, and his large -and favourite _Guarnerius_. This latter, the sole instrument associated -entirely with his travels, he bequeathed to the city of Genoa, being -unwilling that any other artist should possess it after him. - -Some further particulars, to illustrate chiefly the habits of the _man_, -may not be deemed superfluous. - -Paganini's existence was a series of alternations betwixt excitement and -exhaustion; and it is not surprising to find that his moods of mind were -variable and uneven, and that he would sometimes sit, for hours -together, in a sealed and sombre taciturnity, whilst, at other times, he -would surrender himself to a wild effervescence of gaiety,--without any -apparent motive in either case. Most commonly silentious, he was -talkative when travelling. The weak state of his health made him averse -from loud conversation; and yet, when the rattle of the wheels over the -pavement became deafening, he would talk loud and fast. To the scenic -charms out-spread before his eyes, he was insensible--his urgent impulse -being to move rapidly, and to reach his journey's end. In his later -years, a low bodily temperature was habitual to him, insomuch that he -would wrap a furred pelisse around him, in summer-time, and huddle -himself up in a corner of his carriage, with every window closed. -In-doors, on the contrary, he would have all the windows open, and -called it taking an air-bath! He anathematized the climates of Germany -and France, but, above all, that of England; and declared that Italy was -the only country to live in. The intensity of his internal sufferings -transmuted, at times, his ordinary pallor into a livid, or even a -greenish hue; but his recourse was to quackery--to _one_ empirical -remedy, in which he had faith, and not to doctors, in whom he had none. -Before commencing a day's journey, he took no tea, nor coffee, but -either soup or a cup of chocolate. If it were early in the morning, he -would start without taking anything, and sometimes continue fasting the -greater part of the day. For the encumbrances of baggage, he had almost -the contempt of a _Napier_. A small shabby box, in which he placed his -beloved _Guarnerius_ instrument, his jewels, money, and meagre stock of -linen,--a carpet bag--and a hat-box--these were his accompaniments, and -were all stowed inside the vehicle. Careless of all that goes by the -name of _comfortable_, he was also very little solicitous about his -toilet. His wardrobe might have gone into a napkin. As for his papers, -they were thrust into a small red portfolio, in "most admired disorder," -such as himself alone could penetrate for any immediate purpose. -Arithmetician he was _not_, in the ordinary sense--but he managed his -business calculations in a way of his own, that answered all his need. -To the style of his accommodations on the road, he was quite -indifferent, provided only that his rooms were _quiet_. At the day's -end, a light supper, or (sometimes) a cup of camomile tea, sufficed him. - -In his own quarters, Paganini maintained usually the strictest solitude, -and seemed always to quit his room with regret. His violin, as silent as -himself, was not touched, save when he tuned it for a concert, or a -rehearsal. He had worked _enough_--his labours had long before carried -him to the summit;--his want, his craving want, was _repose_. There is a -floating story about his having been dodged and watched for six months, -from one halting-place to another, by an enthusiastic English amateur, -who hoped to "pluck out the heart of his mystery," to grasp the secret -of his studies, by lodging at the same hotels, and occupying (whenever -possible), a contiguous chamber. Vain expectation! a profound silence -always enveloped the great Professor. At length, however, the crisis of -discovery seemed imminent. Paganini was seen (through a key-hole) to -seat himself on a couch--to take the incomparable fiddle from its -case--to raise it to his left shoulder! Still, the silence was -unbroken--not the whisper of a note could be distinguished! Paganini, -absorbed doubtless in the composition of some new piece, only shifted -his left hand about, upon the neck of the instrument, to study his -positions, without the help of the bow--and then restored the -un-awakened fiddle to its resting-place. The Englishman (says the story) -renounced his hapless pursuit, and returned home in despair! - -Enchained to music and its toils, from his earliest youth, Paganini had -acquired very little general knowledge. Books were strange things to him -and history and science, almost nullities. Political events had no -interest for him: he looked at the newspapers merely for what personally -concerned him. His mind was much engaged with his own projects for the -future--such as forming a Musical Conservatory in Italy, publishing his -compositions, writing operas, and ceasing to travel. He had a _Byronic_ -mistrust of friends, and proneness to regard them as secret plotters -against his peace. As for visitors (by whom he was sometimes besieged), -as many as he was not constrained to see, were passed over to his -Secretary. To those Artists who sought his converse, that they might -enucleate his professional secrets, he listened patiently--but -maintained his reserve. Invitations to dine or sup, which at every large -town came in a shower upon him, were sparingly and reluctantly accepted. -On rising from the table, if he could escape unperceived, he would -immediately retire, to take repose. He was more lively _before_ than -_after_ dinner--an ill compliment, perhaps, to his _host_, but no bad -way of signifying the real sacrifice he had made, in accepting his -invitation. In evening society, he was cheerful, in the absence of -_music_; but, if that were started, either in practice, or as a -conversational topic, his good humour instantly vanished;--nor is this -at all wonderful, when we remember that his public life was one enormous -compound of music, and that to _forget_ that art, when in his more -private moments, must have been to him as a want and a refuge. His eyes, -weakened by the glare of stage lamps, had an owl-like propensity to shun -the light, as was manifest in his custom of turning his back to the -chandeliers &c. in evening society, and sitting in total darkness at -home. He had a faculty, like that of George the Third, for unfailing -recollection of the persons and names of those who had been once -presented to him; and yet (strange to say) the names of the towns, -wherein he gave his concerts, would slip from his memory, as soon as he -had quitted them. - -On the mornings of his concert-days, he allowed himself a liberal time -for quiet--lounging at ease upon a sofa, as if conscious that composure -is the cradle of strength--and then he would start up, full of decision -for business. Amid the ensuing preparations, he took a good deal of -snuff--the sure sign of his being earnestly engaged. At rehearsal, he -was careful to exclude strangers. If they found their way in, however, -he touched his solo passages almost inaudibly, or indicated them by a -slight _pizzicato_. With the orchestra, he was rigorous in the -extreme--exacting the minutest attention to every point. When he came to -some special passage of display, in expectation of which, the members of -the band were on their legs, all eagerness to catch what was coming, he -would sometimes carelessly throw off a few notes only, and then turn -towards them with a smile, and the words, _Et coetera, Messieurs!_ It -was for the evening--for the public--that he reserved all the wonders of -his talent. He always took away with him the various orchestral _parts_, -which he would entrust to no one else. As for the _principal_ part, it -was never seen, as he played from _memory_, and sought to prevent the -copying of his compositions. He had a way--the caprice of conscious -power--of keeping the public a long time waiting, before he would show -himself, and begin to play. His departure from a concert-room was the -picture of a triumph. The curious and the enthusiastic formed a dense -lane, extending to his carriage, and welcomed him with transports of -admiration. At his hotel, a similar assemblage awaited him with their -acclamations. Elate with such marks of general favour, he would then -join the _table-d'hote_, not without an appetite for supper, though, -perhaps, depression and indigestion might constitute the experience of -the following day. - -Such, then, as artist and as man, was Nicholas Paganini--whom let none -_envy_, nor deem that a world-wide fame was _well_ acquired by the -sacrifices _he_ made for its attainment--sacrifices involving, almost of -necessity, much oblivion of the higher purposes of life, along with the -forfeiture of some of its best comforts. Measuring the toils and -sufferings of his career against its triumphs, surely we may say, "_le -jeu ne valait pas la chandelle!_"--the precious flame of life was _too -dearly_ expended on a perfection that allowed _nothing else_ to be -perfected!" For a fitting wreath to the memory of Paganini, the -_cypress_ should bear equal part with the _laurel_; since pity and -admiration can hardly be dissevered, in our thoughts of him. The -consummation of _the artist_ was the spoiling of _the man_. To render -himself, in so absolute a sense, the _master_ of his instrument, it was -essential to become, what he emphatically was--its _slave_. Bodily -health, and moral vigour, withered alike under a dedication to _one_ -object of ambitious study, so early sighed for, and with such prolonged -severity pursued. That the _success_, however, (be its relative worth -what it may) was _complete_--that the bold and wild adventurer reached -the highest attainable summit in those regions of art that he explored -and illustrated--is a point which seems hardly capable of rational -dispute. Allowing some of his eccentricities to weigh against him as -_defects_, there will yet remain sufficient ground for regarding him, on -the whole, as the greatest of _all_ violinists, past or present; nor -would _he_ be the _most_ hardy of prognosticators, who should venture to -assign him the like pre-eminence over all future individuals of his -calling;--for how can we anticipate another such happy union of the -_inventive_ with the _executive_ power--another case in which there -shall be so strange a concurrence in the various requisites of -pre-disposing organization,[43] inflexible will, and co-operating -circumstance? The same causes, however, which have placed him so far -above the level of the crowd of instrumentalists, would seem to deny to -him the production of any permanent or important impression on the -general state of his Art. He could hardly have been followed by others, -even if he had undertaken to be their teacher, and to "ungird his -strangeness" to their toiling apprehensions, disclosing to them the most -subtle principles of what he himself delighted to call _la filosofia del -violino_. _His_ means would still have been above _their_ means, and the -end would never be reached. Thus, although the greatest of artists, he -must be reckoned, as a director and propagator of his art, far less -considerable than Viotti of the modern school, Corelli of the old, or -even others less distinguished than these two men of fame. "In -considering the discoveries of Paganini," said once an able French -critic, "as regards their application to the progress of the art, and of -genuine music, I think that their influence will be very limited, and -that what arises out of them is only good in _his_ hands; for, -indifferently executed, it would be insupportable. The art of Paganini -stands alone: it was born and it will die with him." It is true that we -have had _subsequent_ experience, in various instances, of a certain -degree of _approximation_ to the feats of Paganini; but, were this even -closer than it is, it would not invalidate what has been here suggested -as to the almost incommunicable nature of such skill as his. - - Potent to stir the vibratory string, - And _wonders_ from the realms of sound to bring! - Skilled, through the _ear_, to reach the awakened _heart_, - Or bid the _Fancy_ play her picturing part! - Conqu'ror, whose captives, gladdened with soft strains, - Clung to thy sway, and revelled in their chains, - And came in crowds, their homage to renew, - And heaped the tribute still, as still thy due! - How _void_ the space that thou were wont to fill! - Thy throne, how vacant, now--and _mute_ thy skill! - Hast thou--hast _found_, far, far from earthly din, - The _rest_ thy glittering triumphs could not win? - --Farewell!--What chief soe'er may seek to reign, - _Thy like_ we shall not look upon again! - -The _compositions_ of Paganini, replete as they are with the most -surprising difficulties, and the boldest innovations, form prominent -examples of what may be called the _romance_ of instrumental music. The -design entertained by their author, of giving them to the world in his -own life-time, as well as of imparting the _secret_ that should make -their execution seem no longer super-human, was destined to have no -fulfilment; and it is to be regretted that his death rendered impossible -the complete publication of _all_ that he had composed, as not a few of -the manuscript pieces were left by him in an imperfect state. Of -_twenty-four_ several pieces, enumerated as forming the whole of the MS. -original works of Paganini, preserved by his son, _nine_ only were -discovered to be in a completed state. An edition of all that is -presentable, however, has been undertaken in Paris, to gratify at length -a twenty-years expectation but it is very doubtful whether a London -edition will be ventured on, since it is only for the higher class of -professors--for a very select minority--that such a collection can have -any attractiveness, beyond that of mere curiosity. - -Monsieur Fetis, in his literary notice, written to accompany the -Collection just referred to, has given some able critical remarks on the -compositions in detail. His pamphlet may be consulted with advantage by -the enquiring reader. Alluding to the compositions in their general -character, M. Fetis observes that great merit is displayed in -them--novelty as to the ideas, elegance as to the forms, richness of -harmony, and variety in the effects of instrumentation. These qualities -(he adds) shine out particularly in the _Concertos_, however much they -may differ from the classic type of those of Viotti, which, with all -their charming sentiment, left something yet to be desired, on the score -of _variety_, in the more rapid passages. - -In his own compositions (which he always played with more satisfaction -to himself than those of any other master) the mind of the great artist -was highly developed; but to execute his peculiar intentions, in all -their complexity, he needed the beautiful, exemplary, unfailing accuracy -of intonation, that so distinguished him. How nicely exact, in the -softest passages, his double notes! With what marvellous certainty did -his bow pitch down upon the strings, no matter what the relative -distance of the intervals! His hand (says M. Fetis) was a geometrical -_compass_, that divided, with mathematical exactness, the neck of the -violin--and his fingers always came plump upon the very point at which -the intonations of his double-note intervals were to be obtained. - -As some sort of antidote to positive _despair_, I will conclude this -chapter with a passage in which, despite their thorny intricacies, the -above-named writer recommends the practical study of Paganini's Works:-- - -"It will perhaps be asked, what can be the advantage of introducing -fresh difficulties into Art! In Music, it will be reasonably contended, -the object is not to _astonish_, by the conquest of difficulties, but to -_charm_, by means of sentiment. Against this principle, I would be the -last to declaim; but I would observe, first, that there is no preventing -those cases of _exception_, in which certain artists _will_ seek the -triumphs of their talent in extreme perils of execution, which, if -successful, the public will as surely applaud;--and, secondly, that the -study of what is most arduous, leads to certainty in what is more -simple. A violinist who should attain the power of playing the Concertos -of Paganini, with truth of tune, and in perfect proportion, would -possess, _a fortiori_, an undeviating accuracy in ordinary music." - - - - -CHAPTER IV. - -THE FRENCH SCHOOL. - - ... furnished out with _arts_. DRYDEN. - - -Next in importance to the Italian School of Violinists, that of France -now offers its claims to our notice. If the palm, indeed, were to be -awarded according to the comparative merits of the _living_ (or recently -living) Masters of each School, it must be given in favour of France; -for, though we might admit the Italian Paganini to have been "facile -princeps," the greatest of _all_ performers--and though we might -overlook the consideration of his belonging, in fact, to no class or -acknowledged system whatever--he is, still, but _one_ man of might,--a -Goliah, without an army to back him, since his qualified countrymen, in -modern days, are few--whereas the French have a redoubtable band of -champions, present or recent, whose united force is able to defy living -competition. It is in the aggregate of the _past_ with the present, -however, that the Italians are found to predominate. The probable -originators of the art of violin-playing (in so far, at all events, as -it was worthy to be called such), _they_ have been likewise its steady -and decisive improvers in every department, from the days of Corelli to -those of Viotti, a space of about a century;--while the excellence of -the French is of more modern growth, and, it should be remarked, of more -limited character. Brilliancy of style, neatness and finish of -execution, are _their_ distinguishing traits. They are a gay and a -polished nation--they are gay and polished fiddlers. They animate you in -the _vivace_, they dazzle you in the _allegro brillante_--but they -commonly fail to reach your heart through the _adagio appassionato_. -Their violinists have all the skill that is independent of deep feeling. -In _expression_, they fall short of what is required: they catch its -lesser graces, but they seem rarely to attain its higher powers. The -violin, considered more particularly as the _fiddle_, is an instrument -too congenial to the temperament of the French, to have escaped their -especial notice and close cultivation. To all that is mercurial in their -tendencies, as well as to much that is artificial in their habits, it -lends itself with the utmost readiness: it is the best instrument to -dance to; it is the best instrument to protect from _ennui_ your sitters -at a theatre: it sharpens the pungency of an _air de vaudeville_; it -sets off the ceremonial of a ballet. In this sense, the French have -"marked it for their own," and achieved wonders with it. Out of this -sphere--this lower empire--their power has been less considerable. It -must be confessed, however, that this limitation applies with greater -force and distinctness to the time _preceding_ their great Revolution, -than to later days. That mighty event, which stirred up the depths of -the national mind, and opened the channels of thought in every -direction, could not but exert some degree of influence, even on those -arts that have least connection with the ordinary business of men. The -French taste in music--formalistic, ungenial, and anti-catholic as it -was--has undergone _some_ change for the better, through the convulsions -that have overthrown Kings, and scattered Courts. It still retains, -albeit, much of its old, hard idiosyncrasy. French music is still, for -the most part, "_caviare_ to the general." It lacks cosmopolitan -character. To ensure it a full and hearty welcome, it needs a French -education. If these observations be just, it follows that our lively -neighbours, in dealing with stringed instruments, as well as with -others, would not attain first-rate success in the way of _composition_ -for them--and such has been (I submit) the fact. Their real _forte_ lies -in _exposition_--in giving outward manifestation and effect to the ideas -of others. - -It is the remark of one of their own countrymen (the able Mons. Choron), -that the principal merit of the French School of Music, taken -altogether, lies in the various branches of _execution_. And, with -reference always to this quality, execution, he adds, "the style in -which the French have real and undisputed merit, and indeed, in many -respects, have a marked superiority, is the instrumental in general, and -especially that of the violin. On this point, the French have always had -great pretensions, and _often_ founded in justice." After alluding to -the alleged excellence of early French violinists, and, in particular, -of the twenty-four _petits violons_ of Louis XIV, formed by Lully, M. -Choron has the candour to acknowledge that he knows not how to reconcile -this with the following statement, given by Corette (a furious partisan, -by the way, of the French School of Music), in the Preface to his -Methode d'Accompagnement, published at Paris about 1750.--"At the -commencement of this century," says that author, "music was very dull -and slow, &c.... When Corelli's Sonatas were first brought from Rome -(about 1715), nobody in Paris could play them. The Duke of Orleans, then -Regent, being a great amateur of music, and wishing to hear them, was -obliged to have them _sung_ by three voices. The violinists then began -to study them, and, at the expiration of _some years, three_ were found -who could play them. Baptiste, one of these, went to Rome to study them -under Corelli himself."--Having quoted this embarrassing passage, M. -Choron thus continues:--"Be this as it may; since that period, -instrumental music has been studied with ardour by the French, and they -have made astonishing progress in it. France has now an excellent school -for the violin, _founded upon that of Italy_." - -The excellence of the school, thus defined as to its peculiar character, -and thus denoted as to its origin, none will probably be disposed to -deny, who are conversant with the general state of instrumental -performance at the present time. Adverting again to the question of -_composition_, we may assert, and that also on M. Choron's authority, -that the French have only been imitators, although they are not without -names of some celebrity there likewise. M. Castil-Blaze,[44] in a -passage wherein he takes a rapid glance at a few of the French -violinists, presents us with a tolerable notion of the characteristics -of the French system, both as to playing and writing:--"Kreutzer excels -in voluble touches, whether continuous or detached into pointed notes. -Rode is distinguished by traits of _coquettish_ character, as well as by -a free vocal effect conveyed by full notes, whose whole charm is in the -quality of the tone. Lafont exhibits an admirable shake, with much grace -and refinement in his style. Baillot dazzles in rapid passages, and -surprises by the boldness of his double-stringed effects, and the magic -of his bow." Here we find, albeit expressed in the most favorable terms, -far more of the pretty and the glittering, than of the solid or the -elevated. - -"Each of these masters," continues M. Castil-Blaze, "has lavished upon -his compositions those peculiar traits which he most affected, and has -made sparing use of such as were remote from his own style of execution. -It is certain that those favorite traits would not come beneath his -hand, in equal proportion, in a composition of Viotti's; nay, he would -there meet with some that would not admit of his displaying all the -extent of his resources, &c. It is therefore indispensable that the -virtuoso, who desires to show himself in the most favorable light, -should compose his own music, or, at least, should direct him who is -charged with its composition."--This, it needs scarcely to be observed, -may be well enough calculated to favor the triumphs of individual -vanity, by giving prominence to mechanical dexterity; but it is -obviously not founded on a regard for the higher principles of art. - -Having glanced at the great national Revolution, as to its agency in -modifying French musical taste, let us give a momentary attention, -likewise, to another influential agency--that of the _Conservatoire de -Musique_--an institution which has done much, during the last half -century, to foster and develop merit in the Art under consideration. M. -Castil-Blaze, in his work, "De l'Opera en France," thus notifies its -origin and effects:-- - -"In 1793, a union took place of all which France possessed that was most -illustrious in the line of composers, singers, and instrumentalists. The -_Conservatoire_ of France, that monument of our musical glory, was -raised on the foundation of the old _Ecole de Chant_. All the scattered -documents, the varying and sometimes contradictory theories, the -principles professed by each master, were brought together, examined, -revised;--and then was formed a universal code of music, a system of -instruction clear in its elements, methodical as well as rapid in its -progression, and certain in its results. * * * * * * * * Then, and only -then, were heard in France the sublime productions of Haydn and Mozart, -which came forth with all the charms of novelty, though our predecessors -had been essaying them for twenty years before." - -It may be here incidentally mentioned, that, in 1802, there sprang up so -violent a dissention among the professors at the above valuable -Institution, as to excite some fears about the continuation of its -existence. Subjoined is an epigram that was born of that occasion:-- - - "J'admire leurs talents, et meme leur genie, - Mais, au fait, ils ont un grand tort; - C'est de s'intituler professeurs d'harmonie, - Et de n'etre jamais d'accord." - -Or, as we might phrase it in our own tongue:-- - - The force, the skill, for which they're fam'd, - I praise;--yet one great fault I see: - Of _harmony_ Professors nam'd, - How comes it that they _can't agree?_ - -Let us now proceed to consider the principal French violinists in their -order--commencing with Lully, who, though not a Frenchman, but rather -(as Burney styles him) a Frenchified Tuscan, belonged entirely to -France, both by his education, and the results of it. It has been -already observed that Baltazarini, the Italian (who became, _Gallice_, -Monsieur de Beaujoyeux, and who flourished about eighty years earlier -than Lully), was the first who introduced the violin to Court favour and -fashion in France; where, however, till the time of Lully, it appears to -have had no higher province than that which it enjoyed in association -with the dance and the ballet--a condition which may, perhaps, be termed -"frivolous and vexatious," but which must be allowed to have coincided -pretty exactly with the national taste, at the time. - -JEAN BAPTISTE DE LULLY was born of obscure parents at Florence, in 1633 -or 34. The bias towards music which he shewed, while yet a child, -induced a worthy Cordelier, from no other consideration than the hope of -his some time becoming eminent in the art, to undertake his tuition on -the guitar--an instrument which, in the sequel, he was always fond of -singing to. The Chevalier de Guise, a French gentleman, who had been -travelling, brought Lully into France, in 1646, _as a present to his -sister_, according to Dr. Burney's phrase and statement, or, in the more -qualified language of another account, to serve as a page to -Mademoiselle de Montpensier, a niece of Louis XIV, who had commissioned -the Chevalier to find her out some pretty little Italian boy for this -latter purpose. If such were the lady's instructions, the _countenance_ -of the youth did not answer to them; but his vivacity and ready wit, in -addition to his skill on the guitar, determined the Chevalier, as it -appears, to engage him. On his arrival and presentation to the lady, he -found her so dissatisfied with his looks, as to induce a change in her -intentions--and, instead of her page, he was made to fill the office of -her under-scullion! - -Neither the disappointment he experienced, however, nor the employment -to which he was destined, affected the spirits of Lully. In the moments -of his leisure from the kitchen, he used to scrape upon a wretched -fiddle, which he had contrived to procure. That fiddle it was which -caused him to emerge from his obscurity! A person employed about the -Court, happening one day to hear him, informed the Princess that the -youth had an excellent taste for music. She directed that a master -should be employed to teach him the violin; and, in the course of a few -months, he became so great a proficient, that he was elevated to the -rank of Court Musician. In consequence of an unlucky accident, he was -dismissed from this situation; he afterwards, however, found means to -get admitted into the King's _band of violins_, and applied himself so -closely to the study of music, that, in a little time, he began to -compose. Some of his airs having been noticed by the King, Louis XIV, -the author was sent for, and his performance of them was thought so -excellent, that a new band was formed, called "_Les petits Violons_," -and he was placed at the head of it. Under his direction, they soon -surpassed the famous band of twenty-four, which had previously enjoyed -an extent of reputation attributable rather to the low state of musical -taste and knowledge among the French, at that period, than to the skill -of the performers; for they were incompetent (according to De la Borde) -to play any thing they had not made a special study of, and gotten by -heart. This was about the year 1660, at which time the favorite -diversion of the French Court was a species of _ballet_, that consisted -of dancing, intermixed with dramatic action, and musical recitative. The -agency of Lully's musical talent in these entertainments soon procured -him the favor of _le Grand Monarque_, who liked music in so far as it -conduced to dancing, and had a taste which found its satisfaction in -airs _de rigueur_, containing a stated number of bars, accented with the -utmost reference to saltatory convenience.[45] - -In the soul of Louis, vanity supplied the place of musical ardour, and -led him to consider the establishment of an Opera necessary to the -splendour of his Court. Lully became, after that event, the great -dramatic musician of France. Of his importance in that relation, -however, and of his fortunate league with the lyrical genius of -Quinault, &c. it is not within my purpose to treat. Possessing, now, the -situation of Composer and joint Director to the French Opera, he -relinquished the connection with his former Band, and instituted one of -his own. On becoming appointed superintendent of the King's private -music, he neglected almost entirely the practice of the violin; yet, -whenever he could be prevailed on to play, his excellence astonished all -who heard him. The Marechal de Grammont had a valet named Lalande, who -afterwards attained some distinction as a violin-player. One day, after -dinner, the Marechal desired Lully to hear Lalande, and to bestow on him -a few directions. Lalande accordingly played; but Lully, whenever he did -not please him, snatched the instrument out of his hand, made use of it -himself preceptively, and, at length, became warmed into such -excitement, through the train of ideas produced by his own playing, that -he did not lay down the violin for three hours.[46] - -In the year 1686, the King was seized with an indisposition that -threatened his life; and on his recovering from it, Lully was required -to compose a _Te Deum_, in grateful celebration of the deliverance. -Accordingly he wrote one, which was not more remarkable for its -excellence, than for the unhappy accident with which its performance was -attended. Nothing had been neglected in the preparations for the -execution of it, and, the more to demonstrate his zeal, Lully himself -beat the time. With the cane that he used for this purpose, in the heat -of action (from the difficulty of keeping the band together), he struck -his foot; this caused a blister to arise, which increasing, his -physician advised him immediately to have a toe taken off, and, after a -delay of some days, his foot, and at length the whole limb. At this -dreadful juncture, an empiric offered to perform a cure without -amputation. Two thousand pistoles were promised him, if he should -accomplish it; but all his efforts were in vain. Lully died on the 22nd -of March, 1687, and was interred at Paris, where an elegant monument was -erected to his memory. - -A strange story is extant, in relation to the closing scene of Lully's -life. His confessor prescribed to him, as the condition of his -absolution, that he should commit to the flames his latest opera. Lully, -after many excuses, at length acquiesced, and, pointing to a drawer in -which the rough draught of _Achille et Polixene_ was deposited, it was -taken out and burnt, and the confessor went away satisfied. Lully grew -better, and was thought out of danger, when one of the young Princes -came to visit him. "What, Baptiste," says he to him, "have you thrown -your _opera_ into the fire? You were a fool for thus giving credit to a -gloomy Jansenist, and burning good music."--"Hush, hush!" answered -Lully, in a whisper, "I knew well what I was about--I have another copy -of it!" Unhappily, this ill-timed pleasantry was followed by a relapse; -and the prospect of inevitable death threw him into such pangs of -remorse, that he submitted to be laid on a heap of ashes, with a cord -round his neck; and, in this situation, he expressed a deep sense of his -late transgression. On being replaced in his bed, he became more -composed, and (as the relation goes) he expired singing, to one of his -own airs, the emphatic words, "Il faut mourir, pecheur, il faut mourir!" - -The high estimation which the once _sous-marmiton_, and afterwards -regenerator of the music of France, had enjoyed, enabled him to amass -considerable money. In natural disposition, he was gay and cheerful; -and, although he was rather thick and short in person, somewhat rude in -speech, and little able to shape his manners to the formal refinements -of the French Court, he was not without a certain dignity, which -intellect succeeds in conferring. - -The musical style of Lully was characterized by vivacity and -originality; by virtue of which qualities, his compositions, chiefly -operas, and other dramatic entertainments, kept possession of the French -stage till the middle of the last century, when Rameau came into vogue. -Lully is considered to have invented the _overture_, or at least to have -given to it its most distinctive marks of character. He composed -_symphonies for violins_, in three parts; but these are not to be met -with in print. - -If we may judge of the old French violin-players, _en masse_, from the -kind of business assigned to them by Lully, in his operas, we must draw -a very moderate conclusion as to their proficiency; or, to borrow the -words of Dr. Burney, we must regard them as "musicians not likely, by -their abilities, to continue the miraculous powers ascribed to Orpheus -and Amphion." Even for half a century after Lully's time, the French -progress on the instrument appears to have been far from considerable. -Their performers had as yet borrowed but little of the true spirit of -their great Italian originals; nor do we come to any very important name -among them until that of - -JEAN MARIE LE CLAIR (or LECLER), who was born at Lyons, in 1697. This -artist may, perhaps, be regarded as presenting, in his performance and -his compositions, a distinct commencement of the French Violin-school, -as divaricating from that of Italy. His father was a musician, and, from -his instructions, aided by assistance from other masters (and from -Somis, in particular), he became an excellent performer. He went abroad -for several years, to reap improvement from the professors and -performances in other countries; after which, on an invitation from the -Duke de Grammont, who had been his pupil, he went to Paris, and was -allowed a handsome pension from him. By the recommendation of this -nobleman, Le Clair obtained the situation of symphonist to Louis the -Fifteenth, in which he laboured incessantly to improve the practice of -the violin among his countrymen. With this view, he composed, and -published in the year 1723, a collection of _solos for the violin_; and -soon afterwards another of the same kind, in both of which he has -displayed much knowledge of the instrument, combined with the resources -of a well-regulated fancy. Besides these two Collections of Solos, Le -Clair was the author of _Six Sonatas for two violins and a bass_; two -books of _Duos_, two of _Trios_, two of _Concertos_, and two under the -title of _Recreations_. - -The character and conduct of Le Clair were of a nature to attract the -attention and esteem of all who knew him. He lived, for the most part, a -retired and contemplative life; yet, he at last fell a sacrifice, as it -has been supposed, to envy. He was assassinated whilst walking alone in -the streets of Paris, in the evening of the 22nd of October, 1764. - -Le Clair was celebrated for the spirit and energy of his performance; -and his compositions afford, in some measure, a proof of his powers. At -least, it may be said, that, for boldness and dignity of style, there -are no instrumental compositions by any of the older French authors, not -excepting those of Lully, which can be compared with them. It is true -that they are difficult of execution, and this, for some time, was an -obstacle to their currency. The modern school, which laughs at any -impediments in the way of execution, would do ample justice of hand to -his hardest passages, were it _now_ the fashion to present them to the -public ear. - -JEAN BAPTISTE SENAILLE, who may also be considered as having had some -share in the foundation of the French Violin School, was a contemporary -of the artist just recorded; and drew his first breath in Paris. His -early lessons were received from Queversin, one of the four-and-twenty -who formed the King's band of violinists. His next instructor was -Baptiste Anet; but the completion of his studies took place in Italy, -whither he was attracted by the high celebrity of the artists there. He -returned to Paris in 1719, with a well-earned reputation, and -subsequently formed some good pupils, among whom were Guignon, and -(probably) Guillemain. - -JEAN PIERRE GUIGNON was born, in 1702, at Turin, probably of French -parents, and became further Gallicized by going early into France, where -he had a long career of distinction. He brought to the exercise of his -art a liberality conducive to its diffusion and repute, as well as -redounding to his own honor--for he gave gratuitous lessons to many -young violinists whom the "res angusta domi" might else have left to -struggle on without encouragement. His talents gave further aid to the -_fidicinal_ cause by the valuable compositions which they enabled him to -devote to it, consisting of Sonatas, Duetts, Trios and Concertos. -Guignon had the support of courtly patronage, and gave instructions to -the Dauphin, father of Louis XVI. During thirty years, he held an -appointment rather suggestive of mock-heroic associations, than either -flattering or useful--that of _Roi des Violons, et Maitre des -Menestriers_, an office which, as already stated in these recording -pages, had given rise to our English dignity, more ridiculed than -respected, of _King of the Fiddlers_. Guignon died at Versailles in -1774. - -GABRIEL GUILLEMAIN, born at Paris, in 1705, produced some sonatas for -the instrument that have been held in considerable estimation, and was -also admired as a performer. In the decline of his life, he lost his -faculties, and, in that melancholy state, became his own destroyer (in -1770), inflicting on his person no less than fourteen wounds. - -PIERRE GAVINIES, a native of Bordeaux, claims some distinction, both as -composer and as performer. So great was his aptitude for the latter -character, that he made his _debut_ at the _Concert Spirituel_ in Paris, -when he had attained but fourteen years of age; nor were his pretensions -those of mere vulgar precocity, that makes a dash at music, as parrots -do at language; for he gained the approbation of the best of all judges, -Viotti. The estimation in which the talents of Gavinies were held, -procured for him, in 1794, the honour of being appointed Professor of -the Violin at the then newly formed institution, the Paris -_Conservatoire_. His works consist of three collections (or operas) of -Sonatas, several Concertos, and a series of violin music entitled _Les -vingt-quatre Matinees_, the pieces in which are, for the most part, very -difficult. He died in 1799, at the advanced aged of 73. - -FRANCOIS JOSEPH GOSSEC, a composer of some eminence, though not -expressly for the violin, fixed his residence at Paris in 1751, and was -soon afterwards attached to the suite of the Prince de Conde, as leader -of his band. In 1770, he founded the Concert of Amateurs, which enjoyed -a marked success during ten seasons, and had the accomplished but -volatile Chevalier de St. George for its "premier violon." Gossec -subsequently filled an important post at the _Conservatoire_, and was, -in other respects, actively connected with the progress of music in -France. He died "full of days." The symphonies of this master, and the -Quartetts of Davaux, which preceded, in France, those of Haydn, are -cited as advantageous specimens of French instrumental music of the -concerted kind; and some of them are still heard with pleasure. - -PAGIN, who drew his excellence from that best fountain, the Italian -school, was born in France, in the year 1730. Addicting himself early to -the violin, and prompted by the desire to form his style on the purest -model, he travelled into Italy, expressly to receive instructions from -Tartini. His happy disposition for the art was turned to speedy -advantage by that master, and Pagin had scarcely reached his twentieth -year ere he returned to Paris, where the success that attended him, in -various performances at the _Concert Spirituel_, attested the value of -the means which he had taken for his proficiency. His enthusiasm, -however, in relation to his great preceptor, occasioned a check to his -career. He chose to play, exclusively, the music of Tartini and the -French musicians, resenting his choice, set about to oppose him. Their -jealousy, whether alarmed for national or for individual credit, took an -ingenious method of working out its purpose: it was by the ironical -applauses and sinister compliments which he received, at one of the -above concerts, that the unwelcome innovator was compelled to forego -appearing at any more of them. He was subsequently engaged in the suite -of the Count de Clermont. Dr. Burney, who heard him in 1770, has -recorded his admiration of the expression and lightness that -distinguished his performance. - -PIERRE LAHOUSSAYE, another venerator and follower of Tartini, commenced -his date of life at Paris, in 1735. At a still earlier age than Pagin, -he gave public manifestation of his talent. He first found his infant -way upon the instrument, unaided, and then, after some tuition from the -solo-player, Piffet (styled _le grand nez_), made his _debut_ at the -_Concert Spirituel_, when only nine years old. Shortly afterwards, the -little Lahoussaye had the fortunate opportunity of hearing, at a musical -party where he was introduced, the greatest violinists of the time, -including especially--Pugnani, Giardini, Pagin, Gavinies, Vanmalder, -Domenico Ferrari, &c. A solo was played by each of these men of mark: -and the eager astonishment with which the "tender juvenal" listened to -their successive outpourings of expression, or feats of dexterity, could -not but attract the attention of all. On Ferrari's putting a violin into -the boy's hand, he not only made some brilliant preludings, but repeated -from memory several passages in a sonata of Tartini's that Pagin had -just before played. An enthusiast himself, Pagin was so delighted with -the boy, that he at once undertook his further instruction, and -prevailed on the Count de Clermont to assign to him a post as his -chamber-musician. Thus advantageously placed, the young Lahoussaye was, -however, restless till he could accomplish his favorite wish--that of -_seeing Tartini_. Under this impulse, he attached himself to the suite -of the Prince of Monaco, and went with him to Italy. Repairing with all -speed to Padua, he found the wondrous master in the church, in the act -of commencing a concerto. To express the surprise and admiration of the -young Frenchman, at the purity of tone, spirit and accuracy of -execution, truth and delicacy of expression, that triumphed in the -performance of the Italian, would be difficult indeed. He felt at once -so humbled as to the sense of his own powers, as almost to abandon the -hazardous wish for an introduction to him whom he had so eagerly sought -out. Creditable as was this diffidence to the character of the aspirant, -the kind disposition of Tartini rendered it unnecessary. He received him -favourably, was gratified to observe in his performance something of the -manner of his own school, and engaged to advance him in it. Lahoussaye -was reluctantly drawn away to Parma, through his situation with the -Prince of Monaco: but, after delighting the court there by his talent, -he found means to return to Tartini at Padua, and continued for a long -time under his tuition, remaining in Italy, altogether, for the space of -fifteen years. In 1769, he visited London; and, after passing three -years there, returned to his native Paris, to diffuse, according to his -means, and as far as the musical habit of his countrymen might admit it, -the benefits of the Italian style. He arrived at the situation of _Chef -d'Orchestre_ to the _Concert Spirituel_, and to the Italian Opera in -Paris. In 1789, he had the honor to succeed Mestrino as -_Chef-d'Orchestre_ of the Theatre of Monsieur; and he afterwards filled -the same post at the Feydeau Theatre. On the establishment of the Paris -_Conservatoire_, he was appointed Professor of the First Class. The -compositions of Lahoussaye are numerous, and have had some celebrity, -although, for the most part, they have remained in the manuscript state. - -PAISIBLE (pupil of Gavinies) whose gentle name contrasts painfully with -his violent end, was born in 1745, at Paris, and was one of those able -artists who contributed to give eclat to the _Concert Spirituel_. Full -of youthful hope derived from the impression he had there created, he -made a musical "progress" through a part of France, the Netherlands, -Germany, and as far as St. Petersburg. Here, however, the tide of his -success was suddenly turned. His desire to exhibit his talents before -the Russian Empress was baffled, owing, as it has been supposed, to the -intrigues of Antonio Lolli, who was then in the service of the Imperial -Court. Failing also in his endeavour to obtain notice by means of public -concerts, Paisible engaged in the service of a Russian Count, with whom -he went to Moscow. This resource did not last long; and the concerts he -attempted at Moscow were even more discouraged than those at St. -Petersburgh. Distracted by misfortune and debt, he closed his career in -1781, by the act of his own hand--having written a touching letter of -farewell to his friends, in which he desired them to sell his violin (a -valuable one), with the object of defraying the claims against him. - -SIMON LEDUC, another distinguished pupil of Gavinies, and one of the -directors of the _Concert Spirituel_, was born in 1748. Two books of -Solos, and several Concertos and Symphonies, are his works as a -composer. There is extant, in connection with his name, a little -anecdote of some interest. About a month after his decease, in 1777, -there was a rehearsal of one of his symphonies for the _Concert des -Amateurs_. In the middle of the adagio, the Chevalier de St. George, who -had been his friend, and was then leading the orchestra, was so affected -by the expression of the movement, combined with his recollection of the -composer, that he let fall his bow, and burst into tears! - -F. HIPPOLITE BARTHELEMON, a fine performer of the old school, was born -at Bordeaux, in 1741. In the early part of his life, he served awhile as -a midshipman in the navy of the King of Spain; but Apollo soon asserted -his claims above those of Mars, and Barthelemon resigned himself to that -softer sway. After pursuing his new career for a time in Paris, where he -composed an opera for the Italian Theatre, he came over to England in -1765. Here also he produced an opera for the Italian stage, through the -success of which he became acquainted with Garrick, and received from -him a musical commission, which was settled for in a way that evinced -the accustomed parsimony of that great actor and little manager. As -leader of the Opera band for several seasons, and solo performer on -various public occasions, Barthelemon gave ample proofs of his mastery -over the violin. His adagios in particular were much admired, and his -extempore cadences were so scientific and appropriate as, to seem like -the natural continuation of the composer's own ideas. Among his -engagements while in London, was that of leading the band at Vauxhall -Gardens; in which situation he once figured as a principal in a -whimsical occurrence. It chanced, one night, when the gardens were full -of fashionable company, and the stream of music was at high tide, that a -bewildered _bat_, which had winged its eccentric course for some time -about the walks, to the discomposure of the visitors, found its way into -the illuminated orchestra, and, after having made two or three circuits -there, flew into Barthelemon's face, with so forcible a familiarity as -to unseat him from his eminence, and precipitate him, wholly frighted -from his propriety, to the floor. He fell on his ceremonial sword, -which, in breaking his fall, was itself broken; and he was picked up in -a condition which fortunately did not forbid his joining in the general -chorus of laughers; nor did he fail to congratulate himself, that, in -falling on his own sword, he had _not_ done so after the old Roman -fashion[47]. - -One of Barthelemon's points of excellence consisted in his _solo_ -performances of Corelli's music, in which his sweetness and polished -taste were charmingly manifested. He and Salomon are supposed to have -been the last, who made it a regular habit to study, and to perform in -public, the compositions of Corelli. Barthelemon died in London, in the -year 1808. - -Dismissing, with the tribute of a simple mention, the names of -Mondonville, Bertheaume, Jadin, and Grasset, we come now to the more -recent time when the genius of _Viotti_, diffusing its influence over -the whole modern system of violin performance, lent an especial lustre -to a number of musical _satellites_ who are marked in the _French_ -nomenclature. The Italian Viotti infused new life into the French -School, which, seeking its resources more from fancy than from feeling, -and (with few exceptions) relying rather upon the small excellencies of -nice execution, than upon the sympathies which _expression_ can command, -had become somewhat exhausted. Viotti communicated to the French -Violinists a share of the vigour and the intellectual character that -animated his own style, and taught them - - "To fill the languid pause with finer joy." - -LOUIS JULIEN CASTELS DE LABARRE, one of the pupils who were modelled by -the above great master, was born at Paris, 1771, of a noble family of -Picardy. When finished as an instrumentalist, from the hands of Viotti, -he went, at the age of twenty, to Naples, where he studied composition -under Sala, at the Conservatory of La Pieta, as he did afterwards in -France, under Mehul. After two years of success as "premier violon" at -the Theatre Francais, he entered the orchestra of the Grand Opera. The -published works of Labarre for his instrument are of the lighter kind. - -Of a year later in date of birth than the preceding artist, is PIERRE -JEAN VACHER, also of Paris. At eight years of age he commenced his -labours on the violin, under Monin, of whom fame is nearly silent; and -a few years later, his _second_ master (albeit "nulli secundus") was -Viotti. From the age of fourteen to nineteen, Vacher was engaged as -violinist at the great Theatre at Bordeaux. In the early part of the -French Revolution, he went to Paris, where he remained several years in -the orchestra of the Vaudeville Theatre, and became known as a composer -by means of some popular airs, suited to the demands of that -establishment. He was afterwards employed in the orchestras of the -Theatre Feydeau, and of the Academie de Musique, &c. He published -several operas (or works) of violin music. - -PIERRE RODE, another of the eminent players formed by Viotti, was born -at Bordeaux, in 1774. His musical tendencies were manifested from his -infancy; and, after some instructions bestowed on him in compliance with -his early bias, he was sent, while yet but thirteen years old, to Paris, -which city has always been considered, in modern times, as the centre of -the musical art in France, and enjoys indeed something approaching to a -monopoly of it[48]. Here he was introduced to Viotti, who made kindly -estimate of his capacity, and interested himself much in directing and -improving its exercise. His first public appearance was in 1790, before -a Parisian audience--one of his master's concertos being the subject of -the display. Shortly after this, he was appointed principal second -violin at the Theatre Feydeau, and obtained further notice by means of -his performance of other concertos of Viotti's, on selected occasions. - -In 1796, Rode commenced professional travelling, and went through -Holland and Hamburgh to Berlin. Returning homewards, he was shipwrecked -on the English coast. This accident gave him an opportunity of visiting -his great preceptor Viotti (who was as yet receiving English shelter and -hospitality),--but it did not enable him to make the impression of his -talents felt here; for, after one attempt, in which (probably through -the disadvantage of being hardly known to us islanders) he met with -slender encouragement, the solemn terrors then prevalent at the Alien -Office intervened to arrest his ambitious bow-arm. In those really -perilous days, our green-eyed government certainly saw _more_ perils -than had either existence or probability. It would seem as if the plague -of democracy had been by them considered to infest the very garments of -a Frenchman, and the air that surrounded his person. It mattered not in -what shape, or with what business, he presented himself; suspicion -whispered an _alias_ against them all. If he professed to amuse, he was -but the more likely to be intent on deceiving. Viewed by the help of -this principle, a fiddler became obviously a highly dangerous character. -If discord was confessedly mingled with his strains, surely revolution -might lurk in his fiddle-case. "Let no such man be trusted;" and, -accordingly, Rode was invited to discontinue his sojourn, "_parmi nous -autres Anglais_." His countryman, Mons. Fetis, in recording the -particulars of Rode's career, has fallen into the error of attributing -to the English _public_, instead of their political _directors_, his -unhonored departure. - -Re-embarking for Hamburgh, the disappointed artist travelled through -Germany, and again reached Paris, the scene of his first triumphs. Here -he was appointed Professor of the Violin at the Conservatory, and -played with renewed success at the Feydean Concerts;--but, with a -continued disposition for travelling, he went soon after to Madrid. -Boccherini, then established in that city, entered into friendship with -him, and scored several of his concertos for him. - -In 1800, Rode returned to Paris, and was at once nominated Solo Violin -to the private band of Bonaparte, Chief Consul. His fame and his -excellence were by this time alike matured. He was invited to St. -Petersburg in 1803, receiving the appointment of First Violin to the -Emperor's band, with the sole duty of playing at the Court Concerts, and -at those given in the Imperial Theatre. After five years thus passed -with high credit, he returned to Paris, and gave what was professedly -his last public concert. Great was the disappointment, however, among -the discerning Parisian Amateurs, at finding that a great change had -come over the _spirit_ of his performance--that he had no longer at -command the brilliancy and fire which had marked him for one of Viotti's -_own_, but that a premature decay seemed to be upon him, although the -purity of tone, the taste, the elegant style of bowing, were yet -remaining. This exhibition appears to have had a chilling effect upon -the artist himself, who, for a long time afterwards, was heard by his -friends alone. In this latter way, his quartett-playing, accompanied by -Baillot and Lamarre, created real gratification. - -His love of fame, meanwhile, did not decline with the powers which had -formerly attended and balanced it. He undertook a further course of -travel in 1811, and went through Austria, Hungary, Styria, Bohemia, -Bavaria, and Switzerland. In 1814, he was resident at Berlin, whence he -returned to his native Bordeaux. He could not yet reconcile his mind, -however, to the relinquishment of a career which his abated energies -forbade him to continue. It was reserved for another (and a most -mortifying) visit to Paris, to convince him that the hope of shining was -now but a morbid feeling within him. He quitted that scene in a state of -grievous and irrecoverable depression. The wanderer came back to his -home, only to languish onwards to his grave. Towards the close of 1829, -a paralytic stroke affected both his body and his intellect. In this -state he lingered nearly twelve months, and died in November, 1830. - -Monsieur Fetis has recently referred[49], with a just exultation, to the -days wherein the triple force of Rode, Kreutzer, and Baillot, threw its -lustre over the French School of Violin-players. He characterizes the -talent of Rode as subtle, delicate, brilliant, and frequently -suggestive, in its effects, of the great master who had called it forth. -"There are few living," he observes, "who have heard that admirable -talent in all its beauty, as it was displayed at the concerts of the Rue -Feydeau, and at those of the Opera; but the artists who _have_ enjoyed -that pleasure, will never forget the model of perfection which then -astonished them." - -As a writer for his instrument (it has been remarked), Rode merits a -distinguished place. His musical education, as regards the principles of -composition, had been neglected, so that he was at first obliged to -derive from his friends the accompaniments to his Concertos; but his -melodies are remarkable for sweetness; the plans of his compositions are -well conceived; and he is not without originality. His Concertos are -well known and admired, wherever the violin is played. Paganini has -performed them at his concerts. His quartetts--which, are, in fact, -brilliant solos for the first violin, accompanied by a second violin, -tenor and bass--have also had great success, especially when his own -skilful hand lent its aid to their execution. - -Ten Concertos,--four Quartetts for two violins, tenor and bass,--three -Airs with variations, for a full orchestra, and the same arranged as -quartetts--three sets of violin Duetts--and a share in the compilation -of the celebrated "_Methode d'Instruction_," adopted for the -violin-students at the French Conservatory--are the principal labours of -this master. He also wrote some detached pieces, as Andantes, Rondos, -&c. - -RODOLPHE KREUTZER, the son of a German musician in the service of the -King of France, was born at Versailles, in 1767, and, in consequence of -his French birth-place and career, is claimed with superior right by -the French School, although something of German inter-mixture, besides -that of the blood, must be distinguished in the early lessons he -received on his instrument, both from his father, and from a far more -important preceptor, Anthony Stamitz.--Under the latter, his advancement -was so rapid as to induce his _debut_, at the age of thirteen, at the -_Concert Spirituel_, where he performed a concerto, either of his own, -or his master's composition, as has been variously represented. From -that time to the age of twenty, his compositions for the violin became -frequent, though rather directed by innate genius than by the -prescriptive rules of composition, of which he had acquired very little. -His desires extended meanwhile towards the condition of a theatrical -Composer, in which object he was assisted by the patronage of the Queen, -Marie Antoinette, as well as by the appointment he received, in 1790, of -First Violin at the _Opera Comique_. Of his _Lodoiska_, and other -achievements in operatic music, it is needless here to treat: but it -may be noted as a curious fact, that his neglect of the study of harmony -continued till after he had been the composer of at least three -successful operas. He seemed to write by instinct; and his custom, while -composing, was to walk about his room, singing his melodies, and playing -on his violin, till he found an accompaniment which pleased him. When -afterwards appointed a Professor at the newly-established -_Conservatoire_, he fancied that to be a learned contrapuntist was -necessary to the performance of his duties, and so entered, somewhat too -late in life, on a course of study which had little other effect than to -cripple his imagination. As a Professor, however, he is distinguished by -the number of excellent pupils whom he has produced. His mode of -instruction was signalized by the enthusiasm and confidence he instilled -into his scholars. An energy that shrank from no difficulties, lived in -the master, and was reflected in his disciples, who became -distinguished, in general, for a brilliant execution. - -Kreutzer made a tour, in 1798, through the north of Italy and Germany, -and returned to Paris by the way of Hamburg and Holland, giving concerts -in all the principal cities. After this, he wielded his instrument in -the immediate service of Napoleon; and, on Rode's departure for Russia, -he succeeded him as Solo Violin at the Opera; which situation he -exchanged, in 1810, for that of _Chef d'Orchestre_. Fourteen years -afterwards, decorated with the insignia of the Legion of Honour, he -changed his post to that of general Director of the Music at the Opera; -and, after this accumulation of credit, he retired in 1826. Declining -health led him to Geneva, where he died, in January, 1831. - -Kreutzer's compositions, independently of those for the stage (which -exceed thirty in number), consist of two "sinfonie concertanti" for two -violins--one sinfonia for violin and violoncello concertante--upwards of -fifty concertos, duetts, trios and quartetts--five sets of sonatas for -violin and bass--eight sets of studios and capriccios--and several airs -with variations. The compilation of the _Violin-system_ for the -Conservatory was also in part effected by him. - -CHARLES PHILIPPE LAFONT, one of the most excellent of recently living -violinists, was born at Paris, where the beauties of his execution long -continued to draw numerous audiences to the concerts he was in the habit -of giving. His first lessons in the art were received from his uncle, -Bertheaume. After having, successively, Berton, and Navoigille the -elder, as masters in composition, and acquiring, by unaided study, a -knowledge of singing, he travelled with his uncle, who procured him -occasions for exhibiting his various powers in the principal cities of -Europe. Returning to France in 1794, he first appeared at Paris as a -vocalist; but was _most_ admired as a _violin performer_, in which -character he shone at the Opera concerts, and the _Salle Olympique_. He -completed his studies under Kreutzer and Rode--to the latter of whom, in -the sweet qualities of his style, he mainly inclined. His next journey -was to Petersburg, where he resided several years, as the Emperor's -First Violin. In 1805 or 1806, he returned to his native city; and was -appointed leader at the King's Chapel. - -A suavity and elegance, especially in _cantabile_ movements--a tasteful -selection of ornament--and an exemplary purity of tone--have been -remarked as denoting this artist. The scene in his career which exhibits -him in an indiscreet rivalry with Paganini, will be found under the -memoir given of that extraordinary person. - -PIERRE BAILLOT, of high name in the French School, which he was partly -enabled to acquire through Italian instruction, was born about the year -1770, near Paris, to which city the curious in coincidences will be -delighted to find that they can trace the local origin of so many of -those eminent violinists who have made it, also, the scene of their -brilliant exertions. Baillot repaired early to Rome, where he remained -some years under the tuition of Polani, an excellent Professor of the -school of Tartini. His own feeling and intellect appear to have done -more for his advancement, however, than the lessons of preceptors. An -artist of a very high order, well versed in the mechanical resources of -his instrument, he was also thoroughly embued with musical sentiment, -and was a discriminating judge in matters of composition. - -After his return from Italy, the sound and excellent qualifications he -evinced were the cause of his succeeding Rode, about the year 1795, as -Professor of the violin at the Paris Conservatory. He was the editor, -and (with Rode and Kreutzer) a joint compiler, of the noted System of -Instruction which has contributed so important an aid towards the -successful formation of, perhaps, all the living French violinists. The -System for the Violoncello, in use at the same institution, was likewise -produced under his editorship. - -Fine taste, variety of manner, admirable bowing, and forcible tone, -marked the performance of Baillot. In playing solos, to accompany the -dancers at the Opera, Baillot was, consciously, out of his element; but -at the annual quartett-meetings, where the business was that of giving -manifestation to the genius of Boccherini, Haydn, Mozart, and -Beethoven, his soul was kindled, and his powers came forth.--His pupils -have been many--including Habeneck and Mazas. - -ALEXANDRE JEAN BOUCHER, born, "comme tant d'autres" of his class, in -fiddler-fostering Paris, came into the world in 1770, and arrived at -early excellence on "the leading instrument." When seventeen years old, -he went to Spain, where he was appointed Violinist of the Chamber and -Chapel of Charles IV. During the time that monarch resided in France, -Boucher was also in his suite. His mode of obtaining introduction to the -"Majesty of Spain" was as remote from all the prescriptions of courtly -etiquette as can well be imagined. It forms the subject of a good -anecdote, thus translated from the "Souvenirs" of Blangini, the -well-known musical composer:-- - -"Boucher, when a very young man, at Madrid, was without friends, nor had -anything to depend on, save his bow and his strings. He knew that the -King of Spain was passionately fond of music, and he was anxious that -his Majesty should hear him play; but, having no friend who could help -him to obtain an introduction at Court, he fell upon the following -scheme for the attainment of his object. One day, he stationed himself -in the doorway of the palace gate-keeper's lodge. The man at first -scrupled to allow him to remain there; but he at length consented, and -Boucher began to play in his most exquisite style. After a little time, -the rolling of the King's carriage was heard at a distance; his Majesty -was going out to take a drive, and, as he approached, Boucher played -with increased energy and delicacy. The King, surprised at what he -heard, stopped and enquired who was playing. On being informed, he -ordered that Boucher should be presented to him. He directed him to go -to the palace on the following day. Boucher of course obeyed the -mandate. The King was enchanted with his talent, and, shortly after, he -was appointed first violin of his Majesty's Chamber Band." - -Shortly after the second restoration of the Bourbons to the throne of -France, Boucher proceeded to St. Petersburgh, where he was engaged to -give some concerts. Here again we derive from Signor Blangini an -anecdote, which he states himself to have received from an individual of -undoubted veracity, who had it from the violinist himself. - -"Every one who has seen Boucher, must have been struck by his singular -resemblance to the Emperor Napoleon: this resemblance was remarkable, -not only in his countenance, but in his figure. During his stay at St. -Petersburgh, he was one evening engaged to perform at a concert given by -the Grand Chamberlain, Prince Narishkin. The Emperor Alexander was -present, and in the course of the evening his Majesty stepped up to -Boucher, and said, with the affability for which he was distinguished, - -"Monsieur Boucher, I have a favour to ask of you." - -Boucher bowed. - -"It is an affair," continued the Emperor, "quite unconnected with the -exercise of your profession." - -"I am wholly at your Majesty's service." - -"Well, come to the palace to-morrow morning, at twelve precisely. You -shall be immediately shown into my cabinet, and I will tell you what I -have to request. It is a favour which will greatly oblige me." - -"Boucher puzzled himself the whole night, but without being able to form -any probable conjecture of what the Emperor wanted. Next day, he -repaired to the palace at the appointed hour. When he was ushered into -the Emperor's cabinet, the persons there, among whom was the Grand Duke -Constantine, immediately withdrew. Alexander desired Boucher to follow -him into an adjoining apartment. There he saw, on a sofa, a small -three-cornered hat, a sword, a Colonel's uniform of the chasseurs of the -French Imperial Guard, and a cross of an officer of the Legion of -Honour. - -"Now," said the Emperor Alexander, "I will explain to you the favour I -have to request. All those objects which you see there, belonged to the -Emperor Napoleon; they were taken during the campaign of Moscow. I have -frequently heard of your _resemblance_ to Napoleon; but I did not expect -to find the likeness so strong as it is. My mother often regrets that -she never saw Napoleon; and what I wish you to do--is to put on that -dress--and I will present you to her." - -"The Emperor withdrew, and left Boucher to array himself in the imperial -costume. When he had completed his toilette, he was conducted to the -apartment of the Empress. The Emperor assured his mother that the -illusion was complete, and that she might now say she had seen _the -great man_. These were Alexander's words." - ---LIBON, born in 1775, was one of the pupils of Viotti. He became first -violinist at the _Chapel_ of the King of Portugal--and subsequently held -a similar appointment at Madrid, under Charles IV. In this our -Protestant country, where the violin holds no place in the musical -service of the church, the mention of such engagements as these, -represents hardly any definite idea to the mind. "What can the _fiddle_ -possibly have to do with _religion_?" is a question very likely, here, -to precipitate itself from the lips of some honest mystified Englishman. -It is a question which _I_ do not undertake to answer, having no such -_experience_ on the subject as would give any value to my reply; but I -recommend those who are anxious for a solution of the point, to travel -abroad--to witness personally this kind of conjunction, as it exists -there--and to _test_ it by its effects upon heart and mind.--In 1803, -Libon returned to Paris, and was successively first violinist to the -Empresses Josephine and Maria Louisa, and to Charles X. He was the -composer of several much-admired Studies, and of various pieces played -at the _Conservatoire_. He died in 1838. - ---BELLON, who presents oddly the example of a fine artist made out of a -man of commerce, is one of the French violinists who have displayed -their talents in our metropolis. The following notice of him was given -in the Harmonicon, on the occasion of his performing, in 1826, a -Concerto of Kreutzer's, at the Philharmonic Concert:-- - -"The composition denotes a rich invention, united to great practical -knowledge, and was played with a feeling, a firmness, a length of bow, -and a breadth of tone, which, in these squeaking days, were as -unexpected as delightful. M. Bellon is already a highly distinguished -disciple of that fine school of the violin which boasts of Viotti as its -head, and enumerates among its members, Rode, Baillot and Kreutzer; the -latter of whom--the well-known composer of many admired operas--is his -master, and has so well seconded his natural inclinations, that he has -enabled him, in the short space of four years, to stand forward and be -acknowledged as one of the greatest violinists of the day. His history -is rather curious: he was a respectable tradesman in Paris, and was -offered a violin in barter for one of his commodities, an umbrella. He -agreed to the exchange, acquired some little knowledge of the -instrument, became a pupil of Kreutzer, was accepted (though beyond the -prescribed age) at the _Conservatoire_, and is now what we have -described him." - -FRANCOIS-ANTOINE HABENECK (the eldest of three brothers of this name) -was born at Mezieres, June 1st, 1781. Being the son of a performer in a -regimental band who was a native of Manheim, but had taken service in -France, he learned from his father to play the violin, and at the age of -ten he played Concertos in public. After residing in several towns where -his father's regiment was in garrison, he went to Brest, and passed many -years there, solely occupied with the care of developing his faculties, -as far as he could do so, without model, and without master. While -there, he wrote several Concertos and even Operas, without any other -guide than his instinct, and without possessing any notions of the art -of writing. He was more than twenty years of age when he arrived in -Paris. Being admitted to the _Conservatoire_, as a pupil of M. Baillot, -he was not long in placing himself in the first rank amongst the -violinists who proceeded from that school; and, after a brilliant -competition, he obtained the first prize in 1804, and was appointed -_repetiteur_ of his Master's class. The Empress Josephine, after having -heard him in a solo, testified her satisfaction by a pension of 1200 -francs. About the same epoch, he obtained, as the result of a -competition, a place among the first violins at the opera. Less -fortunate in a second competition, which was shortly after opened, for -the post of leader of the second violins at the same theatre, Habeneck -saw preferred to himself a violinist of moderate ability, of the name of -Chol, a very respectable man, but by no means equal to the young artist -in talent. In a short time, however, this injustice was repaired, for -he was trusted with the post of first violin _adjoint_ for the solos; -and when Kreutzer took the direction of the orchestra, after the -retirement of Persuis, Habeneck succeeded him as first violin. - -In 1806, he had become distinguished for that happy organization which -specially qualified him for the direction of a concert-orchestra. At -this period, it was the practice, for the violinists who had obtained a -first prize at the concerts of the _Conservatoire_, alternately to -direct the concerts of that school for a year. But the superior -capabilities of Habeneck for this undertaking soon became so evident, -that he remained in possession of the appointment till the temporary -close of the Conservatory in 1815, after the entry of the allied armies -into Paris. It was in these concerts that he caused to be played, for -the first time, Beethoven's First Symphony (_in C_). At a later period, -when he was charged with the direction of the sacred concerts at the -Opera, he continued to make the works of this great artist known to the -few enlightened amateurs who came to hear them. But it was, especially, -when a new Concert Society was organized at the Conservatory, in 1828, -that these grand compositions excited the liveliest enthusiasm by the -warmth and energy which M. Habeneck was able to impress upon the -execution of them. - -Appointed director of the Opera in 1821, Habeneck discharged the -functions of that office until 1824. At this period, the Viscount of -Rochefoucault changed the administration of that theatre; but, in order -to indemnify M. Habeneck, he created for him the place of -Inspector-General of the _Conservatoire_, which he never filled, and a -third violin class; and caused Kreutzer to retire, in order to give to -M. Habeneck his post of chef-d'orchestre to the Opera. After the -revolution of 1830, M. Habeneck added to these appointments that of -first violin in the King's band. His best pupils at the Conservatory -were M. Cavillon and M. Allard. - -M. TOLBECQUE is one of the artists who have acquired reputation in -France. In the season of 1831, he visited England, and performed at the -Philharmonic Concert; since which time, he has become familiarized among -us, with a reputation that stands higher for solidity than for -brilliancy. M. Tolbecque has a younger brother, who is also a violinist -of some skill, and is known in England. - -PROSPER SAINTON, whose talents have been advantageously known to British -audiences for several seasons past, was born at Boulogne, in 1814, being -the son of a merchant in that town. His parents, who were no votaries of -music, gave him an education that looked towards the law. His maternal -grandfather, however, discerning something of the youth's real bias, -gave him some initiatory musical notions, and then succeeded, though -with difficulty, in obtaining the paternal consent that his grandson -should be provided, at college, with an instructor for the violin. -Opposing fears represented that such an indulgence would wholly turn -aside the pupil from his severer studies. Notwithstanding these -prognostications, he gained an eminent position in his class, and was -afterwards admitted Bachelor of Letters, with the fullest credit. - -In 1830, the period at which young Sainton passed his examination for -the University, the Revolution of July burst forth, and proved nearly -the ruin of his father (then President of the Tribunal of Commerce at -Toulouse), who became deeply involved in the commercial crisis that -ensued. In spite of this disaster, he was anxious that his son should -still maintain the jurisprudential complexion of his studies; but filial -respect could not _always_ hold in suppression the tendencies of -struggling nature--and the son's vocation for music became more and more -manifest. The notion of entering, _one_ day, the Paris Conservatory, had -taken root in his mind. A permission to repair to the capital for -_legal_ purposes, led to the fulfilment of the cherished vision. In the -trustful idea of being able, by his progress in a new direction, to -furnish ground for a reversal of the paternal decree, he entered, with a -beating heart, within the resonant walls of the _Conservatoire_. There, -received, in 1832, into Monsieur Habeneck's class, he commenced the only -career that could satisfy his long-baffled inclination. For the first -year, indeed, he managed to pursue his law-course, along with the very -dissimilar course prescribed at the Conservatory;--but, after that vain -trial of a somewhat _Mezentian_ process, he surrendered himself entirely -to his passion for the violin, and declined all further concern with -Justinian and the _Pandects_. The _dry_ was thus exchanged for the -_delectable_--hard fact, for tender feeling. _Law_, by this arrangement, -had one reluctant follower the _less_--and _Music_, one loving disciple -the _more_. - -Fortified with a potent plea--that of the second _prize_, which he -obtained in 1833--the young aspirant succeeded in reconciling his father -to his engagement in the artistic arena; and then, with powers fully -emancipated, his progress was rapid, and the following year brought him -to the attainment of the _first_ prize. - -The _debut_ of Sainton in Paris was of a most encouraging success; but, -without waiting to construct a fixed reputation there, he quitted the -capital, to enter on a course of professional travel, to which mode of -life, a youthful imagination, unshaded by experience, was lending the -usual irresistible attractions. The result, however, shewed no -disheartening contrast with hopes thus sanguine; for he met with favour -everywhere. After visiting Italy, Germany, Russia, Sweden, Denmark and -Spain, he returned to the place of his nativity, to share with parents, -of whom he was then become the sole support, the fruits of his -persevering labours. - -In 1844, after the decease of his mother, Sainton made his first -appearance in London, where his reception at the concerts of the -Philharmonic Society was such as to induce his return in the year -following;--since which time, he has only quitted our shores to add -_one_ more country to his travelling list--namely, Holland,--where new -successes, crowned with presents from Royalty, gladdened his career. His -residence in England has been followed by various appointments--those of -Violin-Professor at the Royal Academy of Music, Leader at the Italian -Opera and at the Philharmonic, and (in 1848) Conductor and Violin -Solo-player in Her Majesty's State Band. - -Monsieur Sainton's works for the violin, to the present time, -comprise:--1. A Fantasia in A.--2. An Air with Variations, in D.--3. A -Capriccio, with Piano Accompaniment.--4. A Concert Waltz.--5. A Concerto -in A, Op. 9.--6. An Italian _Thema_, with Variations, Op. 10.--7. A -Fantasia on Lindpaintner's "Standard-Bearer."--8. Fantasia on Lucrezia -Borgia.--9. Souvenirs from the "Figlia del Reggimento."--10. Air with -Variations, in G.--11. Concerto in D minor.--12. Concerted Solo in E -major. - - * * * * * - -Under the French School, as most nearly assimilating with it in -character, may be included the able artists who, in recent days, have -contributed to the honour of Belgium. At the head of these, stand De -Beriot and Vieuxtemps;--of whom, as well as of their compatriot, Artot, -some account shall here be introduced. - -CHARLES AUGUSTE DE BERIOT, conspicuous for the perfection of the -qualities by which his playing has been distinguished--for remarkably -just intonation--grace--refined taste--rich and charming tone--and for -elegant bowing and wonderful execution, was born at Louvain, of noble -parentage, in 1802. Left an orphan at the age of nine, he found, in M. -Tiby, professor of music in that town, a tutor, a second father, and a -master who laboured with zeal to develop his happy dispositions for -music. Already had he arrived at a certain degree of skill on the -violin; and his progress had been so rapid, that he was able to play -Viotti's Concerto in A flat (letter H) in such mode as to excite the -admiration of his compatriots. Endued, besides, with a contemplative -mind (says M. Fetis), and having no model immediately at hand that he -could imitate, he sought within himself for that principle of the -beautiful, whereof he could have no notion, except through the -spontaneous strivings of his own individuality. As to the report that he -was the pupil of Jacotot, it appears that the general attention of the -Belgians had been directed for years to the prodigious results which -were said to be derived from "Jacotot's Method;" and that De Beriot, -wishing to know what advantage _he_ might obtain from its processes, had -some conversations with its inventor, and then learned from it little -more than two things, of _gravity_ rather than of _novelty_; viz. that -perseverance triumphs over all obstacles--and that, in general, we are -not _willing_ to do all that we are _able_ to do. The young artist -comprehended the truth contained in these oracular propositions, and -turned it to his own profit. To this extent only can De Beriot be called -the pupil of Jacotot. - -A happy organization, moral as well as physical, an education well -commenced--and labour regulated with the greatest judgment--could not -fail to ensure for De Beriot the acquisition of a very remarkable -talent. Nothing was still necessary but contact with fine talents of -other kinds, in order to finish, to adjust, and to give determined -character. De Beriot was nineteen years old, when (in 1821) he quitted -his native town, and repaired to Paris; where his first object of care -was to play before Viotti, at that time Director of the Opera. After -hearing him with attention, "You have," said the renowned artist, "a -fine style; give yourself up to the business of perfecting it; hear all -the men of talent; profit by everything, and imitate nothing." This -advice seemed to imply the recommendation to have no master. De Beriot, -however, thought it necessary to take lessons of Baillot, and entered -the Conservatory with this view; but he was not long in discovering that -his talent had already a character of its own, which it would be -difficult to modify, without injuring its originality. He continued -therefore but a few months in the classes of the Conservatory, resumed -the control of his own labours, and soon appeared at concerts with -brilliant success. His first Airs with Variations, compositions full of -grace and novelty, augmented his rising reputation. - -From a brilliant career in Paris, De Beriot passed, in 1826, into -England, where he met with a corresponding reception. In London, as well -as in some of our provincial cities, he gave concerts, that were -attended with transports of applause. Besides engagements at the -Philharmonic Society, he was heard at some of the Musical Festivals, -which take place annually in the principal towns of England. Of the -impression he produced among ourselves, a marked _individual_ instance -is on record, in the fact (stated in the Harmonicon) of a certain -gentleman travelling from Glasgow expressly to hear him play a Concerto -at the Birmingham Musical Festival, and declaring himself amply -recompensed by the result, for his trouble, time, expense and fatigue! -To his performance during one of his later visits to England, the -_Harmonicon_ thus alluded:-- - -"We knew not which most to admire--his tone, his vigor, the determined -manner in which he sprang to his extreme shifts, his staccato passages, -the bow bounding from the string with an elasticity almost magical, or -the boldness and certainty of his double stops." - -Returning to his native land, with a now brilliant renown, De Beriot was -presented to King William, who, although he had little love for music, -understood the necessity of assuring the independence of a young artist -who gave such promise of becoming an honour to his country. He granted -him a pension of 2000 florins, with the title of "first violin solo" in -his private band. The Revolution of 1830 deprived De Beriot of these -advantages. - -It was at one time objected to this artist, that, bounding the scope of -his talent to the composing and playing of Airs with Variations, he shut -himself up within too confined a sphere. Of this reproach he cleared -himself, by the composition of _Concertos_, which he played on various -occasions, and wherein he discovered grander proportions, both as to -conception and execution. The last of these Concertos is full of -originality. - -A marked incident in the life of this artist, was his hymeneal -engagement with the celebrated Malibran; and the close opportunities -thus possessed of hearing that accomplished woman, appear to have -exercised the happiest influence on his own talent. At Naples, where he -appeared at a concert given at the Theatre _San Carlos_, he obtained an -enthusiastic success, very uncommon among the Italians; for that nation, -passionate in its admiration of _song_, pays usually a lower degree of -homage to _instrumentalists_.--An anecdote or two may serve to close our -notice of this eminent artist. One of our own violinists, more noted for -his execution than his feeling, was once complaining to him that he -found he could produce very little effect with his (De Beriot's) _airs -varies_.--"_C'est qu'il y faut de l'ame!_" ("What they require, is -_soul_") was the laconic reply of the Belgian. - -An auditor at one of the concerts here, in which De Beriot was to -exhibit his powers being previously unacquainted with the person of the -great artist, inquired of a neighbouring sitter (apparently French) -whether _that_ were De Beriot--indicating, at the same time, the -individual on whom his supposition rested. The foreign gentleman made -answer in the affirmative; adding, with enthusiasm, and in English of -his own modification, "Sare, you may be sure dat dere is _bot won_ De -Ber-r-r-riot!" - -HENRI VIEUXTEMPS was born at Verviers, in 1820. His father, a soldier -retired from the service, practised as a maker and tuner of musical -instruments; and little Henry evinced, at an early date, his natural -taste for music, by the pleasure he found in listening to the -performances of his father on the violin. At two years of age, he amused -himself for hours together by rubbing the hair of a violin-bow on the -strings of a little instrument. At the age of four and a half, he began -to read music. A zealous amateur, charmed with the child's happy -indications, offered to defray the expenses of his musical education, -and placed him under the tuition of M. Ledoux, an able professor of the -violin, who, by his lessons, developed the talents of the young -violinist, destined soon to become one of the most distinguished artists -of his day. So rapid was his progress, that he was enabled, at the age -of eight years, to undertake, with his master, a tour for the purpose of -giving concerts in the principal towns of Belgium. While at Brussels, he -met with De Beriot, who, struck with his precocious skill, gratuitously -gave him lessons for several months, In the spring of 1830, he went with -his new master to Paris, and performed at a concert given in the _Salle_ -of the _Rue de Clery_. The future eminence of the artist-child was then -confidently predicted. Returning to Verviers, a short time after, -Vieuxtemps resumed his studies. In 1833, he engaged with his father in a -tour through Germany, during which he acquired, by the custom of playing -in public, the assurance necessary to the unembarrassed display of -talent. It was at Vienna that he obtained his first really important -success. While there, he took some lessons of Simon Sechter, Organist to -the Court, and then returned to Brussels, where he only stayed a few -months. At the end of 1834, he went to Paris, and, finding no -opportunity of exhibiting his talents in that city, he proceeded to -London, where, however, his reception fell somewhat short of his -expectations. Returning to Paris in the summer of 1835, he resolved to -perfect his knowledge of music, and entered on a course of studies in -composition, under Reicha. The superficial but rapid method of this -professor was exactly that which best suited an instrumentalist, little -anxious to acquire a profound knowledge of the forms of counterpoint, -for which he considered he had no use. After this, he began writing his -first compositions, and played them in the course of a tour in Holland, -which he made in 1836;--he then went again to Vienna, and published his -first works. - -In 1838, Vieuxtemps played with success at the theatre at Brussels, and -also in a concert given in the Church of the Augustins by the -Philanthropic Society. His performances were "fantaisies" and fragments -of Concertos, in which some happy ideas were noticeable, but mixed with -incoherences. Immediately after this, he set out for Russia, giving -concerts, by the way, at Prague, Leipsig, Dresden, and Berlin. On -quitting this last city for Petersburgh, he was seized with a serious -illness, in a little Russian village, and was detained there more than -two months. On his arrival at Petersburgh, he met with splendid success, -as he did also at Moscow. It was in Russia that he wrote a new Violin -Concerto, and a Grand "Fantaisie" (orchestral), the superiority of -which, when compared with his foregoing productions, is so marked, that -his detractors, both at Paris and Brussels, availed themselves of this -fact to dispute the authorship. It is no unreasonable supposition, that -his future works will give an emphatic denial to these jealous -insinuations. After a stay of more than a year in Russia, Vieuxtemps -returned to Brussels in 1840, and, the 7th of July following, he played -his new Concerto and his "Fantaisie" in a grand concert given for the -benefit of the musicians of the orchestra at the theatre. These pieces, -in the execution of which the artist displayed the finest talent, -excited transports of enthusiasm. Vieuxtemps played them again, with -similar result, at the concerts given at Antwerp, on the inauguration of -the statue of Rubens. - -A Parisian success formed now the object of Vieuxtemps' advancing -ambition. This he obtained in the winter following, exciting no less -interest by the merit of his later productions, than by his skill upon -his instrument. He afterwards made a second tour in Holland, and then -revisited Germany, and appeared, for the third time, at Vienna. Having -travelled through Poland, he returned to Brussels in June 1843, and, in -the fall of that year, was heard in America. His subsequent career has -confirmed all the anticipations formed by the judicious as to the -distinction he would attain. - -JOSEPH ARTOT, born at Brussels in 1815, had for his first music-master -his father, a player of the first horn at the theatre of that city. At -the age of five, he _solfa-ed_ with facility; and, with less than -eighteen-months' study on the violin, he was able to play at the -theatre, in a Concerto of Viotti's. Charmed with the felicitous aptitude -of the child, M. Snel, at that time first violin-solo, undertook the -task of developing it by his instructions, and not long afterwards sent -him to Paris. There, Artot was admitted as a page at the Chapel-Royal; -and when he had attained his ninth year, he passed under the direction -of the elder Kreutzer, for the study of the violin. This distinguished -artist conceived a regard for him, and often gave him lessons, out of -class, at the Conservatory. On the retirement of Kreutzer, in 1826, his -brother Augustus Kreutzer, who replaced him, evinced for Artot no less -kindness than his predecessor. Artot had just completed his twelfth -year, when the second violin-prize was awarded him, in the competition -at the Conservatory. In the year following, he obtained the first prize. -He then quitted Paris, to visit his own country--playing with success at -Brussels, and making, some months after, a journey to London, where he -was not less fortunate. Returning subsequently to Paris, Artot became -attached to the orchestras of various theatres; but the desire of making -himself known caused him to renounce these appointments, and travel in -the south of France. The result was successful everywhere. He has -written _quatuors_ for the violin, and a _quintett_ for piano, two -violins, alto and bass, two airs with variations for the violin,--and -other works. - -Shifting the ground, and giving a fresh stir to our attention, let us -now pass "from _gay_ to _grave_, from lively to severe"--or, in other -words, from _France_ to _Germany_; in which latter country, will be -found ample matter for observation and comment, as relates to the theme -we are pursuing. - - - - -CHAPTER V. - -THE GERMAN SCHOOL. - - "Plain, without pomp--and rich, without a show." DRYDEN. - -Germany and Italy may _each_ be regarded as an abiding realm of sweet -sounds, a special nursery and _home_ of music. They are the two -countries from which, since the days of modern civilization, the great -supplies of musical thought and feeling have been diffused abroad, for -the delight of nations;--the _feeling_, for the most part, proceeding -from Italy, and the _thought_ from Germany, comformably to the -characteristics of the two people respectively. Impulse and passion -predominate on the Italian side--intellect and fancy on the German, and -the division into two great schools, or systems, marked severally by -these opposite qualities, takes its date from about the commencement of -the 18th century. The two musical _natures_, thus distinguished from -each other, have found each a different channel for its -_expression_--that of Italy becoming essentially _vocal_, that of -Germany, _instrumental_. Italian music is fresh from the heart, -spontaneous, and _glowing_ with melody: German music, true to the spirit -of its birth-place, is either grave and solid, or wild and fantastic. -Less simple than the Italian in its elements, the German musical genius -has sought its chief glory amid the intricate combinations of -orchestral science, where its laborious and meditative turn can have -fullest exposition. - -Passing from these general remarks to a consideration of the German -School of the _Violin_, in particular, we may observe, that, although -derived originally, like all the others, from that of Italy, and -contracting no inconsiderable obligations to it in its progress, it has -been, on the whole, much less indebted to the Italians for resources and -support, than the School either of France or England. The cause of this -arises out of the admitted fact, that the Germans are essentially a more -musical people[50]--are more deeply imbued with a musical character of -their own--than the natives of the two latter countries. They have been -less willing, as well as less needing, than these, to incur the debt to -Italy--and certainly less willing to add to its amount. The love of the -instrument diffused itself very speedily among them (the Germans), and -their own powerful musical organization enabled them not only to modify -more promptly, after their own character, the hints which they received -from its original Italian cultivators, but to be satisfied with a -smaller quantity of confirmation from the same source. Their comparative -independence, however, or disinclination to borrow, has been somewhat -unfavourable to the completeness of their success as _performers_ on the -violin. They have, as it were, impressed their own stamp and character -upon it --that is to say, they have attained an honest solidity of -execution, of high value in orchestral playing; but, with a few -prominent exceptions, such as Kiesewetter and Mayseder, they seem to -have neglected, as uncongenial to them, the lighter graces and -refinements which have been so readily caught up by the more imitative -Frenchman. As violinists of _display_, therefore, they must be content -to rank below the French. They are below them in that which their -dignity has not thought proper to make the subject of competition--the -"manual exercise" of the instrument. They are inferior in _execution_, -and therefore less effective as solo-players; for though the German -violinists have, in recent times, enjoyed some repute for their skill in -fingering difficult passages with the left hand, they have frequently -been deficient with the right; that is to say, indifferently versed in -the dexterities of the bow. - -The ingenious author of "A Ramble among the Musicians of Germany" has -considered the Violin School of that country, at present, to be -inferior, not only to the French--which there is no contesting--but also -to that of England. In this latter notion I cannot help thinking him -mistaken--and I would appeal to his own declaration, that although in -Germany "one may find no band equal to that of the Philharmonic Society, -fifty may be found, _only_ inferior to it." This fact supposes of -necessity a very large body of good sound violin-players, whose united -merits render it scarcely possible to regard the state of the art in -their country as _inferior_ to what it is in ours. - -The Germans have, after all admitted drawbacks, a high renown in -connection with that leading instrument which it is the business of -these pages to celebrate. They have the renown that justly attaches to -the production of the greatest _writers_ of all for the _Violin -Family_. Their compositions for the instrument, in its _single_ state, -are perhaps over-laboured, over-full of chromatic passages, and wanting -in the broad, simple, vocal character of the Italian music of the same -class;--they have been content, individually, to _talk_ with the violin, -whilst the Italians have _sung_ with it;--but--they have tasked their own -genius to find scope for its powers in the aggregate--to develop its -resources _in combination_ with those instruments that are its immediate -relatives; and, in this collective character, they have given new -triumphs to it. The names of Haydn, Mozart and Beethoven, at once -suggest themselves, and assert for their country, under this view, a -superiority which the world does not seek to dispute. In the -_quartetts_, and other instrumental pieces, up to _symphonies_ -inclusive, which have been produced by these great men, all the higher -capabilities of bowed instruments are consulted and brought forward, -with a nicety of discernment, and a richness, variety, and grandeur of -effect, which excite equally our surprise and gratification.--Let us now -consider, in their order, the principal German masters whose eminence -relates particularly to the violin. - -It is hardly necessary to enumerate all the early performers mentioned -with commendation by Walther in his Dictionary, since their fame and -influence do not appear to have travelled beyond their own country. We -will therefore commence with DAVID FUNK, originally a singer at -Reichenbach, where he was born in the early part of the seventeenth -century. He was an excellent musician, and a capital performer on the -violin and the viol-da-gamba, besides displaying talent on the -harpsichord and the guitar. He was, moreover, a general scholar, and one -of the most elegant versifiers in Germany. Independently of his -excellence as a practical musician, he obtained credit as a composer, in -a variety of styles; and his compositions for the church and the chamber -were much admired. His talents, brilliant and diversified as they were, -suffered some tarnish from his immoral conduct. It was in 1670 that he -began to shine as a composer, by the publication of a collection of -pieces for the viol-da-gamba. He was under the patronage of the Princess -of Ostfrise, during seven years. That Princess, however, dying in 1689, -Funk, then more than sixty years old, returning to the place of his -nativity, succeeded in obtaining several appointments; but these he had -scarcely retained for a year, when the extreme irregularity of his life -deprived him of them, and reduced him to the necessity of quitting the -town as hastily as possible. It was in the depth of winter; and in his -flight, through frost and snow, he arrived at the gate of the castle of -Schleitz. The sordid state of his habiliments made so repulsive an -impression on the porter, that he refused him admittance; but his good -fortune, prevailing, brought to the spot the chapel-master, Liebich, -who, acquainted with his merit, though previously a stranger to his -person, expressed his desire for the honor of his friendship, and, in -the name of the lord of the castle, whose favour and protection he -himself enjoyed, invited the fugitive to his patron's table. The Count -was so delighted with his musical talents and various knowledge, that he -retained him as his friend and companion, till letters arrived from -Wohnsiedel, claiming him as a moral delinquent, to answer for some part -of his past conduct. The Count, disposed to favour him as much as the -nature of the case would admit, advised him to depart secretly, and -afforded him every assistance for his journey. Funk, once more a -wanderer, without knowing whither to go, was, a few days afterwards, -found dead, behind a hedge, in a field near Arnstadt! - -It is doubtful whether any of the violin compositions of this master are -extant; but, among his sacred instrumental pieces, there is one which -has received the encomium of all real judges of music: it is a _drama -passionale_, the words of which, as well as the music, were his own. - -THOMAS BALTZAR, born at Lubeck about 1630, was esteemed the finest -performer on the violin of his time. He came to England in 1658, at -which time the instrument had not yet been enabled to manifest its real -powers among us, nor to emerge (as it shortly afterwards did) from the -low estimation in which it was held. Baltzar may be considered as having -helped in no small degree to prepare the way for its rescue from -humility in this country. He lived, for about two years after his -arrival here, in the house of Sir Anthony Cope, of Hanwell, in -Oxfordshire. He is said to have first taught the English the practice of -shifting (that is to say, of what is termed the _whole-shift_), and the -use of the upper part of the finger-board--in like manner as Geminiani is -believed to have been our first instructor in the _half-shift_.[51] It -is certain that the power of execution and command of the instrument, -exhibited by Baltzar, were matter of novelty among us, although we had a -native performer, of no mean abilities at that period, in the person of -Davis Mell, who, in delicacy of tone and manner, seems even to have -exceeded the more potent and renowned German. Baltzar was of a -Bacchanalian turn in his habits, and was believed to have brought his -end somewhat the nearer thereby. His remains obtained the honor of a -place in Westminster Abbey, in the year 1663. Dr. Burney has -characterized his compositions as discovering "genius and a strong -hand." - -HENRY JOHN FRANCIS BIBER, vice-chapel-master to the Bishop of Salzburg, -seems to have been one of the best violin-players of his time; and his -_solos_, which he published in 1681 (with a bass), are stated by Dr. -Burney to comprise more of fancy, as well as of difficulty, than any -music of the same period. One of the pieces is written on three staves, -as a score for two violins and bass, but is designed to be played (as -regards the violin) in _double stops_. Others are played in different -tunings of fourths and fifths, as for a treble viol. - -GODFREY FINGER, a Silesian, was a voluminous composer for the violin; in -a style of less power than that of Baltzar, but of more polish, and -approaching somewhat to the Italians, Bassani and Torelli. He was some -years resident in England, having received, in 1685, the appointment of -chapel-master to King James II. On returning to Germany, he became -chamber-musician to the Queen of Prussia in 1702, and, in 1717, -chapel-master to the Court of Gotha. - -JOHN GOTTLIEB GRAUN, brother of the celebrated chapel-master of that -name, and born about the year 1700, was an excellent performer on the -violin, and a respectable composer, of the old school. He was -concert-master to the King of Prussia, and there are extant of his -writings, several overtures, symphonies, concertos, a "Salve Regina," -and some masses. He transmitted, through several good pupils, the -serviceable solidity of his talent. - -FRANCIS BENDA, usually commemorated as the originator of a distinct -style of violin-performance in Germany, was a native of Bohemia, and -born in the year 1709. At the age of seven, he commenced vocal studies, -and, two years afterwards, became a sopranist in the choir of St. -Nicholas, at Prague. He soon afterwards went to Dresden, where he was -immediately received among the _eleves_ of the _Chapelle Royale_, in -which situation he continued eighteen months. About this period he began -to practise the violin, and had no other resource than that of engaging -himself with a company of itinerant musicians, who attended fetes and -fairs. While thus situated, he formed an acquaintance with a blind Jew, -of the name of Loebel, a virtuoso of no mean order, who became his -master and his model. At length, tired of this wandering life, he -returned to Prague, and took lessons of Kouyezek, an excellent violinist -of that town. He was now eighteen; and, eager in the pursuit of -professional excellence, resolved to visit Vienna, where he soon found -an opportunity of profiting by the example of the then celebrated -Franciscello. After a residence of two years in that city, he went to -Warsaw, where he was nominated Chapel-Master. In 1732, at the -recommendation of Quantz, the Prince Royal of Prussia (afterwards -Frederic II) received him into his band. Anxious for further improvement -in his art, he became the pupil of Graun, for the violin; then studied -harmony under his brother; and afterwards learned composition of Quantz -himself. In 1732, he replaced Graun as the King's Concert-Master, which -situation he held till his death, at Potsdam, 1786. - -Of the peculiar qualities of Benda, as a violinist, Dr. Burney, in his -Travels, thus speaks:--"His manner was neither that of Tartini, nor of -Veracini, nor that of any other leader; it was purely his own, though -founded on the several models of the greatest masters:"--and Hillar, in -his Biography, tells us "that his tones were of the finest description, -the clearest and most euphonious that can be imagined. The rapidity of -his execution, and the mellow sweetness of his altissimo notes, were -unequalled. With him, the violin had no difficulties. He was master of -all its powers, and knew when to use them." - -JOHN STAMITZ, Concert-Master and Chamber-Musician at Mannheim, and -regarded, like the preceding artist, as the founder of a distinct class -of German violinists, was born in 1719, at a small town in Bohemia, -where his father was a school-master. Besides the high repute he enjoyed -as regards the formation of pupils, Stamitz has attained a just -celebrity by his written works. These (which include a curiosity in -art--a _duett_ for _one violin_) consist principally of symphonies or -overtures, concertos, quartetts and trios. Though exhibiting a masterly -character, they convey the impression, at this period, of belonging too -peculiarly to the old school, and have been considered, by some critics, -to savour too much of the Church style. - -The successors of Benda and Stamitz, still adding some improvements to -the precepts or the practice inculcated by those eminent directors, may -be said to have created a school of their own, at the head of which we -should place Leopold Mozart (author of "_Der Violinschule_"), Fraenzl, -and Cramer, who made some approach to Tartini, his contemporary, and -flourished long in England, as a concerto-performer and leader. Of the -first and the last of these three professors, some account shall here be -subjoined. - -LEOPOLD MOZART, father of him who, in the fullest sense permitted to -sublunary credit, may be called, "The Undying One," was born at Augsburg -in 1719. After having completed his studies, and particularly a course -of jurisprudence, at Salzburg, young Leopold entered the family of the -Count of Thurn, in the somewhat odd quality of _Valet-de-Chambre -Musicien_. The situation of a violinist having become vacant in the -chapel of the Prince Bishop of Salzburg, he obtained it in 1743. His -compositions made him favourably known in Germany but his reputation was -extended principally by the _Method_ for the Violin, which he published -in 1756, and which, for half a century, was considered as the best work -of the kind. - -In 1762, Leopold Mozart obtained the post of Second Chapel-Master at the -Court of Salzburg. Of seven children whom he had by his marriage, there -remained to him only the son, afterwards so famous, and a daughter, -whose success in childhood promised a talent which was never realized. -The musical education of the children occupied all the time which his -duties and his works left to the father. A little while after his -nomination as Second Chapel-master, he commenced long tours with his son -and daughter, visiting the principal courts of Germany, Holland, England -and France, and passed many years in Italy. Returning to Salzburg, rich -in the hopes that centered on his son,--but with an exchequer nearly -exhausted by the charges attendant on so much itinerancy--he did not -again quit the residence of his Prince till 1775. Anxiously careful -about ameliorating the condition of his family, he failed to secure that -object, and became more and more impoverished. The forms and practices -of a scrupulous devotion furnished him, however, with some consolation -in his griefs, and alleviated his sense of suffering from the gout. He -died at Salzburg, in 1787. - -Of the Symphonies composed by Leopold Mozart, it suffices for their -commendation to say, that some of them have been attributed to his son. -His _Method_ for the violin is entitled "Versuch einer Gruendlichen -Violinschule," Augsburg, 1756, 4to., with a portrait of the author, and -four plates representing the different positions for holding the bow and -the violin. This work, composed according to the doctrine of Tartini, -contains (says M. Fetis) some excellent things, and will always be read -with profit by such violinists as are disposed to reflection on the -subject of their art. The second edition, completed, appeared, under the -title "Gruendliche Violinschule," in 1770. A third edition was published -in 1785. It has since been frequently reprinted, and translated into -several languages. - -WILLIAM CRAMER was a native of Mannheim, and born in the year 1730. -Influenced by an early passion for music, and aided by the bounty of -Prince Maximilian, he soon acquired excellence on his favourite -instrument, and, at the age of twenty, obtained a situation in the -chapel of the Elector Palatine. Not, however, receiving on the Continent -encouragement commensurate with his continual and rapid improvement, he, -in 1770, came to England, where he soon obtained the situations of -Leader of the Opera-House band, and of the King's Concerts. In 1787, -under John Bates, the Conductor, he led the performances given at -Westminster Abbey in commemoration of Handel, and led them in a style -that proved his thorough comprehension of the music of that great -master. Though Cramer failed to obtain in Germany sufficient patronage -to induce his remaining in that country, his claims were admitted there -by all real judges of executive talent; and in England he was esteemed -the first violinist of his time. It used to be asserted of him that he -joined the emphatical expression of Benda with the brilliancy of Lolli. -The decision and spirit which characterized his playing, gave him great -advantage as a leader.--The latter days of Cramer were somewhat clouded. -The emoluments arising to him from the Opera House, and from his -employment as a private teacher of the violin, had been considerable -during many years; but talent is too frequently a bad economist, and his -was one of the cases in which it proved so. The embarrassment he -sustained in his affairs, and the transfer of the post of leader of the -Opera-band to the greater Viotti, combined to exercise an injurious -effect on his health and spirits. His death occurred in October 1799. -Cramer was twice married, and had two sons by his first -wife--John-Baptist the great _Pianiste_, and Francois, of whom -presently.[52] - -JOHN PETER SALOMON was born at Bonn, in 1745. Director, purveyor, -composer and performer, he was one of those whom the musical historian -must delight to honour. He was educated for the law; but the voice of -music was too powerful within him to be restrained. While very young, he -became a performer in the Electoral Chapel at Bonn. In 1781 he went to -Paris, with a result of more fame than profit. His enterprising spirit, -regulated by discretion, found a happier field in London, where his -cheerful disposition, polished manners, good sense, and general -attainments, soon obtained for him the friendship of all who at first -patronized him for his professional talents. His concerts in 1791 form -an epoch in musical history--for, to them we are indebted for the -production of Haydn's twelve Grand Symphonies, known everywhere as -"composed for Salomon's Concerts." Salomon had formed his project, and -digested its details, in the previous year. In order to give every -possible effect, as well as _eclat_, to his concerts, he determined to -engage that "par nobile," Haydn and Mozart, not only to write -exclusively for them, but to conduct their compositions in person. For -this purpose he went to Vienna, where, after several interviews with -both these great musicians, it was mutually agreed that Haydn should go -to London the first season, and Mozart the next. They all dined together -on the day fixed for the departure of the two travellers. Mozart -attended them to the door of their carriage, wishing them every success, -and repeating, as they drove off, his promise to complete his part of -the agreement the following year. This, however, was an abortive hope. -_L'homme propose, Dieu dispose_:--Mozart, who had filled a short life -with durable deeds, was carried, within that stipulated interval, to the -grave!--The terms on which Haydn undertook so long a journey and so -responsible a duty, were, L300 for composing six grand Symphonies, L200 -for the copyright of them, and a benefit, the profits guaranteed at -L200. Salomon re-engaged Haydn for the season 1792, on the same terms, -except that, for the copyright of the last six Symphonies, the increased -sum of L300 was paid. In the first concert of this year, Yaniewicz -played a Violin Concerto. At the first of the series in 1793, Viotti -made his debut in London, in _his_ favourite Violin Concerto. In 1794 -and 95, Haydn, having visited London a second time, was again at the -same post of pianoforte president. In 1796, Salomon's discriminating -judgment brought out of obscurity, and placed in their proper sphere, -the extraordinary vocal powers of Braham. Of Salomon's subsequent -subscription concerts, engagements at private music parties, attendances -at the Prince of Wales's Carlton-House Concerts, compositions of -canzonets, songs, glees, &c. it is not requisite here to treat. His -public career extended to the period of the formation of the -Philharmonic Society, in 1813, of which he was one of the original and -most zealous promoters and assistants. He died Nov. 28th, 1815. His -remains, followed to the grave by a long train of professional and other -friends, were interred in the great Cloister of Westminster Abbey. - -Salomon was one of the few whose right to contend for the honour of -being considered the greatest performer in Europe on the violin, was -manifest. His taste, refinement, and enthusiasm, as Dr Burney has -observed, were universally admitted. His profound knowledge of the -musical art served to add solidity to his fame. His judgment and vigour, -as a leader, are traditionally well known. Among his pupils, Pinto -proved the extent of his master's skill, and his ability in -communicating it. Unfortunately, this extraordinary young man, whose -musical progress reflected so much honour on his teacher, possessed -qualities that are but too frequently the regretted concomitants of -genius, and he perished just as he was ripening into finished -excellence. Salomon, besides other works, published two Violin -Concertos, arranged for the pianoforte, with full accompaniments; and -six Solos for the violin, printed first in Paris, afterwards in London. -Among his unpublished compositions, are some Violin Quartetts, Trios, -and Concertos. - -CHARLES STAMITZ, eldest son of Stamitz the famous, was born at Mannheim, -in 1746. He was made a violinist by his father, and his father's pupil, -Cannabich; and was afterwards engaged in the chapel of a German Prince, -till the year 1770, when he went to Paris, and made a durable impression -there, both as a concerto-player on the violoncello and tenor, and as an -instrumental composer. His writings had all the fire and spirit of those -of his father, as well as an admixture of later improvements, without -servility of imitation, as relating to _any_ style. Many of them were -published at Paris, Berlin, and Amsterdam. This artist died at Jena, on -his journey to Russia, in 1801. - -JOHN FREDERICK ECK, born at Mannheim, in 1766, became Concert Director -to the Court of Munich. Noted as an artist in his day, he is further -noted as having assisted to develop the great faculty of Louis Spohr. - -ANDREAS and BERNARD ROMBERG, cousins to each other, and scions of a -family of some note in the annals of music, were for several years joint -participants in labours connected, immediately or incidentally, with the -violin. About the year 1790, the two cousins held situations in the -court-chapel of the Elector of Cologne, at Bonn, where Andreas was -already distinguished by his excellent performance on the violin, and -his compositions, both vocal and instrumental; and Bernard no less for -his violoncello-playing, and the pieces he had written, either for his -own instrument, or the full orchestra[53]. - -When the French armies entered Bonn, at the commencement of the -revolutionary war, the Elector's musical establishment was broken up, -and the two cousins proceeded to Hamburgh, where they readily obtained -engagements in the orchestra of the German Theatre. In 1795, they left -Hamburgh, and, continuing their mutually beneficial compact, made -journeyings together through several cities of Germany and Italy, -establishing everywhere the reputation of being among the best violin -and violoncello players of the day. Their duetts and concertante -performances, in particular, had that perfect harmony of finish which -the constant habit of studying and playing _together_ could perhaps -alone bestow. The familiar interchange of ideas was likewise of -advantage to them in the compositions which they produced, whether -conjointly or separately. They may be styled, by no very forced -parallel, the "Beaumont and Fletcher" of the musical world. - -In 1797, they returned to Hamburgh, where Andreas remained; while -Bernard, two years afterwards, made a separate excursion through England -and Spain, to Lisbon, and, returning to Hamburgh about 1803, obtained -subsequently a situation in the Royal Chapel at Berlin. Andreas had, in -the mean time, turned his attention more extensively towards -composition, and produced works involving larger combinations, and full -orchestral agency, such as it is not requisite here to specify. Both the -cousins, moreover, are _best_ known as voluminous, and at one time -highly popular, composers for their _own_ particular instruments. Their -chief instrumental works, as an English critic has remarked, will always -be heard with pleasure, although without the excitement which attends -Beethoven, or the deep admiration which waits upon Mozart. Of these -works it may suffice here to enumerate:-- - - Four Concertos for the violin--two Quintetts--twenty-four Quartetts - (comprised in eight sets)--a Quartett for the pianoforte and - stringed instruments--nine Duetts--and a set of three Studios, or - Sonatas for the violin--by _Andreas Romberg_. - - A set of three Quartetts--four single Quartetts--a Trio for violin, - tenor, and violoncello obligato, in F--six Concertos, and several - Concertantes and Airs with Variations, for the violoncello--two - Quartetts for pianoforte and stringed instruments--by _Bernard - Romberg_. - -FRANCOIS CRAMER, second son of William Cramer, was born near Mannheim, -in 1772. He commenced his labours on the violin under regular tuition, -at a very tender age, and was no novice in the art of handling it, when, -in his eighth year, he left his native country, to join his father and -his brother John, who were settled in England. A long suspension of his -practice, however, was rendered necessary by feeble health; and the -extent of delay prescribed by Horace with regard to a poem--"nonum -prematur in annum"--was nearly enforced as to young Cramer's violin, -which he had to keep in reserve during a lapse of seven years. On -recommencing, he found himself under the disadvantage of having to toil -over all the elementary ground anew. He did this, however, with good -heart, and then worked his way into close acquaintance with the Solos -of Geminiani and Tartini, and the _Capriccios_ of Benda and old Stamitz. -At the age of seventeen, he was placed, as a gratuitous member, in the -Opera band, by his father, who was its leader. In the course of a few -years, he rose in the ranks of the orchestra, and was appointed -principal second violin under his father, not only at the Opera, but at -all the principal concerts, as the King's Concerts of Ancient Music, the -Ladies' Concerts, and the great provincial musical festivals. On the -death of his father, he was appointed leader of the Ancient Concerts, -and came into very general employment as an orchestral leader, during -many years--a position for which his steadiness of direction, and his -solid style of playing, well qualified him. It was on his capacity as a -leader, especially for the lofty music of Handel, that his fame rested. -As a solo-player, he never had much importance--his powers of execution -not being of the kind that ensures the uniform triumph over difficult -passages. - -FRIEDRICH ERNST FESCA, born at Magdeburg, in 1789, was brought up in the -midst of music, and took to the study of the violin in his ninth year, -under M. Lohse, first violinist of the Magdeburg Theatre. Fesca made -rapid progress, and was speedly delighted at being enabled to join in -quartetts of Haydn, Boccherini and Mozart. In his eleventh year, he -exhibited in a concerto on the violin, publicly, at Magdeburg. His first -essay in composition was a concerto for the violin, performed by himself -at Leipsig. Introduced by Marshal Victor to Jerome Buonaparte, he became -first violinist at Cassel. His forte in instrumentalizing lay -principally in the _adagio_, that true touchstone of a performer's -abilities and it was in giving effect to this that his inmost soul shone -forth. His _compositions_, also, showed superior delicacy in the -adagio. Fesca afterwards became first violin of the Court Theatre at -Carlsruhe, and at a later period was concert-master to the Grand Duke of -Baden. He died in 1825, leaving a character highly esteemed and -respected, especially for its exemption from the alloy of professional -envy. He was distinguished in other compositions besides the -instrumental. His quartetts possess great merit, but are by no means to -be ranked with those of Haydn, Mozart and Beethoven. They are marked by -grace and feeling, more than by invention. - -CHRISTOPH GOTTFRIED KIESEWETTER was born in 1777, at Anspach, where his -father was first violinist at the Royal Chapel. His own devotion to the -instrument was repaid by the high reputation he acquired, rather than by -pecuniary success;--for music in Germany, like virtue everywhere, is, in -a certain qualified sense, its own reward. In that country, where the -practice of the musical art is so extensively diffused, the individual -professor has not the opportunity of rendering it so lucrative to -himself, as it is where talent is concentrated among a very few of the -community. Holding the appointment of leader of the band to the -Hanoverian Court, Kiesewetter found himself too poor for the maintenance -of a wife and eight children. In 1821, he came to London, and at once -established a reputation here by his spirited playing at the -Philharmonic Concerts. His execution was considered to be sometimes -quite amazing, but not always perfect. It was particularly remarked that -in quick playing he had a sort of jerking squeak in his high notes, that -was somewhat anti-musical, and was one of the consequences of his too -frequent use of the extra shifts. These squeaking notes, and marked -slidings of the finger up the strings, as it has justly been observed, -may shew a certain kind of mechanical skill that partakes of the nature -of practical wit, but they also betray the weaker part in the -instrument, and are apt to be (except when _insured_ by the skill of a -Paganini) more provoking than pleasing. There existed a similar cause of -deduction from the praise due to _another_ German violinist, M. Hauman, -who played at the Philharmonic in 1829. Kiesewetter, when in Germany, -was fond of introducing Russian airs into his performances, which he did -with happy effect. His action in playing was not graceful: this was -probably to be attributed, in some degree, to the effect of a pulmonary -complaint under which he suffered. - -Mr. Gardiner has described the painful circumstances attendant on the -last two performances of this accomplished artist, which took place at -Leicester. On both occasions he was supported into the orchestra, and -placed in a chair, by his brother professors,--his debility being so -distressingly apparent that many persons apprehended he would expire in -the room. The audience, with one voice, entreated that he would abandon -the idea of playing; but he persisted; and though the withering hand of -death had so visibly touched him, he had yet enough of energy remaining, -to exhibit a few scintillations of his taste and style; but his fire and -vigor were gone. He died in London, in September 1827, receiving -unremitting attentions at the close of his career from his pupil, Oury. -His death may be in some sort regarded as a loss to our English -violinists--for the animation of his performance, beyond what is common -either in his own country or here, afforded a useful example, which -might have been prolonged with advantage. - -LOUIS SPOHR, the most highly gifted and accomplished of living German -musicians, is the son of a physician at Seesen, in the Brunswick -territory, where he was born in 1784. In his juvenile days, he was less -forward in the exhibition of the musical faculty than has been the case -with many whose powers, at maturity, have been far below his. The late -Duke of Brunswick, however, who was himself a performer on the violin, -interested himself in the success of young Spohr, and received him as a -musician in the Chapel Royal. The Duke afterwards enabled him to -accompany a distinguished player, Francis Eck, on a tour to Russia, by -which means he acquired much important musical knowledge. On his return, -he applied himself very closely to violin-practice, and then travelled -through various parts of Germany, exciting enthusiasm by the fine -qualities of his playing; for by that time he had already impressed on -the instructions derived from his master the seal of his own -organization and fine meditative powers. In 1805, he became -concert-master, violinist, and composer, to the Duke of Saxe Gotha. In -1814, Spohr was in Vienna during the Congress, on which conspicuous -occasion Rode and Mayseder had likewise resorted thither; and a story -was current which represented each of these eminent performers as having -played in succession, in a quartett of his own composition, at a private -party, with the result of a unanimous preference for Mayseder, both as -to the composition and the performance. This tale is not accredited by -the judgment formed of the respective competitors by the public: and any -belief of it must be greatly at the expense of the musical discernment -among the "private party."--A tour through the principal Italian -cities, where he gained general applause, occupied Spohr in 1817; -and he was subsequently director of the music at the Theatre of -Frankfort-on-the-Main. In 1820, he was in England, exhibiting his -admirable powers at the Philharmonic Concerts, where he introduced two -fine symphonies and an overture, of his composition; but, neither here -nor in France, which country he also visited, was he appreciated to the -full extent of his merits: The cause of this has been well suggested by -an able English critic, whose remarks, somewhat abridged, I here -subjoin:-- - -"We had the traces, in Spohr's execution, of a mind continually turning -towards refinement, and deserting strength for polish. His tone was pure -and delicate, rather than remarkable for volume or richness; his taste -was cultivated to the highest excess; and his execution was so finished, -that it appeared to encroach, in a measure, upon the vigour of his -performance. But he was very far from being deficient in the energy -necessary to make a great player. The fact seems to be, that this -quality, which for its inherent pre-eminence is most distinguishable in -other violinists, was, in Spohr, cast into secondary importance, and -rendered less discernible, by the predominating influence of his -superior refinement. His delicacy was so beautiful, and so frequent an -object of admiration, that his force was lowered in the comparison. And -as it is frequently the consequence of a too subtle habit of refining to -obliterate the stronger traces of sensibility, so his expression was -more remarkable for polished elegance, than for those powerful and -striking modifications of tone that are the offspring of intense -feeling. It is probably owing to this softening-down of the bright and -brilliant effects, that he failed (if such a man could be ever said to -fail) in eliciting the stronger bursts of the public approbation which -attend those exhibitions of art that are directed against, and that -reach, the affections of a mixed audience. Thus, though in the very -first rank of his profession and of talent, Spohr perhaps excited a -lower degree of interest than has frequently attended the performance of -men whose excellences were far below standard. Such is the common fate -of all extreme cultivation and polish. It transcends the judgment of the -million. The Roman critics remarked the pre-eminent beauty with which -Spohr enriched his playing, by a strict imitation of vocal effects. They -said he was the finest _singer_ upon the violin that ever appeared. -This, perhaps, is the highest praise that can be bestowed. The nearer an -instrument approaches the voice, the nearer is art to the attainment of -its object." - -In the autumn of 1839, Spohr was at the Norwich Musical Festival, where -his appearance, after a lapse of sixteen years, excited much interest. -He was then described as "a tall and stout man, with a noble head, a -pleasing aspect, and a presence in which much simple dignity was -engagingly blended with gentleness and modesty." His Violin Concerto, -played on that occasion was a newly-written work, exhibiting no mean -share of his genius as a composer. It was remarked that in his playing -he made no use of the more artificial resources of the modern school--not -introducing into any of his highest flights a single "harmonic note," a -single touch of the instrumental _falsetto_--but producing every note in -those flights by fairly stopping the string, in perfect tune, and with -the utmost parity of tone. Great command of the bow, and lively rapidity -of fingering, were also obvious. - -Broad and large in dimensions as in design, and marked by high creative -genius, are some of the works that illustrate the name of this potent -artist--works that summon to their exposition vocal and instrumental -_multitude_:--but these it is hardly requisite here to particularize. It -more concerns me to state that, of his active and intelligent career, -one of the best results has been the formation of many a well-trained -pupil, now holding honorable position in this or that great city of -Europe. The principles and details of his mode of instruction--so far as -the breathing soul could convey them through the medium of inanimate -paper--are found in his great didactic work, "_Der Violin-Schule_" -published at Vienna by Haslinger, and subsequently translated into -French. For the benefit of English students, a version, prepared by Mr. -John Bishop, of Cheltenham, and bearing the author's own attestation of -its fidelity, has been issued by Messrs. Robert Cocks and Co. - -With reference to the violin-compositions of this great master, the -following warm (and perhaps but little exaggerated) tribute has been -rendered by a critic in the "Spectator:"-- - -"The writers of violin concertos are, for the most part, only known as -such; but _Spohr's_ compositions for his instrument display not only the -brilliancy of their author's execution, but the elevated character of -his mind: we listen not only to the principal performer with wonder, but -to the whole composition with delight. They have a character of their -own--unlike and _beyond_ that of any similar productions of any age or -country." - -CHARLES WILLIAM FERDINAND GUHR, "_Chef-d'Orchestre_" of the Theatre of -Frankfort-on-the-Main, was born at Militsch, in Silesia, in 1787. His -father, a singer at the principal church of that city, undertook the -musical education of his son. At fourteen years of age, Guhr entered, -as a violinist, the chapel in which his father was employed. His youth, -and want of experience in the art of writing, did not deter his ambition -from composing many concertos, quatuors and other pieces for the violin. -When he had attained the age of fifteen, his father sent him to Breslau, -to continue his studies there, under the direction of the chapel-master, -Schnabel, and the violinist, Janitschek. His progress was rapid, and he -soon returned to Militsch. When Reuter took the direction of the theatre -of Nuremberg, he placed Guhr in the post of _Chef-d'Orchestre_. His -talents in the art of directing introduced in a short time considerable -ameliorations into the state of music in that town. He performed several -concertos of his own composition, and had some of his operas performed -with success at the theatre. Having passed several years at Nuremberg, -and having, while there, married Mademoiselle Epp, a singer at the -theatre, Guhr accepted the direction of the music at the theatre of -Wisbaden; but the war of 1815 having ruined this as a place of -residence, Guhr went to Cassel, where the Prince named him director of -the music of his chapel, as well as of the theatre. Vacating this post -in the year following, he remained without employ up to the year 1821. -At that period, an engagement for 22 years was offered him as director -of the orchestra of the theatre at Frankfort-on-the-Main with a salary -of 5,000 florins, which he accepted. - -In Germany, M. Guhr was very advantageously known as a violinist; and he -is said also to have possessed considerable skill on the piano. In the -earlier steps of his progress on the violin, following the example of -Rode, he aimed principally at precision and purity in his playing; but, -after having heard Paganini, he entirely changed his model, and made a -special study of the peculiarities of that extraordinary man's -execution. We are specially indebted to him for a work (already alluded -to) on this subject, which was received with much interest; it is -entitled "Ueber Paganini's Kunst, die Violine zu spielen." - -JOSEPH MAYSEDER, a violinist of a high order, and, in a certain limited -line, an original composer of acknowledged merit, acquired a -considerable share of popularity in a comparatively short time. Residing -principally at showy and dazzling Vienna, where the present musical -taste does not conform, in point of solidity, to the accustomed German -standard, he exercised the peculiarities of his style with unchecked -freedom. As a composer, his ambition was generally to sparkle, and his -habit was nearly all gaiety, or, as one of our musical critics has -termed it, a tricksy _mixture_ of gaiety and melancholy. His writings, -full as they are of ingenuity, and containing much that cannot fail to -please, are chargeable with a somewhat too flimsy character, and with -too evident a tinge of what may be called the _coquetry_ of composition. -His playing, which was touched with the jerking manner observed in -Kiesewetter, was also distinguished by much brilliancy and great powers -of rapidity. - -BERNHARD MOLIQUE, Concert-master to the Court, and second leader of the -orchestra to the Opera, at Stuttgard, was born at Nuremberg, Oct. 7, -1803. His father, a town musician, was his first master, and taught him -to play, not one, but many instruments; the violin was, however, that -which the young artist preferred, and on which his progress was most -rapid. At the age of fourteen, he was sent to Munich, and placed under -the direction of Rovelli, first Violin of the Chapel Royal. Two years -afterwards, he went to Vienna, where he obtained a place in the -orchestra of the theatre "An der Wien." In 1820, he returned to Munich, -where, although but seventeen years of age, he succeeded his master, -Rovelli, as First Violin to the Court. During the two subsequent years, -Molique laboured to impart to his talent a graceful and energetic -character. In 1822, he found himself sufficiently advanced in his art to -be in a condition to travel, in the quality of artist, and give -performances in great cities. He obtained leave of absence, and visited -with good success, Leipzig, Dresden, Berlin, Hanover and Cassel. - -In 1826, Molique was engaged at the Court of Stuttgard, as -Concert-Master. There he obtained renown for the development of a new -talent, the direction of an orchestra, in which post he was equally -remarkable for precision, sentiment, and accurate appreciation of the -slightest effects of instrumental colouring. - -In 1836, M. Molique made a journey to Paris, and executed one of his -concertos for the violin, at the Concerts of the _Conservatoire_. The -journals which spoke of the effect of this composition, did justice to -its beauty: but, according to their account, the execution does not -appear to have produced upon the audience such an effect as ought to -have resulted from the talent of the artist. It has been a subject of -remark, that something of the same sort has happened in the case of most -of the violinists of the German School who have performed before -audiences at Paris; and that Spohr and Lipinski, who have had a great -reputation elsewhere, produced but little sensation in that city. Must -not the cause of this be sought in the diversity of national taste?--The -published works of M. Molique have for many years contributed to the -extension of his renown. - - Vainly, oh, Pen! expectant here thou turn'st - To trace the doings of Teutonic ERNST-- - To shew what praise he won, what hearts he moved, - What realms he traversed, and what trials proved. - Wanting the _records_ that should speak his fame, - Prose fails--and Verse, alas! but gives _his name_. - So, in life's common round, when just aware - That one whom we have longed to _know_, is near-- - To see him, hear him, _chat_ with him, prepared, - We find he's gone, and has but _left his card_! - -Under the German branch of our subject, as more analogous to that than -to any one of the others, may perhaps be most fitly presented some -particulars concerning the remarkable Norwegian artist, OLE (or OLAUS) -BULL, who, in 1836, came hither to dazzle and animate us, like a -coruscation from those "northern lights" that are often so conspicuous -in his own land. His advent to our shores was immediately preceded by a -visit to our lively neighbours on the southern side of the Channel. The -following sketch--of which the earlier and more picturesque portion is -chiefly derived from a French account, written by a medical professor -and musical amateur at Lyons--will furnish some idea of the powers and -peculiarities of this individual. - -It chanced, on a certain day, during the time when the cholera was -ravaging the French capital, that one of the numerous diligences which -were then wont to make their return-journey in an almost empty state, -deposited, in the yard of a coach-office, a young northern traveller, -who came, after the example of so many others, to seek his fortune at -Paris. Scarcely arrived at his twentieth year, he had quitted his -family, his studies, and Norway, the land of his home, to give himself -wholly up to a passion which had held sway within him from his infancy. -The object of this pervading passion was music, and the violin. Deeply -seated, active, and irresistible, the bias had seized him when he -quitted his cradle, and had never ceased from its hold upon him. At six -years old, he would repeat, on a little common fiddle bought at a fair, -all the airs which he had heard sung around him, or played in the -streets: and, two years afterwards, he had astonished a society of -professional men, by playing at sight the first violin-part in a -quartett of Pleyel's--though he had never taken a lesson in music, but -had found out his way entirely alone! Destined afterwards by his family -to the ecclesiastic life, and constrained to the studies which it -imposes, he had still kept his thoughts fixed on his beloved violin, -which was his friend, his companion, the central object of his -attachment. At the instance of his father, the study of the law became -subsequently his unwilling pursuit: and, at length, these struggles -ended in his yielding to the impulse of his love for the violin; and -banishing himself from Norway, in order to devote all his days to the -cultivation of music. - -In the midst of a mourning city--a mere atom in the region of a -world--what is to become of the young artist? His imagination is rich, -but his purse is meagre: his whole resource lies in his violin--and yet -he has faith in it, even to the extent of looking for fortune and renown -through its means. Friendless and patronless, he comes forward to be -heard. At any other moment, his talent must have forced public attention -in his behalf; but, in those days of desolation, when death was -threatening every soul around, who could lend his ears to the charmer? -The young artist is left alone in his misery--yet not quite alone, for -his cherished violin remains like a friend to console him. The cup of -bitterness was soon, however, to be completely filled. One day, in -returning to his miserable apartment in an obscure lodging-house, he -found that the trunk, in which his last slender means were contained, -had disappeared. He turned his eyes to the spot where he had placed his -violin ... it was gone! This climax of disaster was too much for the -poor enthusiast, who wandered about for three days in the streets of -Paris, a prey to want and despair, and then--threw himself into the -Seine! - -But the art which the young Norwegian was called to extend and to -embellish, was not fated to sustain so deplorable a loss. The hand of -some humane person rescued him from this situation. His next encounter -seemed like _another_ special interposition of Providence; for he became -the object of benevolent attention to a mother who had just lost her son -through the cholera, and who found in the young stranger so remarkable a -resemblance to him, that she received him into her house, and, though -possessed but of moderate means herself, furnished relief to his -necessities. The cholera, in the mean time, ceased its ravages, and -Paris resumed its habitual aspect. Supplied with bread and an asylum, -and soon afterwards with the loan of a violin, Ole Bull was again -enabled to gratify his devotion for music. By degrees his name began to -be heard, and he arrived at some small reputation. Thus encouraged, he -ventured the experiment of a Concert; and fortune smiled on him for the -first time, for he gained 1200 francs--a large sum, considering the -position in which he then was. - -Possessed of this unexpected, and almost unhoped-for, little fortune, he -set out for Switzerland, and went thence into Italy. - -At Bologna, where his first _great_ manifestation appears to have been -made, he had tried vainly to obtain an introduction to the public, until -accident accomplished what he had begun to despair of. Full of painful -emotion at the chilling repression which his simple, inartificial, -unfriended endeavours had been fated to meet with, he one day sat down -with the resolution to compose something; and it was partly amidst a -flow of obtrusive tears that his purpose was fulfilled. Taking up his -instrument, he proceeded to try the effect of the ideas he had just -called into life. At that moment, it chanced that Madame Rossini was -passing by the house in which his humble apartment was situated. The -impression made on her was such, that she spoke in emphatic terms upon -it to the director of a Philharmonic Society, who was in a critical -predicament, owing to some failure in a promise which had been made him -by De Beriot, and the syren, Malibran. Madame Rossini's piece of -intelligence was a burst of light for the "Manager in distress:" he had -found his man. The artist was induced to play before the dilettanti of -Bologna, and his success was complete. - -At Lucca, Florence, Milan, Rome, and Venice, the impression he made was -yet greater and more decisive. On each occasion, he was recalled several -times before the audience, and always hailed with the utmost enthusiasm. -At the Neapolitan theatre of _San Carlo_, he was summoned back by the -public no less than nine times--thrice after the performance of his first -piece, and six times at the end of the second. It was a perfect -_furore_. - -Our Norwegian artist now revisited Paris, under happier auspices. -Welcomed and introduced with eager kindness by the composer of "Robert -le Diable," he was several times listened to with delight on the stage -of the Opera, and obtained the greatest success that has been known -since the displays made by Paganini. - -Opinions were not agreed as to the extent to which Ole Bull was to be -considered an imitator of Paganini. It appears certain that the example -of the latter first led him to attempt the more strange and remote -difficulties of the instrument. It was during the time of his distressed -condition, that he found means to hear the great Italian artist, by -actually selling his last shirt, with the produce of which he joined the -crowd in the saloon of the French Opera. Every one around him, after the -electrifying strains of the magical performer, was exclaiming that he -had reached the farthest limits of what was possible on the violin. Ole -Bull (says the writer of the French account), after applauding like the -rest, retired in thoughtful mood, having just caught the notion that -something beyond this was yet possible; nor did the idea cease to occupy -his mind, but gathered fresh strength during his rambles in Switzerland -and Italy, until it impelled him, at Trieste, to abandon the old track, -and resign himself to the dictates of his own genius. - -In justice to Paganini, it must never be forgotten that _he_ was the -first who, in modern days, conceived the principle of its being possible -to extract a variety of new _effects_ from the versatile instrument that -had been supposed to have surrendered all its secrets to the great -antecedent Masters; and that his practice lent marvellous illustration -to what he proceeded, under that impulse, to explain;--nor does the -supremacy of Paganini in the _nouveau genre_, for the reasons previously -touched upon in these pages, seem likely to be seriously shaken by _any_ -who may seek the encounter of a comparison. It may certainly be averred, -however, that, of all who have attempted to follow in the direction -taken by the great Genoese genius, Ole Bull has been, owing to the fire -and enthusiasm of his own temperament, decidedly the farthest removed -from servility of imitation. It speaks much for the originality of the -Norwegian artist, that, in the early practice of his instrument, instead -of a fostering excitement, he had to encounter the decided opposition of -adverse views; and, instead of the open aid of a master, had only for -his guide the secret impulses of his own mind. On the whole, he must be -acknowledged a man of fine genius, who forced his way through no common -difficulties to a distinguished rank in the musical art, and who -presents, to the contemplation of the persevering student, one of the -most cheering of those examples which the history of human struggles in -pursuit of some absorbing object is so useful to enforce. It must add -not a little to our admiration of him, to find that, in the mysteries of -composition, he has discovered and shaped his own course. The ingenuity -of construction evident in the orchestral accompaniments to his pieces, -would suggest a methodical study of the harmonic art: yet it was said, -on the contrary, that he was quite unacquainted with even the elementary -rules of that art; and that it would have puzzled him to tell the -conventional name of any one chord. How then did he arrive at the power -of writing music in parts? He opened a score, studied it, thought over -it, made a relative examination of its parts after his own way, and -then, setting to work, as the result of this progress, became a composer -himself. In the character of his compositions, we may trace the effect -of this unusual and (it must be confessed) somewhat too self-dependent -"moyen de parvenir." They are impulsive and striking--enriched with -occasional passages of fine instrumentation, and touched with sweet -visitations of melody--but they are deficient in coherence of structure, -and in the comprehensiveness of a well-ordered design. They may serve as -fresh examples to illustrate the old maxim--that genius itself cannot -with safety neglect that ordinary discipline which gives familiarity -with the rules and methods of art. - -The most surprising thing (amounting indeed to an enigma), in connection -with Ole Bull's powers of execution, was the very small amount of manual -practice which he stated himself to have been in the habit of bestowing -on the instrument--a thing quite at variance with all the received -notions, as well as usage, on the subject. His labour was, it appears, -in by far the greater part, that of the head; and a very limited -application of the hands sufficed to "carry out" what he ex-cogitated--to -work out his purposes and "foregone conclusions." It sounds nobly, as a -proposition, that it is "the mind's eye," and not the blind gropings of -practice, that should shew the violinist the way to greatness, and give -him the knowledge which is power: but, alas! common natures--nay, all -that are not marvellously _un_common--find it necessary to draw to the -utmost on both these resources, and cannot spare their hands from the -neck of the instrument. This comparatively trifling amount of manual -cultivation, however, while it remains on the whole "a marvel and a -mystery," may be accepted as a proof in itself of how little trick -(setting aside his extravagant "quartett on _one_ string") there was in -Ole Bull's performance: for the successful display of tricks is -essentially dependent on the most assiduous manipulation;--the -_charlatanerie_ of the instrument being the triumph of the hand, as -distinguished from that of the mind. To particularize the various merits -which belong to his execution, would lead beyond the limit here -proposed--else might his sweet and pure tone--his delicate harmonics--his -frequent and winning _duplicity_ of notes and shakes--his rapid and exact -_staccato_, &c. be severally dwelt upon in terms of delight.--I cannot -forbear referring, however, to the "ravishing division" of his -consummate _arpeggios_, forming a finely regulated shower of notes, -rich, round, and most distinct, although wrought out by such slight -undulations of the bow, as to leave in something like a puzzle our -notions of cause and consequence. To suit the wide range of effects -which his fancy sometimes dictated, it appears (another marvel!) that he -subjected his violin to some kind of _alterative_ process; for which -purpose he would open it (to use his own expression) like an oyster! - -The manners and conversation of this young artist, at the time when he -was exciting attention in England, bore an impress of genius which it -was impossible to mistake; and his occasional sallies of enthusiasm -served to impart an increased interest to the abiding modesty which -tempered and dignified his character. In describing the state of his own -mind, under the immediate domination of musical ideas, he pictured it -under the forcible figure of an alternate heaven and hell; while he -would speak of the object and intention of his playing as being to -_raise a curtain_, for the admission of those around him, as -participants in the mysteries open to himself. In his habits, he was -very temperate--wisely avoiding to wear out, by artificial excitements, -the spontaneous ardour of his eminently vital temperament. - -All the ordinary arts and intrigues by which it is so common, and is -sometimes thought so necessary, for men to seek professional -advancement, seemed completely alien to the nature of this child of the -north. In person, he was tall, with a spare but muscular figure, light -hair, a pale countenance, and a quick, restless eye, which became -extremely animated whilst he was in the act of playing. When I add that -he entertained an invincible antipathy to _cats_--exhibiting unequivocal -signs of distress whenever one of those sleek and sly animals was -discovered in the social circle--I shall have furnished all the -information I am able to give (his latter career being unknown to me) -concerning a man well entitled to commemoration. - - * * * * * - -Before concluding this chapter, a few words of record are due to the two -sons of one of the most gifted musicians of the present day. I allude to -the associate brothers LABITSKY, who, after a training in the Musical -Conservatory at Prague, and subsequent studies prosecuted at Leipsig, -have become candidates for public favour in England, where (for the -present, at least) they appear to be settled. Their first appeal to -notice in this country took place at Her Majesty's Theatre, during the -progress of the late Grand National Concerts. Their style is said to be -characterized by firmness and evenness in the bowing, with a -correspondent fulness and purity of intonation. - - - - -CHAPTER VI. - -THE ENGLISH SCHOOL. - - ... a _crescent_; and my auguring hope - Says it will come to the full.--SHAKSPEARE. - - -Climate, and the national habits of life, have in England presented no -light obstacles to the progress and well-being of the musical art, as -collectively regarded. The fogs and lazy vapours that so oft obscure, in -our dear country, the genial face of the sun, must needs check and chill -our animal spirits, and beat back into the heart the feelings that else -would seek fellowship with the ear, by uttering the language of sweet -sounds. The eager pursuit of business, on the other hand--the continuity -of _action_, rigorously self-imposed, in order to satisfy both our -material wants and our ambition--leaves us little opportunity--even when -our sky and our land are _not_ mutually frowning and exchanging sullen -looks--for the liberation and development of our half-stifled musical -impulses. The consequence of this two-fold opposition is--in -multitudinous instances--that the music which is _in_ us, comes not -_out_; and hence it happens that we are too often suspected, by -foreigners, of organic deficiency in this matter, and too often induced -to doubt of ourselves. With the luxurious climate, however, and the -leisurely life, that combine to make the people of _Italy_ as vocal as -grasshoppers, _we_, too, should burst forth into the raptures of song, -and overflow with melodial honey;--_so_ at least I venture to believe, -when I think of our stock, actually _hived_, in the way of _glees_ and -_ballads_--a not contemptible little store. - -In addition to the two sources of impediment just noticed, may we -venture to glance at a third? There is another gloom, besides that of -our skies, that has had its obstructive influence, and still, in _some_ -degree, retains it. England, happily for her own comfort, has now left -far behind her those puritanic days wherein all persons who ministered -to the _amusement_ of their fellow-beings were stigmatized as the -"_caterpillars_ of a common-wealth," and found law and opinion alike -arrayed against them;--but the spirit of Puritanism, once so tyrannically -exclusive, has never since departed wholly from among us--and we have, to -this day, many sincere and well-meaning compatriots, whose peculiar -notions of what constitutes piety, lead them to look with distrust -and suspicion upon all that is beautiful in Nature or in Art, and -so, to consider musical talent rather as a snare to be shunned, -than as a resource to be cherished. These movers-in-a-mist, and -extra-burden-bearers, confounding into _one_ the two ideas of -cultivation and corruption, as if the terms were synonymous, refuse all -countenance to music, as an _art_. Its secular forms, in particular, are -their aversion; for they have a strong impression that music is then, -_only_, in its right place, when directly employed in the service of the -sanctuary. They discover, even in an _Oratorio_, copious matter for -reprobation. They have no sympathy with the practice of the sweetly -majestic Psalmist of Israel, who brought together, to aid in the -solemnities of public worship, all that was _best_ in vocal and -instrumental skill. Vociferated dissonance, exempt from rule, and from -accompaniment, has _their_ approval, far above any tempered and balanced -harmony; because (as _they_ persuade themselves) the one comes from the -heart, and the other does _not_. To such persons, I can only (in the -words of the Archbishop of Granada to Gil Blas) wish all happiness, and -a little more _taste_--regretting that the influence of what I conceive -to be their _mistake_ should have helped, with the other cited causes, -to lessen the diffusion among us of the most delightfully recreative of -all the arts, which, thus discouraged, has been driven to become the -spoiled favourite of the great and rich, instead of being the constant -friend and solace of the whole community. - -Adverting now specifically to the English School of the violin, I would -remind the reader of what has been previously observed respecting the -very low estimation in which that instrument was for some time held, -after its first advent to this country. To raise it into favorable -regard, and to stimulate the efforts of our native professors, -successive importations of foreign talent (chiefly from Italy) were -required, and supplied. Our debt of this kind to the Italians has been -larger than that of our continental neighbours, either of France or of -Germany. Indeed the very fact of our possessing a School of our own, in -this branch of art, has, I believe, been commonly overlooked by the -musical writers of the continent: nor is this very surprising, when it -is considered how the great masters from Italy, taking the lead in -concerts and public performances, became "the observed of all -observers," and the sole marks, or at least the principal ones, for the -pen of the writer. It may be demonstrated, nevertheless, that we, too, -as violinists, have our separate credit to assert for the past, and yet -more for the present, though we may not aspire to an equal amount of -merit, in this sense, with Germany or France. We have certainly not -caught, so effectually as the French, the various dexterities and -felicities of execution; but it is perhaps not too much to say that we -possess more "capability" for the development of the graver and better -sort of _expression_. Your Englishman, with all his lumpish partiality -for beef and pudding, is generally allowed to be a being of profounder -sensibilities than your Frenchman. He is a better recipient of the more -intense emotions that lie within the province of the "king of -instruments," although its more brilliant characteristics are less -within his reach. The violin is a _shifting Proteus_, which accommodates -itself to almost every kind and shade of emotion that may actuate the -human mind: but then, the lighter emotions more frequently dispose us to -seek the aid of music for their audible sign, than the graver ones: -therefore your Frenchman, "toujours gai," is oftener impelled to -practise the violin than your Briton; and therefore he becomes, after -his own fashion, a better player. But, after all, those who would -appreciate _all_ the capabilities of the violin as an individual -instrument, should watch its "quick denotements, working from the -heart," under all manner of hands--Italian, German, French, English, -Dutch, and the rest. - -With regard to _compositions_ for the instrument, generally, it must be -admitted that those to which merit, as well as custom, has given the -greatest currency in this country, have been of foreign -production--chiefly Italian or German. Truth requires the acknowledgment, -that in _this_ matter we stand far from high in the scale of national -comparison. It is the remark of Burney, that, for more than half a -century preceding the arrival of Giardini, the compositions of Corelli, -Geminiani, Albinoni, Vivaldi, Tessarini, Veracini, and Tartini, supplied -all our wants on the violin. Though somewhat poor in this point of view, -we are, however, not destitute. Let us advert here to two instances -only, that is to say, Boyce and Purcell. Dr. Boyce's "Twelve Sonatas, or -Trios, for two Violins and a Bass," were longer and more generally -purchased, performed, and admired (says Dr. Burney) than any productions -of the kind in this kingdom, except those of Corelli. They were not only -in constant use as chamber-music, in private concerts--for which they -were originally designed--but in our theatres as act-tunes, and at the -public gardens as favourite pieces, for many years. - -"Purcell's Sonatas and Trios (observes Mr. Hogarth, in his 'Memoirs of -the Musical Drama') belong to the same school as those of Corelli. The -Trios of the great Italian composer were published in the same year, and -could not have served as a model to Purcell, who, in acknowledging his -obligation to 'the most famed Italian masters' in this species of -composition, must have alluded to Torelli and Bassani, the latter of -whom was Corelli's master. Purcell's Sonatas, in some respects, are even -superior to those of the great Italian composer; for they contain -movements which, in depth of learning and ingenuity of harmonical -combination, without the least appearance of labour or restraint, -surpass anything to be found in the works of Corelli: but Corelli had -the advantage of being a great Violinist, while Purcell, who was not -only no performer himself, but probably had never heard a great -performer, had no means, except the perusal of Italian scores, of -forming an idea of the genius and powers of the instrument. This -disadvantage prevented Purcell from striking out new and effective -violin passages, and produced mechanical awkwardness, which a master of -the instrument would have avoided: but it did not disable him from -exhibiting taste and fancy; and every admirer of the works of Corelli -will take pleasure in these Sonatas of Purcell." - -The first Englishman who seems to have attained distinction as a -professional Violinist, was JOHN BANISTER, successor of Baltzar, the -Lubecker, in the conduct of Charles the Second's new band of twenty-four -violins. DAVIS MELL, the clock-maker, should, however, if we are to -"keep time," be first introduced, since, although but an Amateur, he was -an eminent hand at the violin, and was an agent of some little -importance in the diffusion of a taste for the instrument, ere it had -yet struggled into general notice. The merits of Davis Mell may be best -described in the language of an already familiar friend, honest Anthony -Wood:-- - -"In the latter end of this yeare (1657), Davis Mell, the most eminent -Violinist of London, being in Oxon, Peter Pett, Will. Bull, Ken. Digby, -and others of Allsowles, as also A. W. (Anthony a Wood) did give him a -very handsome entertainment in the Tavern cal'd The Salutation, in St. -Marie's Parish, Oxon, own'd by Tho. Wood, son of -------- Wood of Oxon, -sometimes servant to the father of A. W. The company did look upon Mr. -Mell to have a prodigious hand on the Violin, and they thought that no -person (as all in London did) could goe beyond him. But when Tho. -Baltzar, an outlander, came to Oxon in the next yeare, they had other -thoughts of Mr. Mell, who tho' he play'd farr sweeter than Baltzar, yet -Baltzar's hand was more quick, and could run it insensibly to the end -of the finger-board."[54] And in another place, the same writer says, -"After Baltzar came into England, and shew'd his most wonderful parts on -that instrument, Mell was not so admired; yet he play'd sweeter, was a -well-bred gentleman, and not given to excessive drinking, as Baltzar -was." - -It is worthy of notice that in the year of that event (the Restoration) -which proved so favourable to the march of fiddling in this country, -there was published by John Jenkins (who had been a voluminous composer -of _fancies_ for viols) a set of twelve sonatas for two violins and a -bass, professedly in imitation of the Italian style, and the first of -the kind which had ever been produced by an Englishman. "It was at this -time" (observes Burney) "an instance of great condescension for a -musician of _character_ to write expressly for so ribald and vulgar an -instrument as the _violin_ was accounted by the lovers of lutes, -guitars, and all the _fretful_ tribe." This John Jenkins is designated -by Wood as a little man with a great soul. He died in 1678. - -JOHN BANISTER was the son of one of the _waits_ of the parish of St. -Giles; yet, under this humble condition, he was enabled, by obtaining -the rude commencement of a musical education from his father, to work -his entrance into a successful career. He manifested, in a short time, -such ability on the violin, as to gain the marked encouragement of being -sent into France by our vivacious Charles II, for improvement, and of -being appointed, on his return, leader of the royal band. From this -service he was dismissed, for an offence of the tongue, such as the -French partialities of the English King could not brook. He had ventured -to tell Charles that the English performers on the violin were superior -to those of France. Pity that a potentate so expert at a _jest_ could -not (or would not) find one wherewith to excuse the frankness of his -man-in-office! Banister was one of the first who established lucrative -concerts in London. In the announcement of one of these (in 1677), it is -stated that the musical performance will begin "with the parley of -instruments, composed by Mr. Banister, and performed by eminent -masters." Banister died in 1679, and was interred in the cloister of -Westminster Abbey. A contemporary, of some celebrity for his musical -zeal, the Hon. Mr. North, has made a flattering allusion to this -individual:--"It would be endless to mention all the elegant graces, -vocal and instrumental, which are taught by the Italian Masters, and -perhaps outdone by the English Banister." - -JOHN BANISTER, Jun. son of the preceding artist, and trained, by his -father to his own profession, obtained a post as one of King William's -band, and also played the first violin at Drury Lane, when operas were -first performed there. In this latter post he continued for a number of -years, and was succeeded in it by Carbonelli. He was the composer of -several _grounds with divisions_, inserted in the publication called the -"Division Violin;" and a collection of music for the instrument, jointly -written by himself and the German, Godfrey Finger, was published by him, -and sold at his house in Brownlow-street, Drury Lane. This Banister died -about the year 1729. - -OBADIAH SHUTTLEWORTH, organist of St. Michael's, Cornhill, and -afterwards of the Temple Church, manifested such powers on the violin as -to be ranked among the first performers of his day. He was the son of a -person who lived in Spitalfields, and who had acquired a small fortune, -partly by teaching the harpsichord, and partly by copying Corelli's -music for sale, before it was _printed_ in England. Shuttleworth was the -leader at the Swan Concert in Cornhill, from the time of its institution -till his death, about the year 1735. He was likewise a respectable -composer, and produced twelve concertos and several sonatas, for -violins. Of his compositions, however, if any are now extant in print, -they are only two of the concertos, which were formed from the first and -eleventh solos of Corelli. - -HENRY ECCLES, an English Violinist of considerable eminence, dedicated -himself to foreign service, owing either to the want of due -encouragement in his native country, or to the disappointment of -expectations too loftily pitched. He went to Paris, and succeeded in -attaching himself to the band of the King of France. His father, -Solomon, had been also a professor of the instrument, and had some hand -in the second part of the "Division Violin," published in London, 1693. -Henry Eccles was the composer of twelve esteemed Violin Solos, published -at Paris in 1720. - -In treating of the progress of the violin in England, let us here again -refer to the great name of PURCELL. The colouring and effects of an -orchestra, as Dr. Burney has remarked, were but little known in -Purcell's time, yet he employed them more than his predecessors; and, in -his sonatas, he surpassed whatever our country had produced or imported -before. The chief part of his instrumental music for the theatre is -included in a publication which appeared in 1697, two years after his -death, under the title of "A Collection of Ayres composed for the -Theatre, &c." These airs were in four parts, for two violins, tenor and -bass, and were in continual requisition as overture and act-tunes, till -they were superseded by Handel's hautbois Concertos, as were those also -by his overtures, while Boyce's Sonatas and Arne's compositions served -as act-tunes[55]. Purcell lived, however, somewhat too early, or died -too young, for the attainment, even by _his_ genius, of any very high -success is instrumental composition. Bassani and Torelli, others -inferior to them, formed his models of imitation for violin-music--the -works of Corelli being hardly then known in this country; and indeed he -was so imperfectly acquainted with the extensive powers of the violin, -as to have given occasion to Dr. Burney to remark that he had scarcely -ever seen a becoming passage for that instrument in any of his -(Purcell's) works. His Sonatas, which contain many ingenious, and, at -the time when they were composed, _new_ traits of melody and modulation, -must yet be admitted to discover no great knowledge of the bow, or of -the peculiar genius of the instrument and, if they are compared with the -productions of his contemporary, Corelli, they will hardly escape being -characterized as barbarous. This, the substance of Burney's remarks on -this matter, though according somewhat fainter praise to Purcell than is -assigned to him by Mr. Hogarth, does not seem to differ much from the -latter, in the essential points. - -The arrival of Geminiani and Veracini, which took place in 1714, formed -the commencement of an important epoch in the progress of the violin in -England. The abilities of those eminent foreign masters established them -as models for the study of our own artists, and confirmed the -sovereignty of the instrument over all others, in our theatres and -concerts. The next English performer to be noticed is-- - -WILLIAM CORBETT, a member of the King's band, and a violinist of -celebrity, who was the leader of the first Opera orchestra in the -Haymarket, at the time when "Arsinoe" was performed there. In the year -1710, when the Italian Opera, properly so called, was established (with -"Rinaldo" for its initiatory piece), a set of instrumental performers -were expressly introduced, and Corbett, though in the service of the -King, was permitted to go abroad. Visiting Rome, where he resided many -years, he made a valuable collection of music and musical instruments. -Some persons, professing to be acquainted with his circumstances, and -fidgetting themselves to account for his being able to lay out such sums -as he was observed to do, in the purchase of books and instruments, -asserted pretty roundly that he had an allowance from Government, -besides his salary, with the commission to watch the motions of the -Pretender! This anxiety to construe fiddling into politics, and to find -the heart of a state-mystery in the head of a violinist, is of a piece -with what has been already related as to Rode and Viotti.--Returning from -Italy about the year 1740, Corbett brought over with him a great -quantity of music which he had composed abroad. Full of ambition to -print, and desire to profit, he issued proposals for publishing by -subscription a work entitled "Concertos, or universal _Bizarreries_, -composed on all the new _gustos_, during many years' residence in -Italy." This strange medley he dragged into publication; but buyers were -few and shy. It was in three books, containing thirty-five Concertos of -seven parts, in which he professed to have imitated the style of the -various kingdoms in Europe, and of several cities and provinces in -Italy. In his earlier days, before he left England, he published, in a -soberer vein, two or three sets of _Sonatas for Violins and -Flutes_,--twelve _Concertos for all Instruments_, and several sets of -what were called _Tunes for the Plays_. Corbett died, at an advanced -age, in the year 1748, bequeathing by his will the best of his -instruments to Gresham College, with a salary of ten pounds a-year to a -female servant, who was to act in the demonstrative character. Her -expositions of the merits of this collection, are not to be confounded -with the "Gresham Lectures." - -MICHAEL CHRISTIAN FESTING, performer and composer, but coming short of -the summit in either capacity, was, I believe, of German birth, but -nurtured to his art in England, under the direction of Geminiani. He -filled the place of first violin at a musical meeting called the -_Philharmonic Society_, and chiefly composed of noblemen and gentlemen -performers, who met on Wednesday nights, during the winter season, at -the Crown and Anchor Tavern, in the Strand. On the building of the -Rotunda in Ranelagh Gardens, he was appointed sole conductor of the -musical performances there. By his zeal and indefatigable exertion, he -also contributed very essentially to the establishment of the _fund_ -instituted for the support of decayed musicians and their families; and -for several years discharged, without any remuneration, the office of -secretary to that excellent institution. Its rise occurred in the year -1738, from the following circumstance. Festing, happening to be seated -one day at the window of the Orange Coffee-House, at the corner of the -Haymarket, observed, in the act of driving an ass, and selling -brick-dust, a boy whose intelligent countenance, contrasting with the -humility of his rags, strongly excited his interest. On enquiry, the lad -was found to be the son of a _musician_, who had fallen under the blight -of adversity. Struck with sorrow and mortification that the object -before him should be the child of a brother-professor, Festing -determined to attempt some plan for his support. In this worthy purpose -he was assisted by Dr. Maurice Greene--and from this germ of benevolence, -sprang eventually the enlarged and estimable charity which has since -flourished from season to season. - -Inferior, as a performer on the violin, to several others of his time, -Festing had nevertheless sufficient talent, in association with -gentlemanly manners and conduct, to obtain considerable influence in the -musical profession, and to derive an ample and constant support from the -patrons of the art among the nobility. Though not eminent as a composer, -he has shewn some merit in his _solos_, and a very fair understanding of -the nature and resources of the instrument. These solos are but little -known, having been originally sold only by private subscription. Festing -died in 1752. He was succeeded at Ranelagh, and at some of the Concerts, -by Abraham Brown, a performer who had a clear, sprightly, and loud tone, -but had no sense of expression. - -THOMAS PINTO, who attained the honor of dividing with Giardini the -leadership of the band at the King's Theatre, was born in England, of -Italian parents. His early genius for the Violin was so well directed as -to render his playing, as a boy, a theme of astonishment; and, long -before he was of age, he was employed as the leader of large bands at -Concerts. At this time, however, he fell into a train of idle habits, -and began to affect the fine gentleman rather than the musical -student--keeping a horse, and sporting a special pair of boots, as his -custom of a morning, while a switch in his hand displaced the forgotten -fiddle-stick. From this devious course he was reclaimed by the accident -of the arrival of Giardini, whose superiority to all the performers he -had ever heard, inclined him to think it necessary that he should -himself recur to practice; and this he did, for some time, with great -diligence. A very powerful hand, and a wonderfully quick eye, were the -masterly possessions of Pinto, and enabled him to perform the most -difficult music at sight. He played thus, indeed, with more advantage -than after studying his subject; for then, in his carelessness, he would -trust to his memory, and frequently commit mistakes--missing the -expression of passages, which, if he had thought them worth looking at, -he would have executed with certainty. After leading at the Italian -Opera whenever Giardini's more extensive avocations caused him to lay -down the truncheon, Pinto was engaged as First Violin at Drury-Lane -Theatre, where he led for, many years. On the death of his first wife, -Sybilla, a German singer, he married another singer, Miss Brent (the -celebrated pupil of Dr. Arne), and settled in Ireland, where he died in -the year 1773. - -MATTHEW DUBOURG, recorded to have been one of the most eminent of the -race of English Violinists, was born in the year 1703, and gave very -early evidence of his musical propensities. It does not appear from -whom he derived his first instructions on the instrument; but, when -quite a child, he played his first solo (a sonata of Corelli's) at one -of the concerts of the eccentric Britton, the musical small-coal man. To -make his infantine person sufficiently visible on that occasion, he was -made to borrow elevation from a joint-stool; and so much was the "tender -juvenal" alarmed at the sight of the splendid audience assembled for -music and coffee in Britton's dingy apartment, that at first he was near -falling to the ground, from dismay. When about eleven years of age, he -was placed under the tuition of Geminiani, who was then recently arrived -in this country; and, thus tutored, he was enabled fully to confirm the -promise which his first attempts had exhibited. At the age of twelve, he -was again before the public--having a benefit concert at what was called -the Great Room in James Street. Before he had completed his seventeenth -year, he had acquired sufficient power and steadiness to lead at several -of the public concerts; the fulness of his tone, and the spirit of his -execution, being generally noticed. A few years more sufficed to -establish thoroughly his reputation; and, in 1728, he was honoured with -the appointment of Master and Composer of the State-Music in Ireland. -This situation had been previously offered to his late preceptor, -Geminiani, and by him declined on account of its not being tenable, in -those jealously restrictive days, by a member of the Romish Communion. -As the duties of this employment did not require Dubourg's constant -residence in Ireland, he passed much of his time in England, where he -was chosen instructor in music to the Prince of Wales, the Duke of -Cumberland, and other amateurs, whose names might belong to a -"Dictionary of Etiquette." On the death of Festing, in 1732, he was -appointed Leader of the King's Band, which situation, together with his -Irish post, he was so far a musical _pluralist_ as to retain until his -death, which occurred in London in the year 1767. As a member of -society, according to the testimony about him which remains, few men of -his profession have rendered themselves more generally respected than -_he_ did. - -A considerable share of originality appears to have marked the style of -this artist, who, if he derived essential aid from the great man that -called him pupil, was any thing but his slavish imitator. "Dubourg's -performance on the violin," says Sir John Hawkins, "was very bold and -rapid--greatly different from that of Geminiani, which was tender and -pathetic;-and these qualities, it seems, he was able to communicate; for -Clegg, his disciple, possessed them in as great perfection as himself." -According to the same authority, the talent of Dubourg won for him many -admirers, and among them a Mrs. Martin, who had become, from a Dutch -widow, an English wife, and, being possessed of a large fortune, came to -reside in London, where, during the winter season, she had frequent -Concerts, resorted to by citizens of the first rank, and at times by -some of the nobility. A picture of Dubourg, painted when he was a boy, -was, it seems, a conspicuous object in Mrs. Martin's Concert-Room.[56] - -As a composer, Dubourg is, or rather was, known by the _odes_ he -officially set to music in Ireland, and by a great number of _solos_ and -_concertos_ for the violin, which he wrote for his own public -performances. Though alleged to have possessed much intrinsic merit, -none of these appear hitherto to have been printed; nor is it likely -that they will ever now meet with that honour, as the change of fashion -in music would hardly admit of their being rescued from "the dreary -_fuimus_ of all things human." For a long time, however, his works (in -their aforesaid manuscript state) continued in the possession of one of -his pupils; and perhaps they are not yet scattered, but may be at this -moment reposing in some dark old chest, undisturbed, save by the -nibblings of the worms. In the faint hope of yet bringing some of them -to the light, although with no view towards their multiplication, I have -had recourse (but without success) to the friendly aid of that oft-times -efficacious doubt-cleaver and knot-cracker, known by the name of "Notes -and Queries." As to the _odes_ above referred to, they were _ex-officio_ -celebrations of royal virtue, from the now-forgotten hand of Benjamin -Victor, the poet-laureate, who has achieved for himself _no_ realization -of the classic wish, "victorque virum volitare per ora." Of several of -these stately effusions, I have the words now before me. They might -serve to provoke the smiles of another and a very different laureate, -the living Tennyson; but, as a stimulus to _music_, I can say nothing -for them--and can only _hope_ that my progenitor's attempts, in -association with them, may have been worthy of better company. - -While in Ireland, Dubourg was honoured with the intimacy of Pope's -_Giant_, the Briarean Handel; and an anecdote, in which they are both -concerned, serves to shew, amusingly enough, that tendency to -_expatiate_ discursively on their own peculiar instrument, by which most -performers of eminence are distinguished. Handel, in a spirit of -charity that harmonized fortunately with his interest, but is not to be -suspected of being on that account the less sincere, commenced his -career in Ireland by presiding at the performance of the _Messiah_, for -the benefit of the Dublin City-Prison. On a subsequent evening, Dubourg, -as leader of the band, having a _close_ to make _ad libitum_, wandered -about so long, in a fit of abstract modulation, as to seem a little -uncertain about that indispensable postulate, the original key. At -length, however, he accomplished a safe arrival at the _shake_ which was -to terminate this long close, when Handel, to the great delight of the -audience, cried out, loud enough to be heard in the remotest parts of -the theatre--"Welcome home, welcome home, Mr. Dubourg!" One of the -evidences of Handel's friendship for him, is to be found among his -testamentary arrangements, which included a bequest of L100 in his -favour. - -During his location in Ireland, Dubourg was also visited (in 1761) by -his master Geminiani, towards whom he always evinced the utmost regard, -and who died in his house, at the great age of 96. - -Garrett, Earl of Mornington, noted for his fine musical taste, no less -than for his lineal antecedence to the Duke of Wellington, took the -interest of a patron in this modest man of art, of whose ability he -shewed a precocious discernment, in his very infancy--as the following -little tale will explain. - -The father of the Earl played well, as an amateur, on the violin, so as -to give frequent delight to his child, whilst in the nurse's arms, and -long before he could speak. Dubourg, happening on some occasion to be at -the family seat, was not permitted by the child to take the violin from -his father nor was the opposition overcome till his little hands were -held. After having heard Dubourg, however, the case was altered, and -there was then much _more_ difficulty in persuading him to let Dubourg -give the instrument back to his father; nor would the infant ever -afterwards permit the father to play, whilst Dubourg was in the house. - -It appears that the name of this artist is the first on record in -connection with the performance of a _violin concerto_ on the stage of -an English theatre. At the oratorios given by Handel at Covent Garden in -1741 and 42, Dubourg occupied the ears and eyes of the public, in that -way, for many successive nights. Several other performers took the hint, -and started upon the same footing soon after[57]. This sort of -exhibition, after some years, seems to have grown too common, to satisfy -the public appetency; wherefore a Signor Rossignol, in 1776, undertook -to perform after a mode which we should now style _a la Paganini_: -indeed he seemed to go beyond the modern "miracle of man," for he -advertised "a concerto on the violin, _without strings_." Whether the -joke turned on the plural number, in particular, or (as the lawyers say) -how otherwise, it is now impossible to ascertain. - -Dubourg--peace to his gentle memory!--was interred in the church-yard of -Paddington, where his calling in life, and his summons to death, were -denoted in the following gracefully reflective epitaph:-- - - "Though, sweet as Orpheus, thou couldst bring - Soft pleadings from the trembling string, - Uncharmed the King of Terror stands, - Nor owns the magic of thy hands." - -JOHN CLEGG, a name as closely linked to misery as to talent, was, as -already observed, a pupil of the last-named professor. He also -travelled with Lord Ferrers into Italy, and much advanced his taste -during his stay in that special home of the violin. - -Castrucci, leader of the Opera-band in London during the early part of -the last century, growing old, and losing much of his former vigour of -execution, Handel, then at the head of the management, was desirous of -placing Clegg in his station: but, knowing Castrucci to be in no exalted -circumstances, and not wishing to wound his feelings, by making the -intended change, without convincing him of his insufficiency, he adopted -the following method for effecting his object:--He composed a violin -concerto, in which the concertino (or second) part was purposely made as -difficult of execution as the first. This piece he gave to Clegg, to be -performed by him, accompanied by Castrucci; when the former executed his -part with grace and facility, while the latter laboured through _his_ -portion of the performance, in a lame and imperfect manner. Castrucci, -backward as he had been to admit the rival pretensions of Clegg, was -constrained to yield to him the palm of victory; and Handel obtained his -wish--but nevertheless retained Castrucci in the band, and was otherwise -his friend, in subsequent days. - -The beauty of Clegg's tone, and the graces of his execution, won for him -many admirers as a performer; but, alas! he purchased at far too dear a -sacrifice the fame for which he strove. About the year 1742, he had so -deranged his faculties by intense study and practice, that it became -necessary to confine him in Bedlam. There, during lucid intervals, he -was allowed the use of his instrument; and it was long an _amusement_, -as fashionable as it was inhuman, to visit him, among other lunatics, in -the hope of encountering him at some moment of security from his -"battle of the brain," in order to be entertained, either by his fiddle, -or his folly! Barbarity like this has now happily ceased to disgrace the -movements of fashion, and only leaves a feeling of _wonder_, to qualify -the indignation which its remembrance excites. - -THOMAS COLLET, of eccentric memory, enjoyed the reputation of being one -of our principal native performers about the year 1745, when he led the -orchestra of Vauxhall Gardens; an appointment then more highly -considered than in these days. Possessing very little, however, either -of taste or of musical knowledge, he was always an inelegant player, and -owed his success to his powers of execution alone; yet _these_ must have -been exerted within a very confined compass, for Parke, in his "Musical -Memoirs," asserts Collet to have had such an aversion to _playing high_, -that he dismissed one of his violin-performers for flourishing on the -_half-shift_! Parke has added an anecdote about him, which must be -confessed to savour not a little of the marvellous. "Although this -gentleman, who was a great pigeon-fancier (continues Parke), did not go -aloft on the _fiddle_, he went every day up to the top of his _house_, -to see his pigeons fly; and on one occasion he was so lost in admiration -of them, that, while clapping his hands and walking backwards, he walked -over the leads of the house, and in the fall must have been dashed to -pieces, had not his clothes been caught by a lamp-iron, to which he -remained suspended (more frightened than hurt) until taken down by the -passers-by." - -FRANCIS HACKWOOD, whose convivial and entertaining qualities assisted -his professional talent, in procuring for him the notice and support of -the most influential among the patrons of music, was born in 1734. He -attained some distinction among violin-performers; but the play of his -wit and humour seems to have outlasted that of his instrument, in the -impression produced--and no wonder, considering how much farther _wit_ -can be transmitted, than _sound_. It is one of the anecdotes related of -this artist, that, at the conclusion of an Evening Concert given by Lord -Hampden to a large assemblage of rank and fashion, when the performers -had been taxed to exert themselves till a most unreasonable hour in the -morning, his Lordship addressed to him the question, "Hackwood, will you -stay and _sup_ with us?"--and that the answer was, "No, my Lord, I can't; -for I think (taking out his watch) my wife must be waiting _breakfast_ -for me."--In another anecdote, Hackwood figures as the _cause_ of a jest, -which is the next good thing to being its utterer. He was intimate with -the late Sir C----r W----e, a Lincolnshire Baronet of large fortune, who, -when not laid up by the gout, was a man of three-bottle capacity. At a -gentlemen's party given by this free votary of the grape, Hackwood, who -had some pressing business to transact early in the ensuing day, and had -heard the clock strike one, arose to depart. "Where are you going so -soon?" inquired Sir C----r. "Home, Sir," replied Hackwood; "it has struck -one."--"_One!_" exclaimed the Baronet; "pooh, pooh! Sit down, sit down! -What's _one_, among _so many_?"--Parke, the oboist, who gives this story, -spoils the close of it by a bottle of Hollands gin, which he makes the -two interlocutors to have drunk out between them, on the stairs, _pour -prendre conge_. The gin lends no genuine spirit to the anecdote, and had -better have been omitted by the narrator, who, besides, was probably in -error as to its existence at all in the case. The man who, flushed with -generous wine, has succeeded in saying a tolerably good thing, may -fairly be considered as too _happy_, to be in any need of such extra -stimulus as half a bottle of gin. Potation of _that_ character is the -resource of the _dull_. Parke has alluded generally, in no liberal -temper, to the eccentricities of this professor, whose disposition he -has mistaken, when attributing _meanness_ to it. This charge he founds -particularly on the fact of Hackwood's having once shouldered his own -violoncello (for he played that instrument also) on his way home from -Apsley-House, to save expense of coach or porter, though he was himself -attired "in an elegant suit of blue silk and silver." Those who knew him -better, could have furnished his detractor with a fairer reason for the -proceeding in question, by suggesting that it arose from that anxious -care for the safety of his instrument, which many a performer is well -known to entertain, and which, in the instance of the individual now -under notice, prevailed to such an extent as even to form one of his -eccentricities. So far, indeed, from being of an illiberal spirit, he -was a considerable loser by the too ready advance of money to the -necessitous. - -Hackwood lived till 1821, and was for some years _father_ (as the term -goes) of the Royal Society of Musicians. - -It may be incidentally mentioned that a great benefit to our English -performers on bow-stirred instruments in general, was produced by ABEL'S -residence here for about a quarter of a century. That fine musician and -performer, the pupil and friend of Sebastian Bach, though he handled an -instrument (the _viol-da-gamba_) of a species which was not in common -use, and was even about to be completely laid aside, became nevertheless -the model, in adagio-playing, of all our young professors on bowed -instruments, who, taught by his discretion, taste, and pathetic manner -of _expressing a few notes_, became more sparing of notes in a -_cantabile_, and less inclined to attempt such flourishes as have no -higher purpose than to display mechanical readiness. The wonders -achieved by Abel in the extraction of tone from an instrument which, -albeit possessed of some sweetness, was radically so crude and nasal, as -the viol-da-gamba (that remnant of the old "chest of viols"), are -something truly memorable among the triumphs of art. The Robert Lindley -of our own day and country, transcendant in the quality of tone which he -could elicit, stands a minor marvel, as compared in this sense with -Abel,--_his_ instrument being one that is naturally so much more grateful -and practicable. - -RICHARD CUDMORE, a native of Chichester, was born in 1787. His success -began with his juvenile days, for he performed a solo in public when -only nine years old; and at eleven, with still higher ambition, he -played a concerto at Chichester, composed by himself! Such a thing is of -course only marvellous with reference to the means which it is possible -for a child to possess: accordingly, on these occasions, there is always -"a liberal discount allowed"--the indulgent auditor forming his estimate -on the Horatian plan of "contentus parvo." At twelve years of age, young -Cudmore attained the provincial triumph of leading the band at the -Chichester Theatre--played a concerto for the comic actor, Suett, at his -benefit--and performed a _violino primo_ part amongst the "older -strengths" of the Italian Opera-band in London. In the mean time he was -introduced to Salomon, and had the advantage of some training from that -noted Master. After the subsequent enjoyment of some years of country -fame, Cudmore changed the scene of his operations to London, and, giving -scope to the versatility of his talent, became a pupil of Woelfl's on -the pianoforte, and, in the sequel, a public performer on that -instrument also.--A striking proof of his musical ability is shewn in an -anecdote recorded of him. On one occasion a performance took place at -Rowland Hill's Chapel, in Blackfriars Road, for which Salomon had -rehearsed, in conjunction with Dr. Crotch and Jacobs. Salomon, however, -being unexpectedly subpoenaed on a trial, requested Cudmore to become -his substitute at the chapel, when he performed the music at sight, -before from two to three thousand persons.--Another extraordinary -instance of his skill in sight-playing, or what the French call -_l'execution a livre ouvert_, was given in a private concert at Mr. C. -Nicholson's, where he executed at sight a new and difficult manuscript -concerto, which was accidentally brought thither. - -At Liverpool, where he occasionally conducted the public concerts, he -once performed a concerto on the violin by Rode; one on the piano by -Kalkbrenner; and a third, by Cervetto, on the violoncello! At a later -period, he became leader of the band at the establishment called the -Manchester Amateur Concert. - -G. F. PINTO, grandson of the performer of that name already noticed -(whose ardent temperament he seems to have inherited, with no -countervailing discretion), affords a remarkable instance of premature -musical genius. He studied the violin under Salomon and Viotti, and, at -fifteen years of age, had attained such accomplishment on that -instrument, that he could lead an orchestra, in the performance of the -symphonies of Haydn, with no very discernible inferiority to Salomon. He -became also a proficient on the pianoforte, and evinced good knowledge -of counterpoint, in several vocal publications of merit and originality, -which he sent forth when about the age of seventeen. The syren voice of -Pleasure, however, lured this promising genius to his destruction. -Possessed of a fine person, and a mischievous store of vanity, he became -a martyr to dissipation about the year 1808, before he had completed his -twenty-first year. - -THOMAS LINLEY (Junior), eldest son of the vocal composer of that name, -was born at Bath, in 1756, and displayed, at a very early age, -extraordinary powers on the violin--performing a concerto in public when -but eight years old. To qualify him more effectually for a musical -career, through a due acquaintance with theory, his father placed him -under the able tuition of Dr. Boyce; after which he was sent to -Florence, chiefly to prosecute the study of his favourite instrument, -under the eye of Nardini. Through the kind agency of the Italian -violinist, Linley acquired the advantageous friendship of Mozart, then a -youth of about his own age. On his return from his studies on the -continent, young Linley repaired to Bath, to lead his father's concerts -and oratorios, which he did with such precision and animation as to gain -high credit. His manner of performing the concertos of Handel and -Geminiani was also much admired; nor did he fail to exhibit marks of -opening excellence as a composer, in his own solos and concertos, -occasionally introduced, as well as in several vocal dramatic -productions, which evinced considerable imagination and spirit. The -brilliant professional hopes founded on these achievements were -destined, however, to be suddenly darkened: for the object of them met -with an untimely death in the year 1778, by the upsetting of a -pleasure-boat. - -THOMAS COOKE--who is there, having open ears, that does not know -something of the versatile and ingenious Tom Cooke?--was born in Dublin, -and was ready with his violin, at the age of seven, to play a concerto -in public. Expert with hand, tongue, and pen, he has performed _three -times three_ successive solos, on as many different instruments, in one -night, for his benefit--and, in moments of composure, has _written_ for -all of them. At a very early age, he became director and leader of the -music at the Theatre Royal, Dublin; from which condition he suddenly -transformed himself into that of a singer, and enjoyed a success of -several seasons at the English Opera-House, in London, as vocalist and -composer. His next course of exertion was at Drury Lane, as singer, and -afterwards as musical director, leader, and composer, in which latter -triple capacity he pursued a long and steady career. The violin was -eminently useful in his hands, if it cannot be said to have been, in the -highest degree, brilliant. - -"Tom Cooke," observed a chronicler, some time since, in one of the -magazines, "is certainly the most facetious of fiddlers, and is the only -person at present connected with theatres, who smacks of the olden days -of quips and cranks. Some of his conundrums are most amusing -absurdities." After assigning to him, by a somewhat venturesome -decision, the authorship of the receipt for getting a _vial-in_ at a -chemist's[58], the same writer gave two other specimens of Cooke's -powers of jest, as thus:-- - -Once, whilst rehearsing a song, Braham said to Cooke, who was leading, -"I drop my voice there, at night"--intimating that he wished the -accompaniment to be more _piano_. "_You_ drop your voice, do you?" said -Cooke; "I should like to be by, and pick it up." - -During the run of the Tragedy of Manfred, he remarked, "How Denvil keeps -_sober_ through the play, I can't think; for he is _calling for -spirits_, from the first scene to the last!" - -Some few years have now elapsed, since this well-remembered professor -was borne to that spot where--instead of the achievements of talent, or -the humours of character--a few meagre words, and a date or two, comprise -usually _all_ that is told to the stray pedestrian, or the passing wind! - -NICHOLAS MORI, who, in certain respects, is entitled to rank high among -English Violinists, was born in London, in 1796. The instrument that -became the medium of his success in maturer years, was the object of his -regard even in infancy--for, at three years of age, he was clutching a -contracted specimen of it in his little grasp, and receiving some -initiatory hints from Barthelemon. At eight, prepared and advertised as -a prodigy, he was publicly playing that Professor's difficult concerto, -styled "The Emperor." A few years later, his aspiring hand was -conspicuous at the Concerts given by Mr. Heaviside, the Surgeon. To add -the solid to the showy, the aid of Viotti (then almost a seceder from -the profession) was wisely invoked; and nearly six years of his valuable -guidance were obtained. Meanwhile, the active youth, still boyishly -habited in jacket and frill, was careering through an engagement in the -Opera orchestra. There, at the age of twenty, he became leader of the -Ballet, on the retirement of Venus, which post he held until, in 1834, -he succeeded to that of the silvery Spagnoletti. - -The _Philharmonic Concerts_, which commenced in 1813, had opened a new -field for the display of high talent in almost every department of the -musical art. The interest and advancement of Mori, in that quarter, were -zealously undertaken by Viotti; and he became one of the Directors of -the Society, for several seasons. In 1819, he married the widow of Mr. -Lavenu--an alliance which made him the successor to a lucrative business. - -Another native Establishment, instituted in his time, afforded further -opportunity for the indefatigable exertions of Mori. The _Royal Academy -of Music_ received him within its walls, as one of its principal -teachers of the violin. Among his pupils there, were Oury, Patey, -Richards, Musgrove, and his own younger son, Nicholas. The success of -his Concert-speculations, meanwhile, was attested by the overflowing -audiences they constantly drew together; but such a result was not -accomplished without great attendant labour and anxiety. His Classical -Chamber-Concerts, commenced in 1836, in sequence to those of Blagrove's -party, kept his name still prominent before the public until his death, -which took place on the 14th June, 1839. - -Few professional men have possessed equal influence in our musical -circles, with that which was attained by this distinguished artist; and -few have succeeded in acquiring so large a share of public patronage. -Yet, favourite of the public as he was, from first to last, it must be -regretfully added that he failed to secure the cordial sympathy of his -professional brethren, to whom his irritability of temper, and -_brusquerie_ of manner, rendered his official government no halcyon -reign. For all that was thus unpleasant, however, a cause was -discovered, that left his real character untouched. Physical -disturbance, existing and accumulating for some length of time, before -his sudden decease, had impaired the functions of the brain, and -unsettled the moral impulses. With such ground for acquittal of the -agent, offence was at once forgotten, and sympathy alone entertained. - -As to the too eager pursuit of pecuniary advantage, which has been -sometimes charged upon this artist, it may not be quite so easy to award -entire absolution. It is very possible, however, that what seemed the -love of money, was really the love of family, urging to provident -collection. Should this plea be deemed inconclusive, there would still -remain much excuse for the individual, in a certain bias, or tendency, -that is notoriously far too prevalent among us. I mean that inveterate -habit of referring all things to the _commercial principle_, which, -causing the musical art, in this country, to be regarded mainly as an -object of _gain_--is bitterly unfavourable to the growth of a kindly -feeling among its members (each of whom too often learns to consider his -neighbour as a rival to be repressed, rather than a friend to be -assisted)--and wears down the enthusiasm for high art, by a vexatiously -incessant attrition with common arithmetic. - - "Non bene conveniunt, nec in una sede morantur, - _Plutus et Euterpe_!" - -In Germany, on the contrary, where art is loved chiefly for itself, and -where moderate desires attend its exercise, the social feeling among -musical men--a thing delightful to witness--is as beneficial in its -influence on the character of the individual professor, as in its -effect on the general interests of the art. The same remark applies, in -a lesser degree, to the credit of the musical profession in France. It -is not too much to hope that the now obviously increasing diffusion of -musical taste and intelligence among ourselves, will bring, as its -ultimate consequences, a diminished care for emolument, and a closer -fraternal feeling among our artists. - -To advert more minutely to Mori's powers as a Violinist--since he was not -great in _all_ the requisites, it follows that he can scarcely be -regarded as an artist of the very highest order. That mechanical command -over the executive difficulties of the instrument, for which he was so -remarkable, and which enabled him, when yet a boy, to delight the lovers -of the surprising--was his chief merit--"the pith and marrow of his -attribute." The tuition he received from Viotti, that most vigorous of -Violinists, was of great importance in directing and maturing his great -manual capacity; but, though he derived from him, and from his own -assiduous study, a full, free tone, a dashing execution, and the most -accurate neatness,--his temperament, somewhat hard and ungenial, seems to -have been too little in accordance with Viotti's, to admit of his fully -acquiring _all_ the advantages which that great preceptor was fitted to -impart. He caught most felicitously the art of triumphing over difficult -passages--the perfection of mere fiddling--but he had not the soul - - "To snatch a grace _beyond_ the reach of _art_--" - -to awaken, through the magic of expression, those deeper sensibilities -in which music finds the truest source of its empire. Mori's playing, -with its powers and its deficiencies, was admirably suited to the -apprehension and desires of a fashionable audience. It was showy, but -not profound; striking, but not moving; full of artificial neatness, -with little of natural grace. His hand wrought to more purpose than his -mind. He was (before the malady that finally subdued him) a man of rigid -nerve, and had all the advantages that confidence could bestow,--and -these, especially in solo playing, are far from inconsiderable--but then, -for want of the sensitiveness pertaining to a more delicate -organization, he lost the finest part of what _might_ have been -accomplished. He has occupied a very marked place amongst English -instrumentalists; but, for the reasons here alleged, the impression he -produced seems not likely to prove of a very durable character, so as to -secure to him any considerable future importance in musical annals. As a -composer for his instrument, he possessed very slender pretensions. His -performance itself, admirable as it was in some points, sufficiently -shewed why he could not hope to distinguish himself in composition. The -few manifestations he made in that way have given no cause for -regretting his general habit of trusting to the works of others, for the -musical ideas which he had to convey[59]. - -Mr. LODER, of Bath, long prominent among provincials, and not unknown in -the metropolis, was justly esteemed for his knowledge of the orchestra, -and his utility as an able leader. - -Mr. HENRY GATTIE, welcomed in his youthful days as a charming -solo-player, in which capacity he ran for a time a pretty close race -with Mori, has since contented himself, for the most part, with the less -ambitious employment of orchestral playing; but his finished taste, and -true musical feeling, ensured him a very favourable attention, when, on -the memorable occasion of the experiment at Quartett performances (to be -presently referred to), he took the Second Violin part among the -confraternity at the Hanover Square Rooms. - -ANTONIO JAMES OURY was born in London, in the year 1800. His father, a -native of Nice, of noble descent, left home to follow the early -campaigns of the then General Buonaparte--was taken prisoner by the -English, and lodged near Southampton, at which place he married, in -1799, the daughter of a Mr. Hughes, not unknown in literary circles--and -then followed the joint profession of musician and dancing-master, -possessing, at the same time, great natural capacity for several -branches of the fine arts. - -The subject of our present sketch, at the age of three years, commenced -his infantine attentions to the violin, under the tuition of his own -father, and of the father of our talented composer, George Macfarren. In -1812, young Oury became the pupil of three eminent professors--Mori, -Spagnoletti, and Kiesewetter. In 1820, he heard Spohr for the first -time: as a result of the impression then received, his perseverance -became so great, that, for the space of seven months, he practised no -less than fourteen hours a-day! In the same year, he went to Paris, to -study under those magnates of the modern French School of the -Violin--Baillot, Kreutzer, and Lafont. From each of these masters (and -without the knowledge of the others) our young artist managed to take -two lessons a week, for several successive winters, at the same time -studying composition under Monsieur Fetis. He then made his _debut_ at -the London Philharmonic Society, at the Concert given for the widow and -family of his late master, Kiesewetter. He also became a member of the -"Ancient Concerts," Philharmonic, and Opera orchestras, and joint leader -with Francois Cramer, at the Birmingham, York, Leicester, and Derby -Musical Festivals--and also made several operatic tours in Ireland and -elsewhere. - -In 1826, Oury was engaged as Leader of the Ballet, Sub-Leader of the -Opera, and Solo-Violin, at the King's Theatre; and, as successor of Mori -and Lacy, he held this tripartite post for five years--displaying, -whensoever the occasion permitted, the graces of a light and free -execution. - -In 1831, Mr. Oury married the distinguished pianiste, Mad^{lle.} -Belleville, whose father had also been an officer of Napoleon's, and was -afterwards French Tutor to the Princesses of Bavaria. His first trip -with Madame Oury was to Liverpool, as Leader of De Begnis' Italian -Opera, where they gave, conjointly with Paganini, a grand Concert at the -Theatre Royal, in behalf of the local poor. In 1832, they left England -for Hamburgh, Berlin, St. Petersburgh, and Moscow, giving (in all) -twenty-three Concerts, during a residence of two years, in Russia, and -returning (after playing at the Imperial Court) to Berlin. They next -visited Leipzig, Dresden, Prague, and Vienna--making a brilliant sojourn -of two years in the Austrian capital. Mr. Oury visited Pesth and Buda, -alone and gave seven Concerts, with great success and profit; played in -presence of the Imperial Court, at the Bourge Theatre, Vienna, and -returned to Munich. Again (accompanied by Madame Oury) he gave Concerts -in all the principal towns of the Rhine, till they arrived in Holland, -where Madame Oury was attacked by a serious illness, which interrupted a -number of professional engagements. After a successful tour, however, to -all the chief towns of Holland, they returned to Dusseldorf, on the -occasion of the first performance of Mendelssohn's Oratorio of "Paulus." -At Aix-la-Chapelle, they gave Concerts in conjunction with their friends -Malibran and De Beriot--visited Belgium--played at the Court--and then -resided two years in Paris, with Paganini, at the _Neotherme_. During -this period, Mr. Oury entered the orchestra of "Les Italiens" (then -performing at the _Odeon_), and made himself conversant with the operas -of Donizetti, under the author's own conducting. Subsequently, he -returned to England, after an absence of nine years. - -In 1846 and 47, again visiting Italy, Mr. Oury and his accomplished -partner gave Concerts at Rome, Naples, Venice and Milan, and returned to -England in 1848. Mr. Oury next accepted the post of Leader of the -Seconds, on the notable occasion of Mr. Balfe's forming a new orchestra -(to meet the opposition of the Royal Italian Opera), at Covent Garden. - -Before taking leave of the subject of this notice, a few particulars -remain to be added. Mr. Oury, with his accomplished wife, has composed a -number of brilliant Drawing-Room Duetts Concertante, for piano and -violin, which have procured their _entree_ to most of the musical -saloons and Courts of Europe. Mr. Oury has had no scanty share of -honours bestowed on him--such as the being appointed one of the -Professors at the Royal Academy of Music in London, at the time of its -foundation--a member of several Continental Philharmonic Societies--and -an honorary member of the Academy and Congregation of St. Cecilia, at -Rome. By these distinctions, it is sufficiently denoted that he has -secured to himself a reputation through a large part of musical Europe. - -It has been said, that a sense of injustice during the encounter with -professional jealousies in the home field of exertion, first drove this -clever artist to take a wider range, and visit continental cities. If -so, he has no reason to regret the event, having abundantly "seen the -world," and gathered of its laurels to any reasonable heart's content. - -Among the professional pupils whom Mr. Oury has had the honour of aiding -in their early practice, may be mentioned the well-known composers, -George Macfarren and Sterndale Bennett, and (of amateurs) that -distinguished dilettante and classical violinist, the present Earl -Falmouth. - -JOSEPH HAYDON BOURNE DANDO, well-entitled to honourable mention among -English violin-players, was born at Somers Town, in the year 1806. At an -early age he had developed a taste for music, and, under the guidance of -his uncle, Signor Brandi, attained to considerable facility of execution -on his instrument. - -In 1819, he was placed under the tuition of Mori with whom he continued -his studies (off and on) for about seven years, although no great -cordiality appears to have been established between them. They were, in -fact, of essentially different temperaments. After some years of -practical training, during which he had mastered most of the -difficulties written as _concertos_ and _studies_ for the -violin--finding the influence, as well as the disposition, of his master, -opposed to the display of his acquirements in what may be termed musical -gymnastics, our young artist wisely (and, for the advancement of musical -taste in this country, fortunately) turned his genius and talents to -useful account, in studying and illustrating the higher order of -beauties contained in those charming works which had been written, by -some of the great masters in composition, for "chamber-performance;" -more especially the _quartetts_ of Haydn, Mozart, Beethoven, Spohr, &c. - -Although opportunities for exhibiting his proficiency, as a solo-player, -were restricted, they could not be entirely suppressed. Enough has -transpired to warrant us in the conclusion, that, with a fair field, Mr. -Dando might, in that branch of his art, at the present day, have stood -second to none. As a _quartett-player_, he has achieved a reputation -which places him in the front rank of contemporary violinists. - -Any notice of Mr. Dando's professional career, which should pretend to -throw a light on his progress and present position as an artist, must -necessarily include much that properly belongs to a history of the rise -and progress of Quartett-performances in England. It is to him, -probably, that we are indebted, not only for the first public -introduction of the Quartett in London, but also, in a great degree, for -our present familiar acquaintance with those elegant works, which have -of late years so largely contributed to the increase of our musical -enjoyment. A license may therefore be reasonably solicited for diverging -into matter which, under other circumstances, might appear foreign to -the purpose of a mere biographical sketch. It is presumed, however, that -no apology will be required for crossing the strict boundary line, by -stating some of the following particulars; seeing that they, in reality, -are quite _apropos_ of the general design of this work, and come with -propriety under the present section of it. - -From his youth upwards, Mr. Dando's society appears to have been -courted, and his talents appreciated, by most of the amateurs of music -in that part of our metropolis designated as the City, where more -intimately he was known, owing to early introduction; and where his -agreeable manners, added to his professional merits, contributed to the -formation of some lasting friendships, as well as valuable connexions. -Of these gentlemen, some were well skilled in the performance of the -favourite works of the great quartett writers; and a larger number were -qualified to form an accurate estimate of their merits. The charm of Mr. -Dando's style, as a quartett-player, had in due time (about the year -1834-5) rendered the fact apparent to his friends, that the choice works -of those masters, which were the delight of the initiated, still -remained "a sealed book," not only to the general public, but even to -the ordinary _habitue_ of the concert-room; and it was thought that they -only required a fair introduction, to secure to them that favour in -public, which they so largely attracted in those private musical circles -where they were familiarly known. Accordingly, in the year 1835, a -subscription was opened amongst the amateurs--Mr. Dando's more immediate -admirers--for the purpose of submitting some of these works to more open -notice. An occasion of distress was selected as an excuse for an -evening's public performance of quartetts, trios, &c. the profits of -which were to be presented to a worthy individual who had fallen into -pecuniary difficulties, and was about to quit our shores, to better his -fortunes in America. A party was formed, with Mr. Dando at its head, and -the First (as far as we have been able to ascertain) Public Quartett -Concert in this country, was given on the 23rd September, 1835, at the -Horn Tavern, Doctors'-Commons. This presentation was the commencement of -an epoch in the musical history of this country. On the occasion, the -amateurs mastered in force, and brought their friends, to support the -two-fold object they had espoused. The evening passed away in raptures. -A second public trial was immediately undertaken, and announced for the -12th October, in the same year; and then a third (on the 26th October), -each, in succession, proving more widely attractive than its -predecessors. So unequivocal was the success of these experiments on -public taste, and such was the _furore_ excited in the musical world by -them, that from these performances may be dated the _establishment_ of -Quartett Concerts in this country. - -As might be expected, the first blow so effectively struck, led, by its -own impulse, to a regular series, which followed at rapid intervals -(first at the same rooms, and afterwards at the London Tavern), between -the 13th January, 1836, and the 31st January, 1838, two consecutive -seasons. - -In the mean time, an early spark had fired the train, and the idea -extended to the west end of the town, where a company of talented -professors combined to set on foot a sequence of similar attractions; -and four had been quickly announced under the title of "Concerti da -Camera," at the Hanover Square Rooms, for the 7th and 21st of November, -5th and 19th of December, 1835. At the fourth of these meetings, Mr. -Dando was engaged to play the principal _viola_ part in Spohr's Third -Double Quartett. The effect of his performance of the part was notable; -inasmuch as it led to an immediate invitation from Messrs. H. G. -Blagrove and Lucas (the principal Violin and Violoncello on that -occasion) to join _them_ in the formation of a select party, for the -more perfect study and presentation of Quartetts and other chamber -instrumental compositions, which, by this time, were beginning to -attract universal attention. Mr. Dando acceded to the proposition, and -enrolled himself as the tenor-player of a party which was completed by -the subsequent adhesion of Mr. Henry Gattie, as second violinist. The -party, thus constituted, brought before the public the first of their -"Quartett Concerts" at the Hanover Square Rooms, on the evening of the -17th March, 1836, with a completeness of effect in the _ensemble_, that -threw all prior performances of their kind into the shade. - -Under the impression produced by an audience of these interesting -confederates, was penned the piece of panegyric that here-under asks the -indulgent attention of such of my readers as are tolerant of verse:-- - - Happy the man of taste that's led - Hither, to have his cravings fed! - He who this dainty circle nears, - Takes in _ambrosia_ at the ears, - Through a new sense, revives a fable, - And finds a feast that needs no table! - When thus _as one_ are met these _four_, - What treat can Music yield us more? - Ye birds, that haunt by night or day grove, - Yield, yield in _dulcetry_ to _Blagrove_! - Say, is he not, while warbling now, - Well worthy of a _topmost bough_? - And do not these, that add their claim, - Put all your "sylvan choirs" to shame? - What think ye, feathered ones! of notes - So ravishing--and _not_ from _throats_? - How sweet, and exquisitely _natty_, - Those trills ancillary, from _Gattie_! - And list! t' enhance our joy what _can_ do - The "even tenor" of smooth _Dando_. - Then, in the stream of sound to hook us - "Deeper, and deeper still," comes _Lucas_. - Felicity, with clearest voice, - Calls here on Echo to rejoice! - Desire may here, with resting feet, - Sit still--nor care to shift her seat. - --Who-e'er thou art, that long'st to _feel_, - Psha! Twitch no more "the electric eel!" - Nor dream thy languor to dispel - By bathos of "the diving bell!" - If in thy brain one corner yet - To dozing dulness be unlet-- - If 'scape thou would'st from stupor's net, - And, like a man just free from debt, - Thy load of lumpishness forget-- - Come! for one hour be Pleasure's pet! - Oh, come, and hear a choice _Quartett_ - _Diffused_[60] by this consummate set! - -About the time that gave birth to the intentions of this party, -Mori--then at the zenith of his powers--finding that his juniors in the -profession were taking steps in advance of him[61], and determining upon -the maintenance of his position, organized a party in which Messrs. -Watts, Moralt, and Lindley were his coadjutors. Without much prelude, -they commenced operations on the growingly attractive Quartett, by -giving three "Classical Chamber Concerts" at Willis's Rooms, on the 6th -and 20th January, and 3rd February, 1836. - -The flood-tide of public favor had now set in. We find no less than four -distinct parties of leading professors embarked in serial -quartett-performances; with others, occasionally launching on the -swelling current, just for a little cruize. "Chamber Concerts" became -the fashion; "Musical Reunions," "Soirees Musicales," and "Classical -Instrumental Concerts," multiplied almost _ad infinitum_. "The Beethoven -Society" was formed, and a host of others followed suit--their names -"legion"--_all_ under favour of the absorbing interest in the Quartett. -In short, since the season of 1836, these deserving works have become -recognized and claimed as Public Property--witness the advertising -columns of the diurnal and periodical press, which teem with -announcements, in every form of allurement, inviting support. - -Of all these associated parties, none has attained such distinguished -popularity, and secured such unqualified approbation, as that of Messrs. -Blagrove, Gattie, Dando, and Lucas. At an early stage of their career -(the 23rd May, 1836), they were invited to perform at the -"Philharmonic," where they produced a sensation which at once -established them on the pinnacle of public favour. From that date up to -the 29th April, 1842 (the close of their seventh season), they continued -their combined operations, with unabated _eclat_, at the Hanover Square -Rooms. About that period, Mr. Blagrove, being desirous of investing his -interest in a private undertaking of his own, withdrew from the -association. The retirement of Mr. Blagrove did not, however, affect the -stability of the "Quartett Concerts." The veteran Loder, of Bath, -recruited the party, undertaking to perform the _viola_ part; Mr. Dando -resumed the principal violin; Messrs. Gattie and Lucas retained their -original appointments. Thus remodelled, the party removed its -attractions to Crosby Hall, in the City, where, with Mr. Dando at its -head, "The Quartett Concerts" continue to be carried on up to the -present day. - -It has been less the purpose, in this retrospect, to eulogize -individuals, or to make comparisons between parties, than to set forth -premises wherefrom we may reasonably conclude that the _modus operandi_ -adopted by that party to which we have more particularly pointed -attention, must have been the best, if not the only, road to true -excellence. The Quartett demands, not only individual efficiency in its -execution, but collective agreement in the expression of its parts; the -nicest discrimination in delineating its delicacies; and an _ensemble_ -animated, as it were, by _one mind_. To produce this unity of parts in -one completeness, it is not sufficient that parties should merely play -together;--they absolutely must meet for frequent _practice_ together, -and (according to the light that is in them) fixing upon the best -interpretation of the author's meaning, proceed to its exemplification -with simultaneous feeling and decision. - -We have it from undoubted authority--and record the fact for the benefit -of all aspirants to public applause--that the Quartett-party, which has -run the most brilliant and extended course, has devoted to the object -which called it into existence the largest amount of industry and -energy, in private preparation for its public exhibitions--these -qualities being by them considered necessary additions to a -well-digested experience, which, as the ground to begin upon, they -previously possessed. Instead of rushing into public the moment they had -formed their compact with each other, and trusting to the novelty of -their introduction, or relying on a name already inscribed in capitals, -indicative of honours achieved in another branch of the art, more -dependent on manual dexterity than on mental cultivation--we find these -(then young) professors patiently submitting themselves to the drudgery -of preparation. There is the best authority for stating that they did -not think six or eight rehearsals, previous to the production of a work -in public, too much trouble, or time and application thrown away, or -even unnecessarily bestowed. The success of their undertakings has been -commensurate with the pains which they underwent to secure it. This -accounts for their having achieved the vantage-ground in the general -competition for distinction, while others, of more matured reputation as -individual performers, failed to attain the preference which they were -equally in quest of, by _apparently_ the same path. How otherwise, it -might be asked, could ... But lest some should consider the digression -to be growing tedious, let us at once resume the object with which we -started, and complete our biographical sketch--leaving the facts and -hints that have been incidentally recorded, to the further (private) -meditation of such as are more particularly interested in them. - -Mr. Dando first appeared as a member of the Philharmonic orchestra, in -1831: since which time he has held an uninterrupted engagement in its -front rank of violins. As an orchestral leader, himself, he has had a -long and honourable career, as well in the provinces as in London and -its suburban offshoots. In the City, he has almost exclusively occupied -that post. At the great concerts given by the amateurs at the London -Tavern; at those of the "Classical" and "Choral Harmonists" Societies; -also at others brought out on a less extensive scale, at the "Horn -Tavern," Doctors' Commons, the "Albion," and "London" Tavern, his -qualifications have been fully admitted, and the highest credit awarded. -As to his peculiar manner, or style, it may doubtless be averred that, -as a pupil, he must have profited largely by the example of his master, -Mori; although, finally, his talents have become conspicuous in a very -distinct school. Fire and vigour, more than feeling, were the -characteristics of style in the one, while the other has become -remarkable for the elegance of his expression, and the neatness of his -execution--a neatness which is by no means unattended by the amount of -vigour occasionally requisite to express the passion of an inspired -author. In his hands, the violin has oftentimes become almost vocal, and -his performance on that most expressive of instruments has been very -characteristically described by an accomplished public critic, as -"soul-satisfying in the extreme." - -HENRY C. COOPER, a fine solo-player, indoctrinated by Spagnoletti, holds -a distinguished place among our Violinists. In the absence of materials -for treating of him _in extenso_, his laurels, green and vigorous as -they are, can at present only be recognized--not displayed--in these -ministering pages. - -EDWARD WILLIAM THOMAS, of Welsh parentage, was born in 1814. His -commencement with the Violin was under Mr. W. Thomas, formerly Leader of -Covent Garden Theatre. It was said that he was too old to "do any good" -(being then twelve years of age), but the prediction--like many other -such familiar croakings--came happily to nothing. - -Leaving Mr. W. Thomas, his young name-sake was placed at the Royal -Academy of Music, under Oury, Cramer, Mori, and Spagnoletti; the result -of which multiplication of masters was, that he no sooner began to feel -the good effects of the endeavours of _one_, than he lost them under the -different system pursued by _another_. To remedy this, he became a -resident pupil in the house of the kind-hearted Spagnoletti, to whom, as -well as to his first master (Thomas), he always evinced a feeling of -grateful attachment. - -His first appearance, as a Solo-player, was at "Russian Field's" -Concert, at Her Majesty's Theatre, in 1832, when he played Spohr's -Dramatic Concerto: this was also the year of his first engagement (by -Mr. Monck Mason) at Her Majesty's Theatre, where he remained until the -establishment of the Royal Italian Opera, which he left in 1850, to -become the Leader of the Liverpool Philharmonic. - -BREAM THOM, a native of Portsmouth, dating his days from 1817, made his -first approaches to the Violin at eight years of age, having from -infancy evinced a predilection for music, although no other member of -his family was that way inclined. He studied hard, and, at seventeen, -was appointed Leader of the Orchestra at the Portsmouth Theatre. He -appeared, in 1838, at the Hanover Square Concert-Room, in London, and -was favourably received. Shortly afterwards (by the advice of Mr. Oury), -he went to Paris, and placed himself under Monsieur Robretch, a -professor to whom belongs the credit of having had some share in the -tuition of De Beriot, and of Artot. Returning to England, he settled -eventually at Brighton, where he has for some time officiated as Leader -at the Theatre, Amateur Concerts, &c. - -CHARLES FREDERICK HALL, five years a member of Her Majesty's Theatre, -and the present Musical Director of the Royal Marionette Theatre, -London, was born at Norwich, in 1820. - -When a mere child, his melodious voice attracted the attention of the -Norwich denizens; but his early predilection for the stage induced his -family to accept an engagement for him from Elliston, in 1829, for the -purpose of bringing him out in juvenile operas (at the Surrey Theatre, -London), in which Master Burke, Miss Coveney, Miss Vincent, and Master -Henry Russell, &c. shared with our youthful vocalist the favours of the -public. Eighteen months after this period, his friends recalled him to -his birth-place, and articled him to Mr. Noverre, a dancing-master in -high repute, by whose advice he immediately commenced the study of the -Violin--upon which instrument he made such rapid progress, that his -friends were urged to cancel their agreement with Noverre, and destine -the youth exclusively for the musical profession. - -Although his attainments in singing, as well as on the piano and violin, -seemed to point with sufficient clearness to his proper path, a passion -for the stage developed itself in 1833, when he appeared on the boards -of the Norwich Theatre, in the character of "Little Pickle," in the -farce of the _Spoiled Child_; by which personation he attracted such -notice, that the manager of the Theatre engaged him to appear in that -character at all the theatres belonging to the Norwich Circuit. - -The family of our youthful musician, being anxious to wean him from a -theatrical career, usually so trying to the principles of a young mind, -placed him with a German Violinist (Herr Mueller), of whose experience he -availed himself to such extent as to become, in 1835, (when only 15 -years of age) the Leader of the Norwich Theatre. - -While on a tour with the Norwich Company, our young Violinist made -acquaintance with Edmund Kean; and, but for the sudden demise of that -rare but very rambling genius, would, in all probability, have been so -fascinated by his society, as to have relinquished the steady pursuit of -music. Soon after this event, however (in 1837), we find him residing at -Norwich, as a Professor of the Violin, Piano, Guitar, and Singing, in -which accomplishments he had the honour of instructing several families -of distinction. He was also appointed Organist of one of the churches, -and became the most eminent solo violinist of his own county, and its -neighbourhood. The Rev. R. F. Elwin (for many years sole manager of the -Norwich Festivals, and a great admirer of musical talent), was -influential in placing the youthful Violinist at the head of the musical -department in his native city. - -Anxious to emulate the best musicians of the capital, Charles Hall, much -against the wish of his family, repaired to London, in 1840, and became -a student at the Royal Academy of Music, in which establishment he -availed himself of the valuable instruction of the best masters -belonging to the institution. - -The late Mr. T. Cooke, when Musical Director of Drury Lane Theatre, -induced Mr. Hall to accept an engagement there as Leader of the Ballets -and Pantomimes, in which position he continued for the space of five -years. - -In 1844, this enterprising artist wrote and delivered some entertaining -Musical Lectures at the Holborn Literary Institution, under the title of -"Poesy and Minstrelsy." - -Mr. Balfe, the Composer and Musical Director of Her Majesty's Theatre, -being much pleased with Mr. Hall's performance on the violin during the -Jenny Lind Concerts, took great notice of him, and engaged him for five -years at that large and fashionable establishment. In the first year of -this engagement, Mr. Hall offered the "Swedish Nightingale" the sum of -L1000 to sing at two Concerts in Norwich. That enchanting warbler -accepted the offer--the Concerts were given, upon the most liberal -scale--and our adventurous artist cleared nearly L800 by the speculation. -The Lord Bishop of Norwich appropriated his palace to the use of the -Queen of Song, and the whole city was a scene of excitement and -rejoicing, during the lady's sojourn. After recording Mr. Hall's -well-deserved profits on this occasion, it must be added, with regret, -that a large musical speculation, in 1848, deprived him of the chief -portion of what he had so acquired. - -With an undaunted spirit, our persevering artist wrote another musical -entertainment, entitled "The Romance of Village Life," which he gave, in -1850, at various London Literary Institutions, and which was warmly -applauded on each occasion. Mr. Hall is the author of an amusing -burlesque description of the well-known opera of _The Bohemian Girl_. He -is also the author and composer of several favourite ballads: and some -of the finest musicians of the day, among whom are Mr. Balfe and Mr. -Wallace, have wedded his verse to music. His last production, now in -course of publication, is entitled "Sacred Lays on the Ten -Commandments." - - * * * * * - -To attempt a notice in detail of _all_ the English Professors of the -Violin who are yet pursuing their career, and seeking occasions to make, -or to confirm, a reputation, is alike beyond my power, and beside my -purpose. A few general remarks that here occur, shall be subjoined. - -So little had instrumental chamber-music (until within the last sixteen -years) been cultivated among us, that the Solo-player and the orchestral -Leader were those to whom the public attention had been almost -exclusively confined. To fill these two offices to the extent of all -possible occasion, requires but a small number of individuals. Some -musicians, possessing talents which, directed by an assiduous singleness -of purpose, might qualify them to shine in either of these two -capacities, were unwilling to encounter the toil of a competition, in -which so very few of the candidates can meet with the recompense of -election. Others, gifted with fine musical feeling and taste, and having -sound notions of the art generally, but not fully possessed of the -strength of nerve which gives confidence, or the manual suppleness -essential for brilliant execution, were naturally still less willing to -court the rarely accorded honours of prominent employ. Of these two -classes, principally, were the men who filled the ranks of our best -orchestras. In the Opera Band were found the names of WATTS, ELLA -(well-known also for his taste and resources, as a caterer for the -delight of our higher musical circles), REEVE, and PIGOTT,--in the -Philharmonic, WAGSTAFF, DANDO, GRIESBACH, and MORALT--good violinists, -accomplished musicians, and forming an invaluable acquisition in an -orchestra. It was one of the consequences to be anticipated from the -_Chamber Concerts_ at length introduced (and to which Fashion soon began -to lend the stamp of her currency), that a clearer and higher -appreciation of such men as these should be formed. That expectation has -been partly realized; and, with its fuller accomplishment, we shall be -sure to have good orchestras in goodly number. - ---For its connection with the state and prospects of the Violin School -in England, the institution of the "Royal Academy of Music" calls for a -few words of notice in this place. The vocal art, through some -unexplained defects in the system pursued there--certainly not from the -want of fine voices in the country--has hitherto derived no very -conspicuous advantage from the establishment in question; but the -instruction communicated to instrumentalists must have been of a better -kind, for results of some importance have been manifested. Of several of -the students who have cultivated the powers of the violin with marked -success, the most distinguishable, perhaps, in point of genius, is -MAWKES, a performer of very great promise, who had the benefit of aid -from the master-hand of Spohr. Suddenly, however, and much to the regret -of those who were watching with interest the development of his fine -capacity, he seceded from playing in public, and is now living in -seclusion. To this strange sequestration of a valuable gift, he is said -to have been induced by scruples of a religious nature. _Why_ any branch -whatsoever of the refined arts may not be followed, as a profession, in -perfect compatibility with the higher and ulterior purposes of life, it -is difficult to discover. A man does not, commonly, take his principles -_from_ his worldly calling: he brings them _to_ it, and finds in it a -field for their due employment and exercise. Objections, however, that -refer us to the conscience, as their seat and source, must ever be -respected, even when (as in this case) their essential force is not -apparent. - -BLAGROVE is another name that claims especial mention, among the -trophies of the Academy. This professor, also, has fortunately enjoyed -the highest means of accomplishment in his art, having superadded to his -noviciate at the Academy, a later prosecution of his studies under the -direction of Spohr, of the purity and refinement of whose style he -exhibited delightful traces in the quartett-performances at the head of -which he figured, when the merits of that delightful class of -compositions were as yet but imperfectly known. Mr. Blagrove enjoys the -unquestioned reputation of being one of the best of our living -artists.--SEYMOUR is another of the Academy pupils whose talent has -become favourably known to the public. As leader of the "younger -strengths" forming the Academy orchestra, he has shewn much steadiness -and ability. - -When it is remembered how large an amount of instrumental talent in -France has owed its development to the fostering care and excellent -system of the _Conservatoire_, a very happy augury may be drawn from the -results in this kind that have as yet followed the institution of the -English Royal Academy of Music. Supposing this establishment to be -rightly and effectively conducted, one of its beneficial consequences as -regards the Violin-Students (and that by no means the smallest) will be -found in the harmonious unity of feeling and execution that will pervade -our orchestras, supplied as they will then mainly be, from the same -source. As a general fact, it has been remarked with regret by Spohr, -the great German master, that the Violinists of an orchestra never -originate from the same School;--the exceptions to this being in the -Conservatories of Paris, Prague, and Naples, where the orchestras have -been enabled to produce surprising effects, through this unity among the -Violinists. - - * * * * * - -By way of _tail-piece_ to this chapter, I am tempted to present a brief -sketch of an individual in whose hands the Violin, as respects its -_lower_ range of capabilities, was long, and most conspicuously, -illustrated. Having devoted our attention at some length to the -instrument, under its _English_ aspect, shall we refuse a passing glance -at the _Scotch_ Fiddle, in the person of one of its most restless and -remarkable expositors? - -NEIL GOW--the head of a race of north-country instrumentalists, and one -of the most zealous in the line where Music is the special handmaid of -the Dance--was born in Strathband, Perthshire, in the year 1727, of -humble parentage. His first efforts were made at the age of nine; but he -had no instructor till, at thirteen, he was taken in hand by one John -Cameron. Whilst yet a youth, he carried off the prize at a trial of -skill among the best performers in that rather out-of-the-way -district--on which occasion, one of the minstrels who was the umpire (a -blind man) declared that he could distinguish _the stroke of Neil's bow_ -among a hundred players! In process of time, while thus vigorously -engaged in working his way, Neil obtained the patronage of the Athol -family, and the Duchess of Gordon, whereby he became noticed and sought -after in the fashionable world. He was eminent in one department of -Scotch national music--the livelier airs belonging to the class of what -are called the strathspey and the reel. The characteristic expression of -the Highland reel depends materially on the _power of the bow_, and -particularly on the upward (or returning) stroke; and herein Neil was -truly great--"un homme marquant," in a two-fold sense. His mode of -bowing, indeed, by which he imparted the native Highland _gout_ to -certain Highland tunes (such as "Tulloch Gorum" for instance), was never -fully attained by any other player. He was accustomed to throw in a -_sudden shout_, as an addendum in the quick tunes, so as to electrify -the dancers! In short, his fiddling--for its communication of saltatory -fury to the heels of his countrymen--was like the bite of a tarantula. - -This active promoter of activity was also a compiler of national airs -and tunes, and dabbled occasionally in composition--his son Nathaniel -arranging and preparing the whole for publication. Forcible humour, -strong sense, knowledge of the world, propriety of general conduct, and -simplicity in carriage, dress, and manners, were combined -recommendations of Neil Gow, who has figured on the canvas of Raeburn -and of Allan. His brother Donald, a "fidus Achates," was of good service -to him as his steady and constant _Violoncello_. Neil died in 1807, at -Inver, near Dunkeld. - - - - -CHAPTER VII. - -AMATEURS. - - "Ah! who can tell how hard it is to climb?"--BEATTIE. - - -It is as plain to the understanding, as it is palpable to the ear, that -Amateurs, or dilettante performers, on an instrument like the violin, so -rich in its capabilities, but so exacting in its demands, are in a very -trying situation. The amount of mere mechanical labour--the simple -manipulation--which it is essential to employ, before the very finest -mental disposition can express itself even passably on the violin, is a -thing to startle the coolest enquirer. Giardini, when asked how long it -would take to learn to play on the fiddle, answered, "twelve hours a -day, for twenty years together." There may be hyperbole in this--but it -is only truth in too swelling a garb. There is the strongest meaning and -reality in the sentiment of difficulty which the reply was intended to -convey.[62] It has been said of a professor of some eminence, who was -current some years ago in London, that he has devoted himself for a -month together, during the whole disposable hours of each day, to the -practice of the passages contained in one single page of music; and many -remarkable instances might be adduced (were the point sufficiently -doubtful to require it) in proof of the prodigious exertions in private, -that have indispensably preceded those public displays by which the -excellence of great performers has been established. "Nocturna versate -manu, versate diurna," is indeed that precept whose spirit is the guide -of the destined Violinist. - - Ilium non rutilis veniens Aurora capillis - Cessantem vidit, non Hesperus! - -His fiddle must be his inseparable companion, cultivated before all -other society, beloved before all other worldly objects--the means and -the end, the cause and the reward, of his assiduous toils. Such are the -conditions on which the _mastery_ of this "so potent art" depends. -Through this road must they travel, who aspire to real excellence. Alas! -what sort of compliance with such discipline are we to expect from the -miscellaneous, fitful gentleman whom we designate too roundly by the -term Amateur! What full conquest can we anticipate for him, who is the -volatile lover of a mistress so jealous that she was never yet -_entirely_ won, save by the most refined arts of study, and by -attentions the most persevering and the most delicate? No--there is no -sane hope of consummate swam upon _easy terms_; and accordingly we find -that, although Amateurs are sufficiently abundant, good players among -them are not _very_ numerous--and accomplished ones, positively few. - -The Duke of Buckingham, Charles the Second's rattling favourite, so -noted for the versatility of his acquirements, is characterized, in one -of Pope's summary lines, as - - Chemist, _Fiddler_, Statesman, and Buffoon; - -and the amount of his qualification in the two _latter_ respects has -been pretty nicely weighed and exhibited; but what kind of a _fiddler_ -was he? History is ashamed to say--but her silence is well understood by -philosophy to signify contempt: it is a silence more expressive than -words--than even those memorable words, "So much for Buckingham!" - -Dr. Johnson, whose habit of sound judgment has marked itself on almost -every subject that came within the grasp of his comprehensive mind, -appears to have duly appreciated the exemplary labours which distinguish -the Violinist by _profession_. We all know how little _music_ there was -in the great Doctor's soul; but, even as regards the mechanical part of -musical practice, few of us have given him credit for such a readiness -to estimate fairly, as he has been really recorded to have shewn. The -fact is, that he was a prodigiously hard-working man himself, and had an -honest admiration for hard work, in whatever career manifested. "There -is nothing, I think" (quoth he) "in which the power of art is shewn so -much as in playing on the fiddle. In all other things, we can do -something _at first_. Any man will forge a bar of iron, if you give him -a hammer; not so well as a smith, but tolerably. A man will saw a piece -of wood, and make a box, though a clumsy one; but--_give him a fiddle and -a fiddle-stick, and he can do nothing_." - -If a _learned man_ can thus calculate the value of professional -application, a _child_ can feel its results, and, feeling, can discern -between the practised player and the deficient dilettante--as we have -already seen in the little story which had for its hero the infant Earl -of Mornington. - -From the very marked disparity subsisting, of necessity, between the -Professor and the Amateur--a disparity greater as respects the Violin, -than is observable as to any other instrument--it should follow that -modesty was a general characteristic of the non-professional class. Yet, -as if to confirm the truth of the current axiom, that "a little -knowledge is a dangerous thing," it occurs too often that the deference -due to laborious attainment is withheld, and that the Amateur, content -with a mode of playing as noisy as it is shallow, assumes a prominence -which exposes him to ridicule, and gives pain to his friends, on _his_ -account, if not on their own. If he do not err after this fashion, he -will perhaps affect to hold cheap the talent which he finds it were -_dear_ to imitate. It has been found, in the matter of hand-writing, -that lordly personages have sometimes scrawled illegibly, rather than -write in such fairer characters as might make them seem to possess a -knowledge in common with clerks and schoolmasters. In like manner, -certain dandy dilettanti, so far from regarding the interval of merit -between themselves and the accomplished professor as a "hiatus valde -deflendus," or at least as a reason for becoming diffidence on their own -part, have curled the lip of disdain, while hinting that _their_ style -of playing was not that of people who _played to live_;--as if, by a -strange contrariety of ideas, it were _de_preciation to perform for a -price! There is something to our purpose on this head in the first -volume of Anecdotes, &c. by Miss Hawkins: and here is the passage:-- - -"Dr. Cooke, the composer, was giving lessons on the violin to a young -man of a noble family. The young man was beginning to play; but, in the -common impetuosity of a novice, he passed over all the _rests_. He -therefore soon left his master far behind him. 'Stop, stop, Sir!' said -the Doctor, 'just take me with you!' This was a very unpleasant check to -one who fancied he was going on famously; and it required to be more -than once enforced; till at length it was necessary to argue the point, -which the Doctor did with his usual candour, representing the -_necessity_ of these observances. The pupil, instead of shewing any sign -of conviction, replied rather coarsely, 'Ay, ay, it may be necessary for -_you_, who get your living by it, to mind these trifles; but _I_ don't -want to be so exact!'" - -The strong contrast afforded by the glare of pretension, against the -opaqueness of incapacity, may often furnish forth a diverting picture. -Michael Kelly, in his "Reminiscences," has drawn such a one, from an -original who _flourished_ about sixty years since. "The Apollo, the -Orpheus, of the age," says he, "was the redoubted and renowned Baron -Bach, who came to Vienna to be heard by the Emperor. He, in his own -conceit, surpassed Tartini, Nardini, &c. This _fanatico per la musica_ -had just arrived from Petersburg, where he went to make his -extraordinary talents known to the Royal Family and Court. Now, I have -often heard this man play, and I positively declare that his performance -was as bad as any blind fiddler's at a wake in a country-town in -Ireland: but he was a man of immense fortune, and kept open house. In -every city which he passed through, he gave grand dinners, to which all -the musical professors were invited: at Vienna, myself among the rest. -One day, having a mind to put his vanity to the test, I told him that he -reminded me of the elder Cramer. He seemed rather disappointed than -pleased with my praise;--he acknowledged Cramer had some merit, adding -that he had played with him out of the _same book_ at Mannheim, when -Cramer was First Violin at that Court; but that the Elector said _his_ -tone was far beyond Cramer's, for Cramer was tame and slothful, and _he_ -was all fire and spirit--and that, to make a comparison between them, -would be to compare a dove to a game cock! In my life, I never knew any -man who snuffed up the air of praise like this discordant idiot. After -he had been heard by the Emperor (who laughed heartily at him), he set -off for London, in order that the King of England might have an -opportunity of hearing his dulcet strains!" - -Another curious story is that related elsewhere of an Amateur in Paris, -who began each day of his existence by studying practically a sonata, -but, in doing so, did not give himself the trouble to _quit his bed_, or -to lay aside his cotton night-cap and its pertaining yellow ribbon, -which might seem to represent on his brow the laurels and crown of the -Cynthian Apollo! - -The more clumsy and hard-going sort of those who play _pour se -distraire_, ought not to distract their _friends_ with their playing; -but, when an Amateur is so _bad_ as to be insensible of the fact, he is -only the more apt to appeal to his acquaintance--not for advice, of -course, but approval. If, in that state, he have any _discernment_ -connected with the object of his grand mistake, it is just of that kind -and degree which enables him to select, for auditors, those of his -friends who happen to be the most distinguished for patience and -mildness of character. They, poor souls! at each preparatory screw of -the fiddle-pegs, conscious of coming torture, wince and draw in their -breath; at every saw of the sharp-set bow, they sigh with fear, or -perspire with agony; for well do they know that - - Some are _sometimes_ correct, through chances boon, - But Ruffman never _deviates into_ tune! - -Their sufferings, however, are silent; until peradventure, when 'the -operation' is at length over, they do such discredit to their conscience -as to stammer out a tremulous "bravo!" or a "very well!" in accents of -courtesy that seem to sicken at their own import. Your _very_ bad -player, be it remarked, is hardly ever content with plain toleration--he -must have the sugared comfits of praise[63]. - -Admitting, as a reluctant principle, that we should lend our ears _at -all_ to those fanciers of the instrument who are so bad as to be out of -sight of mediocrity, and below the point where improvement _begins_, it -is clearly of urgent consequence that we should demand (or beseech) to -be indulged with the _shortest_ infliction that may be--an air _without_ -the variations, or a quick movement _without_ the prefatory adagio. The -Horatian precept, 'Esto brevis,' was never more applicable than here; -but, alas! in no case is it less heeded. "As you are strong, be -merciful," says Charity; but the spirit of this fine recommendation is -reversed by the Amateur belonging to "le genre ennuyeux"--reversed in -conformity with his own predicament. As he is weak, he is cruel. He will -not abate one minim, nor afford a single bar's rest. He goes on and on, -with no other limit, oftentimes, than that which is eventually imposed -by the laws of physics, in the shape of personal fatigue. Such, in his -_worst_ state, is the Young Pretender! - -But if so much is to be endured from an individual tormentor--from _one_ -exercise of a - - "violon faux, qui jure sous l'archet," - -_what_ are the sufferings which may be produced by a _combination_ of -such barbarous bowmen--_all_ eager and emulous, _all_ rough and -ready?--The multiplication of discord _thus_ generated, who shall -calculate? It is past all understanding: it is the Babel of the tongues -of instruments! _This_ species of compound misery is too painful to -dwell upon, unless in mollified association with the ludicrous. Under -this impression, I will proceed to give a sketch of an affair of Amateur -Chamber-Music--being the description of a _Quartett-Party_, freely drawn -from the French of an eminent living writer, whose lively and graphic -powers in the delineation of familiar scenes have procured him very -extensive admiration among his own countrymen, and some share of credit -_parmi nous autres Anglais_. Here then is the exposition: but let -imagination first draw up the curtain, and place us in view of the -convened guests at a musical _soiree_, given by some people of middling -condition, but somewhat ambitious pretensions, in a private apartment -somewhere in Paris:-- - -"After several hours of the evening had worn away in lengthened -expectation, till the assembled party, tired of speculating and talking, -began to _yawn_, the old gentleman who usually undertook the _bass_ -instrument, was seen to look at his watch, and was heard to murmur -between his teeth, 'What a bore is this! How am I to get home by eleven, -if the time goes on in this do-nothing way--and I here since seven -o'clock, too! So much for your early invitations;--but they sha'nt catch -_me_ again.' - -"At length, the host, who had been passing the evening in running about -to borrow instruments, and collect the 'disjecta membra' of the music, -reappears, with a scarlet countenance, and in the last state of -perspiring exhaustion--his small and feeble figure tottering beneath the -weight of sundry large music-books and a tenor fiddle. 'Here I am -again,' exclaims he, with an air that is rendered perfectly wild by his -exertions: 'I've had a world of trouble to get the _parts_ together; but -I've managed the business. Gentlemen, you may commence the quartett.' - -"'Ay, ay,' said Mons. Pattier, the bass-fiddle man, 'let us begin at -once, for we've no time to lose--but where's _my_ part?' - -"'There, there, on the music-desk.'-- - -"'Come, gentlemen, now let us _tune_.' - -"The constituent Amateurs proceed accordingly to the labour of getting -into mutual agreement; during which process, the auditory shuffle about, -and insert themselves into seats as they can. Already are yawning -symptoms of impatience visible among the ladies, to whom the very -mention of a quartett furnishes a pretence for the vapours, and who make -no scruple to _talk_, for diversion's sake, with the loungers behind -their chairs. Whispering, laughing, quizzing, are freely indulged in, -and chiefly at the special expense of the musical _executioners_ -themselves. - -"The enterprising _four_, at length brought into unison, plant -themselves severally before their desks. The elderly _basso_ has stuck -his circlet of green paper round the top of his candle, for optical -protection from the glare: the tenor has mounted his spectacles: the -second violin has roughened his bow with a whole ounce of rosin; and the -_premier_ has adjusted his cravat so as to save his neck from too hard -an encounter with his instrument. - -"These preliminaries being arranged, and the host having obtained -something of a 'lull' among the assembly, by dint of loud and repeated -exclamations of _hush!_--the First Violin elevates his ambitious bow-arm, -directs a look of command to his colleagues, and stamps with his foot. -'Are we _ready_?' he enquires, with a determined air.-- - -"'_I_ have been ready any time these two hours,' replies Mons. Pattier, -with a malcontent shrug of his shoulders.-- - -"'Stay a moment, gentlemen,' cries the Second Fiddle; 'my treble string -is down. 'Tis a new string--just let me bring it up to pitch again.' - -"The Tenor takes advantage of this interval, to _study_ a passage that -he fears is likely to 'give him pause;' and the Bass takes a consolatory -pinch of snuff. - -"'I've done it now,' ejaculates at length the Second Violin.-- - -"'That's well, then; attention again, gentlemen, if you please! Let us -play the _allegro_ very moderately, and the _adagio_ rather fast--it -improves the effect.'-- - -"'Ay, ay, just as you like; only, you must beat the time.' - -"The signal is given; the First Violin starts off, the rest follow, -after their peculiar fashion. It becomes presently evident that, instead -of combination, all is contest; notwithstanding which evidence of -honorable rivalry, somebody has the malice to whisper, pretty audibly, -'The rogues are in a conspiracy to flay our ears!' - -"Presently, the First Violin makes a dead halt--'There's some mistake: -we're all wrong.' - -"'Why, it seems to _go_ well enough,' observes the Tenor. - -"'No, no, we're out _somewhere_.'-- - -"'Where is it then?' - -"'Where? That's more than I can tell.'-- - -"'For my part,' says the Second Violin, 'I have not missed a note.'-- - -"'Nor I either.'-- - -"'Nor I.'-- - -"'Well, gentlemen, we must try back.' - -"'Ay, let us begin again; and pray be particular in beating the time.' - -"'Nay, I think I mark the time _loud_ enough.' - -"'As for _that_,' exclaims the hostess, 'the person who lodges below has -already talked about complaining to the landlord.' - -"The business is now resumed, but with no improved success, although the -First Violin works away in an agitation not very dissimilar to that of a -maniac. The company relax into laughter--and the performers come to a -stand-still! - -"'This is decidedly _not_ the thing,' says the conducting violinist, -Monsieur Longuet,--'There is doubtless some error--let us look at the -bass part.--Why, here's a pretty affair!--_you_ are playing in B flat, -and we are in D.' - -"'I only know that I've been playing what you told me--the first quartett -in the first book'--replies old Monsieur Pattier, florid with rage. - -"'_How_ on earth _is_ it then? let us see the title-page. Why, how is -this? a quartett of _Mozart's_, and _we_ are playing one of _Pleyels_! -Now really that is too good!' - -"Renewed laughter is the result of this discovery, and the abortive -attempt ends with a general merriment, the contagion of which, however, -fails to touch old Monsieur Pattier, who can by no means turn into a -_joke_ his indignation at a mistake that has effectually put a stop to -the performance of _the Quartett_." - - * * * * * - -For the credit of English Amateurs, it is to be hoped that so elaborate -a display of incompetence--so complete a _fiasco_--as is presented in the -foregoing sketch, has very rarely its parallel among ourselves. - -Apropos of quartetts, it is related that His Most Catholic Majesty, -Charles the Fourth, King of Spain, piqued himself not a little on his -abilities as a violin-performer. Summer and winter, did this royal and -reiterating practitioner perform, every morning, at six precisely, his -_quatuor_, with three other violins; himself, of course, the violin _par -excellence_: and, with the trifling drawbacks of missing his notes, and -breaking his time (as if to mark his royal independence), he may indeed -be said to have approved himself a king among fiddlers. - -Another quartett-player of the class which Flattery herself can scarcely -help frowning at, was the late Sir William Hamilton, whose acquirements -in other ways must have contrasted oddly enough with his feebleness as a -fiddler. "Sir William Hamilton, who was now at an advanced age," says -Ferrari, in his gossipping book, "was a kind and good-humoured man; but -he used to bore us with his performance on the _viola_, especially in -Giardini's quartetts, which I verily believe derived their greatest -value in his eyes from the circumstance of Giardini's having been his -master."--Doubtless, with all his amiable qualities, Sir William had -something of the obstinacy which belongs so closely to evil-doers on -stringed instruments; doubtless there was no deterring him from "the -_un_even _tenor_ of his way." - -The about-to-be subjoined _sestett_ of condemnatory lines is _not_ -intended to apply to Sir William Hamilton (who had, at least, the merit -of fostering Giardini), but, generally, to him who, having no sort of -summons from Apollo, no musical vocation whatsoever from Nature, has -persisted, nevertheless, to the end of his days, in being what is called -a tormentor of catgut. A person of this peculiar turn of mistake, may -be said to fright the fiddle from its propriety--for surely, in his -hands, it wholly loses its temper and character. Making his fiddle-bow -the stalking-horse of his vanity, he walks over the strings in an -adagio, or curvets in an andante, with action that has nothing of the -graceful, and much of the ludicrous. Such a being is in the extreme of -the wrong. He hunts after a shadow: like Ixion, he embraces a cloud. His -pursuit is frivolous, because it is without a chance of attaining its -object. Unable to play in time, he is perpetually out of season: unable -to stop in tune, he is ever in a false position. He wears out his -existence in an unconscious dream; and his harsh discords and unpleasing -sharps are as the _snoring_ thereof. He dies in a delusion; his ricketty -crotchets and uneasy quavers are exchanged for one long _rest_; and here -is the amount of his _value_, in six lines-- - - -ON AN AGED MUSICAL TRIFLER. - - The silly dilettante, who - A thankless violin doth woo, - Till _old_ he looks as Saturn, - Can (to denote just what he _is_) - No name receive so fit as this-- - A _spoon_, of _fiddle-pattern_. - -By way of disporting a little further on this theme, I have spun a few -lines in which the reference is to that incongruous identity so often -found within the circle of private life--a good man, and bad fiddler:-- - - Ralph Rasper is an honest man, - Prone to do all the good he can; - He never lets the piteous poor - Go meatless from his open door: - He loves his wife--he pays his bills-- - And with content his household fills. - He seeks, in short, the rule of right, - And keeps his conscience pretty white: - But save, oh, save us from his _fiddling_! - It is so very--_very_ middling! - -Enough, however, of the indicative kind, as concerning the sins and -follies of the Amateur species. Are they unpardonable? Nay--they claim -indulgence through the very _cause_ which produces them. It is the -inspiring motive--the instrumental love, or love of the instrument--which -redeems, in some sort, the errors to which it gives birth. We must not -be too severe on the zeal which is indiscreet, lest we discountenance -good faith, and nip affection in the bud. Shall we excommunicate our -brother, for that he is too fond of fiddling? Nay, rather, let us -reserve our censure for him who hath _no_ fiddling in his soul. Cease -we, then, to dwell on deficiencies--let us "leave off discourse of -disability,"--except so far as may be necessary towards administering any -little further wholesome advice, with a friendly view to practical -improvement. In the past observations, let me not be thought to have had -no better purpose than that of playing the cynic for my own indulgence. -Myself an Amateur, and one of by no means large calibre, I should indeed -be doing what were equally graceless and witless, did I seek the damage -of the class to which I belong--that is, to which I _have_ belonged, in -practice, and still belong, by inclination and sympathy. My object is -reform--the reform of acknowledged errors and proved abuses--but, while -advocating the principles of that reform to the utmost extent that is -compatible with reason and propriety, I will never consent to abandon my -"order." - -Allusion has been made, at the commencement of this chapter, to the very -large amount of time which the _Professor_ must devote to his art, as -one of the absolute conditions of eminence. The ends of the Amateur may, -of course, be answered with a smaller expenditure of his moments. If he -possess the requisite predisposition for the instrument, _two hours_ a -day will suffice him. This must be regarded as the _minimum_--and with -this, according to Spohr (a very high authority), he may make such -progress as to afford himself and others great enjoyment of music, in -quartett-playing, in accompanying the pianoforte, or in the orchestra. - -The principal error against which Amateurs have to guard themselves, is -that species of _ambition_ which impels them to imitate the showy and -more external quality of professional playing, called execution[64]. It -is natural enough that what is most obvious should make the greatest -impression at first, and should most readily attract imitation; but it -is, on the other hand, certain, that this same superficial principle -addresses itself rather to the senses than to the imagination, and that -the pleasure which it affords is trivial and evanescent. If execution do -not come recommended by the superior associations of accurate tune, fine -tone, and characteristic expression, it is unworthy of a welcome, and -can only impose on the most shallow-minded auditor. In that poor and -bald state, it is like the verbiage in a silly oral discourse, or the -language of un-respective parrots. If it come, moreover, unaccompanied -by the common regulator, time, it is still more absurd and -insignificant, and may be likened to a fit of the insanely capricious -activity called St. Vitus's dance. Nothing, in fact, can make amends for -the grievous sin of - - "Omitting the sweet benefit of _time_." - -It should never be forgotten that, in the playing of the most simple -piece of music--the commonest air--there is much more required than -merely to render, or deliver, the notes that are dotted over the page. -It too often occurs, however, that the Amateur, who chances to have -heard at some Concert a fantasia or a potpourri, performed by the -agile bow of a De Beriot or a Sainton, returns home fascinated -exclusively by the brilliant execution he has witnessed, and stimulated -by vague aspirations after similar power of display. He calls next day -at a Music-shop, and just "happens to enquire" whether the said piece is -in print. It is handed to him, and he finds, to his agreeable surprise, -that the passages, with a few exceptions, do not look so difficult as -their dashing effect the evening before would have led him to -anticipate. He buys the piece, and, with uncased fiddle, sits down -before it, in his own chamber. He picks out the passages with which he -is best able to tickle his own ear; hammers them over till his _hand_ -gets some familiarity with them; hurries the time, to encourage his mind -in the favourite idea of "execution;" slurs over those passages that -threaten to puzzle him; and, having got through the thing _a tort et a -travers_, hastens to shew his friends what he can do (in reality what he -can _not_ do) as a performer of De Beriot's celebrated fantasia! A -little applause, from the over-complaisant or unthinking, deludes him, -already too confident, into the belief that he has succeeded in _that_ -piece; and the same ambition of display, coupled with the eager and -unrepressed love of novelty, leads him on to attempt another, and -another, and to spoil himself with more _triumphs_ of the same -unfortunate and mistaken kind. Thus, everything is done most -imperfectly--no satisfaction is given to a single soul of the commonest -musical notions--and no real progress whatever is made. In short, when -once the unhappy Amateur abandons himself exclusively to _execution_--it -is all over with him! - -It is impossible to build without the frequent use of the ladder. The -_scales_ are the ladders of music; and, without constant and diligent -recourse to them, there is no true edification--no reaching to -"perfection's airiest ridge." Slowly and cautiously must they be -ascended and descended, at first, till the acquisition of a firm hold, -and a nice habit of measurement; then comes the dexterity that enables -the practitioner to run up and down with a safe celerity of precision, -such as the curious beholder may witness in the movements of those -Hibernian hod-iernal ministrants of mortar, who are so powerfully -instrumental towards the construction of houses. - -Let not the young Amateur, then, be diverted from the practice of his -_scales_, which are the regular steps to improvement. Let him not commit -the error of jumping about among those broken and irregular _flights_, -consisting of bits of airs, and snatches of tunes. These will not help -to raise the musical edifice; and the _expectations_ which they may -assist to build, will prove mere castles in the air. The dryness and -sameness of the labour are apt to be alleged as the excuse for omitting -this essential practice of the scales and intervals; while the love of -melody is pleaded in behalf of the more eccentric course. Now, what -should be desiderated for the student is, not to love _melody_ less, but -_improvement_ more. He should not, by reason of the tedium experienced -in working at the scales, cast them aside--for, while he perseveres, on -the contrary, in daily exercise upon them, are there not the immortal -Solos of Corelli, to furnish him with all that is needful of the -recreative principle? Here he will find refreshment enough, after the -perhaps fatiguing iteration of the ladder-work. Here, in connexion with -passages that will form his hand--here, along with modulation not dull -and crabbed, but graceful and natural--he will find enough of _melody_ to -sweeten his toil, without impairing it--to cheer his progress, without -retarding it. Here he will find fascination for his ear, with no -corruption for his taste-- - - "Airs and sweet sounds, that give delight, and _hurt not_." - -Yes, when the tyro, tired, makes yawning complaint of the want of -encouragement, we would point to the Solos of Corelli, and say to him, -_Haec tibi dulcia sunto_--let _these_ be unto thee for sweet-meats. - -This distinction, however, should be noted that while Corelli is -recommended for the acquisition of _tone_ and _steadiness_, he is not a -sufficient authority as to the varieties and subtleties of _bowing_; for -(as heretofore observed) much that relates to these has been added -_since_ his time to the province of the violin. But the cultivation of -these graces and refinements of the bow is, after all, in its natural -order, a thing for later attention. The simplicity of Corelli is always -admirable for the earlier purposes; and then, for the niceties of the -bow, and for the communication of modern resources, there are various -special guides of good value--as the studies of Fiorillo--the elaborate, -systematic, and explanatory "Violin-School" of Spohr, as edited for -English students by Mr. John Bishop--and that justly-cited boast of the -French _Conservatoire_, the combined system of Rode, Kreutzer, and -Baillot[65]. - -Among the consequences of that ambition of display which I have had -occasion to refer to as a root of evil among Amateurs, is the tendency -to throw off prematurely the salutary restraints of professional aid. -This is a mistake of the most injurious kind. The violin, as the most -difficult of all instruments, demands more than any other the prolonged -assistance of the Master. There is no such being to be met with as a -_real_ self-taught Violinist. Scrapers and raspers there may be, of -various degrees of roughness and wretchedness, who have found out the -art of tormenting, _by themselves_; but _that_ is quite another matter. -Paganini himself, the most wild and singular of players, did not acquire -his excellence independently of magisterial rule. He was amply tutored -during the early years of his study; and, when he had become a great -Master, he still proceeded by calculations founded partly on what he had -already been taught, though transcending it in reach and refinement. Let -not the aspiring student, therefore, seek to _fly_ before he can _run_, -and reject the preceptor while his state is essentially that of -pupilage. They who, at a very early period, discontinuing the _study_ of -the instrument, think of playing to _amuse their friends_, will fail -inevitably, and be considered as the very reverse of what is agreeable -or, to present the same notable truth at the point of an indifferent -epigram: - - _Beginners_, lab'ring at the fiddle, - Are apt to flounder _in the middle_: - Such, when our comfort they diminish, - Are wisely prayed to _make a finish_! - -With reference to the _collective_ efforts of non-professional players, -it may be remarked that, as individual vanity is _there_ held in some -check, and as something like a painstaking preparation is customary, -the auditor is in a less hazardous condition than where _one_ exhibitor -has undisputed hold upon him,--besides which, the alternative of an -_escape_ is more decidedly open. The _single_ cacophonist, secretly -intending a "polacca," may take you at unawares, after a quiet cup of -tea, that has treacherously served to _mask_ his purpose. He may -suddenly draw his lurking fiddle-case from beneath the very sofa whereon -you are at ease--may summon that passive accomplice, his sister, to -subservient office at the piano--and, putting his bow-arm into full -exercise, bring you to "agony-point," before you have had time to -recover from your surprise. From the quartett or symphony-party, on the -contrary, you have due notice beforehand and, if suspicious of discords -that are not within the boundary of science, you can decline the -invitation, and maintain the tranquillity of your nerves. - -The most desirable attainment for confederate Amateurs, next to a -familiar acquaintance with their respective instruments, is that -_self-knowledge_ which enables each to find contentedly his proper -place, and ensures that all shall be "correspondent to command, and do -their spiriting _gently_." Then, by good discipline, under the -direction of a well-educated musician, whose practical knowledge, added -to his intimacy with the compositions of the best masters, gives him a -moral influence and authority over an organized body of Amateurs, it is -surprising what excellence of effect in musical execution may be -produced. It has been sometimes, however, the bane of Amateur Societies -to be subject to the control of some unwarrantably officious member, -whose musical qualifications in nowise render him a proper person for -the assumed dictatorial capacity: or, it may happen that accident brings -into the employ of a Society of Amateurs one of those mere practical and -executive professional Fiddlers, whose notions of art are only on a -level with the quality of their manners. In either case, little benefit, -and much less pleasure, is derived from submitting to such -directorship. The Amateur, and the Fiddler, will each exercise alike -his own weak judgment in the general appeal for the "time" of the -music--each (the composer being _least_ thought of) preferring the time -of an _allegro_ in the ratio of its adaptation to his own powers of -execution. Of the two, the Professor is the more mischievous, as regards -the production of bad consequences. Vain of his advantage over the -Amateur, he never neglects to shew it by the rapidity with which he will -_time_ the quick movements; creating thereby a bad habit in the Amateur, -who, to keep up with the first-fiddle, is obliged _so_ to scramble -through his part, as if it were the purpose of the composer to represent -_a race_. A musician with a cultivated mind, on the contrary, whose -enthusiasm for art renders "self" a secondary consideration, and whose -perseverance has enabled him really to conquer the difficulties of his -calling, is sure to effect very great good amongst private Amateurs. His -remarks on the merits of composers and players are listened to with -attention; his authority is respected; and the encouragement he -patiently bestows on the ingenuous efforts of the young player, is sure -to obtain the utmost confidence of the party. - -In the practice of instrumental music, the chief obstacles (besides the -difficulty of playing passages in tune and time) are those which attach -to _reading_, and to _feeling_ the rhythm of the _phrase_, as well as to -the executing of passages without _hurry_. Young novices, adults, and -bands, are in one common predicament, as to partaking, more or less, of -a certain two-fold error--that of producing a disproportionate -acceleration of time in a quick and loud passage, and a disproportionate -delay in a slow and piano movement. By the advantage of the skilful tact -of a clever _maestro_, this error is either altogether corrected, or the -tendency is so well kept in check as never to become offensive. In order -to conquer the naturally strong influence of rhythmetical impulse in -playing, the Amateur should seek every occasion to play with others in -concert. The excitement in first playing with other instruments is -similar, in its origin, to that of which we have everyday proof in the -case of young ladies, who have devoted years of practice to playing the -pianoforte, and are yet unable to accompany a song, or solo, in time -and with proper feeling--the too common consequence, by the by, of an -English musical education. In Germany and France, every lady takes -alternate lessons, of her pianoforte master, and of an experienced and -well-educated musician, employed in the best orchestras; and thus she -imperceptibly loses those impediments which are the consequences of -nervous and timid inexperience. - -One of the chief advantages of the Professor is his capacity of reading -onwards. Whilst occupied in executing one bar, his eyes and attention -are partly bestowed on the three or four subsequent ones--nay, on the -next line, and even the next page. All this is best acquired by perusing -music, without an instrument. By practice, the eye and mind seize at -once the construction of a simple phrase, so that, whilst the operation -of playing it is going on, you have time to prepare for the fingering -and execution of the following passage, without at once bursting on it, -and becoming confused. In overtures and sinfonias, the _time_ of the -several movements is seldom subject to alteration; and, beyond the mere -reading of the passages, the Amateur has only to attend to the various -signs used for the modification of sound. - -The highest test of the discipline of a band is in playing "piano," and -in attacking points of imitation and fugue with vigour. Whatever -constitutes the test of the excellence of a band, in execution and -effect, applies also to the individual performers.--The coarse, vulgar, -pantomime fiddler would make sad havoc in accompanying a trio of -Beethoven's, where the most delicately subdued tone, and the most -vigorous expression, are alternately required. It must never be -forgotten, that the utmost strictness of subordination is an essential -requisite in an orchestra. In fact, it is one of the principal merits of -a good orchestra-player to practise uniformly this quality of -subordination, whereby the perfection of the whole is importantly -promoted. - -Dramatic music is the most difficult to give effect to; whether it be -orchestral, for the action of a ballet, or as an accompaniment to the -voice--the license shewn in the numerous changes of a movement, and of -time, rendering this species of music by far the most embarrassing to -both Professor and Amateur. The attention of the performer must here be -divided between his instrument, and the singer, or the director; whilst, -in other music, his whole soul is wrapt up in his own performance. Hence -it follows that, on his first attempt to play opera-music, he is -embarrassed at every page! This difficulty is only conquered, like every -other, by habitual practice. - -In the more advanced stage of his progress, there is nothing so -beneficial to the Amateur as to listen, "arrectis auribus," to the -performance of genuine classical _quartetts_ by accomplished masters of -the bow. This will do him far more good than all the _Capriccios_ and -_Fantasias_ with which the most brilliant of the solo-players, or -single-handed exhibitors at concerts, can dazzle his discernment. It -will exalt his standard of taste, and enlarge his sense of the -beautiful--fully directing his perception, at the same time, to the -legitimate powers of the violin and its cognate instruments. The remark -has been well made by Spohr, that perfect _quartett-playing_, while it -requires perhaps less of mechanical skill than is called for in a -_concerto_, yet demands more of refined sentiment, taste, and knowledge. -No opportunity (adds the same great Master) of joining a good -quartett-party, ought to be lost. The occasions afforded for such mode -of improvement were for a long while, however, in our English -metropolis, as rare as they _might_ have been advantageous. The -experiments of the London _Concerti da Camera_, and "Quartett Concerts," -happily occurred, at length, to test the feeling of our musical circles, -and open a new path to the career of the art in this country. Following -that new path, and developing further resources to which it led, the -"Beethoven Quartett Society," originated and managed by a Committee of -enlightened Amateurs, with the Earl of Falmouth for their President, -came into honourable existence in 1845, to render the justice of a too -tardy notoriety to some of the most perfect and original of musical -compositions, and thereby to erect a higher standard of taste for the -benefit of our musical circles. The intentions of this most laudable -Association, practically wrought out by Professors of the first ability, -have had _some_, at least, of the success that should belong to -well-directed ambition[66]. - -With the stimulus and the enlightenment that may be derived from such a -school of observation as this, and others to the establishment of which -it may possibly lead, is it a thing to be altogether despaired of, that -we may hereafter be enabled to enjoy the rational luxury, here as in -Germany, of a quartett performed within the _evening family circle_, and -competently performed, by its own members? Already, indeed, in some of -our provincial towns, there have been examples of a disposition this -way[67]. It is to be hoped that our - -London Amateurs will no longer be slow to adopt so laudable a practice, -nor be deterred from the pleasant advantages of family fiddling by any -poor jokes about "the brothers _Bohrer_," or the like. That there is -good capacity in them, which occasion may bring out, was made evident at -the Musical Festival held at Exeter Hall, towards the end of 1834, as -well as at more recent celebrations there. A somewhat large amount of -single practice, and more working by _fours_, together with such -exercise of observation as has been here alluded to, would develop their -capabilities into real means of conferring pleasure upon their -friends--whether in the snug and smiling little domestic circle, or in -the wider area, and amid the more stimulative accessories, of the hired -music-room. - -There is a little story, illustrating so pointedly that _love_ for his -peculiar pursuit, which gives to the Amateur his very _name_, that I -cannot resist the temptation to introduce it here. With that little -story--and a few special hints to the younger and earlier class of -students, conveyed in familiar verse, by way of a spur to the -attention--I propose to wind up the present chapter. - -A certain Amateur, whose fondness for fiddling was his liveliest -passion, had two instruments--his _best_, on which he would by no means -have permitted his own father to draw a bow--and his _second best_. In -the course of his business, which was commercial, he was preparing to -quit England for South America, as super-cargo in a certain vessel, and -to make a long stay in the latter country. Concern for his two -violins--(he had no _wife_)--was uppermost in his mind. Should he commit -them, along with himself, to the perils of the ocean's bosom? Should he, -suspending or sacrificing his own enjoyment, leave them behind, in the -custody of friendship that might prove fickle, or negligent? Much he -pondered--and much hesitated. At length, unable to endure the thoughts of -a separation from _both_, he came to a resolution that was, at the same -time, a compromise. He determined that he would take with him his -_second best_, and tear himself away from his principal darling, his -beloved _best_--_not_, however, to leave it behind--_that_ were _quite_ -too much!--but to export it, highly insured, to the scene of his own -destination, in _another_ (because, as he conceived it, a _safer_) -vessel than that in which he was himself about to embark! - - -FRIENDLY ADVICE TO THE YOUNG AMATEUR. - - First, let a rear-ward _attic_ of your labours be the scene-- - For, such seclusion best for you (and others) is, I ween. - In comfort, there, assume a chair, and be therein at ease, - And _not_ as if, un-garmented, you sat upon _hard pease_. - Your fiddle in sinister hand, and in your right the bow, - Scan, next, the dotted page awhile, or ere _to work_ you go. - Firm as a forceps be your wrist, but flexile as an eel! - And--for that struggling shoulder-joint--just teach it to _be still_; - For, mark! the motion of the arm must be 'twixt wrist and elbow, - Or else, howe'er you moil and toil, be sure you'll never _well_ bow! - To guide each movement of the bow--to give it vital spring-- - To send it bounding on its way--the wrist, the wrist's the thing! - Your bow's relation to the _bridge_, must keep a just right angle, - Or harshly else, and out of tune, your tortured notes will jangle. - - From _heel_ to _point_ that bow now draw, with action slow and steady-- - Then back again--and so repeat, till in such practice ready. - The same in quicker time then try--and next proceed to draw - From _middle_ (with a shorter scope) to _point_, and back, see-saw. - This, too, in swifter time rehearse;--and then, like justice deal - Unto the other half of bow, from _middle_ to the _heel_. - - There is a word--too seldom heard--_not_ dear to young Ambition-- - But wholesome in its discipline,--that word is "_repetition_." - Content to glimmer ere you shine, leap not beyond your bounds! - From small beginnings rise great ends--'tis _pence_ that make up - _pounds_. - From exercise to exercise, progressive, through your book - Work on-scales, intervals, and all--how _dry_ soe'er they look; - Nor jerk forth scraps, or odds and ends, of ev'ry tune that floats;-- - Can any foolery be worse than scatt'ring of _loose notes_? - - Let not thy steps untutored move! A master's ready skill - For safety and for succour seek, to curb or point thy will! - _Plain_ work precedes all _ornament_: keep graces for a late - Achievement, since you first must _build_, ere you can _decorate_. - Think _elegance_ a pretty thing, but _breadth_ a vast deal better; - Nor, for the sake of lesser charms, your larger movements fetter. - It is the pride of players great, a free and dashing _bow_, - As, borne along on waves of sound, to their success they go! - - _Corelli_ old, contemn thou not! Substantial, good, and plain, - He's like a round of British beef--he's "cut-and-come-again!" - But, as the interval is wide, you need not--_nota bene_-- - You need not travel _all_ the road 'twixt _him_ and _Paganini_. - - In fiddle-practice, as in life, are difficulties _gifts_? - Yes--_double stops_ are just the thing to drive thee to thy _shifts_! - "Bating no jot of heart or hope," toil, till, in time's process, - The music that is in thy soul, thy fiddle shall express! - - - - -CHAPTER IX. - -ON THE CONSTRUCTION OF THE VIOLIN. - - -It is a very natural curiosity which engages us to look minutely into -the structural peculiarities of that which is a medium for awakening -pleasurable sensations within us. The balloon that has borne us aloft -into aerial altitudes--and the violin that, under the management of a -Vieuxtemps or a Sivori, has transported us, through varying acoustic -currents, into the sublimer regions of harmony--are, each, the object of -a close and willingly conceded attention. - -Quitting the balloon, however, and confining ourselves to the -violin--_what_ (let us enquire) are the component parts that make up the -"form and pressure," the "complement extern" and intern, of this -material ministrant to our joys and sympathies;--_what_, also, are the -several most remarkable patterns, or models, of the _completed_ -instrument;--and _who_ were the originators, respectively, of those -varieties of conformation? This latter point of enquiry will lead us to -advert, before concluding this chapter, to certain innovations that have -been attempted, with more or less felicity, in our own days. - -A curious little work on the Construction, Preservation, Repair, &c. of -the Violin, written in German by JACOB AUGUSTUS OTTO, appeared in 1817, -and was translated into English some years afterwards. The author, -himself an instrument-maker, professes to have studied "music, -mathematics, physics, and acoustics," which respectable preparation -certainly adds not a little to his claims to attention, in undertaking -to be instructive. It may be worth while here to present, in a condensed -form, some portion of his matter, which is both indicative and -preceptive. Such of my readers as, with a stronger impulse of curiosity, -may desire to possess the _whole_ of the information furnished by his -treatise, are referred to the latest English edition of it, which, -supplied with an appendix by the translator, Mr. John Bishop, has been -issued by the publishers of the present work. - -Otto states that the Violin, when complete, consists of _fifty-eight_ -different parts--a fact, by the by, which the ordinary observer would be -little inclined to suspect[68], and of which, indeed, many a good player -is probably not aware. The author makes general complaint, indeed, of -the ignorance on the part of many Violinists of celebrity, as to the -construction of the instrument. Then, as to the _wood_--for, "ex _quovis -ligno_ non fit Mercurius;" that is to say, a fellow so mercurial as your -fiddle is not to be created out of any chance piece of timber;--the wood -that is generally used is of three sorts: sycamore for the back, neck, -sides and circles: Tyrolese soft red deal for the belly, bass-bar, -sound-post, and six internal blocks: and ebony for the finger-board and -tail-piece. The greatest care and judgment, it seems, are requisite in -the selection of the material for the _belly_ of the instrument, on -which its _tone_ entirely depends. The wood for this purpose is -prescribed to be cut only in December or January, and only that part to -be used which has been exposed to the sun. - -As to the _Cremonas_ (a word of fondest association to all votaries of -the violin!), the oldest of them are those from the hands of -_Hieronymus_ (or Jerome) _Amati_, at the beginning of the seventeenth -century, or rather earlier. Next come those of _Antonius Amati_, -belonging to the middle of that century; and then those of _Nicholas -Amati_, towards the end of it. To these makers are to be added _Antonius -Straduarius_, and afterwards (at the commencement of the eighteenth -century) _Joseph Guarnerius_. All these men of Cremona, so renowned for -the products of their ingenuity were (according to M. Otto), -_mathematical_ builders, and nice observers of the proportions best -calculated for imparting a full, powerful, sonorous tone. The -instruments by the three Amati are rather higher, or less flat, in the -model, than those of Straduarius. Of all the Italian Violins, Hieronymus -Amati's are the handsomest in shape, and the best in make. They are now -more than two centuries and a half old, strongly constructed, and likely -to retain their excellence another century. Nicholas Amati's are of -rather small size, and somewhat abrupt in the swell of the form. The -instruments of Straduarius are most esteemed by _Concert_ performers for -the power of their tone. Those of Guarnerius are beautifully -constructed, and with a good deal of similarity to those of Nicholas -Amati. - -The fine _Tyrolese_ instruments--those of the celebrated _Jacob -Steiner_--differ much from the _Cremonese_, both in shape and tone. In -the latter respect, they are of sharper and more penetrating quality. -The _later_ Tyrolese makers have been rendered the great source of -deception by dealers, &c.--their instruments having been made to pass as -classics. The best among them are those of Klotz. The Tyrolese -imitations of the Steiners and Cremonese are chiefly distinguishable by -the coarse and wide grain of the deal, and by the thin spirit varnish -upon them, instead of the Italian strong amber varnish. - -The author treats individually of the principal German makers. -_Statelmann_, of Vienna, of high fame as a studious maker, was a close -imitator of Jacob Steiner; as were also _Withalm_ of Nuremberg, and -_Riess_ of Bamberg. The flat model of Straduarius has been imitated by -_Buckstaedter_ of Ratisbon, and _Jauch_ of Dresden. _Martin Hoffman_, and -_Hunger_, both of Leipsig, were excellent as tenor-makers, and good in -violins. The instruments by _Eberle_ of Prague, one of the most -celebrated German makers, are like the Cremonese, but less round and -full in their tone. _Bachmann_ of Berlin, also very eminent, was -strictly careful as to proportions. - -Against the class of _repairers_ in general, as so many botchers, -tinkers, and spoilers, the author is emphatically severe; and he points -the especial finger of scorn at one _Kirchlag_, who, about 1787, made a -visit of destruction, under pretence of repair, to most of the towns in -Germany. - -Instruments, it appears, should be sufficiently _well-timbered_; their -durability is much affected when they are finished off too weak in wood. -The bass-bar and sound-post are not inserted to strengthen the -instrument (as many have supposed), but to increase the vibration. The -vibratory principle, according to M. Otto, has been as yet but -imperfectly investigated, and is little understood. Recent experiments, -however, have somewhat further extended our knowledge of it. Great -nicety is requisite as to the erection and proportions of the _bridge_: -when it is too high, the effect is a dull tone, difficult to be brought -out--when too low, a shrill sharp, and thin tone. In good instruments, -the sound-post stands half an inch below the left foot of the bridge: in -defective ones, it may be placed rather nearer, to increase the -strength, and assist the tone. The screw-holes must not be rubbed with -rosin to tighten them: the best appliance is chalk. Some wise-acres -pretend that a violin is to be improved in tone by breaking it to -pieces, and mending it again! Others disturb and shift about the bridge -and sound-post, till the tone is almost gone. Others again, with a taste -worthy of Hottentots, have daubed over the "belly part" with a coat of -glue, mixed with powdered glass; and some there are, who have tampered -with instruments by an absurd plaster of varnish and white of eggs, -under the unwholesome idea of closing up the pores! It is suggested that -_flies_ should not be allowed to introduce themselves into the _f_ -holes. (Children say, by the by, that _f_ "_stands for fly_:" and, in -the case in question, it stands _open_; so there seems, at least, a -pretty good excuse for the intruders.) The inside of the instrument is -to be cleaned out once in six months, by means of a handful of barley, -made warm, poured in at these _f_ holes, and well shaken. The best -_strings_ are those from Milan (called Roman), which are clear and -transparent as glass, and should have as much recoil, when opened out, -as a watchspring. A very important article of requirement is good -refined rosin: the common brown rosin of commerce is quite unfit, -because of its thickness and clamminess. - -The author, deflecting entirely from the prevalent notion on the -subject, asserts that it is not _age_, but constant _use_, that is the -means of producing a smooth, clear tone. He lays it down as a position, -which he has himself verified in various experiments, that _any_ -instrument is to be greatly improved by working at it daily for three -months together, with a strong bow--taking two tones at a time, fourths -or fifths. This method of improvement, it is clear, must be somewhat -costly, and infinitely tedious--but it is much recommended by our author. -Hapless indeed must be the condition of the human being destined to -labour at fourths and fifths, with a strong bow, for three months -together! If such a system were introduced among _us_, it is to be -feared that the announcement of "Improvers wanted" would frequently be -made in vain. What (we may ask) would become of the _intellects_ of a -human being _so_ employed? As for the reason _why_ so beneficial an -effect belongs to this peculiar practice, M. Otto has declined unfolding -it--his "duty to his family" forbidding such divulgement. - -Thus far, Jacob Augustus Otto--dismissing whom, with thanks for the -information picked out of him, we proceed to other details, derived from -other sources. - -To the names of the _Amati_ family already mentioned, should be added -that of _Andreas_, brother of Nicholas. These two brothers, as well as -the other makers in that family, constructed instruments of a soft and -rich tone, but deficient in the _brilliancy_ which modern players regard -as so great a requisite. They (the two above specified) supplied, about -the year 1570, some violins of large pattern for the chamber-music of -Charles IX, King of France, which are remarkable for beauty of shape, -and nicety of finish. - -Contemporary with Andreas and Nicholas Amati, was _Gaspar de Salo_, of -Lombardy. He was especially renowned for his instruments of the _viol_ -species, at that time more in request than violins. His instruments of -this latter kind, somewhat larger in pattern, have more power than those -of the Amati; but their tone has been said to be too analogous to that -of the _tenor_. Of a similar quality are the violins of _Giovanni -Granzino_, who operated at Milan, from about 1612 to 1635. - -Another noted Italian fabricator, whose doings come within about the -same range of time as those of Granzino, was _Giovanni Paolo Magini_, -who established his factory at his native town, Brescia. Magini's -violins are usually large, although he produced a few of small pattern. -Their convexity is very positive; and the back is a good deal flattened -towards its upper and lower extremities. The sides are softened off, at -the various points of angular projection. A broad double fillet sweeps -round the belly and back, and, on the latter, sometimes terminates in an -ornament, situated near the neck of the instrument, and having the shape -of a large clover-leaf. He made use of spirit-varnish, of a fine golden -colour. The tone of his violins, less soft than that of a Straduarius, -and less potent than a Guarnerius, approaches that of the _viol_, and -has in its character a touch of melancholy. Magini's instruments came -(or rather, returned) into high consideration some years ago, from the -fact of De Beriot's having adopted the custom of playing on one of them. -There are but few of them in existence. One, that was pretty loud in -tone, was sold, years ago, by an ingenious fiddle-fancier at Kensington, -to Reeve, principal "Second Violin" at the Italian Opera House. It had -been long in the possession of old Baumgarten, who was orchestra-leader -at Covent Garden for forty years, and died at Kensington Gravel-pits. - -From about the middle of the seventeenth to that of the eighteenth -century, the Italian renown for instrument-making attained its climax by -the productions of those two Cremonese "men of pith," _Straduarius_ and -_Guarnerius_--or to give them their local names, _Antonio Stradivari_, -and _Giuseppe Guarneri_. Violins--tenors--basses--all was admirable, that -came from their hands; but they are distinguished from each other by -qualities that are sufficiently appreciable. In the large Concert-hall, -the Guarnerius has the greater sonorous power; while, for the -combination of brilliancy with suavity, nothing can equal, in a private -music-room (and especially where a _quartett_ is in hand), a -well-conditioned Straduarius. - -Born in 1664, and employed for years in the factory of the _Amati_, -Straduarius began his own separate career, by imitating their models; -but, at the commencement of the eighteenth century, taking leave of his -masters, he changed the proportions of his instruments--adopted a larger -size, with a diminished convexity--and was as studious about the -gradations of thickness, as in the choice of his wood. Nothing was -omitted, that the careful mind of this artist could devise, for the -production of the finest quality of tone. His instruments, -nicely-balanced, provoke no unseemly opposition of character among the -four strings. Add to these advantages, a graceful outline--high finish in -the details--a brilliant harmony in the varnish--and you have the -accomplished, the complete _Straduarius_. - -_Giuseppe (Joseph) Guarnerius_, the most distinguished among a family -noted for the construction of bowed instruments, belongs, in date of -birth, to the latter end of the seventeenth century. He is said to have -studied his art in the factory of Straduarius, although the products of -his hand shew none of the high finish characteristic of that maker. His -_build_ is often very slovenly; the _f_ holes are cut almost straight, -and with angularity about the ends; the fillets are badly traced--and, -indeed, there is so little in the _look_ of his violins to proclaim the -master, that one might be tempted to attribute their fine quality to the -excellence of the materials he used, rather than to any bestowed -workings of his mind. Close examination, however, has decided that he -must have been guided by some positive principles, howsoever attained, -and that his productions have an originality derived from these. Of his -violins of the large pattern, there are but few: those of the smaller -size, which are more numerous, exhibit very little convexity, and are -thicker, in the thick parts, than those of Straduarius. The effect of -his instruments is more gratifying at a little distance, than at "close -quarters." - -The art under consideration seems to have gone on in Italy with hardly -any change, since the time of the above two celebrated makers--their -successors having been content with one or the other of them, for model. -_Lorenzio Guadagnini_, of Placentia, a pupil or apprentice of -Straduarius, copied the small-pattern fiddles of his master. His -instruments give a round and clear tone from the first and second -strings--but are dull on the third. He had a son, who worked at Milan, -till about 1770, after his father's mode, but with smaller success. The -_Gagliani_ were also imitators of Straduarius, but were far from -equalling his instruments, and were not very scrupulous in their -selection of wood. _Ruggeri_ and _Alvani_, who were among the copyists -of Joseph Guarnerius, have produced good violins, but none that could -attain the estimation enjoyed by their prototype. - -Of the noted Tyrolese fiddle-fabricants, _Jacob Steiner_, a man of -chequered fortunes, was the ingenious chief. Born about 1620, at Absom, -a village near Inspruck, he had, as an instrument-maker, a career marked -by three distinct epochs. At first, under the Amati at Cremona, he -produced some violins of admirable finish, but now very rarely to be met -with. Their convexity is still more decided than that of the Amati; -while the heads, or volutes, are less prolonged, and broader in the -anterior part--and the labels within them are written and signed by the -artist's own hand. His _second_ epoch is when, married, and settled at -Absom, he produced, from 1650 to 1667, a prodigious number of -instruments, constructed with little care. Even then, however, after -languishing for some years in misery, and personally hawking about his -violins, for which he could get no better price than six florins, he -regained his position through some rays of aristocratic patronage that -suddenly shone upon him; and, with his genius thus revived, again -produced some fine instruments, distinguished by their scrolls, -ornamented with heads of animals--by the close fibres of the -belly-wood--and by the varnish of red mahogany-colour, browned by time. -Steiner's _third_ epoch commences when, on losing his wife, he retired -to a monastery. In that tedious seclusion, he resolved to signalize the -end of his artistic career by some first-rate doings. Having obtained, -through the influence of the Superior, a supply of most exemplary wood, -he made sixteen violins--the intended concentrations of every gathered -perfection--and sent one to each of the twelve Electors of the Empire, -presenting to the Emperor himself the remaining four. These sixteen -instruments, whereof but three are (so far as is known) extant, have -acquired the name of _Elector Steiners_. A pure, ringing, ethereal tone, -comparable to that of a woman's perfect voice--a shape of -elegance--studied finish in every detail--a diaphanous varnish, of golden -hue--such are the characteristics of these productions of Steiner's -third, or last epoch. Their labels, unlike those of his second period, -which are printed, bear his autograph inscription and signature. - -The imitations of the instruments of Steiner by the brothers _Klotz_ -have reference to his second epoch, and are distinguishable from his own -manufacture by the varnish, which, instead of being red, is of a dark -body, with a tinge of yellow. From the pupils of the Klotzes, likewise, -have resulted numerous Tyrolese imitations of the Cremona patterns--but -always discernible by the inferior quality of the wood, by the duskiness -of the varnish, and the want of clearness and power in the tone. - -The high market-value borne by the best instruments of the best Italian -and Tyrolese makers, is a point well known to those who take a -particular interest in the violin. It has formed the subject of -admiration to all, of exultation to a few, and of disappointment to -many. The money that would buy a house, has been sometimes demanded for -a fiddle! The subjoined passage from Mr. Gardiner's "Music and -Friends," will serve (among other purposes) to illustrate in some -degree this exorbitancy:-- - -"Mr. Champion, an Amateur, had just purchased a Stradivari violin and -tenor (in one case), for which he gave three hundred guineas. They -seemed to have been untouched since the day they were made. They were of -a beautiful yellow colour, inclining to orange, and appeared to have -ripened and mellowed into excellence. Mr. Salomon's violin was the -celebrated one that belonged to Corelli, with his name elegantly -embossed in large capital letters on the ribs. Probably three such -valuable Cremonas were never before brought together. There can be no -question that the instruments made by Stradivari are superior to those -of any other Maker in the world. Dragonetti's double-bass was made by -the same artist. Mr. Salomon, the Jew, has offered him eight hundred -guineas for it; but he will not part with it for less than a thousand." - -As in their own country, so in others, the great Italian and German -Makers have had their "servum pecus," their crowd of imitative -followers, who have sometimes copied with a plausible neatness, and -sometimes caricatured with a coarse barbarity. The most prominent names -in France are, successively, those of _Bocquay_, _Pierret_, _Despons_, -_Veron_, _Guersan_, _Castagnery_, _Saint-Paul_, _Salomon_, _Medard_, -_Lambert_ (whose rough and ready doings got for him the name of "_Le -Charpentier_ de la Lutherie"), _Saunier_, _Piete_ (whose instruments -were given as prizes to the pupils of the Paris Conservatory, at the -commencement of the present century)--and, lastly, _Lupot_, a studious -artist, whose instruments, finished with a loving care, have a real -value in the eyes of the discerning, and are in request where a good -Cremona is unattainable. For one of Lupot's best instruments, an offer -equal to sixty guineas has been known to be refused.--Of the English -Constructors, a scanty knowledge limits me to a slender account. -_Richard Duke_, who belongs to the middle of the last century, -flourished in Red Lion Street, near Gray's Inn Passage. The _Forsters_, -old and young, grandfather and grandson, have, in their department of -art, a name that lives. _Banks_, of Salisbury, also claims notice. His -violoncellos (observes Mr. Gardiner) are of the finest quality of -tone--not so strong and fiery as old Forster's, but, in sweetness and -purity, excelling them. Banks's are more adapted to the chamber, and -Forster's to the orchestra. The names of _Betts_, _Davis_, _Corsby_, -_Kennedy_, and _Hart_ (all London Makers) are likewise entitled to -respect. - -Although the great Italian and German Constructors, who have so long -served as models and guides, did unquestionably somehow arrive at -certain proportions highly favourable to the development of beautiful -sound, it does not appear that those proportions, observed (as they -were) with mathematical exactness, were founded upon any clearly -understood philosophic principles. "Until recently," says Monsieur -Fetis, from whose ingenious labours are derived some of the details in -this chapter, "the art of making bowed instruments has perceptibly been -cultivated, in turn, by inspiration, and imitation. Science, as an -element, did not enter into their construction. We have now reached an -epoch of transformation in this respect, though perhaps rather, as yet, -in the way of establishing principles, than of attaining results." Into -this subject, it behoves us to enter with some particularity. - -At about the same time as that of the publication of Otto's little book -in Germany, an ingenious Frenchman made known the results of some -experiments he had undertaken with reference to the _principles_ of -construction. _M. Chanot_, officer of maritime engineers, and amateur of -music, professed to have discovered a method for determining invariably -the processes to be employed in the construction of bow-played -instruments. - -His views are contained in a Memorial addressed to the French Academy, -during its sitting of the 27th of May, 1817. This memorial was submitted -to the consideration of the musical section of the Academy, to whose -labours, in making the investigation required by the committee, were -added those of MM. Charles and De Prony. - -The first part of this memorial advocated the division of the -_Monochord_, so as to split the interval between the key-note and its -octave into twelve equal semi-tones. The short algebraic formula -employed by M. Chanot was found correct. Thus, a violin with a -finger-board graduated after this method, like the finger-board of a -guitar, would be fit to accompany all instruments which make no -difference between the sharp and flat through the enharmonic division. -But the imperfection of these instruments precisely consists in this -equality: to confine the violin to the same limits, would therefore be -to deprive it of its superiority over them. The committee accordingly -disapproved of this innovation, and M. Chanot renounced it with -readiness. - -The second and most important part of the memorial points out the -ordinary construction of the grooved violin, with a view to produce more -sonorous vibrations, or to multiply the vibrations in the fibres of the -wood, and to obtain, as an accessary, a greater degree of solidity in -the body of the instrument. Projecting edges and grooves were employed -in the new example, and the angles covered with hard wood, in order to -resist concussions. This simple form enables the maker to employ one -single piece for the side curvatures, and to dispense with the use of -blocks, which diminish the general elasticity. This construction was -considered favorable to the production of some vibrations which -otherwise would not exist. M. Chanot chiefly attributed the sonorous -quality, in the vibrations of his new violin, to the method of cutting -the sounding-board;--to the form of the parallel holes on each side, -which were made to approximate as closely as possible to the curvatures, -and were therefore straighter than what are called the _f_ holes:--to the -situation of the bar in the centre of the sounding-board, in the form of -a splint--and likewise to the geometrical cutting of the instrument. - -In consequence of these supposed improvements, there were, in an equal -degree of thickness, many more vibrating fibres than usual, under the -immediate pressure of the bridge. To give to the holes of common violins -the form of the letter _f_, was regarded by M. Chanot as generally bad. -The turnings of this letter render it necessary to _cut_ a considerable -number of _fibres_, which no longer vibrate under the immediate pressure -of the bridge; whilst, in the _new_ violin, without augmenting the mass -of fibres, the parallel holes on the sides allowed the attainment of the -maximum of the vibrations. - -The memorialist insisted on a certain simple principle, as having been -confirmed by various positive experiments; namely, that the _long_ -fibres are favorable to the production of _low_ tones, and the shorter -fibres to the production of _high_ tones. This, he said, should be the -guiding principle in the construction of instruments such as the violin. -By fixing the sounding-post at the back of the bridge, the fibres of -the sounding-board are divided into two arcs, instead of being cut in -two on the side of the E string. This division is necessary, because, -the high tones being produced on that side, the bridge acts on the -shorter arcs like a small lever, whilst, on the side of the large -strings, the fibres are enabled to vibrate in the long arcs necessary to -produce low tones. - -This explanation of the play or action of the instrument is rendered -probable by the experiment of placing the sounding-post behind the foot -of the bridge, on the side of the thicker strings. These, as well as the -E string, then exhibit a greatly diminished power of sound, and the tone -of the instrument is considerably damped. It was supposed, therefore, -that M. Chanot's new model, from the fact of its possessing in its -texture a greater number of long arcs for producing deep tones, as well -as of short ones for high tones, must produce, under a parity of size -and principal dimensions, a more powerful effect than the violin of the -usual construction, and must be better calculated for the performance of -_sostenuto_ passages. - -This theory, founded on principles _apparently_ satisfactory, received -such confirmation from direct experiment as was held, by the French -Committee, to establish the superiority of the structure of the _new_ -violin over all others. The ordeal resorted to was a hazardous one. -Monsieur Boucher, the eminent player, was requested to bring to the -sitting one of the best _Straduarius_ instruments: and, to counteract -any effect unfavourable to impartiality of decision, that might arise -from the notorious prepossession existing for these fine violins, M. -Boucher stepped into an adjoining apartment, and there played -alternately the same passages on both instruments. - -The whole committee, during three successive experiments, thought they -were listening to the Straduarius, whilst M. Boucher was playing on the -new violin, and, _vice versa_, supposed he was playing on the new -instrument, when it was otherwise. This repeated mistake--this double -illusion--was considered by the Academy to decide the question in favour -of M. Chanot's violin, which, though made of new wood, partly of two -years and partly of six months' cut, sustained so perilous a competition -in the manner described. - -Thus, the mystification of the "authorities" was complete--but not so the -ulterior success of the innovation, for it found no favour among the -musical profession, and soon became a thing of the past. It amounted, in -fact, to little more than a return to the old discarded viol shape of -the middle ages, with its flatness of face and back, and its less -indented outline. - -A similar fate to that which attended M. Chanot's attempt, followed the -first experiments of _M. Savart_, who soon afterwards devised, and with -his own hand executed, another example of new construction, on -principles which he considered philosophic. Flatness of surface, and -straightness of line, were by him also adopted, instead of the curve and -flow, which give beauty and distinction to the instrument in ordinary -use; while the cross-bar and sounding-post were altered in position, and -the two holes or perforations on the face were cut in straight parallel -lines, instead of the graceful _f_ form. A more perfect and equable -vibration was supposed by M. Savart to result from these new -arrangements, and success was claimed for the innovation; but an -interval of what seemed more like failure, was observed to take place, -until, abandoning his advocacy of an ugly, bluff, box-like pattern, and -returning to the beautiful and classic proportions of Straduarius, M. -Savart wisely entered into association with an intelligent practical -man, _Vuillaume_, of Paris, a musical instrument-maker. Then--the -long-studied and well-digested acoustic theories of the man of science -being brought into operation, and tested in experience, by the skilful -man of art, a brighter result was obtained--so much brighter, indeed, -that there seems little reasonable doubt of its being possible, -henceforward, to produce any required number of instruments, equal in -primitive merit to those of the great Italian Constructors, and only -awaiting the indispensable accession of _time_, for the consummation of -their value; nor are we much disposed to charge Monsieur Fetis with -madness, when, under a lively sense of what has been already achieved by -Savart and Vuillaume, he points exultingly to Paris, as the Cremona of -the nineteenth century! - -Into those deductions, drawn from his study of the phenomena of sound, -which became to Savart the guiding principles towards the right -construction of bowed instruments, it were too long here to enter;--but -our English Makers would do well to look into those principles, as -detailed in the French scientific journal, "L'Institut"--and to consider -curiously the practical result, as shewn in the handywork of Vuillaume, -whose instruments, to the number of more than two thousand, have gone -forth into the world, to attest the value of the system that has guided -his operations. - -The adventures of this indefatigable mechanician, in quest of _wood_ for -his purpose,--wood of sufficient age and capable of giving out the proper -_pitch_ of sound--might fill a chapter. He ransacked Switzerland, -entering into the meanest of her hovels, and buying-up the furniture or -the wood-work of the _chalets_, wherever he could detect in it the -right resonance, "les conditions d'une bonne sonorite." He one day went -so far as to persuade the curate of a small parish to let him take away -the cieling of his sitting-room, and replace it by another. Making his -way back to Paris with his "strange-achieved heap"--his wooden wealth--he -forthwith betook himself to the completion of certain machinery, by -means of which, as it is asserted, he is enabled to form and hollow out, -at will, a "belly" of Straduarius, of Guarnerius, of Amati, or of -Magini--with a nicety which the hand, at its very best, can never -accomplish. Resolved to omit nothing, he studied finally the varieties -of _varnish_, till he hit upon the exact reflex of that clear, bright, -most self-commendatory super-fusion, which we observe as the crowning -grace of the fine old instruments. - -Of the marvellous accuracy, as a copyist of the old models, that was -attained years since by Vuillaume, there is amusing proof, in a story -related by M. Fetis, on the authority of the great Violinist himself, -who figures in it:-- - -"On his return-journey from a visit to England, Paganini, with dismay, -observed the case containing his admirable _Guarnerius_ to fall from the -roof of the diligence. The instrument had sustained manifest injury;--but -Vuillaume was in Paris; and Paganini, fixing on _him_ all his hopes, -entrusted his violin to him, on descending from the vehicle. The repairs -were made with all the care demanded by the beauty of the instrument, -and the immense talent of its owner. Every minutest trace of the -accident was obliterated--and that which had been the confidant of -Paganini's inspirations was restored to its full charm and power. Whilst -yet the depositary of so excellent an instrument, Monsieur Vuillaume -was tempted by opportunity to make a copy of it--_such_ a copy as nobody -might distinguish from the original. On the day appointed for putting -the renowned performer again in possession of his instrument, Vuillaume -went to him, and, placing two violins on the table, thus addressed him: -"I have so completely succeeded in obliterating every vestige of the -accident sustained by your fiddle, as to be quite unable to distinguish -it from the _other_ Guarnerius, now beside it, which has been entrusted -to me, and which bears a striking resemblance to it. _You_, who are well -acquainted with your own instrument, will relieve me from this -embarrassment." At these words, Paganini changed countenance--stood up in -haste--seized a fiddle with each hand--scrutinized and compared them -both--and was struck dumb by their perfect similitude. _One_ hope -remains;--he snatches up his bow--sends it dancing alternately over the -strings of the two instruments--draws prodigies from each. Instead of -dissipating his anxiety, this experiment does but increase it. He -strides about the room--his hands are clenched--his eyes are on fire! -Vuillaume's triumph had reached its acme. "Compose yourself," said -he,--"_here_ is your violin!--and _there_--is the _copy_ I have made of -it. Keep them _both_, as memorials of this adventure--and think, -sometimes, on the _restorer_ of your instrument!" - -Fortunately, the probity of Monsieur Vuillaume is known to equal his -talent; _else_ were imitation, by so cunning an artificer, a very -ticklish thing. Instruments of his, in fact, _have_ been bought and -sold, by musical-instrument-makers themselves, as those of Straduarius, -or Guarnerius: law-proceedings have resulted; and Vuillaume's own -invoked testimony has established, by certain undetected private marks, -that _he_ was the real author of the instruments in question. - -The services rendered to the musical community by the successful labours -of Vuillaume, will be best appreciated by those who bear in mind the -commercial rarity of the genuine old instruments, and the difficult -prices at which it is usual to value them. Their acquisition, in fact, -belongs rigidly to the rich; and it often occurs that the best part of -an artist's life has gone by, before his savings have enabled him to -possess that which is wanted for the full manifestation of his talent. -The substitutes presented by the hand of the modern Frenchman, bear a -price somewhat analogous to the modesty of merit itself. Of their real -value, the recent "Great Exhibition" in our metropolis gave connoisseurs -the opportunity to form some estimate; and the conclusion arrived at is -sufficiently denoted by the awarded gold medal. Specimens creditable to -the skill of our English Makers, though not resulting from the like -diligent investigation into principles, were also displayed on the -above-named grand occasion. The names of Betts, Purdy and Fendt, and -Simon Forster, occur in connection with these. Examples claiming notice -on the convenient score of _cheapness_, too, were not wanting among the -foreign instruments there exhibited. The best of these were from the -Tyrol--while others were of the workmanship of Mericourt, in the Vosges, -a place which has been denominated the _Manchester_ of musical -instrument-making--and not without some show of reason, seeing that, for -about four shillings, it supplies the fiddler with a complete -instrument, strings and bow included! In the way of "a bargain," surely -nothing can beat _this_; unless, indeed, they were to throw in _the -case_! - -The latest improvement attempted in construction, is, I understand, a -discovery patented by an American. It is designed to give greater -freedom to the _vibration_, by omitting the end (or top and bottom) -blocks, and substituting an extra bass-bar, which runs longitudinally in -contiguity to the back, but without touching it. - -The possession of a good _bow_ may be readily conceived to be a matter -of no slight importance. With whatever reason the art of making violins -may be considered (with the exceptions noticed in this chapter) to have -declined since the days of the old makers, it is certain that the _bow_ -has been altered much for the better: so much, indeed, as to seem hardly -susceptible of further improvement. The bows of Tourte, of Paris, have -acquired a European celebrity. Their superiority lies in their -diminished weight, with increased elasticity in the stick; in the -beautiful uniformity of their bend, which is so regulated as to cause -the nearest approach made by the stick to the hair to be exactly in the -middle, between the head and the nut; and in the very exact and finished -workmanship of the whole. Here, too, acknowledgment is due to the -ability of Vuillaume, who has contrived a bow in which two -inconveniences, attendant on the previous method, are remedied; so that -the hand of the performer is no longer disturbed by those variations in -the length, and consequently in the weight, of the stick, which arose -from the necessity of making the thumb to follow the shiftings of the -nut, whenever the bow was altered as to its tension; while the hair, -firmly fixed to a kind of cylindrical nippers, is so arranged as to form -a perfectly even surface throughout its length, and to be renewable by -the performer himself, when he may desire it. - -Let me point the termination of this chapter with a bit of cautionary -advice, which, though it concerns bodies politic, invalids, and -picture-owners, is not the less suited to the possessors of valuable -instruments that require, through some casualty, the aid of a -restorative hand:-- - - BEWARE of _Vampers_! - -If, in some unhappy, incautious moment, you confide your cherished -_Steiner_ or _Stradivari_ to the barbaric hands of one of these profane -pretenders, its recovery is hopeless--its constitution is gone! - - - - -CHAPTER X. - -MISCELLANEOUS ANECDOTES, COLLECTED SCRAPS, ECCENTRIC VARIETIES, ETC. - - "Quae quibus ante-feram?" - - -_Characteristics of the Fiddle Species._--In the _variety_ of expression, -as well as in its _quality_, the violin has often been signalized for -its approximation to the human voice. The _finesse_ of perception of a -clever woman has discovered in that remarkable instrument, and its -ligneous family, a yet closer approach to human character. The ingenious -parallels which this lady has drawn are described by Monsieur Beyle, in -a passage which I here translate from his curious and amusing work on -Haydn and Mozart.--"In listening to the quartetts of Haydn, this lady -felt as if present at a conversation held by four agreeable persons. She -found in the _First Violin_ the semblance of a man of considerable -intelligence, of the middle time of life, an accomplished talker, and -equally capable of sustaining the conversation, as of furnishing the -subject of it. In the _Second Violin_, she recognized a _friend_ of the -First, who endeavoured by every possible method to draw out his -brilliant qualities,--was rarely occupied about _himself_,--and kept up -the discourse rather by his approbation of what fell from the others, -than by advancing any ideas of his own. The _Tenor_ was a solid, -profound, and sententious personage, who gave support to the remarks of -the First Violin, by maxims of a laconic turn, but of striking truth. As -for the _Violoncello_, 'twas a good woman, of a somewhat babbling -inclination, who said nothing to signify overmuch, but yet would not be -without her share in the conversation. She contributed a certain grace -to it, however, and, whilst she was talking, the other interlocutors got -time to breathe! One thing, with respect to her, was not difficult to -discover--namely, that she cherished a secret bias for the _Tenor_, and -gave him the preference over his instrumental brethren." - -If these comparisons should appear too fanciful, let it be remembered -that the subject is inviting, and might even be carried a good deal -further. We should only wonder that Monsieur Beyle's clever female -friend, having contrived to make up so snug a little party, did not -still further develop their capabilities, and explain, "avec -circonstance," the _matter_ of their amiable chit-chat. _Why_ she should -have chosen, by the by, to assign to the _Violoncello_ the feminine -gender, is by no means obvious. According to the general rules of -proportion, which govern sex, it would be otherwise. Perhaps the -creation of that instrument subsequently to the fiddle, as a help-mate -to it, may have suggested this notion to our speculatist; but, -_n'importe_; let us be content, rather than differ with a lady, to allow -personification under the softer sex to the instrument in question, -which may then figure characteristically, like one of Byron's heroines, -as - - "Somewhat large, and languishing, and lazy." - -Apropos of personification--a curious little pamphlet, of a dozen pages -only, but containing some ingenious turns of fancy, was printed by Dove, -in 1828, from the pen of a Mr. K----, a gentleman of refined taste in -various matters of art and literature. It is entitled, "Carluccio and -Signora Violina; a musical _jeu d'esprit_ for the benefit of Violinists, -in the manner of Lucian;" and it consists of a sort of dialogue between -a lover and his mistress--the latter being represented by the Violin. In -assigning the feminine gender to the instrument, the author thus -accounts for the innovation he has hazarded:--"We have _Viola_ in -Shakspeare, and _Viola_ in music. Why not, then, _Violina_--especially as -her voice is treble?" - - Sit juvenis quondam, nunc faemina.--_Virg._ - -To the foregoing hints on distinctive peculiarities among the Fiddle -tribe, I am tempted to add a few words about the two extremes that -constitute, respectively, the _giant_ and the _dwarf_ of the race; -namely, the _double-bass_ (or _contra-basso_) and the _kit_. The former -of these, then--the double-bass--is a fellow of imposing appearance, with -the weight and strength of an Ajax, and a voice that you might conceive -him to have borrowed from a thunder-cloud. In the assembled circle, he -is dogmatical, slow, and heavy; yet one is forced to confess that there -is a _depth_ in all he utters, and that what he wants in brilliancy, is -amply made up in profundity. He hears the _flourishes_ of those around -him, but seems to take little heed of them--and sometimes makes a solemn -pause, as if in meditation, while the rest are chattering away. His -manner, even when he perfectly _agrees_ with what is advanced by others, -has a bluffness in it, that is not _very_ unlike _dissent_. His -arguments are of the sledge-hammer kind, knocking down contradiction. -He is the Doctor Johnson of the society--he settles matters with a -_growl_. With all his surliness, however, he is a thoroughly good fellow -at bottom, and, as he is well-understood, and pretty much humoured, by -his associates, the general harmony is none the worse for his -presence--nay, rather, would be very sensibly subtracted from, were he -absent.--As for the _kit_, he is a pert little whipper-snapper, with a -voice as _uppish_ as his notions of _himself_, and a figure _any thing_ -but _symmetrical_, since it is, at once, by an odd contrariety, stunted -in height, and lanky in appearance. He is hardly ever seen in the -company of his own kith and kin, his own fraternity of the larger -growth--for his vanity leads him to seek distinction on _any_ -terms, and so he goes into dancing academies, or among family -step-hop-and-jump-learners, where he is a sort of cock-of-the-walk, and -where, to judge from the quaint and abruptly intermitted strains that -proceed from him, he seems to crow and chuckle at the absurdities of the -"awkward squad" whom he delights to set in motion. As he is prone to -imitation, and proud of his squeaking voice, you will sometimes hear him -mimic the style and accents of his bigger brethren, behind their backs; -but these attempts incline you only to a smile--which he mistakes for -approbation. On the whole, though tolerated, he is never respected. The -very person who _introduces_ him into such society as that just -mentioned, makes a mere convenience of him; but, because he is usually -carried thither in the _pocket_ of his introducer, he fancies himself, -forsooth, a prodigious pet! Was there ever such impudence? - -If there be, by a strange possibility, any special admirers of the -Pigmy, who shall think him too sharply dealt with in the above sketch, -let them turn for comfort to Sir John Hawkins, in whose pages they will -find mention of a certain London dancing-master, named Pemberton, who -was so consummate a handler of the kit, as to be able to play entire -_solos_ on it, and to exhibit in his performance (so declares the -statement) _all_ the graces and elegancies of _the violin_, although -himself a man of the most corpulent make! Besides this consolatory -reference, let me hint to the affecters of the kit, that possibly the -classic term "lyra jocosa" might, without much violence, be appropriated -to the honour of their queer little favourite! - -_A Caricature repudiated._--A correspondent of the _Harmonicon_, who has -played on the violin amusingly enough with his _pen_, but appears, from -sundry indicative points, to have been no _bowman_, has designated the -instrument as "a box, half beech, half fir, on which are stretched the -entrails of a cat," and from which, sounds are drawn "with a few -horse-hairs," and which, moreover, "cannot be held without a distortion -of the frame, and obliges us to assume an attitude so disagreeable to -the head, by the chin of which, it is held."--This is a description -wherewith the true Amateur will hold no sympathy: he will regard it no -otherwise than with "hatefullest disrelish." He will not fail to -remember, too, that it is the _sheep's_ interior which is laid under -contribution, and _not_ the _cat's_. Then, again, doubtless, the -depression of the chin _is_ sometimes the reverse of agreeable; but this -is an objection rarely in great force, except with those round-headed -gentlemen who have short chins. A little punchy man, with a broad, -baffling, double chin, cannot be great upon the fiddle--and should not -aim at it. It is the business of a perfect performer to have a _long_ -chin--a chin whose inclination or "facilis descensus" amounts to a fixed -welcome towards the instrument, which it embraces with a continuity -that in no degree compromises the head. Such a chin is the fiddler's -firm friend;--its holdfast properties entitle it, as fitly as the -virtuous man in Horace, to the appellation of "tenax propositi." Such a -chin, for example, had Paganini. - -_Ambition let down._--During the last year of Spagnoletti's Saturnian -rule at the Opera-House, when the reins of leadership were somewhat -relaxed in the hands of that good senior, it chanced that one of his -subjects, scarcely less ambitious than was Jove of old, and equally -hopeful of his own succession, aspired prematurely to a position in the -orchestral realm as elevated as the throne of the great directing power. -In plainer language, a certain noted First Violinist, scarcely satisfied -with being second to the Leader, sought to magnify his importance by the -help of a stool that was considerably more _stilted_ in its proportions -than that occupied by his brethren of the band. Thus raised into notice, -he managed, with many flourishes of his bow-arm, to divide the public -attention with the Leader himself, and was enabled to look down on all -besides. But pride does not triumph thus to _the end_. Spagnoletti -himself, perhaps indisposed, through his then feebler condition, to -contend with usurpation, took no notice of this upstart proceeding; but -the members of the band, feeling it to be an indignity to their Leader, -still more than to themselves, took counsel together for the purpose of -putting it down. The expedient they hit upon was equally ingenious and -successful. One of the carpenters of the establishment had private -instructions to saw off a small bit from the lanky legs of the stool, -previously to each night's sitting in the orchestra; and, by this -graduated system of reduction, or what musicians would term a "_sempre -diminuendo_," the obnoxious pretender was "let down easy," and brought -to a reasonable level. Thus, though not going down, in his own -estimation, he was much depressed, in the eyes of all beside. Whether he -thought it worth while, when he discovered his situation, to enquire how -it happened, is more than remains on record--but, if he did so, it is -easy to conceive the sort of vague reply by which his mystification -would be "made absolute." - -_A new resource in difficulty._--The following graphic sketch--a piece of -what our American brethren delight to designate as the _real grit_--is -from Colonel Crockett's "Adventures in Texas:"-- - -"As we drew nigh to the Washita, the silence was broken alone by our own -talk and the clattering of our horses' hoofs; and we imagined ourselves -pretty much the only travellers, when we were suddenly somewhat startled -by the sound of music. We checked our horses, and listened, and the -music continued. 'What can all that mean?' says I. We listened again, -and we now heard, 'Hail, Columbia, happy land!' played in first-rate -style. 'That's fine,' says I. 'Fine as silk, Colonel, and leetle finer,' -says the other; 'but hark, the tune's changed.' We took another spell of -listening, and now the musician struck up, in a brisk and lively manner, -'Over the water to Charley.' 'That's mighty mysterious,' says one; -'Can't cipher it out, no-how,' says a third. 'Then let us go ahead,' -says I, and off we dashed at a pretty rapid gait, I tell you--by no means -slow. - -"As we approached the river, we saw, to the right of the road, a new -clearing on a hill, where several men were at work, and running down the -hill like wild Indians, or rather like the office-holders in pursuit of -the depositees. There appeared to be no time to be lost; so they ran, -and we cut ahead for the crossing. The music continued all this time -stronger and stronger, and the very notes appeared to speak distinctly, -'Over the water to Charley!' - -"When we reached the crossing, we were struck all of a heap at beholding -a man seated in a sulky, in the middle of the river, and playing for his -life on a fiddle. The horse was up to his middle in the water: and it -seemed as if the flimsy vehicle was ready to be swept away by the -current. Still the fiddler fiddled on composedly, as if his life had -been insured, and he was nothing more than a passenger! We thought he -was mad,--and shouted to him. He heard us, and stopped his music. 'You -have missed the crossing,' shouted one of the men from the clearing.--'I -_know_ I have,' returned the fiddler.--'If you go ten feet farther, you -will be drowned.'--'I _know_ I shall,' returned the fiddler.--'Turn -back,' said the man.--'I _can't_,' said the other. 'Then how will you -_get out_?'--'I'm sure I _don't know_.' - -"The men from the clearing, who understood the river, took our horses, -and rode up to the sulky, and, after some difficulty, succeeded in -bringing the traveller safe to shore, when we recognised the worthy -_parson_ who had fiddled for us at the puppet-show at Little Rock. They -told him that he had had a narrow escape; and he replied, that he had -found that out an hour ago! He said he had been fiddling to the fishes -for a full hour, and had exhausted all the tunes that he could play -without notes. We then asked him what could have induced him to think of -fiddling at a time of such peril; and he replied, that he had remarked, -in his progress through life, that there was nothing in universal natur -so well calculated to draw people together, as the sound of a fiddle; -and he knew that he might bawl until he was hoarse for assistance, and -no one would stir a peg; but they would no sooner hear the scraping of -his catgut, than they would quit all other business, and come to the -spot in flocks." - -_A prejudice overcome._--Another story of a clergyman fond of -fiddling--in this instance, a Scotchman--is to be found in _Tait's -Magazine_.--"A number of his parishioners considered it as quite -derogatory to his calling, that he should play upon the fiddle; so a -deputation of them waited upon him, and remonstrated against this -_crying_ enormity. He said--"Gentlemen, did you ever see my fiddle, or -hear me play?"--"No!"--"You shall do both," said he; and immediately -brought a violoncello, on which he struck up a Psalm tone, asking if -they had any objection to join him with their voices. They complied; -and, when all was over, they expressed themselves perfectly satisfied of -his orthodoxy. "A muckle, respectable, _releegious_-sounding fiddle like -_that_, there was nae harm in. Na, na! it was nane o' yer scandalous -penny-weddin' fiddles that they had heard o'!" - -It will not have been forgotten, by some of my readers, that the musical -propensities of the Rev. Charles Wesley were made a subject of stringent -comment by the poet Cowper, who pointed his remarks by the line-- - - "With wire and catgut he concludes the day." - -It is recorded, however (if I rightly remember), that the candid and -kind-hearted Cowper saw reason, afterwards, to alter his impressions on -that head, and to regret that he had reflected, with such freedom of -pen, on the harmless recreations of the earnestly pious minister. - -----From the foregoing incidental references to men of the sacred -calling, we pass, by no violent transition, into the church-yard. On a -stone, in the porch at the southern entrance of the collegiate church, -Wolverhampton, is the following singular epitaph. "Near this place lies -Claudius Phillips, whose _absolute contempt of riches_, and _inimitable -performance upon the violin_, made him the admiration of all that knew -him. He was born in Wales, made the tour of Europe, and, after the -experience of _both_ kinds of fortune, died in 1733." - -Belonging to the same equivocal species of association with the grave, -and by no means to be commended for its admixture of the _quaint_ with -the solemn, is the following "musician's epitaph," from whence gotten, I -am unable to say:-- - - Ah! what avails, when wrapped in shroud and pall, - Who jigged, who fiddled, or who sang the best? - What are to _me_ the crotchets, quavers, all, - When I have found an everlasting _rest_? - -_Fifty Years' Fiddling._--"An interesting jubilee was lately kept here -(Mannheim). The scholars of our venerable Orchestra Director, M. Erasmus -Eisenmenger, now in his 70th year, met to celebrate the fiftieth year of -his life spent as an artist. It is worthy of remark that he played, in -the _same_ musical saloon, the _same_ concerto on the violin that he had -executed fifty years ago--as well as a double concerto of Viotti, which -he played with his pupil, Chapel-master Frey, with a spirit and vigour -quite wonderful at his age." (_Harmonicon_, 1830.)--[The curious in -coincidences ought to be informed whether it was also the _same fiddle_, -as formerly, that was thus eloquent in the hands of the worthy old -gentleman.] - -_Another fifty years of it!_--Teobaldo Gatti, a native of Florence, died -at Paris in 1727, at a very advanced age, after having been, for rather -more than half a century, a performer on the _bass-viol_ in the -orchestra of the Opera there. Is it possible to be more completely -identified with one's instrument? - -_Glory made out of Shame._--A stranger, visiting Greenwich Hospital, saw -a pensioner in a yellow coat, which is the punishment for disorderly -behaviour. Surprised at the singularity of the man's appearance, he -asked him what it meant? "Oh, sir," replied the fellow, "we who wear -yellow coats are the _music_, and it is I who play the _first fiddle_." -(_Hawkins's anecdotes._) - -_Discrimination._--"Gentlemen," said an auctioneer, addressing the -bargain-hunters by whom his sale-room was crammed--"the next lot is a -very fine-toned violin."--"_A violin_, sir!" exclaimed his clerk, in -surprise--"You must have made some mistake, sir,--the next lot is _the -fiddle_!" - -_The Cremona Fiddle._--Messrs. Schramm and Karstens, the principals of a -wealthy house of agency at Hamburg, were eager practitioners of the arts -of accumulation. In the month of May, 1794, their extensive warehouse -received the honour of a visit from an individual of unexceptionable -appearance and costume, who, after bargaining for a certain number of -ells of cloth, and ordering them to be cut off from the piece, found, on -examination of his purse, that his instant coin was somewhat short of -the sum required. He handed over, however, all the cash he had--took an -acknowledgment for it--ordered the cloth to be laid aside for him, and -arranged to return in a couple of hours with the balance of the money. -"By the by," added he, "I may just as well leave with you this -_Cremona_, which is rather in my way, while I'm running about the town. -It is an instrument of particular value, for which I refused yesterday a -matter of 300 ducats: place it there in the corner, on the top of the -cloth, and it will be quite safe till my return." - -It happened, about an hour afterwards, that a handsome carriage stopped -at the door of Messrs. S. and K.'s warehouse. A personage, dressed with -the utmost attention to effect, and decorated with various knightly -insignia, alighted under an escort of three lacqueys in livery. Mons. -Schramm pressed forward to receive him, and conducted him into the -warehouse. His highness purchased several small articles, and, whilst -expressing his satisfaction at the arrangement and variety of the goods -before him, chanced to rest his eyes on the violin. Caught by its -appearance, he took it up, turned it over and over, contemplated it with -a kindling eye, and, calling forward one of his lacqueys, ordered him to -make trial of it. The domestic proceeded to do so in a masterly manner, -and drew forth sounds of such harmony as to bring together, by the ears, -a listening crowd of mute gapers at so extraordinary a virtuoso. Mons. -Schramm and the clerks were warmed up into an admiration far above the -commercial temperature; and the whole scene appeared to partake of -enchantment. Presently, motioning his domestic to stop, the great man -enquired of him, in the presence of all, what he thought of the -instrument, and what estimate he should incline to form of its value. -"Why, certainly," said the livery-man, after a pause of examination, "if -your Excellency could make it your Excellency's own for 500 ducats, I -should say that your Excellency would be in possession of the finest -Cremona fiddle in the world!" The man of distinction took Mons. Schramm -aside, and offered him 400: from that he ascended to 500; but the man of -commerce told the man of distinction that the instrument belonged to a -stranger, and explained the circumstances under which it had been left -there. "Now, mark me, Mons. Schramm," said the great man; "if you can -secure me this violin, you shall not repent your having obliged me: do -your utmost to make the purchase for me, and go to 500 ducats, if -necessary; there's my address, and I shall expect to see you at five, -with the fiddle and the account."--Mons. Schramm, full of protestations -of his readiness to do all in his power, respectfully bows out his -visitor. - -In an hour or two, the impatiently-expected owner of the instrument -makes his re-appearance, takes up his parcel and violin, and is about to -depart. "Stay, sir," said Mons. Schramm, a little embarrassed--"one word -with you, if you please--would you feel inclined to s--, to sell that -violin? I could make you a good offer for it--say 350 ducats, cash." The -proposition, however, is met by a short and dry answer in the negative, -and a renewed movement to depart. Mons. Schramm then offers him 360, and -so on, till in short, after considerable discussion, the stranger -consents to part with the object of solicitation,--but still as a matter -of regret,--for the sum of 470 ducats, and to give a receipt for 500. The -bargain is completed, and Mons. Schramm, receiving the fiddle with a -chuckle of delight, takes leave of the stranger with lavish civility. - -Full of satisfaction at the idea of having made thirty ducats, and the -friendly acquaintance of a great man, Mons. Schramm, at the exact hour -of five, presented himself at the hotel of St. Petersburg, situated on -the Jungfernstieg. With the violin in his hand, and the receipt for 500 -ducats in his pocket, he demanded to speak to his Excellency the Baron -De Strogonoff, Ambassador from Russia, to the Court of St. James's--such -being the address given him in the morning by the gentleman with the -equipage. He was informed by the porter that he knew nothing of the said -nobleman, inasmuch as he had not come to their hotel. Mons. Schramm -hereupon insists and grows warm; the servants gather round, and the -dispute at length draws forth the master of the hotel, who pledges his -word, in positive terms, that the Ambassador in question is not at his -establishment! Enquiry is then made at all the large hotels in the -town--and, at all, the Baron De Strogonoff is unknown! - -It was now high time for Mons. Schramm to consider himself as having -been played upon! As for the rogues, they had so well concerted their -measures, that all subsequent efforts to discover them proved abortive. -Mons. Schramm had full leisure for maledictions upon his own credulity -and ultra-commercial spirit; nor did he very speedily get rid of the -jests and gibes of his fellow-townsmen, at the piquant fact of his -having paid so handsome a sum, for a fiddle that was not worth much more -than a ducat! - -_An apt Quotation._--The felicitous power of allusion which Dean Swift -had at his command, was never more pointedly shown, than in his seizure -of a line from Virgil, to _fit_ the circumstances of a certain domestic -disaster. Relating from memory, I give but the outline of the story. A -lady's gown (or _mantua_) accidentally caught fire, and damaged a -gentleman's fiddle, which was lying unfortunately near it. The Dean, -either witnessing the accident, or informed of it, exclaimed -pathetically, - - "_Mantua_, vae! miserae nimium vicina _Cremonae_!" - -_The "Leading Instrument" victorious._--Anseaume, a French gentleman, of -very limited income, hired a small house at Bagnolet, and invited his -friends once or twice a-week to come and amuse themselves there. On -these occasions, each brought some provisions: one, wine; another, cold -meat; another, patties; another, game. It unluckily happened that -Anseaume, as absent in mind as straitened in his finances, had -forgotten, for a whole year, to pay his rent. The landlord made a -descent upon him, precisely on the day when his friends Colle, Panard, -Piron, Gillet, the painter Watteau, the musician Degueville, and other -epicures, had assembled there. These gentlemen, according to custom, had -brought plenty of provender, but no money; and the landlord imperiously -demanded his rent of two hundred crowns. What was to be done, in order -to assist their friend? They immediately set about cooking the meat and -poultry; they levied contributions on the fruit and vegetables of the -gardens; Watteau drew a beautiful and inviting sign, and Degueville -borrowed a _violin_ of the parish beadle; in short, they got up a -_cabaret_ and _fete Champetre_. The appearance of these new cooks, who -served their customers in habits of embroidered velvet, with swords by -their sides, had a curious effect, and greatly diverted the company, -which was so numerous, that the receipts amounted to five hundred -crowns! Anseaume paid his landlord, and his distress was converted into -joy and gladness. But now a question arose, that was discussed with no -small earnestness and interest:--To which of his guests was the host most -indebted? Those who played the part of cooks, declared that, without -their labours, there would have been nothing for the public to eat; -Watteau laid no little stress on the invitation held out by his sign; -and Degueville insisted that, without his music, the people's attention -would not have been drawn to the sign; and that, even if they had -noticed it, and come in, there would have been no mirth and spirit, -little eaten, and that little scantily and reluctantly paid for. The -dispute began to grow warm, when Degueville seized the violin, played -them all into good humour, and was, at length, allowed to be the victor! - -_Sending for Time-Keepers._--In treating of the importance of adjusting -the time of a composition to the sentiment and intention of the author, -it is stated by Kandler, an able German writer, that Haydn was so -offended at the rude and hurried manner in which he found his music -driven by us English, when he first visited our country, as to send for -the family of the Moralts from Vienna, to shew the Londoners the time -and expression with which he intended his quartetts to be -played.--Kiesewetter also, in leading Beethoven's symphonies at the -Philharmonic Concert (although himself a performer who particularly -shone in rapid playing), is said to have insisted upon their being -executed more slowly than that orchestra had been accustomed to perform -them. - -_Musical Exaction._--A rich, but penurious personage, who somehow aspired -to be thought a man of _taste_, was resolved, on one occasion, to make -exhibition of this quality, by giving to his friends an entertainment of -instrumental music. While the musicians were all at work, he seemed -satisfied with the performance--but when the principal Violin came to be -engaged upon an incidental solo, he enquired, in a towering passion, why -the others were remaining _idle_? "It is a _pizzicato_ for one -instrument," replied the operator. "I can't help that," exclaimed the -virtuoso, who was determined to have the worth of his money--"Let the -trumpets _pizzicato_ along with you!"--This hopeful amateur may serve to -recall the not unfamiliar anecdote about old Jacob Astley, of -"horse-theatre" celebrity, who observed a violinist in his band to be in -a state of temporary cessation from playing, during the continued -activity of the others, and asked him what he _meant_ by it. "Why, sir, -here's a _rest_ marked in my part--a rest of several bars."--"_Rest!_" -shouted Astley (who had always a great horror of being imposed upon), -"don't tell me about _rest_, sir. I pay you to come here and _play_, -sir, and not to _rest_!" - -_A Device for a Dinner._--Doctor Arne once went to Cannons, the seat of -the late Duke of Chandos, to assist at the performance of an oratorio in -the Chapel of Whitchurch, but such was the throng of company, that no -provisions were to be procured at the Duke's house. On going to the -Chandos Arms, in the town of Edgeware, the Doctor made his way into the -kitchen, where he found only a leg of mutton on the spit. This, the -waiter informed him, was bespoken by a party of gentlemen. The Doctor -(rubbing his elbow--his usual habit) exclaimed, "I'll have that -mutton--give me a _fiddle-string_." He took the fiddle-string, cut it in -pieces, and, privately sprinkling it over the mutton, walked out of the -kitchen. Then, waiting very patiently till the waiter had served it up, -he heard one of the gentlemen exclaim--"Waiter! this meat is full of -_maggots_: take it away!" This was what the Doctor expected.--"Here, give -it _me_."--"O, sir," says the waiter, "you can't eat it--'tis full of -maggots."--"Nay, never mind," cries the Doctor, "fiddlers have strong -stomachs." So, bearing it away, and scraping off the catgut, he got a -hearty dinner. - -_A "Practising" Coachman._--Too true it is that Nature has not gifted all -mortals with a taste for music. Shakspeare tells us that the man who -hath not music in his soul is fit for "broils;" and the Duchess of -Ragusa appears to have inclined to his opinion, if we may judge from an -occurrence in which she was concerned some years since. Finding herself -offended that the coachman of a certain Miss Ozenne, her neighbour, -should practise the violin too much in the vicinity of her ducal ears, -she summoned the lady, the coachman, and the violin, before the -_Tribunal de Police_, for making a "tapage injurieux et nocturne." In -vain the lady pleaded the right of her domestics to make musicians of -themselves, if they could: the Duchess declared it was done solely and -purely for her annoyance; the _Commissaire du Quartier_ declared that -the noise consisted of "sons aigus, bruyans, et dissonans;" and Miss -Ozenne was condemned to be imprisoned one day, and to be fined to the -amount of ten shillings.--(_New Monthly Magazine._) - -_A Footman, to match._--"The following curiously illustrative anecdote -may be relied on. A few days since, a footman went into Mori's -music-shop to buy a fiddle-string. While he was making his choice, a -gentleman entered the shop, and began to examine various compositions -for the violin. Among the rest, he found Paganini's celebrated -"Merveille--_Duo_ pour un _seul_ Violon," and, perceiving the -difficulties in which it abounded, asked the shopman if he thought that -Mori himself could play it. The young man, a little perplexed, and -unwilling to imply that his master's powers had any limit, replied that -he had no doubt he could perform it, _provided_ he practised it for _a -week_; upon which the footman, who stood intent on the conversation, -broke in on the discourse, and swore that Mori could do no such thing, -for that he himself had been practising the piece for _three weeks_, and -could not play it yet!"--(_Harmonicon_, _May, 1830_.) - -_A Royal "Whereabout."_--Salomon, who gave some lessons on the violin to -George the Third, said one day to his august pupil, "Fiddlers may be -divided into three classes: to the _first_ belong those who cannot play -_at all_; to the _second_, those who play _badly_; and to the third, -those who play _well_. You, Sire, have already reached the _second_." - -_Precocious Performers._--The violin, in the hands of _children_, has -been often rendered the theme of astonishment. In the foregoing pages, -many instances have been given of eminent players, whose powerful -maturity was prefigured, in the display of genius made in their tender -youth. Many blossoms there are, however, which _never_ pay their promise -afterwards in fruit; and many an "acute juvenal, voluble and full of -grace," has made early flourishes on the fiddle, that have led to -nothing of value in his fuller years. Apropos of this too commonly -observable disproportion, a French writer has the following epigram:-- - - -SUR LES PRODIGES A LA MODE. - - Plus merveilleux que nos ancetres, - Ou peut-etre plus singuliers, - A dix ans nous avons des maitres, - Qui sont a vingt des ecoliers! - -Which may be thus freely paraphrased:-- - - Our's is an age of wonders;--we behold - Precocious prodigies, in passing plenty: - We have our _masters_, now, at ten years old,-- - But then--they sink to _scholars_, when they're twenty! - -The Germans have an expressive denomination for these very early and -forced exhibitants. They style them _wunderkind_, or wonder-children. - -After hearing some violin variations rattled through at a Vienna Concert -by a six-year old performer, son of a M. Birnbach, a prognosticator was -heard to say, with a gravity that scarcely seemed unreasonable: "Well! I -foresee that, before many years are passed, we shall have a symphony of -Haydn's performed by babes in swaddling-clothes!" - -As a matter of curiosity, I will here subjoin a few records of early -feats, without attempting to distinguish those which may belong simply -to the class of _wunder-kinde_. - -Weichsel, the brother of Mrs. Billington, played in public with his -sister, when she was _six_ years old, and himself a year older--their -instruments being the violin and the pianoforte.--Balfe, the singer and -composer, made a kind of _debut_ as a juvenile violin-player (according -to the _Harmonicon_) at a theatrical benefit.--Two Hungarian boys, of the -name of Ebner, one ten and the other eleven, played some of Mayseder's -difficult variations at a Concert at Berlin, in 1823.--A boy of twelve -years of age, named Khayll, pupil of Jansa, introduced by Moscheles at a -Concert at Vienna in 1827, played some admirable variations on the -violin, in which he displayed an ease and solidity far beyond his years, -and a great knowledge of his instrument.--At Limberg, in 1831, -Apollinarino Conski, _five_ years old, surprised all hearers by his -execution of a concerto of Maurer's; and the son of this last-named -Artist, at the age of twelve, performed in the same year some of -Mayseder's variations, at his father's Concerts at Berlin. - -At Stutgardt, in 1831, the brothers Eickhorn, the elder _nine_, and the -younger _seven_ years of age, gave a Concert at one of the saloons, and -astonished not only the public in general, but the connoisseurs, by -their early proficiency on that most difficult of instruments here under -notice. The elder played variations by Mayseder and Rode, and a -potpourri with his younger brother, composed by Jacobi--and some -variations of Kummer's. - -In various towns of Switzerland, during the same year, the four brothers -Koella, of Zurich, gave Concerts with great success. These boys were -then respectively twelve, ten, nine, and seven years of age--"small by -degrees, and beautifully less." The elder played the violin and -violoncello with great spirit and power; the third was a good -tenor-player; and the youngest executed concertos of Viotti's! Their -quartett-playing, however, was their strongest point. - -Dr. Crotch, when about _five_ years old, was capable of fiddling, and -after a fashion, too, by no means common to others--that is to say, -_left-handed_. - -_Fiddlers' Tricks._--In 1731, a Concert was announced at Hickford's room, -for the benefit of Signor Castrucci, _first violin of the Opera_, who, -as the advertisement stated, was to play, amongst other pieces, a solo, -in which he would execute "_twenty-four_" notes with one bow." On the -following day, this advertisement was burlesqued by another, in which -was promised a solo by the _last violin of Goodman's Fields' Playhouse_, -who would perform _twenty-five_ notes with one bow. Such a feat as -either of these, would, in our own days, be nothing at all. - -A Signor Angelo Casirola, of Tortona, mystified the good people of -Milan, in 1825, by playing the _reverse_ way--that is, playing with _a -fiddle_ upon _a bow_! His plan was to fasten the bow in an upright -position upon a table, and play upon it with the violin, according to -the best manner in which he could manage to "rub on." The effect was -unpleasing, both to ear and eye. Another of his tricks was a _sonata -scherzosa_, for which he had two violins _fixed_, with the heads screwed -on a table, and then worked away right and left, with a bow in each -hand, accompanied by a full orchestra. He fooled his audience to the top -of their bent, and was applauded to the very echo! It might assist the -gratification of the gapers after novelty, if the thaumaturgist, -operating with his left hand, as usual, on the finger-board of his -instrument, were to have the _bow_ held and worked by _another person_. -The Chinese flutists have done something like this in _principle_--one -blowing the flute which another has played on! More wonderful still--at -some entertainments given by their Emperor, two musicians played -together the same air, each having one hand on his own flute, and the -other on that of his companion! - -At Munich, in 1827, M. Fereol Mazas raised a public astonishment -somewhat akin to that created in London more recently by Paganini, as an -operator on _one string_: and, indeed, all the more _obvious_ -peculiarities in the performance of the great Italian artist--those -pertaining to mechanical dexterity--have been copied, more or less -successfully. Assuming to be "the English Paganini," a certain -individual, of no distinction at that time as a legitimate player, was -particularly prominent in this business of imitation. He presented, -sooth to say, but a soul-less exhibition, having some of the externals -of similitude, indeed, but none of that which "passeth _show_." Upon the -auditors scraped together, however, his "ad captandum" tricks appeared -to tell abundantly--more especially when he worked with his left hand the -pizzicato accompaniment to the bowed passages; when he brought out some -harmonics from _below_, instead of _above_, the finger-stops; when (by -way of going _beyond_ Paganini) he thrust the instrument between the -hair and stick of the relaxed bow, and thus played on the strings with -the _inner_ hair: and, above all, when he placed the bow between his -knees, and, taking the fiddle in both hands, rubbed the strings against -it, so as to execute some difficulties of which a judicious observer -might have well regretted the possibility! One of the least pardonable -of the faults attending this display, was that his instrument did not -always _tell the truth_: in other words, its intonation was sometimes -false. - - -ECCENTRIC VARIETIES OF THE VIOLIN KIND. - -_The Fiddle of Iceland._--"Sir Joseph Banks and Dr. Solander, when they -visited this island in 1773, brought thence a very ancient musical -instrument, of a long and narrow form, which used to be played on with a -bow; and of which they did me the honour to make me a present. It is -called by the natives the _Long-Spiel_, and has four strings of copper, -one of which is used as a drone. Pieces of wood are placed at different -distances upon the finger-board, to serve as frets. Though this -individual instrument has the appearance of great antiquity, yet, rude -and clumsy as it is, there can be no doubt but that it was still more -imperfect in its first invention: for, to have placed these frets, -implies some small degree of meditation, experience, and a scale; and as -to the bow, that wonderful engine! which the ancients, with all their -diligence and musical refinements, had never been able to discover, it -seems, from this instrument, to have been known in Iceland at least as -early as in any other part of Europe. Sir Joseph Banks and Dr. Solander, -when they found the _Long-Spiel_ on the island, had very great -difficulty in discovering a person among the inhabitants who either -could, or would dare to play on it. At length a wicked Icelander was -found, who, being rendered more courageous and liberal than the rest, by -a few glasses of generous gin, ventured, in secret, to exhilarate these -philosophers ... with a psalm-tune."--_Burney's Hist. of Music_, v. iii, -p. 40, 41. - -_Fiddle of Tartary._--The Tartars have an instrument peculiar to -themselves, which they denominate a _koba_. It is a _kind_ of violin, -half open at the top, in shape somewhat resembling a boat, having two -hair-strings, which are swept with a bow, the notes being stopped by the -fingers of the left hand, as in performing on the recognized violin. - -_African Fiddle._--The Mosees, Mallowas, Burnous, and natives from the -more remote parts of the interior, play on a _rude violin_. The body is -a calabash; the top is covered with deer-skin, and two large holes are -cut in it for the sound to escape: the strings, or rather the string, is -composed of cow's hair, and broad, like that of the bow with which they -play, which resembles the bow of a violin. Their grimace equals that of -an Italian _buffo_: they generally accompany themselves with the voice, -and increase the humour by a strong nasal sound.--_Bowdich's Mission to -Ashantee._ - -"At parting, he (Bee Simera, a king in the Kooranko Country) sent his -_griot_, or minstrel, to play before me, and sing a song of welcome. -This man had a sort of fiddle, the body of which was formed of a -calabash, in which two small square holes were cut, to give it a tone. -It had only one string, composed of many twisted horse-hairs, and, -although he could only bring from it four notes, yet he contrived to -vary them so as to produce a pleasing harmony(!) He played at my door -till I fell asleep, and, waking at day-break, his notes still saluted my -ears; when, finding that his attendance would not be discontinued -without a _douceur_, I gave him a head of tobacco, and told him to go -home and thank his master."--_Major Laing's Travels in Western Africa._ - -"The admirers of Paganini (says Dr. Hogg, in his "_Visit to -Alexandria_") may learn with surprise that a species of Violin, with a -single string, is not only well-known in Egypt, but is frequently played -in the streets, with extraordinary skill. Of the celebrated Italian, the -Egyptians never heard; but they often listen with delight to the -melodious sounds drawn forth from a single string by a wild untutored -Arab." - -_Greek Fiddle._--M. Fauriel, in his "Chants Populaires de la Grece -Moderne," says that the Greeks accompany their songs by an instrument -with strings, which is played with a bow, and that this is exactly the -ancient lyre of the Greeks, of which it retains the name as well as the -form. This lyre, he adds, when perfect, consists of five strings, but it -has frequently but two or three. - -The _bow_ is of course a modern accessory, and must have changed, -materially, the mode of playing the instrument, as well as its effect. - -_An Eight-Stringed Violin._--Prinz, in his History, assures us that, -about the year 1649, Lord Somerset invented a new kind of violin, which -had eight strings, instead of four; and that, in the hands of a master -who knew how to avail himself of its advantages, it was productive of -very extraordinary effects. To the truth of this, Kircher bears witness. -A violin, with eight strings, was also played on by a M. Urhan, at a -concert at the French _Conservatoire Royal_, in 1830. - -_An intermediate Instrument._--With the plausible view of filling up a -void in the range of stringed instruments--that which occurs through the -interval of an _octave_ between the pitch of the viola and the -violoncello--a new instrument of the violin class was invented, a few -years ago, by a French Amateur, who proposed to designate it the -_Contralto_. Its four strings were tuned an octave below those of the -violin, and, consequently, a fourth below the common viola, or tenor, -and a fifth above the violoncello. In quartetts (according to the -inventor) the _second violin_ might in future be replaced by the -_viola_, and the viola by the _Contralto_; which latter would possess -the further advantage of enabling its player to execute with ease those -high passages that are so difficult on the violoncello.--That an -instrument thus designed _might_ sometimes participate effectively in -orchestral business, is extremely probable; but that it should displace -in quartetts the _second violin_, the importance of which, as an aid, -arises so much from its brilliancy, is not _at all_ to be supposed. The -truth appears to be, that what is here referred to as an invention, -possesses little claim to that character; for it was preceded by _the -baryton_, a stringed instrument of a character between the tenor and -violoncello, which has now entirely fallen into disuse. Prince Nicholas -Esterhazy, an ardent musical Amateur, was very fond of this instrument: -and Haydn, who composed a great number of pieces for it, in order to -supply the Prince's incessant demand for novelty, frequently said that -the necessity he was under of composing so much for the baryton, -contributed greatly to his improvement. - -_Something more than a Violin!_--M. Vincenti, a lute-master at Florence, -invented, some years ago, a violin with _eighteen strings_ and _two -bows_, and called it the _Violon-General_, because it combined (or -professed to combine), with the tones of the violin, those of the -contra-basso, the violoncello, and the viola! - -_An Air Violin._--A new and ingeniously invented instrument was -presented, some years since, to the "Academie des Sciences" of Paris, by -M. Isoard. It resembled the common violin, with the strings extended -between two wooden (or metal) blades. It was vibrated upon at one end by -a _current of air_, while, at the other, the player shortened the -strings by the pressure of the finger. In fact, the strings of this -instrument were acted upon by the current of air, _instead_ of -the common _bow_. The sounds were said to vary between those of -the French horn and bassoon. Were it possible for this invention -to come into ordinary use, the violin would have to be classed as a -_wind_-instrument! - -_Automaton Violinist._--"After the extraordinary performance of Paganini -and Ole Bull, our readers will not be surprised at any new development -of the powers of this instrument, however great; but there are few in -the world who will hear, without wonder and admiration, of the -unequalled performance of Monsieur Marreppe's _automaton violin-player_, -which was recently exhibited before the Royal Conservatory at Paris. Our -informant, M. Bruyere, who was present, thus describes this wonderful -piece of mechanism: "On entering the saloon, I saw a well-dressed -handsome figure of a man, apparently between forty and fifty, standing -with a violin in his hand, as if contemplating a piece of music which -lay on a desk before him; and, had I not gone to see an automaton, I -should have believed the object before me to have been endowed with life -and reason, so perfectly natural and easy were the attitudes and -expression of countenance of the figure! I had but little time for -observation, before the orchestra was filled by musicians, and, on the -leader taking his seat, the figure instantly raised itself erect, bowed -with much elegance two or three times, and then, turning to the leader, -nodded, as if to say he was ready, and placed his violin to his -shoulder. At the given signal, he raised his bow, and, applying it to -the instrument, produced, _a la Paganini_, one of the most thrilling and -extraordinary flourishes I ever heard, in which scarcely a semitone -within the compass of the instrument was omitted; and this, executed -with a degree of rapidity and clearness perfectly astonishing. The -orchestra then played a short symphony, in which the automaton -occasionally joined in beautiful style: he then played a most beautiful -fantasia in E natural, with accompaniments, including a movement -_allegro molto_ on the fourth string solo, which was perfectly -indescribable. The tones produced were like any thing but a violin; and -expressive beyond conception. I felt as if lifted from my seat, and -burst into tears, in which predicament I saw most persons in the room. -Suddenly, he struck into a cadenza, in which the harmonics, double and -single, arpeggios on the four strings, and saltos, for which Paganini -was so justly celebrated, were introduced with the greatest effect; and, -after a close shake of eight bars' duration, commenced the coda, a -prestissimo movement, played in three parts throughout. This part of the -performance was perfectly magical. I have heard the great Italian--I have -heard the Norwegian--I have heard the best of music--but I never heard -such sounds as then saluted my ear. It commenced _p p p_, rising by a -gradual _crescendo_ to a pitch beyond belief, and then, by a gradual -_morendo_ and _calando_, died away, leaving the audience absolutely -enchanted. Monsieur Marreppe, who is a player of no mean order, then -came forward amidst the most deafening acclamations, and stated that, -emulated by the example of Vaucanson's flute-player, he had conceived -the project of constructing this figure, which had cost him many years -of study and labour before he could bring it to completion. He then -showed to the company the interior of the figure, which was completely -filled with _small cranks_, by which the motions are given to the -several parts of the automaton, at the will of the conductor, who has -the whole machine so perfectly under control, that Monsieur Marreppe -proposes that the automaton shall perform any piece of music which may -be laid before him, within a fortnight. He also showed that to a certain -extent the figure was self-acting, as, on winding up a string, several -of the most beautiful airs were played, among which were "Nel -cor piu," "Partant pour la Syrie," "Weber's last Waltz," and "La -ci darem la mano," all with brilliant embellishments. But the -_chef-d'oeuvre_ is the manner in which the figure is made to obey -the direction of the conductor, whereby it is endowed with a sort of -semi-reason."--_Galignani's Messenger._ - - * * * * * - -_The Street Fiddler._--Behold the poor fellow, as he stands there in the -sun, against that dead wall, with a face that betrays many a foregone -year of patient endurance, and a figure that is the very index to -"narrow circumstances." His old brown great coat, loose and -hard-worn--his battered hat--his shoes unconscious of blacking--are the -vouchers of his low estate. He wears "the hapless vesture of humility." -He is half-blind, and will be _wholly_ so before long, for blindness is -the badge of his sad tribe;--but _then_--he will have a _companion_, in -the _dog_ that will lead him about! - -See, how sobered is his style of execution--how passive his action! The -fire of enthusiasm is not for _him_: he can but shew the plodding of a -quiet spirit. He holdeth his bow, not as your topping players do, but -with a third part of its length below his hand. He finds this plan the -easiest, because it is his wont to work more from the _shoulder_ than -the _wrist_! Think no scorn of him, ye great artists--ye _triumphant_ -euphonists! He is self-taught,--or, which is the same thing, hath learned -of his father, who was _alter ipse_, and who himself got his knowledge -"in the family." Yet, though his bow-arm hath none of the sweep that -belongs to science, behold how he puts mettle into the heels of infancy, -and even peradventure brings a wriggle into the sides of old age: such -power is there in the notes of a fiddle, even in the hands of -decrepitude itself! The nursery-maids, who cannot condescend to _talk_ -with a street-fiddler, as they would with a young policeman, accord a -smile, nevertheless, to some of his "passages," and a halfpenny to his -pauperism. Musician as he is, or would be _called_ (for poverty has its -pride), do not test him with terms, or ask him the meaning of a "common -chord:" he will think you design to insult his misery with a dependent -allusion! Him _harmony_ concerneth not, nor counterpoint either;--he is a -simple _melodist_, and, to him, a few old tunes are the entire world of -music. After all, too, the finest melody in _his_ ear, is the sound of -human sympathy; and the best of music is the rattle of frequent -halfpence in his hat--a hat by night, a money-box by day! His daily -gains, what are they? A sorry pittance, truly; yet the poor old fellow, -albeit no classic, manages to live on the Horatian plan, "contentus -parvo," and is very far from being the most thankless of mortals, -although - - "For all his _shifts_, he cannot shift _his clothes_." - -It is not always people of the finest ear, who are the most intolerant -of ambulating fiddlers. There are some _dull_ persons who have little -other notion of music in _any_ shape, than as so much _noise_. The -complaint of these against the poor starveling here described, is that -he makes so _loud_ a noise. Let us only (with sly allusion to the early -name for the barbarous instrument) ask them one question--although even a -bad joke may be quite thrown away upon the dull: - - Say, wherefore should it _not_ be loud, - The noise proceeding from a _crowd_? - -And, while employing this kind of excuse, which will perhaps be received -as better than none, in behalf of a fraternity, who, if they _torment_ a -little, unquestionably do much more _suffer_, I may as well go on to -offer the following such-as-it-is - - -APOLOGY FOR MATTHEW MARKIT, A "COMMON FIDDLER." - - Let not wrath against him gather-- - Call him not a useless bore! - Would you not, this dirty weather, - Have _a scraper at your door_? - Such is he;--nay, more than that, - He's a _Scraper, and a--Mat_! - -I do remember an itinerant, who used to sing a piece of dismal -merriment, with a squeaking violin accompaniment, to the appropriate -burden of "Heigh ho! fiddle de dee!" and a very wry face at each -recurrence of this peculiar interjection. He much affected Knightsbridge -and Hyde Park Corner, but was likewise visible at other points of the -metropolis. His wife, a diminutive body, with a small whine by way of -voice, helped to make "variety of wretchedness" in the exhibition. They -looked as if familiar with none but the copper coinage of the realm. Yet -they had generally their _coterie_ around them--their "assistance -admirative." To be musical, _any how_, passes for a talent! - -I will not suppose my readers so oblivious of an elderly joke, as not to -recognize the face of that which is about to greet them; but, having -found a version of it "turned to numbers," I present it--a little "rubbed -up" for the occasion--to the indulgent attention of those who have only -met with it in prosaic statement: - - A blind man, fed by fiddling, - Was known through many a street; - His "style," far short of "middling," - With some did pass for sweet. - He priz'd his fiddle greatly; - The _case_ had fainter praise-- - The _case_ by "wife" made lately, - With half a yard of baize. - One day, when, led by Rover, - He had a bridge to pass, - His fiddle tumbled over, - Stick, case, and all, alas! - He straight set up a roaring, - And added such grimace, - That folks around came pouring, - And pitied his sad case. - "Sad _case_! Psha! twiddle diddle!" - Cried he, with scornful face; - "Could I but get my _fiddle_ - D'ye think I'd mind _the case_?" - -Having thus made ourselves familiar with the street fiddler, and -thereby, as it were, "sounded the very base-string of humility," may we -not be fairly supposed to have reached the _fag-end_ of our subject? -Whilst on this lower level, however--or, in what may be termed the Vale -of Cacophony--I cannot conclude, without offering to the patience of my -kind readers two more scraps of verse, wherein I have sought to exhibit -a pair of specimens that belong, equally with the poor street fiddler, -to the class of--those that _might_ be dispensed with: - - -EPIGRAM - -ON AN UNFORTUNATE MAN, AND BAD FIDDLER. - - Though DIBBLE is feeble in all that he's _at_, - Few fools ever _fondled a failure_ before, so. - In love, as in music, he stands for a _flat_-- - (For his Fanny is false, and his fiddle is _more_ so), - While _he_ still ignoreth--what none can dispute-- - That his suit's out of tune, and his tune doesn't suit! - -ANOTHER, ON ANOTHER BAD FIDDLER. - - When SCREECHLEY on that _noise-box_ harshly grates, - What, what's the supposition that must follow? - _This_--that by some odd shifting of the Fates, - 'Tis _Marsyas_' turn to flay alive _Apollo_! - -[Illustration: FINIS] - - - - -ADDENDUM. - -FEMALE VIOLINISTS. - - "Place aux dames!" - - - [This section of the Work, which should have formed Chapter VIII, - having been accidentally omitted in the printing, there remained - no other course than, either to insert it here (as is actually - done), or, by a dismissal utterly at variance with the laws of - gallantry and of justice, to exclude it altogether, and so to - debar the fairer portion of the community from all participation - in the honours connected with the "King of Instruments"--an idea - not to be for a moment entertained. If, in this volume, as in a - campaigning army, the ladies find themselves placed altogether in - _the rear_--let them attribute the position, in _this_ case as in - _that_, to anything but disrespect.] - - -Instead of a _bow-arm_, must ladies be allowed only the _arm_ of a -_beau_? Why should not a lady play on the Violin? The common objection -is, that it is ungraceful. The ladies in Boccaccio's Decameron, -however--and who shall charge _them_ with want of grace?--played on the -_viol_, a bowed instrument requiring from the performer a similar -position and handling to those exacted by the violin. If this latter -instrument, considered in relation to a lady, _should_ be admitted to be -somewhat deficient in grace,--has not the lady, out of the overflowing -abundance of this quality, which is her sex's characteristic, some of it -to spare for communication to the instrument? Can she not impart some -of it to whatsoever object she chooses to associate with herself? -Surely, she who can transform the rudest of beings from a bear to a man, -and from a man to a gentleman, can lend a few spare charms to so -grateful a receiver as the fiddle, which is found to repay in so -eloquent a manner the attentions bestowed on it. But if the doubters -continue to shake their heads at this, I would ask them whether, after -all, we are to expect grace in _every_ act and habit of a lady's life, -and call on her to reject every thing that may be thought inconsistent -with it? Our modern respected fair one may, like Eve, have "heaven in -her eye;" but really, looking at some of the offices which we are -content to thrust upon her, it seems rather too much to insist that she -shall also, like our original mother, have "grace in _all_ her -movements." Is there grace in making a pie, or cutting bread and butter, -or darning a stocking? If we have grace in the _effect_, shall we be -rigid to require it in the _means_ also? Now, the grace which belongs to -violin-playing is _audible_ rather than _visible_, residing in the -effect more than in the means: nor ought we to be such cormorants of -pleasure, as to demand that the person who is filling our _ears_ with -rapture, shall, at the same time, be enchanting to the utmost our -_eyes_. If, then, a lady, full of soul and intelligence, is capable of -expressing these through the fine medium which this instrument offers, -should she be debarred from it, and restricted perhaps to the harp, -because, forsooth, the grace that is merely external is found most in -association with the latter? Let us only be reasonable enough to be -satisfied, on principle, with the delicious effect that visits us -through the ears, and we shall then give no hyper-critical heed to the -rapid action of a lady's arm in a _presto_ movement, or to the -depression of her head in holding the instrument; nor shall we continue -to demand, with a pertinacity more nice than wise, that a feminine -fiddler be - - "Graceful as Dian when she draws _her_ bow." - -That exquisite sensibility which is one distinguishing charm of the -female character, has its fittest musical exponent in the powers of -the violin, which, therefore, in this particular sense, might even be -styled the women's own instrument: but, without going so far as this, -there seems no sufficient reason why it should not, occasionally, -be honored by figuring in the hands of the fair. Should these -defensive remarks, however, be found unsatisfactory by your -anti-women's-playing-the-violin-at-all sort of people, I have nothing -farther to say to them, but leave them to quote, undisturbed, their "quae -sunt virorum, mascula dicas," &c. For my own part, I think so highly -both of the ladies and the violin, that I rejoice at every opportunity -of their being introduced to each other, and am delighted to know that, -from time to time, certain clever and spirited women _have_ been found -ready to overcome the prejudices that have so long kept them asunder. -Let us by all means enquire who these are. - -A very high name meets us at the outset of our investigation--no less a -one than that of QUEEN ELIZABETH. This exalted personage, who is -recorded to have been musical "so far forth as might become a princess," -appears to have amused herself not only with the lute, the virginals, -and her own voice, but with the violin. An instrument of this -denomination, of the old and imperfect fashion, but splendidly "got up," -has been traced to her possession. If any particulars of Her Majesty's -style of performance could now be obtained, it would doubtless be found -that she displayed, in no common degree, what is called "a powerful -bow-arm," but that she neglected the "sweet little touches" that give -delicacy to execution. - -To arrive at instances nearer to our own time, let us go at once from -the Queen of England to Madame MARA, the Queen of Song. Her first -musical studies were directed to the violin. When yet an infant, the -little Gertrude Elizabeth Smaling (such was her name) discovered so -strong an inclination for the violin, that her father was induced to -give her a few lessons on that instrument. Her progress was so rapid, -that, as early as her tenth year, she excited the public surprise. It is -certain that the development of her vocal powers was not a little aided -by this cultivation of an instrument that may be called the friendly -rival of the human voice. She herself was known to declare, that, if she -had a daughter, she should learn the fiddle before she sang a note; for -(as she remarked) how can you convey a just notion of minute variations -in the pitch of a note? By a fixed instrument? No! By the voice? No! -but, by sliding the fingers upon a string, you instantly make the -slightest variations visibly, as well as audibly, perceptible. It was by -her early practice of the violin, that this celebrated woman had -acquired her wonderful facility of dashing at all musical intervals, -however unusual and difficult. She married a violoncellist, of no great -capacity, except for drinking. - -MADDALENA LOMBARDINI SIRMEN, who united to high accomplishment as a -singer such an eminence in violin-playing, as enabled her, in some -degree, to rival Nardini, had an almost European reputation towards the -end of the last century. She received her first musical instructions at -the Conservatory of the _Mendicanti_ at Venice, and then took lessons -on the violin from Tartini. About the year 1780, she visited France and -England. This feminine artist composed a considerable quantity of violin -music, a great part of which was published at Amsterdam. A curious -document is extant as a relic of the correspondence between this lady -and Tartini. It consists of a perceptive letter from the great master, -the original of which, along with a translation by Dr. Burney, was -published in London in 1771. From this pamphlet, which is now among the -rarities of musical literature, I shall here give the Doctor's English -version of the letter: - - "My very much esteemed - - "SIGNORA MADDALENA, - - - "Finding myself at length disengaged from the weighty business - which has so long prevented me from performing my promise to you, - I shall begin the instructions you wish from me, by letter; and - if I should not explain myself with sufficient clearness, I - entreat you to tell me your doubts and difficulties, in writing, - which I shall not fail to remove in a future letter. - - "Your principal practice and study should, at present, be - confined to the use and power of the _bow_, in order to make - yourself entirely mistress in the execution and expression of - whatever can be played or sung, within the compass and ability of - your instrument. Your first study, therefore, should be the true - manner of holding, balancing, and pressing the bow lightly, but - steadily, upon the strings, in such manner as that it shall seem - to _breathe_ the first tone it gives, which must proceed from the - friction of the string, and not from percussion, as by a blow - given with a hammer upon it. This depends on laying the bow - lightly upon the strings, at the first contact, and on gently - pressing it afterwards; which, if done gradually, can scarce have - too much force given to it--because, if the tone is _begun_ with - delicacy, there is little danger of rendering it afterwards - either coarse or harsh. - - "Of this first contact, and delicate manner of beginning a tone, - you should make yourself a perfect mistress, in every situation - and part of the bow, as well in the middle as at the extremities; - and in moving it up, as well as in drawing it down. To unite all - these laborious particulars into one lesson, my advice is, that - you first exercise yourself in a swell upon an open string--for - example, upon the second, or _la_: that you begin _pianissimo_, - and increase the tone by slow degrees to its _fortissimo_; and - this study should be equally made, with the motion of the bow up, - and down; in which exercise you should spend at least _an hour_ - every day, though at different times, a little in the morning, - and a little in the evening; having constantly in mind that this - practice is, of all others, the most difficult, and the most - essential to playing well on the Violin. When you are a perfect - mistress of this part of a good performer, a swell will be very - easy to you--beginning with the most minute softness, increasing - the tone to its loudest degree, and diminishing it to the same - point of softness with which you began; and all this in the same - stroke of the bow. Every degree of pressure upon the string, - which the expression of a note or passage shall require, will, by - this means, be easy and certain; and you will be able to execute - with your bow whatever you please. After this, in order to - acquire that light pulsation and play of the wrist from whence - velocity in bowing arises, it will be best for you to practise, - every day, one of the _allegros_, of which there are three, in - Corelli's solos, which entirely move in semiquavers. The first is - in D, in playing which you should accelerate the motion a little - each time, till you arrive at the greatest degree of swiftness - possible. But two precautions are necessary in this exercise. The - first is, that you play the notes _staccato_, that is, separate - and detached, with a little space between every two, as if there - was a rest after each note. The second precaution is, that you - first play with the point of the bow; and, when that becomes easy - to you, that you use that part of it which is between the point - and the middle; and, when you are likewise mistress of this part - of the bow, that you practise in the same manner with the middle - of the bow. And, above all, you must remember, in these studies, - to begin the _allegros_ or flights sometimes with an up-bow, and - sometimes with a _down-bow_, carefully avoiding the habit of - constantly practising one way. - - "In order to acquire a greater facility of executing swift - passages in a light and neat manner, it will be of great use if - you accustom yourself to skip over a string between two quick - notes in divisions. Of such divisions you may play extempore as - many as you please, and in every key, which will be both useful - and necessary. - - "With regard to the finger-board, or carriage of the left hand, I - have one thing strongly to recommend to you, which will suffice - for all, and that is the taking a violin part--either the _first_ - or _second_ of a concerto, sonata, or song (any thing will serve - the purpose)--and playing it upon the _half-shift_; that is, with - the first finger upon G on the first string, and constantly - keeping upon this shift, playing the whole piece without moving - the hand from this situation, unless A on the fourth string be - wanted, or D upon the first but, in that case, you should - afterwards return again to the half-shift, without ever moving - the hand down to the natural position. This practice should be - continued till you can execute with facility upon the half-shift - any violin part, not intended as a solo, at sight. After this, - advance the hand on the finger-board to the whole-shift, with the - first finger upon A on the first string, and accustom yourself to - this position, till you can execute every thing upon the whole - shift with as much ease as when the hand is in its natural - situation; and when certain of this, advance to the - _double-shift_, with the first finger upon B on the first string. - When sure of that likewise, pass to the fourth position of the - hand, making C with the first finger, upon the first string: and, - indeed, this is a scale in which, when you are firm, you may be - said to be mistress of the finger-board. This study is so - necessary, that I most earnestly recommend it to your attention. - - "I now pass to the third essential part of a good performer on - the Violin, which is the making a good _shake_; and I would have - you practise it slowly, moderately fast, and quickly; that is, - with the two notes succeeding each other in these three degrees - of _adagio_, _andante_, and _presto_; and, in practice, you have - great occasion for these different kinds of shakes; for the same - shake will not serve with equal propriety for a slow movement as - for a quick one. To acquire both at once with the same trouble, - begin with an open string--either the first or second, it will be - equally useful: sustain the note in a swell, and begin the shake - very slowly, increasing in quickness by insensible degrees, till - it becomes rapid. You must not rigorously move immediately from - semiquavers to demisemiquavers, or from these to the next in - degree; that would be doubling the velocity of the shake all at - once, which would be a _skip_, not a _gradation_; but you can - imagine, between a semiquaver and a demisemiquaver, intermediate - degrees of rapidity, quicker than the one, and slower than the - other of these characters. You are, therefore, to increase in - velocity, by the same degrees, in practising the shake, as in - loudness, when you make a swell. - - "You must attentively and assiduously persevere in the practice - of this embellishment, and begin at first with an open string, - upon which, if you are once able to make a good shake with the - first finger, you will, with the greater facility, acquire one - with the second, the third, and the fourth or little finger, with - which you must practise in a particular manner, as more feeble - than the rest of its brethren. - - "I shall at present propose no other studies to your application: - what I have already said is more than sufficient, if your zeal is - equal to my wishes for your improvement. I hope you will - sincerely inform me whether I have explained clearly thus far; - that you will accept of my respects, which I likewise beg of you - to present to the Princess, to Signora Teresa, and to Signora - Clara, for all whom I have a sincere regard; and believe me to - be, with great affection, - - "Your obedient and most humble servant, - - "GIUSEPPE TARTINI." - -REGINA SCHLICK, wife of a noted German Violoncellist and Composer, was -celebrated under her maiden name of Sacchi, as well as afterwards, for -her performance on the violin. She was born at Mantua in 1764, and -received her musical education at the _Conservatorio della Pieta_, at -Venice. She afterwards passed some years at Paris. This lady was a -particular friend of Mozart's, and, being in Vienna, about the year -1786, solicited the great composer to write something for their joint -performance at her concert. With his usual kindness, Mozart promised to -comply with her request, and, accordingly, composed and arranged in his -mind the beautiful Sonata for the piano and violin, in B flat minor, -with its solemn adagio introduction. But it was necessary to go from -_mind_ to _matter_--that is, to put the combined ideas into visible form, -in the usual way. The destined day approached, and not a note was -committed to paper! The anxiety of Madame Schlick became excessive, and, -at length, the earnestness of her entreaties was such, that Mozart could -no longer procrastinate. But his favorite and seductive game of -billiards came in the way; and it was only the very evening before the -concert, that he sent her the manuscript, in order that she might study -it by the following afternoon. Happy to obtain the treasure, though so -late, she scarcely quitted it for a moment's repose. The concert -commenced: the Court was present, and the rooms were crowded with the -rank and fashion of Vienna. The sonata began; the composition was -beautiful, and the execution of the two artists perfect in every -respect. The audience was all rapture--the applause enthusiastic: but -there was one distinguished personage in the room, whose enjoyment -exceeded that of all the other auditors--the Emperor Joseph II, who, in -his box, just over the heads of the performers, using his opera-glass to -look at Mozart, perceived that there was nothing upon his music-desk but -a sheet of white paper! At the conclusion of the concert, the Emperor -beckoned Mozart to his box, and said to him, in a half-whisper, "So, -Mozart, you have once again trusted to chance!"--"Yes, your Majesty," -replied the composer, with a smile that was half triumph and half -confusion. Had Mozart--not _studied_--but merely _played over_, this -music _once_ with the lady, it would not have been so wonderful: but he -had never even heard the Sonata _with_ the violin[68]. - -LOUISE GAUTHEROT, a Frenchwoman, was also distinguished on this -instrument. In 1789 and 1790, she performed concertos at the London -Oratorios, making great impression by the fine ability she manifested. -In referring to this lady's professional achievements, one of those who -refuse to consider violin-playing as "an excellent thing in woman," has -indulged in the following remarks: "It is said, by fabulous writers, -that Minerva, happening to look into a stream whilst playing her -favorite instrument, the flute, and perceiving the distortion of -countenance it occasioned, was so much disgusted, that she cast it away, -and dashed it to pieces! Although I would not recommend, to any lady -playing on a valuable Cremona fiddle, to follow the example of the -goddess, yet it strikes me that, if she is desirous of enrapturing her -audience, she should display her talent in a situation where there is -only just light enough to make darkness visible."--Shall we reply, -ladies, to a detractor who is forced to seek support for his opinions in -"fabulous writers," and, even then, drags forward that which is no -parallel case? Nay, nay, let him pass! Let him retire into the darkness -which he so unwarrantably recommends to others! - -LUIGIA GERBINI, who ranks among the pupils of Viotti, attained -considerable credit as a performer. In 1799, her execution of some -violin concertos, between the acts, at the Italian Theatre in Lisbon, -was attended with marked success; as were afterwards her vocal exertions -at the same Theatre. This lady visited Madrid in 1801; and, some years -later, gave evidence of her instrumental talent at some public concerts -in London. - -SIGNORA PARAVICINI, another pupil of Viotti's, earned a widely spread -fame as a violinist. At Milan, where various fetes were given in -celebration of the battle of Lodi, the wife of Bonaparte was very -favorably impressed, during one of these, by the talents of Madame -Paravicini. Josephine, a woman of generosity as well as taste, became -the patroness of this lady, engaged her to instruct her son, Eugene -Beauharnois, and afterwards took her to Paris. However, for some reason -not publicly known, Madame Paravicini was, after a time, neglected by -Josephine; in consequence of which, and of other misfortunes, she became -so distressed in her circumstances, as to be compelled to live on the -money produced by the sale of her wearing-apparel. Driven at last to the -utmost exigence, she had no remaining resource, except that of applying -to the benevolence of the Italians then in Paris, who enabled her to -redeem her clothes, and return to Milan. There, her abilities again -procured her competence and credit. Her performance was much admired -also at Vienna, where, in 1827, she - - "Flourished her _bow_, and showed how _fame_ was won." - -According to the report which travelled in her favour from thence, she -evinced a full and pure tone--a touch possessing the solidity and -decision of the excellent school in which were formed a Kreutzer and a -Lafont--and a mode of bowing so graceful, as to triumph over all -preconceived ideas of the awkwardness of the instrument in a female -hand. Madame Paravicini, in the course of her professional migrations, -was performing at Bologna in the year 1832. - -CATARINA CALCAGNO, born at Genoa in 1797, received, as a child, some -instructions from the potential Paganini; and, at the age of fifteen, -astonished Italy by the fearless freedom of her play--but seems to have -left no traces of her career, beyond the year 1816. - -Madame KRAHMEN, in 1824, executed a violin concerto of Viotti's, with -great spirit and effect, at a concert in Vienna. At Prague, in the same -year, a young lady named SCHULZ gave public delight as a violin -performer. Mademoiselle ELEANORA NEUMANN, of Moscow, pupil of Professsor -Morandi, also astonished the public in like manner at Prague, and at -Vienna, when she had scarcely reached her tenth year! She is said to -have treated the instrument with great effect, and with a precision and -purity of tone not always to be found in those "children of _larger_ -growth" who are content to substitute feats of skill, in place of these -essential requisites. - -Madame FILIPOWICZ, of Polish derivation, has given us evidence, in -London, not many years since, of the success with which feminine sway -_may_ be exercised over the most difficult of instruments. - -The instances I have thus brought forward will probably be deemed -sufficient--_else_ were it easy to go backward again in date, and to -mention Horace Walpole's visit to St. Cyr, in one of the apartments of -which serious establishment, he beheld the young ladies dancing minuets -and country-dances, while a nun, albeit "not quite so able as St. -Cecilia," played on the violin!--Or, I might allude to the threefold -musical genius of Mrs. Sarah Ottey, who, in 1721-22, frequently -performed solos at concerts, on the harpsichord, violin, and base-viol! -Enough, however, has been produced, to shew "quid femina possit"--what -the fair sex _can_ achieve, upon the first and most fascinating of -instruments. - - -THE END. - - -FOOTNOTES: - -[1] M. Cartier, Musicien de la Chapelle du Roi, announced for -publication, several years ago, an "Essai Historique sur le Violon, et -sur les progres de l'Art Musical, depuis le moyen age." This -announcement was accompanied by the following observations:--"An -Historical Essay upon the Violin may, at first sight, appear to many to -possess but little interest. They will not readily believe that it is -capable of exciting their liveliest curiosity, and of presenting an -object of real utility, inasmuch as an attempt will be made to lead the -mind from the mere mechanism of the art to a moral and scientific view -of the subject, and to a consideration how far the _beau ideal_ of music -is indebted to the violin. The author proves that this instrument was -unknown to _the ancients_, and derives its origin from the _Druids of -Gaul_, from whom it afterwards passed to the bards of Scotland--that, -from this obscure beginning, it made its way through the dark ages, with -slow but certain success, till the beginning of the 17th century, when -it attained the first rank among instruments."--(_Harmonicon_, 1827.) I -have not been able to discover whether this promised treatise has yet -seen the light. The idea of tracing the instrument to the _Druids of -Gaul_ seems more romantic than rational; but it would be something -gained for _la gloire de la France_, could such a theory be -substantiated. - -[2] In England, during the time here referred to, the instruments of the -viol class were so much in favour that every considerable family had, as -a necessary part of its establishment, a complete _chest of viols_, that -is to say, a treble, tenor and bass-viol, each played with a bow, and -bearing such proportion to one another as do the modern violin, tenor -and violoncello. - -[3] "Memoirs of the Musical Drama." - -[4] M. Baillot makes a somewhat longer draft upon the past tense; for he -states, that for nearly _three hundred years_ back there has been no -change in the structure of the violin.--Introduction to the "Methode de -Violon du Conservatoire." - -[5] They who enjoy the advantage of access to curious books may see a -figure of a Provencal Fiddler in "Diez, Poesie der Troubadour." Viol was -the old Norman French name for the fiddle used by the minstrels of the -middle ages, which was furnished variously with 3, 4, 5, or 6 strings. -Viula was the Provencal term--and arson, or arcon, for the _bow_. - -[6] "It is a kinde of disparagement to be a cunning fiddler."--_Feltham._ - -[7] The lute, of which hardly the shape, and still less the sound, are -now known, was, during the 16th and 17th centuries, the favourite -chamber instrument of every nation in Europe. - -[8] According to Strutt, the name of _fiddlers_ was applied to the -_minstrels_ as early, at least, as the 14th century. "It occurs (says -that writer) in the Vision of Pierce the Ploughman, where we read, 'not -to fare as a fydeler, or a frier, to seke feastes.' It is also used, but -not sarcastically, in the poem of Launfel:-- - - They had menstrelles of moche honours, - Fydelers, sytolyrs, and trompoters. - -"I remember also (says Strutt) a story recorded in a manuscript, written -about the reign of Edward III, of a young man of family, who came to a -feast, where many of the nobility were present, in a vesture called a -coat bardy, cut short in the German fashion, and resembling the dress of -a minstrel. The oddity of his habit attracted the notice of the company, -and especially of an elderly knight, to whom he was well known, who thus -addressed him: "Where, my friend, is your fiddle, your ribible, or -suchlike instrument belonging to a minstrel?" "Sir," replied the young -man, "I have no crafte nor science in using such instruments." "Then," -returned the knight, "you are much to blame; for, if you choose to -debase yourself and your family by appearing in the garb of a minstrel, -it is fitting you should be able to perform his duty." - -[9] The miserable state of itinerant fiddlers, and other musicians, is -described by Putenham, in his _Arte of English Poesie_, printed in 1589; -and Bishop Hall, the satirist, adverting to their low condition, -describes them as - - Selling a laughter for a cold meale's meat. - -[10] The learned Wilhelm Grimm, who quotes this curious record from -_Storck, Darstellungen aus dem Rhein-und Mosellande_, conceives that -this armorial bearing fully explains the allusion to the fiddle of -Volker, the accomplished musician and warrior in the old poem of the -"Nibelungen Lied" (supposed of the 12th century), and forms a key to the -enigma of his being exhibited in the joint capacity of champion and -fiddler, and bearing his fiddle, that is, his _arms_, into the battle -with him. - -[11] The readiness of an apothecary to _take up a viol_ does not seem, -after all, a thing so much out of course. The singularity is, rather, -that he should be able to _make so little of it_. - -[12] The viol, less powerful and penetrating than its supplanter, the -violin, was not without its recommendatory qualities. Hawkins speaks of -"the sweet and delicate tone which distinguishes the viol species." Old -Thomas Mace, who wrote when the viol was declining in fashion, was -emphatic in its praise. "Your best provision," says he, "and most -compleat, will be a good _chest of_ viols; six in number, viz. 2 basses, -2 tenors, and 2 trebles; all truly and proportionally suited." - -[13] According to this loose diction of honest Anthony's, it would -appear as if Troylus and Achilles had exhibited a rivalry on the violin, -like Lafont and Paganini! - -[14] That the Italians (says M. Choron) have perfected every sort of -vocal composition, is generally agreed; but a fact which is apt to be -overlooked, is that they have been the instructors of all Europe in -instrumental composition, and that to them we are indebted for the first -and most esteemed models in that department of the art. It is the -Italians who invented all the various kinds of instrumental music which -we have called single pieces or solos, from the sonata to the concerto. -In violin music, Corelli, Tartini, and their pupils, preceded the -composers of all the other nations of Europe, to whom they have served -as models. The same may be said with regard to the harpsichord, from -Frescobaldi to Clementi. All other single pieces have been constructed -on the model of the compositions for the two instruments just named. - -[15] At the time of Corelli's greatest reputation, Geminiani asked -Scarlatti what he thought of him. The man of hard learning replied that -"he found nothing greatly to admire in his composition, but was -extremely struck with the manner in which he played his concertos, and -his nice management of his band, the uncommon accuracy of whose -performance gave the concertos an amazing effect, even to the _eye_, as -well as to the ear; for (as Geminiani explained) Corelli regarded it as -essential to a band that their bows should all move exactly together, -_all up_, or _all down_; so that, at his rehearsal, which constantly -preceded every public performance of his Concertos, he would immediately -stop the band, if he saw an irregular bow. - -We may smile a little at Scarlatti's criticism; but the smile may extend -at the same time to the quaint precision of the Corellian custom it -notices:--a custom which suggests the idea of military mechanism, as well -as military time; or rather, which reminds us, in a still more lively -manner, of the old nursery paean. - - Here we go up, up, up, - And here we go down, down, downy! - -Scarlatti (it may be here observed) was the first who introduced into -his airs, accompaniments for the violin, as well as bits of -symphony;--thus both enriching the melody, and giving relief to the -singer. - -[16] The only English editions of the above-named works are those -published by Messrs. Robert Cocks and Co.; one of which editions is -printed from the original plates of copper, which formed part of the -stock of Walsh, who printed for Handel. - -[17] Burney has made the mistake of stating that the work dedicated to -the Cardinal was the _Opera Quinta_; and, although this was obviously a -mere slip of the pen, carrying with it its own contradiction, it is -curious to observe with what easy acquiescence the successive English -Compilers have reprinted the error. - -[18] The overture is inserted in the printed collections of Handel's -Overtures; and it is conjectured that it was the _first_ movement which -appeared so difficult to Corelli. - -[19] This must have happened about the year 1708; as it appears that -Scarlatti was settled at Rome from 1709 to the time of his decease. -Corelli's Concertos therefore must have been composed many years before -they were published. - -[20] The coincidences suggested by this juxta-position are so inviting -for an epigrammatic twist, that the indulgent reader will perhaps, -pardon the following attempt: - - Each heading, in his art, the school of Rome, - Painter and Fiddler here have found their tomb. - Though dead in body, both in fame are quick-- - Fame wrought with _hair_ appended to a _stick_! - So Genius triumphs, and her sway extends, - By means minute attaining greatest ends. - -[21] Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns -the date above given, is the more likely to be correct, as he was -personally acquainted with Geminiani. - -[22] According to Dr. Burney's reckoning, his term of years would have -been 96: the reason for supposing that authority erroneous has been -already stated. - -[23] It is a somewhat curious circumstance that the descendant of -Carbonelli, with an _i_ less than his progenitor, is at this day -exercising that very liquid calling which finally prevailed with the man -of music. Whether, besides selling superlative wine, he makes any -pretension to support the ancestral honors on the violin, is a point I -am unable to determine. - -[24] There is another account of this love episode in Tartini's life, -which does not conduct it so far as matrimony, but represents that, when -all the arguments of his friends against the match were found to be -without effect, his father was compelled to confine him to his room; and -that, in order to engage his attention, he furnished him with books and -musical instruments, by means of which he _soon overcame his passion_! -This statement, so opposed to the general experience of such matters, -will easily be discredited by all youthful hearts. Cure a young -gentleman's passion, his first love, by locking him up in a study! -Preposterous. Let us cling to the more current account, and confide in -probability and Dr. Burney. - -[25] Of several treatises which Tartini has written, the one most -celebrated, his "Trattato di Musica, secondo in vera scienza dell' -Armonia," is that in which he unfolds the nature of this discovery, and -deduces many observations tending to explain the musical scale, and, in -the opinion of some persons, to correct several of the intervals of -which it is composed. - -[26] For Tartini's judicious letter of elementary hints, addressed to -Madame Sirmen, see the chapter on _Female Violinists_. - -[27] Query, _Solo_?--PRINTER'S IMP. - -[28] See the reference to the old sacerdotal habit of fiddling, at page -55. - -[29] In his "Sonate Accademiche," _opera seconda_, published in London, -1744, we meet (observes Mr. G. F. Graham), on the page immediately -preceding the music, with the first example we have noticed in _Sonate_ -of that time, of an explanation of marks of bowing and expression that -occur in the course of the work. His marks for _crescendo-diminuendo_, -and for _diminuendo_, and for _crescendo_, are of the same form as the -modern ones--only _black_ throughout.--His mark for an up-bow consists -of a vertical line drawn from the interior of a semi-circle placed -beneath it. His mark for a down-bow is the same figure reversed in -position;--M^r. for _mordente_, &c. These are things worth noticing in -old music. In pages 67-9, of the same work, Veracini gives the Scottish -air of Tweedside, with variations; the first instance we know, of -Scottish music being so honored by an old Italian violinist. - -[30] "I cannot understand how _Arts_ and _Sciences_ should be subject -unto any such fantastical, giddy, or inconsiderate toyish conceits, as -ever to be said to be _in fashion_, or _out of fashion_."--_Mace's -Music's Monument._ - -[31] It was remarked, while he was in England, that his execution was -astonishing, but that he dealt occasionally in such tricks as tended to -excite the risible faculty, rather than the admiration, of his auditors. - -[32] Voltaire's contempt for _bad_ playing seems to have equalled his -indifference towards _good_, as may be evidenced in the following lines -from his caustic pen:-- - - toi, dont le violon - Sous un archet maudit par Apollon - D'un ton si dur a _racle_, &c. - -[33] Michael Kelly, who heard this artist at Vienna, on his return from -Russia, makes the following mention of him:-- - -"Giornovick, who was on his way from Russia to Paris, had been many -years first concerto-player at the court of Petersburgh. He was a man of -a certain age, but in the full vigour of talent: his tone was very -powerful, his execution most rapid, and his taste, above all, alluring. -No performer, in my remembrance, played such pleasing music. He -generally closed his concertos with a rondo, the subject of which was -some popular Russian air, to which he composed variations, with -enchanting taste." - -[34] Apropos of this deficiency of English, I find an anecdote in the -book of Parke, the oboist. He is describing the return from a -dinner-party.--"When we arrived at Tottenham-court Road, there being -several coaches on the stand, one was called for Jarnovicki, to convey -him home; but, on its coming up, although he had been in London several -years, he could not muster up English enough to name the street in which -he lived; and, none of the party knowing his residence, it produced a -dilemma, in which he participated, till, suddenly recollecting himself, -he broke out singing, _Marlbrouk s'en va-t-en guerre_, which enabled his -English friends to direct the coachman to Marlborough Street." - -[35] Parke, also, mentions the occurrence of this dispute, and the -challenge--stating, as the occasion, that Shaw had refused to leave his -proper station in the orchestra, to accompany Giornovichi. - -[36] Authentic editions of these charming productions will be found in -the Catalogue of the Messrs. Robert Cocks and Co. who are the sole -publishers of Viotti's Duos and Trios. - -[37] It has been asserted that the _wire_ of his fourth string was -particularly fine and close, to ensure greater smoothness of surface, -and facilitate the sliding of the fingers. - -[38] It is right to add here, that M. Guhr has subsequently reduced to a -system the results of his investigation into the peculiarities of -Paganini's playing, and, illustrating the whole with copious examples, -has published it in a special work, of which an English version, under -the title of "Paganini's Method of Playing the Violin," has been put -forth by Messrs. Cocks and Co. The work is a curiosity in its kind, and -lays open, perhaps, as many of the great Artist's labyrinthine recesses, -as could well be traced upon paper, for the guidance of those who would -toil in his track. Many of the difficulties thus exhibited to view, are -truly astounding--difficulties that look as inexpugnable as the -fortifications of Gibraltar! The _simultaneous four A's flat_, do -"puzzle the will," while the _artificial double harmonics_, and other -eagle-flights, cause an aching of "the mind's eye," in the attempt to -follow them. Ordinary students, in beholding such things, may well -experience a double shake of apprehension; but those of more energetic -fibre, and devoted patience, should by no means despair of attaining, at -least, a partial success in the undertaking. - -Among the mechanical resources employed by Paganini, as essential for -the production of his extraordinary effects, M. Guhr mentions the -peculiar smallness or thinness of his strings--a quality the _reverse_ of -advantageous, as regards the _usual_ course of playing,--and his frequent -habit of screwing up his G string to B flat, through which device -certain passages, otherwise unmanageable, were brought within the scope -of possibility. Ordinary strings would resent this freedom of treatment -by a _snap_; but those of Paganini were, it seems, expressly fitted and -prepared for their _higher_ duty, in a way which M. Guhr minutely -explains. - -[39] When Paganini was afterwards in England, it was observed by a rigid -time-keeper, who happened to attend one of his Concerts (at Winchester), -that his own portion of the performance, for which the requital was the -sum of L200, occupied just twenty-eight minutes. - -[40] Duranowski, the Pole. - -[41] M. Fetis, in his _Notice Biographique_, enters into a defence of -Paganini in this matter--explains the advantages of the _contract_ -system, as liberating the artist from the petty cares that pertain to -concert-giving--and clears Paganini from the imputation of sordid -motives. - -[42] _Some_ enlightenment on this point may be derived from a scrutiny -of M. Guhr's Work, already referred to. - -[43] Dr. Bennati read, before the _Royal Academy of Sciences_, at Paris, -a physiological notice of this extraordinary man, in which he gave it as -_his_ opinion, that his prodigious talent was mainly to be attributed to -the peculiar conformation which enabled him to bring his elbows close -together, and place them one over the other, to the elevation of his -left shoulder, which was an inch higher than the right; to the -slackening of the ligaments of the wrist, and the mobility of his -phalanges, which he could move in a lateral direction at pleasure. Dr. -Bennati also alluded to the excessive development of the cerebellum, as -connected with the extraordinary acuteness of his organs of hearing, -which enabled him to hear conversations carried on in a low tone, at -considerable distance.--M. Geoffroy St. Hilaire remarked that he had been -particularly struck with the prominence of the artist's forehead, which -hung over his deeply-seated eyes like a pent-house. - -[44] "_De l'Opera en France._" - -[45] Of harmony, or of fine melody, or of the higher relations between -poetry and music, the ostentatious Louis appears to have had no -conception. In a case of rivalry, wherein Battista, a scholar of -Corelli's, played against one of the French band who was an ordinary -performer, he (the royal Auditor) preferred an air in "Cadmus" (an opera -of Lully's, and not one of his best), as given by the Frenchman, to a -solo (probably of Corelli's) by the Italian,--saying, "Voila mon gout, a -moi; Voila mon gout!" - -[46] "Jamais homme n'a porte si haut l'art de jouer du violon: et cet -instrument etait plus agreable entre ses mains qu'aucun autre de ceux -qui plaisent le plus."--_Moreri, Dict. Historique._ - -[47] The above anecdote suggests another, of a somewhat similar cast, -pertaining to the great Musical Commemoration at Westminster Abbey, in -1791. A person falling upon a double bass, as it lay on its side, -immediately disappeared--nothing being seen of him, except his legs -protruding out of the instrument; and for some time no one could assist -him, owing to the laughter occasioned by his predicament! - -[48] "Paris est le foyer musical de la France: les astres les plus -brillans roulent dans cette region preferee; mais helas! leurs rayons ne -portent pas la lumiere une grande distance. A peine sommes nous sortis -des portes de cette capitale, que nous tombons soudain dans une -obscurite profonde."--(_Castil-Blaze, de l'Opera en France._) - -[49] "_Equisse de l'Histoire du Violon._" - -[50] The universal diffusion of musical tendencies among the Germans has -been often made the subject of remark. A late traveller, visiting the -Theatre at Cassel, says that the orchestra there was half filled with -_officers_, who fiddled in their regimental uniform, without considering -the practice as at all derogatory from their dignity. - -[51] Dr. Burney remarks that Geminiani used to claim the _invention_ of -the half-shift on the violin, and that he probably first brought it to -England; but that the Italians ascribed it to Vivaldi, and others to the -elder Matteis, who came hither in King William's time. - -[52] Of _Tassenberg_, a fine player, who came over to England with -William Cramer, little can be said. As he fell speedily into obscurity, -I place him here below in a note. With capacity for achieving a -position, but with no prudence for its retention, he endured much misery -through his own reckless follies. To some one who was once enquiring -where he _lived_, the reply was, "In and about the brick-kilns at -Tothill-Fields." - -[53] Apropos of the violoncello--let us here bestow a passing glance on -the name of _Merk_, distinguished more recently than that of Bernard -Romberg, in connection with the larger instrument. Merk seems to have -made a closer approach to our eminent Robert Lindley, in quality of -taste, than in firmness of hand, or brilliancy of tone. Mr. Novello, who -has rated him higher than any of our players, _except_ Lindley, adds a -remark with reference to the _double basses_ used in Germany--that they -have frequently, instead of _three_ strings, a complement of _four_, -thinner than those in use with us, and descending to E below the usual -scale--and that, when mixed with other instruments of the same class, the -depth and richness they produce are very fine. - -[54] Life of Anthony a Wood, Oxford, 1772, p. 88, &c. - -[55] In process of time, these compositions likewise were supplanted by -Martini's Concertos and Sonatas, which, in their turn, were abandoned -for the Symphonies of Van Malder, and the sonatas of the elder Stamitz. -Afterwards, the trios of Campioni, Zanetti, and Abel came into play, and -then the symphonies of Stamitz, Canabich, Holtzbauer, and other Germans, -with those of Abel, Bach, and Giardini; which, having done their duty, -"slept with their fathers," and gave way to those of Vanhall, Pleyel, -and Boccherini; and all have now gradually sunk into insignificance, -eclipsed by the superior brightness and grandeur of Haydn, Mozart, -Beethoven, Cherubini, and some others, whose symphonies are the delight -and wonder of the existing generation. So runs the changeful course of -musical success! - -[56] As a grandson of the individual here recorded, the writer of these -pages may perhaps find licence to mention that there is extant in his -family a fine portrait of Dubourg, by the Dutch painter Vander Smissen, -interesting for the qualities of intelligence and good-humour that are -blended in its expression. - -[57] Vide "Records of a Stage Veteran," in the New Monthly Magazine. - -[58] As to this asserted advantage of resorting to _chemical agency_, -the joke is somewhat of the oldest--so we may as well turn its coat, and -it will then wear the aspect of the following - -HINT TO PURCHASERS. - - To buy a fiddle when about, - Your way unto a Chemist's win, - Where, if but twelve-pence you lay out, - You're sure to get a _vial_ "_in_." - -[59] Should there be any to whom the foregoing estimate (which aims at -being a candid one) may seem to render imperfect justice to the claims -it deals with, I can only remind them that they have the same freedom as -myself to indulge their opinion, and to assert it. Nay, I will even -furnish them with four measured lines, by way of a text from which to -expand their own more propitious adjudication; provided only, that they -will accept them as conceived in any other spirit than that of -ill-nature, which is hereby wholly disavowed:-- - - Ask not how long shall flourish yet his fame, - Nor when shall cease the record of his glory! - Oblivion _dares not_ to efface his name, - Since e'en the _tomb_ cries out "_Memento Mori_!" - -[60] "Diffuse the tuneful lenitives of pain."--_Johnson._ - -[61] It must be borne in mind, that the three Quartett Concerts had been -given, with Mr. Dando as Leader, at the Horn Tavern; and the four -"Concerti da Camera," at the Hanover Square Rooms;--that both parties had -advertised their forthcoming series;--and that it was pretty extensively -rumoured that the Blagrove, Gattie, Dando, and Lucas party had combined -to try their fortune in the new field. - -[62] In the getting-up of Concertos for the annual _Concours_ in Paris, -the Violin students exercise a perseverance and length of labour truly -surprising; and, in the result, such is the perfect manner in which the -same Concerto is executed successively by sometimes a dozen candidates, -that it would puzzle the most skilful judges to discriminate the -individual to whom the prize should be awarded. In such cases, were it -not for the subsequent resource--the safe and certain test of -sight-playing, which brings into operation the intellect as well as the -hand--it would perhaps be impossible to give a single decision that -should not be open to dispute. Thus great is the power of execution -which practice confers--and thus rigorous, the _need_ of that practice! - -[63] If an Amateur, who is capable of murdering time, should yet have -the grace of a disposition to offer some _apology_ for the act, I would -suggest his quoting, for that purpose, the subjoined rhyming octave:-- - - "Cease, cease this fiddling," cried Sir John, - To Ned, his tune-perplexing son-- - "You _lose your time_, you idle lout." - "No, sir, my time I keep, throughout." - "Psha! _keep_ time! no, _kill_ time, you mean," - Mutter'd the father, full of spleen. - "_Kill_ him! well, sure, sir, I'm no zany, - For killing him who has killed _so many_." - -[64] The injurious and disqualifying effect of musical vanity, -complained of in France as well as here, is thus noticed by M. -Castil-Blaze:--"Although music is every where taught to our youth, and is -an art cultivated by a very considerable number of Amateurs, we find -very few amongst them who are really useful with regard to playing in -concert. And this proceeds, partly, from the fact of each individual -desiring to occupy the first place. I have known violin-players renounce -their instrument, because of finding themselves restricted to the -_second part_. As for your _tenor_, it is a department not to be -mentioned, and is left in the hands of those good elderly dullards who -have already forgotten the half of what they never very well knew." - -[65] As it is neither hoped nor intended that this chapter should -constitute a _gradus_, or complete code of instruction for the young -student, I do but hint at a _few_ of the streams of information that -Footnote: are open to him. A more extended view of these would result to -him from a reference to the printed catalogues of those very diligent -purveyors of _pabulum_ for auricular purposes, Messrs. Cocks and Co.; -but, should he look upon a copious Catalogue as little better than a -strange road without a guide, or a labyrinth without a _clue_--and should -he have no _live_ preceptor at hand, to consult--I would point his -attention to an available help from the same quarter, namely, -"_Hamilton's Catechism for the Violin_," small in compass as in cost, -wherein he will find, briefly indicated, the various steps by which, -with due regard to continuous advancement, he should make his way. - -[66] It is noticeable, as among the advantages due to this enterprise, -that the text of the great Master, whose name it borrows, has been -rescued (so far as relates to his Quartetts) from the numerous _errors_ -wherewith all the editions were chargeable; and that a new edition, -edited by Monsieur Rousselot (through whose labours that purification -was mainly accomplished) has been submitted to the public by Messrs. -Cocks & Co. - -[67] Among the meritorious doings of provincial Amateurs (albeit _not_ -in the way of Quartetts), I would here take occasion to mention the -Brighton "Choral Society," commenced in 1835, under the zealous -management of Mr. H. Woledge, whose funds, as well as his time and -talent, were liberally contributed to the undertaking. That social -combination, although not continued beyond its third season, has been -followed by the Brighton "Amateur Symphony Society," which, with Mr. B. -Thom for its Leader, and Mr. Woledge as its Secretary, is at this time -pursuing its career of recreative euphony. Such Societies as this last, -though they do not form quartett-players, can qualify their members to -supply, with creditable effect, some of the demands of an orchestra. - -[68] When twenty-four bits, instead of twelve, are used for the -_purfling_, and when the _tail-piece_ is made of _two_ bits, the total -number of pieces extends to _seventy-one_! - -[69] Anecdotes of Mozart, by Frederic Rochlitz. - - -PRINTED BY J. MALLETT, 59, WARDOUR STREET, LONDON. WORKS FOR -VIOLINISTS. - -OTTO ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN, ENLARGED EDITION, -8VO. BOARDS, BY JOHN BISHOP, - -(_With Illustrations_). - -PRICE THREE SHILLINGS. - - -A TREATISE - -ON THE - -STRUCTURE AND PRESERVATION - -OF THE - -VIOLIN, - -AND - -ALL OTHER BOW INSTRUMENTS; - -TOGETHER WITH - -An Account of the most celebrated Makers, and of the genuine -Characteristics of their Instruments; - -BY - -JACOBUS AUGUSTUS OTTO, - -_Instrument Maker to the Court of the Grand Duke of Wiemar_. - -Translated from the Original, with Additions and Illustrations, - -BY - -JOHN BISHOP, - -OF CHELTENHAM. - -ROBERT COCKS & CO. LONDON. - -OTTO ON THE CONSTRUCTION AND PRESERVATION OF THE VIOLIN, ENLARGED -EDITION, BY JOHN BISHOP. - - -_From the Author's Preface._ - -"I have been induced to draw up a minute description of the construction -of the Violin and all other bow instruments, together with a careful -explanation of the forms of the genuine Italian instruments, by which -they may be clearly distinguished from the spurious imitations. I shall -specify those makers who, next to the Cremonese, have produced the best -instruments and worked on the most correct mathematical principles, and -shall treat at large of the rules which should be observed in repairing; -because, through this, most of the good Italian violins, and those of -other celebrated makers, have been spoiled." - -"... many good Violinists are unacquainted with the construction and -the various component parts of their instruments...." _Chap. II, p. 4._ - - -_From the Morning Herald._ - -"The famous Treatise of Otto on the Violin has been ably translated by -Mr. John Bishop, whose book will be welcome to those who are curious in -the history of the instrument, in the biographies of its most renowned -makers, and in its mechanism philosophically considered." - - -"The appendix (only found in this edition) contains a valuable article -on the proportions, &c. of the several parts of the violin, illustrated -by elaborate diagrams; and also another upon the bow, which was a -desideratum in the original work--thus completing the necessary circle of -information which every violinist should possess respecting the -mechanism of his instrument--and which will prove an effectual safeguard -against the mischievous practices of so-called restorers and repairers." - - -"The study of this book will show any unfair dealing on the part of -dealers in old violins."--_Harmonicon._ - - -See also _Chap. IX, p. 342_, of "The Violin." - -A LIST - -OF - -BOOKS OF INSTRUCTION - -FOR THE - -VIOLIN, - -INCLUDING - -THE METHODS OF THE MOST CELEBRATED MASTERS. - - -STANDARD EDITION OF DR. SPOHR'S GREAT WORK, - -_With the Author's own Sanction._ - - LOUIS SPOHR'S CELEBRATED VIOLIN SCHOOL, translated by JOHN - BISHOP, with two portraits of the Author--large music folio, whole - cloth boards, L1 11s. 6d. - - -TESTIMONIAL FROM THE AUTHOR. - - "London, June, 1843. - -"I have carefully looked over the English edition of my Violin School, -published by Messrs. Cocks and Co. and have no hesitation in -recommending it as a faithful translation of the original work. - - "LOUIS SPOHR." - - -The following is the reply to the Inscription Letter of the Publishers, -received by them from the Secretary to the - -ROYAL ACADEMY OF MUSIC: - - "Royal Academy of Music, February 13th, 1843. - - "Sir,--I am directed by the Committee of Management of this - Institution, to state that they have much pleasure in granting - your wish to publish their names as patronizing your edition of - SPOHR'S VIOLIN SCHOOL. I am farther instructed to return you - their best thanks for your donation of a copy of the above Work, - and which they have felt much pleasure in directing to be placed - in the Library of the Academy. - - "I am, Sir, your obedient Servant, - - "To Robert Cocks, Esq." - - "J. GIMSON, Secretary." - - -_From the Morning Chronicle._ - -"This edition is fully equal in value to the original German; or, -indeed, superior to it, when we consider the useful notes added by the -Translator, and the correct and beautiful manner in which the Volume has -been brought out by the Publishers." - - -_From the Spectator._ - -"Any criticism on a work of such standing and repute as SPOHR'S VIOLIN -SCHOOL would now be superfluous, if not impertinent. Its reputation has -long been established throughout Europe; and the testimony of the best -judges has stamped it as the most perfect work of its kind." - - -INSTRUCTION BOOKS FOR THE VIOLIN. - - - CAMPAGNOLI'S New and Progressive Method for the Violin, - translated by John Bishop, and dedicated to His late - Royal Highness the Duke of Cambridge--large music - folio, whole cloth boards L1 4 0 - - PAGANINI'S Method of Playing the Violin, by Charles Guhr, - translated by James Clarke 12 0 - - RODE, BAILLOT, and KREUTZER'S Method of Learning the - Violin, as adopted by the Conservatoire de Musique, - in Paris, translated by J. A. Hamilton 10 6 - - Supplement to Rode, Baillot, and Kreutzer's Method 8 0 - - HAMILTON'S Catechism of the Violin, with an Appendix - by John Bishop, 6th Edition 1 0 - - PACINI'S Easy Method, with 50 Airs, 13th Edition, revised - by Hamilton 2 0 - - ABBE'S (fils) Treatise on Harmonics 1 6 - - GUHR'S Treatise on Single and Double Harmonics 4 0 - - PRAEGER'S Elementary and Practical School for the Violin, - in Three Parts. - - Part 1. Easy Method, with 28 Airs, &c. 5 0 - - Part 2. The Indispensable, containing Scales, &c. 5 0 - - Part 3. Studies selected from Beethoven, Haydn, &c. - &c. &c. fingered 5 0 - - T. GOODBAN'S Violin Method 10 6 - - HOWELL'S Instruction Book 10 6 - - HOWELL'S Elementary Examples 6 0 - - MULLER'S Twenty Lessons for the acquirement of Time, - for one or two Violins 4 0 - - - FOR THE VIOLA, OR TENOR VIOLIN. - - INSTRUCTION BOOKS, SCALES, &c. - - BRUNT'S Method for the Tenor, followed by 12 Studies 4 0 - - PRAEGER'S (H. A.) Scales and Chords in all the Keys, - with their proper fingering, at one view 1 0 - - PRAEGER'S (H. A.) 12 easy Preludes in different keys, - fingered for the use of those who wish to play - with feeling and expression 2 0 - - PRAEGER'S (H. A.) 18 Easy Studies, fingered 3 0 - - -THE VIOLA FOR SOLO PERFORMERS.--"Why is the VIOLA so little cultivated -among amateurs in comparison with the rest of the Violin Family? It -would seem, in my judgment, to be especially adapted for them, as it -does not embrace that wide range and execution that the violin does, but -depends on the sweetness and volume of tone. For the performance of -_Notturnos_, perhaps no instrument is more suitable, as any one, who has -heard Mr. Hill on it, will confess."--_Correspondent of Cocks's Musical -Miscellany, July, 1851._ - - -FOR THE VIOLONCELLO. - - BAILLOT, LEVASSEUR, CATEL, and BAUDIOT's Method for - the Violoncello, adopted by the Conservatoire, translated - by A. Merrick--fingered by T. Binfield 12 0 - - Supplement to ditto 6 0 - - HUS-DESFORGES' Instruction Book for the Violoncello 10 6 - - HAMILTON'S Catechism for the Violoncello 1 0 - - DUPORT'S celebrated Essay for the Violoncello, translated - by John Bishop (_in the press_). - - -FOR THE CONTRE-BASSO, OR DOUBLE BASS. - - MINE and FROLICH'S Method for the Double Bass (edited - by Hamilton) 8 0 - - -STANDARD CLASSICAL WORKS - -FOR VIOLIN, &c. - - -CORELLI'S TRIOS AND SOLOS. - - CORELLI'S Forty-eight Trios for Two Violins and Violoncello, - Four Books, each 8 0 - - Or, complete in Three Volumes L1 4 0 - - CORELLI'S 12 celebrated Solos, newly arranged by Czerny 10 6 - - CORELLI'S 12 Solos, printed from the plates (copper) - originally belonging to Walsh 10 6 - - DE BERIOT'S Six Airs, varied for the Violin, - with accompaniment for the Pianoforte: - - Nos. 1 to 5, each 4 0 - - 8th Air 5 0 - - - VIOTTI'S DUETTS AND TRIOS. - - VIOTTI'S complete Collection of Duetts, Op. 1. 12 Duetts, - 2 books, each 8 0 - - VIOTTI'S Six Duetts, Op. 5, 2 books, each 8 0 - - VIOTTI'S Six Duetts, Op. 6, 2 books, each 8 0 - - VIOTTI'S Three Duetts, Op. 18 8 0 - - VIOTTI'S Three Duetts, Op. 21 8 0 - - VIOTTI'S Three Duetts, Homage a l'Amitie 8 0 - - VIOTTI'S complete Collection of Trios, - - First Set, Six Trios, Op. 2 10 6 - - Second Set, Op. 16 8 0 - - Third Set, Op. 17 8 0 - - Fourth Set, Op. 20 8 0 - - VIOTTI'S Three Airs, with Variations (Violin & Piano), each 2 0 - - - BEETHOVEN'S Four Grand Trios, edited by Scipion Rousselot: - - Nos. 1, 2, 3 (Op. 4) 12 0 - - No. 4 (Op. 3) 8 0 - - (_The only complete Edition_). - - MOZART'S Original Trio for Violin, Tenor, and Bass 6 0 - - TRIOS by PLEYEL, HUMMEL, &c. for Violin, Tenor, and - Violoncello, or Pianoforte. - - -QUARTETTS. - -TWO VIOLINS, TENOR, AND VIOLONCELLO. - - BEETHOVEN'S 17 Quartetts for Two Violins, Tenor, and - Violoncello, edited by M. Scipion Rousselot, as performed - at the Beethoven Quartett Society in London, - with a Portrait and Memoir of the Composer. The - entire set, engraved in the best style, on extra large - plates, and printed on fine stout paper L6 6 0 - - _Separately._ - - Nos. 1, 2, 3, 4, 5, 6, composed for, and dedicated to, - Prince Lichnowsky (Op. 18), each 9 0 - - Nos. 7, 8, 9, dedicated to Prince Rasumowsky - (Op. 58), each 10 6 - - Nos. 10, 11, 12, and 14 (Ops. 74, 95, 97, and 133), each 10 6 - - Nos. 13, 15, 16, 17 (Ops. 130, 131, 132, and 135), each 12 0 - - HAYDN'S 83 Quartetts for Two Violins, Tenor, and Violoncello; - a new edition, revised and corrected, with - Portrait of the Author, and a Catalogue Thematique, - 4 vols. bound in cloth L6 6 0 - - The Quartetts may be had singly, at 2s. 6d. 3s. and 4s. each; - or in Operas, or Sets of Six, at from 12s. to 16s. each set. - - _N.B.--A Catalogue Thematique may be had, on application, - gratis and postage free._ - - MOZART'S Ten Quartetts, 4 vols. boards L2 2 0 - - First Set of Three 15 0 - - Second Set of Three 15 0 - - Third Set of Three, dedicated to the King of Prussia 15 0 - - Single Quartett 6 O - - The Ten Quartetts in Score, 8vo. 10 Nos. L1 10 0 - - - These unique and splendid Editions are - - THE ONLY UNIFORM EDITIONS EXTANT - - of the Quartetts of Haydn, Mozart, & Beethoven. - - QUINTETTS. - - TWO VIOLINS, TWO TENORS, AND VIOLONCELLO. - - BEETHOVEN'S Quintetts, complete edition, as performed by - the Beethoven Society; edited by Scipion Rousselot--engraved - in the same style as the Quartetts, on large sized plates, - and printed on extra paper: - - Grand Quintett--No. 1, in E flat (Op. 4) 10 6 - - No. 2, in C (Op. 29) 10 6 - - No. 3, in E flat (Op. 20) 10 6 - - No. 4, in B flat (Op. 20) 10 6 - - (The only complete English Edition,) - - BEETHOVEN'S Grand Quintett, in E flat, for Piano, Violin, - Tenor, Flute, and Violoncello 6 0 - - DUSSEK'S Quintett for Piano, Violin, Tenor, Violoncello, - and Double Bass (Op. 41) 7 0 - - HAYDN'S Twelve Grand Symphonies, arranged by Dr. Hague - for Flute, two Violins, Tenor, and Violoncello, 4 books, - each 15 0 - - Pianoforte parts, each 4 0 - - MOZART'S Six Quintetts for two Violins, two Tenors, - and Violoncellos--6 books, each 8 6 - - Or, the Six complete in 5 volumes, boards L2 2 0 - - The first Five Quintetts, in score L1 2 6 - - The only correct editions of these Quintetts extant.. - - A. ROMBERG'S Quintetts for Violin, Flute, two Tenors, - and Violoncello - - Six Quintetts, each 5 0 - - Three Quintetts, each 6 0 - ----------- - -SEPTETTS, &c. - -All the Symphonies and Overtures of Auber, Beethoven, Haydn, Mozart, - Romberg, Rossini, &c. - - (Catalogues gratis and postage free.) - ----------- - - SYMHONIES AND OVERTURES FOR A FULL ORCHESTRA. - - BEETHOVEN'S Grand Symphony. No. 1, in C (Op. 21) 12 0 - - HAYDN'S Grand Symphony, The Surprise 7 6 - - HAYDN'S Grand Military Symphony 7 6 - - MOZART'S Grand Symphonies, each 10 6 - - A. ROMBERG'S Grand Symphony in E flat (Op. 6) 10 6 - - *** Duplicate Violin, Tenor, and Bass Parts, each 1 0 - - OVERTURES FOR A FULL ORCHESTRA - - BEETHOVEN'S Overture to Prometheus (Op. 48) 7 0 - - CHERUBINI'S Overtures to Anacreon and Lodoiska, each 6 0 - - MOZART'S Overtures--viz. Le nozze di Figaro, Il Flauto Magico, - Il Don Giovanni, Idomeneo, La Clemanza di Tito, - Cosi fan Tutti, La Vilanella Rapita, each 7 0 - - B. ROMBERG'S Overture in D (Op. 11) 7 6 - - C. M. VON WEBER'S Overture to Der Freyschuetz 10 6 - - Duplicate Violin, Tenor, and Bass parts, each 1 6 - - ---------- - - DANCE MUSIC - - All Lanner, Strauss, Labitzky, and Musard's Dances may be had - for a Full Orchestra. - - ---------- - - VIOLIN AND PIANOFORTE - - (with accompaniments.) - - Haydn's Twelve Grand Symphonies, arranged for the Pianoforte by - Czerny, with Accompaniments for Violin, &c. Mozart's Symphonies, - arranged by Clementi, with similar Accompaniments. Brilliant - Duetts for Pianoforte and Violin Concertante, by Mozart, Beethoven, - Rossini, Auber, Mayseder, Weber, Spohr, &c. with a large collection - of Music for Violin, &c. and Pianoforte. - - ---------- - - Just Published - - A Catalogue of Standard and New Music for the Violin, Tenor, and - Violoncello. 11th Edition. - - --> This catalogue is not equalled throughout Europe for the number, - variety, and value of the Works it contains. It will be furnished - on application, gratis and postage free. - - Applicants may also have, free by post, a List of Violins, Tenors, - Violoncellos, and other Instruments; including some undoubted - originals by the Italian Makers, with the Prices affixed. - - ALSO - - A Catalogue of the Original Works of Louis van Beethoven, with various - arrangements. - - CATALOGUES, &c. FREE BY POST. - - GENERAL CATALOGUES of Music for all Instruments, embracing a - stock printed from no less than a quarter of a million of plates, - may be had, on application, _gratis and postage free_. - - A MISCELLANEOUS CATALOGUE of Standard and other Musical Works, - ancient and modern, including Treatises on the Theory of Music, - Historical Treatises, &c. with rare and curious works, printed, - and in manuscript, including a copious selection from the Musical - Library of His late R. H. the Duke of Cambridge (_gratis and - postage free_). - - SELECT CATALOGUE of Sacred Music, Vocal, and for the Organ, with - tables of the contents of the several works (_gratis and postage - free_). - - -IN COURSE OF PUBLICATION. - - ORGAN WORKS, by W. T. Best; viz. The Organ Student, in Parts, at - 2s. 6d. each; Six Adagios for the Organ, 5s.; Pedal Exercises, - &c. 12s. - - Several Copies of Handel's Complete Works, L25 to L42. - - DR. BOYCE'S COLLECTION OF CATHEDRAL MUSIC, with Portrait, and - Memoirs of the Composers, by Joseph Warren, dedicated to H. R. H. - Prince Albert--3 vols. extra music folio, L6 6s. - - A LARGE COLLECTION OF PORTRAITS OF MUSICAL MEN, at various - prices. Also Busts in bisque China of Haydn, Mozart, Beethoven, - Handel, J. S. Bach, Mendelssohn, and Weber, each 2s. 6d. - - -_Just Published_, - -Vol. I. in Royal 8vo. Price L1 1s. of - -(COCKS'S EDITION OF) - -THE SCHOOL OF MUSICAL COMPOSITION, - -BY DR. ADOLPH MARX. - -This Edition, under the supervision of the Author himself (with -additions exclusively for the English translation), is published -simultaneously with the FOURTH GERMAN EDITION, _now in course of issue -at Liepzig_. - - -VIOLINS, BOWS, &c. - -Vuillaume's Copies of Straduarius, Guarnerius, the Amatis, Magini, &c. -price L14 each instrument. - -Brazil Wood Violin, Tenor, and Violoncello Bows, by Vuillaume, at the -uniform price of thirty shillings; Moveable Hair, by the same, -eighteen-pence each hank; and his Patent Rosin, one shilling the box. - - -ROBERT COCKS & Co. NEW BURLINGTON STREET, _Music Publishers, by Special -Warrant, to the Queen_. - - - -***END OF THE PROJECT GUTENBERG EBOOK THE VIOLIN*** - - -******* This file should be named 40289.txt or 40289.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/0/2/8/40289 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License available with this file or online at - www.gutenberg.org/license. - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at 809 -North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - -Most people start at our Web site which has the main PG search facility: - - www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/40289.zip b/40289.zip Binary files differdeleted file mode 100644 index 0ef0f36..0000000 --- a/40289.zip +++ /dev/null |