THEHISTORY OF MUSIC LIBRARY |
THE VIOLIN. ITS FAMOUS MAKERS AND THEIR IMITATORSBY GEORGE HART SECTION VII The Violin and its Votaries Sterne (himself a
votary of the Fiddle) has well said, "Have not the wisest of
men in all ages, not excepting Solomon himself, had their hobby-horses—their
running-horses, their coins and their cockle-shells, their drums
and their trumpets, their Fiddles, their pallets, their maggots
and their butterflies? And so long as a man rides his hobby-horse
peaceably and quietly along the king's highway, and neither compels
you nor me to get up behind him,—pray, sir, what have either
you or I to do with it?" He further tell us, "There is
no disputing against hobby-horses;" and adds, "I seldom
do: nor could I, with any sort of grace, had I been an enemy to
them at the bottom; happening at certain intervals and changes of
the moon, to be both Fiddler and painter."
The leading instrument
is singularly favoured. It may be said to have a double existence.
In addition to its manifold capabilities, it has its life of activity
on the one hand, and inactivity on the other. At one time it is
cherished for its powers of giving pleasure to the ear, at another
for the gratification it affords to the eye. Sometimes it is happily
called upon to perform its double part—giving delight to both
senses. When this is so, its existence is indeed a happy one. The
Violin thus occupies a different position from all other musical
instruments. Far more than any other musical instrument it enters
into the life of the player. It may almost be said to live and move
about with him; the treasure-house of his tenderest and deepest
emotions, the symbol of his own better self. Moreover, the Violin
is a curiosity as well as a mechanical contrivance. Thus it is cherished,
perhaps for its old associations—it may have been the companion
of a valued friend, or it may be prized as a piece of artistic work,
or it may be valued, independently of other associations, for the
simple purpose for which it was made, viz., to answer the will of
the player when touched with the bow. The singular powers centred
in the Violin have been beautifully expressed by Oliver Wendell
Holmes, who says: "Violins, too. The sweet old Amati! the divine
Stradivari! played on by ancient maestros until the bow hand lost
its power, and the flying fingers stiffened. Bequeathed to the passionate
young enthusiast, who made it whisper his hidden love, and cry his
inarticulate longings, and scream his untold agonies, and wail his
monotonous despair. Passed from his dying hand to the cold virtuoso,
who let it slumber in its case for a generation, till, when his
hoard was broken up, it came forth once more, and rode the stormy
symphonies of royal orchestras, beneath the rushing bow of their
lord and leader. Into lonely prisons with improvident artistes;
into convents from which arose, day and night, the holy hymns with
which its tones were blended; and back again to orgies, in which
it learned to howl and laugh as if a legion of devils were shut
up in it; then, again, to the gentle dilettante, who
calmed it down with easy melodies until it answered him softly as
in the days of the old maestros; and so given into our hands, its
pores all full of music, stained, like the meerschaum, through and
through with the concentrated hue and sweetness of all the harmonies
which have kindled and faded on its strings." The gifted author
of "The Autocrat of the Breakfast-Table" has evidently
made himself acquainted with the various life-phases of a Violin. The fancy for the
Violin as a curiosity has been a matter of slow growth, and has
reached its present proportions solely from the intrinsic merits
of its object. The Violin has not come suddenly to occupy the attention
of the curious, like many things that might be named, which have
served to satisfy a taste for the collection of what is rare or
whimsical, and to which an artificial value has been imparted. In
those days when the old Brescian and Cremonese makers flourished,
the only consideration was the tone-producing quality of their instruments;
the Violin had not then taken its place among curiosities. The instruments
possessing the desired qualities were sought out until their scarcity
made them legitimate food for the curious. Beauties, hitherto passed
over, began to be appreciated, the various artistic points throughout
the work of each valued maker were noted, and in due time Violins
had their connoisseurs as well as their players. Besides Italy, England,
France, and Germany have had their great men in the Fiddle world,
whose instruments have ever been classed as objects of virtu.
Mace, in his "Musick's Monument," published in 1676, gives,
perhaps, the earliest instance of curiosity prices in England. "Your
best provision (and most compleat) will be a good chest of Viols;
six in number, viz., two Basses, two Tenors, and two Trebles, all
truly and proportionally suited; of such there are no better in
the world than those of Aldred, Jay, Smith; (yet the highest in
esteem are) Bolles and Ross (one Bass of Bolles I have known valued
at �100). These were old." From the above curious extract we
glean that the Fiddle family was receiving some attention. The makers
in England whose instruments seem to have reached curiosity prices
are Bolles, Jay, Barak Norman, Duke, Wamsley, Banks, and Forster:
the value attached at different periods to the works of these men
has nearly approached the prices of Cremonese work. Of course, the
high value set upon the instruments of the makers above named was
confined to England. Turning to France,
we find that many of the old French makers' instruments brought
prices greatly in excess of their original cost. The favourite French
makers were M�dard, Boquay, Pierray, of the old school, and Lupot
and Pique of the modern. In Germany there
have been makers whose works have brought very high prices. Stainer,
Albani, Widhalm, Scheinlein, are names that will serve to associate
high values with German work. In the case of Jacob Stainer, the
celebrity of his instruments was not confined to Germany; they were
highly prized by the English and French, and at one period were
more valued than the best Amatis. It was not until the vast superiority
of Italian Violins over all others was thoroughly recognised, that
the love of the instrument as a curiosity reached its present climax.
In Italy, the value set upon the chief Cremonese works, though great,
was comparatively insignificant, as far as the Italians themselves
are concerned, and when France and England came into competition
with them for the possession of their Violins by Amati, Stradivari,
Guarneri, and the gems of other makers, they at once yielded the
contest. The introduction
of Italian instruments into Great Britain was a matter of slow growth,
and did not assume any proportions worthy of notice until the commencement
of the present century, when London and Paris became the chief marts
from whence the rare works of the old Italians were distributed
over Europe. By this time the taste of the Fiddle world had undergone
a considerable change. The instruments in use among the dilettanti in
France and England had hitherto been those built on the German model
of the school of Jacob Stainer. The great German maker was copied
with but little intermission for upwards of a century, dating from
about 1700 to 1800, a period of such considerable extent as to evidence
the popularity of the model. Among the Germans who were following
in the footsteps of Stainer were the family of Kloz, Widhalm, Statelmann,
and others of less repute. In England there was quite an army of
Stainer-worshippers. There were Peter Wamsley, Barrett, Benjamin
Banks, the Forsters, Richard Duke, and a whole host of little men.
Among the makers mentioned there are three, viz., Banks, Forster,
and Richard Duke, who did not copy Stainer steadfastly. Their early
instruments are of the German form, but later they made many copies
of the Cremonese. To Benjamin Banks we are indebted for having led
the English makers to adopt the pattern of Amati. He had long laboured
to popularise the school which he so much loved, but met with little
encouragement in the beginning, so strong was the prejudice in favour
of the high model. However, he triumphed in the end, and completely
revolutionised the taste in England, till our Fiddle-fanciers became
total ab-Stainers! Then commenced the taste for instruments
of flat form. Where were they to be found? If the few by the early
English makers be excepted, there were none but those of the Italians
to be had, and perhaps a few old French specimens. Attention was
thus directed to the works of the Cremonese, and the year 1800 or
thereabouts may be put down as the time when the tide of Italian
Violins had fairly set in towards France and England. The instruments
by the Amati were those chiefly sought after; the amount of attention
they commanded at this period was probably about equal to that bestowed
upon the works of Stradivari and Guarneri at the present time. Violins
of Amati and other makers were, up to this time, obtainable at nominal
prices. The number in Italy was far in excess of her requirements,
the demand made upon them for choir purposes in former days had
ceased, and the number of Violins was thus quite out of proportion
to the players. The value of an Amati in England in 1799 and 1804
may be gathered from the following extracts from the day-book of
the second William Forster, who was a dealer as well as maker—"20th
April, 1799. A Violoncello by Nicholas Amati, with case and bow,
�17 17s. 0d.;" and further on—"5th July, 1804, an
Amati Violin �31 10s. 0d." These prices were probably less
than those which William Forster received for many instruments of
his own make. It is certain that these low prices did not long continue;
the price increased in due proportion to the vanishing properties
of the supply. The call for Violins by the Amati was so clamorous
as speedily to effect this result; the prices for them were doubled,
trebled, and often quadrupled, until they no longer found a home
in their native land. The value set on them by the French and English
so far exceeded that which the Italians themselves could afford,
even though inclined to indulge in such things, that the sellers
were as eager to sell as the buyers to buy. During the time of this
scramble for instruments of Cremona, the theory of the flat model
was fast gaining ground. The circulation of the works of Cremona
among the players of France and England led to a comparison of the
various forms, and it was found that the elevated model was inferior
in every way when tested by the works of the great Italian makers.
Hitherto no distinction had been drawn as regards value among the
productions of the several members of the Amati family. Andrea had
been looked upon as equivalent to Girolamo, Antonio, or Niccol�;
but attention now began to be directed towards the works of the
brothers, and to those of Niccol� in particular, as the flat model
gained in the appreciation of the Fiddling world. Grand Amatis became
the coveted Fiddles; they were put up frequently at twice the value
of the smaller patterns—a position they still maintain. The
taste for the flat form having thus been developed, the works of
Antonio Stradivari came to the front, slowly but surely; their beauties
now became known outside the circle in which they had hitherto been
moving: a circle made up chiefly of royal orchestras (where they
were used at wide intervals), convent choirs, and private holders,
who possessed them without being in the least aware of their merits.
They were now eagerly sought by soloists in all parts of Europe,
who spread their fame far and wide. Their exquisite form and finish
captivating the dilettanti, the demand increased to
an extent far beyond that commanded by the works of the Amati at
the height of their popularity. There were a few
Stradivari instruments in England when Amati was the favourite maker,
and their value at that period may be estimated, if it be true that
Cervetto, the father of the famous Violoncellist, was unable to
dispose of a Stradivari Violoncello for five pounds—a circumstance
which shows how blind our forefathers were to the merits of the
greatest maker the world has had. Among the artists of the early
part of the present century who used the instruments of Stradivari
were Boccherini, Viotti, Rode, Kreutzer, Habeneck, Mazas, Lafont,
and Baillot. About the year 1820
the fame of Giuseppe Guarneri as a great maker was published beyond
Italy, chiefly through the instrumentality of Paganini. That wonderful
player came to possess a splendid specimen of Guarneri del Ges�,
dated 1743, now sleeping in the Museum at Genoa, which Paganini
used in his tour through France and England. He became the owner
of this world-famed Violin in the following curious manner. A French
merchant (M. Livron) lent him the instrument to play upon at a concert
at Leghorn. When the concert had concluded, Paganini brought it
back to its owner, when M. Livron exclaimed, "Never will I
profane strings which your fingers have touched; that instrument
is yours." A more fitting present or higher compliment could
not have been offered. The names of Amati and Stradivari became
familiar to the musical world gradually, but Guarneri, in the hands
of a Paganini, came forth at a bound. This illustrious Violin was
often credited with the charm which belonged to the performer; the
magical effects and sublime strains that he drew forth from it must,
it was thought, rest in the Violin. Every would-be Violinist, whose
means permitted him to indulge in the luxury, endeavoured to secure
an instrument by the great Guarneri. The demand thus raised brought
forth those gems of the Violin-maker's art, now in the possession
of wealthy amateurs and a few professors. When the various works
of the gifted Guarneri were brought to light, much surprise was
felt that such treasures should have been known to such a handful
of obscure players, chiefly in the churches of Italy. The Violin
used by Paganini belongs to the last period of the great maker,
and consequently, is one of those bold and massive instruments of
his grandest conception, but lacks the beautiful finish of the middle
period. The connoisseurs of those days had associated Giuseppe Guarneri
with Violins of the type of Paganini's only; their surprise was
great when it was discovered that there were three distinct styles
in the works of Guarneri, one evidencing an artistic grandeur, together
with a high finish, but little inferior to those of Antonio Stradivari.
The marked difference between these epochs of Guarneri's manufacture
has led to a great amount of misconception. Fifty years since, the
world possessed little information on the subject, and the connoisseur
of those times could not believe it possible that these varied styles
emanated from one mind. The opportunities given to the connoisseur
of later days of comparing the various instruments of the several
epochs of Guarneri have set at rest all doubts concerning them.
They no longer require dates or labels; they are as easily distinguished
and classed as the works of Amati or Stradivari. Attention was claimed
for the works of Maggini by the charming Belgian Violinist, Charles
de B�riot, who, early admiring the large proportions and powerful
tone of Maggini's instruments, decided to use one for public playing.
That an artist so refined as De B�riot, and one who attached so
much importance to that sympathy between the Violin and player which
should make it the vehicle for presenting its master's inward feelings,
should have selected a Violin of large size, and adapted for giving
forth a great volume of tone, was a matter of surprise to a great
many of his contemporaries. Those who judged only from his school
of playing anticipated that he would have selected Amati as embodying
the qualities he so passionately admired. It is certain, however,
that he succeeded in bringing the penetrating power of his Maggini
thoroughly under his control. In the instruments of Maggini, De
B�riot doubtless recognised the presence of vast power, together
with no inconsiderable amount of purity of tone, and to bring forth
these qualities to the best advantage was with him a labour of love.
The popularity of Maggini's Violins rapidly raised their value.
Instruments that, before De B�riot made them widely known, might
have been purchased for ten pounds, realised one hundred. The Violin
known as "De B�riot's Maggini" remained in his possession
till within a short time of his death, when it was disposed of to
his friend and patron, the Prince de Chimay, it is said, for the
enormous sum of six hundred pounds—a price far in excess of
the average value of Maggini's instruments. In this instance, the
association of De B�riot with the instrument is sufficient, perhaps,
to account for the rare price set upon it. We now reach the
time when Carlo Bergonzi began to be regarded as a maker of the
first class. As a Cremonese maker, he was one of the latest to receive
the attention to which his exceptional merits fairly entitled him.
To English connoisseurs belongs the credit of appreciating this
great maker. The recognised merits
of the makers already named naturally caused a demand for Italian
instruments generally. If the masters could not be had, the pupils
must be found; hence a whole host of Italian makers, quite unknown
in England fifty years since, became familiar to the connoisseur.
The works of Guadagnini, Gagliano, Grancino, Santo Serafino, Montagnana,
and others whose names it is unnecessary to give, passed from Italy
into France and England, until the various schools of Italian Violin
manufacture were completely exhausted. When we look back, it is
surprising that so much has been achieved in such a brief space
of time. The knowledge of Italian works in 1800 was of the slenderest
kind, both in France and England; in less than three-quarters of
a century those countries contrived to possess themselves of the
finest specimens of Cremonese instruments, together with those of
other Italian schools. We here have an example of the energy and
skill that is brought to bear upon particular branches of industry
when once a demand sets in. Men of enterprise rise with it unnoticed,
and lead the way to the desired end. In the case of Italian Violins
it was Luigi Tarisio who acted as pioneer—a being of singular
habits, whose position in the history of the Violin, considered
as a curiosity, is an important one. This remarkable man was born
of humble parents, wholly unconnected with the musical art. In due
time he chose the trade of a carpenter, which vocation he followed
with assiduity, if not with love. He amused himself during his leisure
hours in acquiring a knowledge of playing on the Violin—an
accomplishment that was destined to exercise an influence on his
future life, far greater than was ever contemplated by the young
carpenter. That his playing was not of a high order may be readily
imagined: it was confined chiefly to dance-music, with which he
amused his friends, Fiddling to their dancing. His first Violin
was a very common instrument, but it served to engender within him
that which afterwards became the ruling passion of his life. His
study of this little instrument was the seed from which grew his
vast knowledge of Italian works. So much was his attention absorbed
by the form of the instrument that any skill in playing upon it
became quite a secondary consideration. He endeavoured to see all
the Violins within his reach, and to observe their several points
of difference. The passion for old Violins, thus awakened, caused
him to relinquish his former employment entirely, and to devote
the whole of his attention to the art which he so loved. He soon
became aware of the growing demand for Italian works, and felt that,
possessed with a varied and proficient knowledge of the different
styles of workmanship belonging to the Italian schools of Violin-making,
he could turn his present acquirements to a profitable as well as
pleasurable use. He resolved to journey in search of hidden Cremonas.
His means were, indeed, very limited. His stock-in-trade consisted
only of a few old Violins of no particular value. With these he
commenced his labours, journeying in the garb of a pedlar, on foot,
through Italian cities and villages, and often playing his Violin
in order to procure the bare means of existence. Upon entering a
village he endeavoured to ingratiate himself with the villagers,
and thus obtain information of the whereabouts of any inhabitants
who were possessed of any member of the Fiddle family, his object
being to examine and secure, if possible, such instruments as were
possessed of any merit. It can readily be conceived that at the
commencement of the present century, numbers of valuable Cremonese
and other instruments were in the hands of very humble people. Luigi
Tarisio knew that such must be the case, and made the most of his
good fortune in being the first connoisseur to visit them. His usual
method of trading was to exchange with the simple-minded villagers,
giving them a Violin in perfect playing order for their shabby old
instrument that lacked all the accessories. It was indeed the case
of Aladdin's Lamp, and as potent were these Fiddles as the wonderful
lamp or ring itself. In the possession of Luigi Tarisio they drew
forth from the purses of the wealthy gold that would have enabled
the humble villagers to have ceased labour. It is an axiom, however,
that everything on this earth is only of value providing it is in
its proper place, and these rare old instruments, in the keeping
of the poor peasants, could scarcely be considered to be in their
proper element; their ignorant possessors were alike unable to appreciate
their sterling worth, as works of art, or their powers of sound.
Luigi Tarisio, after gathering together a number of old rarities,
made for his home, and busied himself in examining the qualities
of his stock, selecting the best works, which he laid aside. With
the residuum of those instruments he would again set out, using
them as his capital wherewith to form the basis of future transactions
among the peasantry and others. He visited the numerous monasteries
throughout Italy that he might see the valuable specimens belonging
to the chapel orchestras. He found them often in a condition ill
becoming their value, and tendered his services to regulate and
put them into decent order—services gladly accepted and faithfully
performed by the ardent connoisseur. By the handling of these buried
treasures, his knowledge and experience were greatly extended. Makers
hitherto unknown to him became familiar. When he met with instruments
apparently beyond the repairer's skill, he would make tempting offers
of purchase, which were often accepted. Having accumulated many
instruments of a high order during these journeys, he began to consider
the best means of disposing of them. He decided upon visiting Paris.
He took with him the Violins he valued least, resolving to make
himself acquainted with the Parisian Fiddle market before bringing
forth his treasures. It is said that he undertook his journey on
foot, depriving himself often of the common necessaries of life,
that he might have more money to buy up his country's Fiddles. His
first visit to Paris was in 1827, an eventful year in the history
of Italian Violins, as far as relates to Paris. Upon arriving in
the French capital, he directed his steps to the nearest luthier,
one Aldric, to whom he had been recommended as a purchaser of old
instruments of high value. Upon arriving at the shop of M. Aldric,
Tarisio hesitated before entering, feeling suddenly that his appearance
was scarcely in keeping with his wares, his clothes being of the
shabbiest description, his boots nearly soleless, and his complexion,
naturally inclined to blackness, further darkened by the need of
ordinary ablutions. However, he set aside these thoughts, and introduced
himself to the luthier as having some Cremona Violins for sale.
Aldric regarded him half-contemptuously, and with a silent intent
to convey to Tarisio that he heard what he said, but did not believe
it. The Italian, to the astonishment of the luthier, was not long
in verifying his statement; he opened his bag and brought forth
a beautiful Niccol� Amati, of the small pattern, in fine preservation,
but having neither finger-board, strings, nor fittings of any kind.
The countenance of the luthier brightened when he beheld this unexpected
specimen of the Italian's wares. He carefully examined it, and did
his best to disguise the pleasurable feelings he experienced. He
demanded the price. The value set on it was far in excess of that
he had anticipated; he erroneously arrived at the probable cost
from an estimate of the shabby appearance of the man. He had been
comforting himself that the Italian was unaware of the value put
upon such instruments. He decided to see further the contents of
the bag before expressing an opinion as to the price demanded for
the Amati. Violins by Maggini, Ruggeri, and others, were produced—six
in number. Tarisio was asked to name his price for the six. After
much giving and taking they became the property of the luthier.
This business was not regarded as satisfactory by Tarisio; he had
overestimated the value of his goods in the Paris market; he had
not learned that it was he himself who was to create the demand
for high-class Italian instruments by spreading them far and wide,
so that their incomparable qualities might be observed. He returned
to Italy with his ardour somewhat cooled; the ready sale at the
prices he had put upon his stock was not likely to be realised,
he began to think. However, with the proceeds of his Paris transaction
he again started in search of more Cremonas, with about the same
satisfactory results. He resolved to visit Paris again, taking with
him some of his choicest specimens. He reached the French capital
with a splendid collection—one that in these days would create
a complete furorethroughout the world of Fiddles. He
extended his acquaintance with the Parisian luthiers, among whom
were MM. Vuillaume, Thibout, and Chanot senior. They were all delighted
with the gems that Tarisio had brought, and encouraged him to bring
to France as many more as he could procure, and at regular intervals.
He did so, and obtained at each visit better prices.
This remarkable man
may be said to have lived for nought else but his Fiddles. Mr. Charles
Reade, who knew him well, says:1"The man's whole
soul was in Fiddles. He was a great dealer, but a greater amateur;
he had gems by him no money would buy from him.It is related
of him that he was in Paris upon one occasion, walking
along the Boulevards with a friend, when a handsome equipage belonging
to a French magnate passed, the beauty of which was the talk of
the city. Tarisio's attention being directed to it by his friend,
he calmly answered him that "he would sooner possess one
'Stradivari' than twenty such equipages." There is a very
characteristic anecdote of Tarisio, which is also related by Mr.
Reade in his article on Cremona Violins, entitled the "Romance
of Fiddle-dealing": "Well, one day
Georges Chanot, senior, made an excursion to Spain, to see if he
could find anything there. He found mighty little, but coming to
the shop of a Fiddle-maker, one Ortega, he saw the belly of an old
Bass hung up with other things. Chanot rubbed his eyes, and asked
himself was he dreaming? the belly of a Stradivari Bass roasting
in a shop window! He went in, and very soon bought it for about
forty francs. He then ascertained that the Bass belonged to a lady
of rank. The belly was full of cracks; so, not to make two bites
of a cherry, Ortega had made a nice new one. Chanot carried this
precious fragment home and hung it up in his shop, but not in the
window, for he was too good a judge not to know that the sun will
take all the colour out of that maker's varnish. Tarisio came in
from Italy, and his eye lighted instantly on the Stradivari belly.
He pestered Chanot till the latter sold it him for a thousand francs,
and told him where the rest was. Tarisio no sooner knew this than
he flew to Madrid. He learned from Ortega where the lady lived,
and called on her to see it. 'Sir,' says the lady, 'it is at your
disposition.' That does not mean much in Spain. When he offered
to buy it, she coquetted with him, said it had been long in her
family; money could not replace a thing of that kind, and, in short,
she put on the screw, as she thought, and sold it him
for about four thousand francs. What he did with the Ortega belly
is not known; perhaps sold it to some person in the toothpick trade.
He sailed exultant for Paris with the Spanish Bass in a case. He
never let it go out of his sight. The pair were caught by a storm
in the Bay of Biscay; the ship rolled; Tarisio clasped his Bass
tightly and trembled. It was a terrible gale, and for one whole
day they were in real danger. Tarisio spoke of it to me with a shudder.
I will give you his real words, for they struck me at the time,
and I have often thought of them since. 'Ah, my poor Mr. Reade,
the Bass of Spain was all but lost!' "Was not this
a true connoisseur—a genuine enthusiast? Observe, there was
also an ephemeral insect called Luigi Tarisio, who would have gone
down with the Bass; but that made no impression on his mind. De
minimis non curat Ludovicus! "He got it safe
to Paris. A certain high-priest in these mysteries, called Vuillaume,
with the help of a sacred vessel, called the glue-pot, soon re-wedded
the back and sides to the belly, and the Bass now is just what it
was when the ruffian Ortega put his finger in the pie. It was sold
for 20,000 fr. (�800). I saw the Spanish Bass in Paris twenty-five
years ago, and you can see it any day this month you like, for it
is the identical Violoncello now on show at Kensington numbered
188. Who would divine its separate adventures, to see it all reposing
so calm and uniform in that case?—Post tot naufragia tutus." 1 "Cremona Violins," Pall
Mall Gazette, August, 1872. The love of Tarisio
for the masterpieces of the great makers was so intense, that often
when he had parted with the works he so admired, he never lost sight
of them, and waited a favourable opportunity for again making himself
their owner. It is related of
him that upon one occasion he disposed of a beautiful Stradivari,
in perfect preservation, to a Paris dealer. After having done so
he hungered for it again. For years he never visited Paris without
inquiring after his old favourite, and the possibility of its again
being offered for sale, that he might regain possession of it. At
last his perseverance was rewarded, inasmuch as he heard that it
was to be bought. He instructed his informant to obtain for him
a sight of it. The instrument was fetched, and Tarisio had scarcely
patience enough to wait the opening of the case, so anxious was
he to see his old companion. He eagerly took up the Violin, and
turned it over and over, apparently lost to all about him, when
suddenly his keen eye rested upon a damage it had received, which
was hidden by new varnish. His heart sank within him; he was overcome
by this piece of vandalism. In mingled words of passion and remorse
he gave vent to his feelings. He placed it in its case, remarking
sadly that it had no longer any charm for him. In the year 1851
Tarisio visited England, when Mr. John Hart, being anxious that
he should see the chief collections of Cremonese instruments in
this country, accompanied him to the collection, amongst others,
of the late Mr. James Goding, which was then the finest in Europe.
The instruments were arranged on shelves at the end of a long room,
and far removed from them sat the genuine enthusiast, patiently
awaiting the promised exhibition. Upon Mr. Goding taking out his
treasures he was inexpressibly astonished to hear his visitor calling
out the maker of each instrument before he had had time to advance
two paces towards him, at the same time giving his host to understand
that he thoroughly knew the instruments, the greater number having
been in his possession. Mr. Goding whispered to a friend standing
by, "Why, the man must certainly smell them, he has not had
time to look." Many instruments in this collection Tarisio
seemed never tired of admiring. He took them up again and again,
completely lost to all around—in a word, spell-bound. There
was the "King" Guarneri—the Guarneri known as Lafont's—the
beautiful Bergonzi Violin—the Viola known as Lord Macdonald's—General
Kidd's Stradivari Violoncello—the Marquis de la Rosa's Amati—Ole
Bull's Guarneri—the Santo Serafino 'Cello—and other
remarkable instruments too numerous to mention. Who can say what
old associations these Cremona gems brought to his memory? For the
moment, these Fiddles resolved themselves into a diorama, in which
he saw the chief events of his life played over again. With far
greater truthfulness than that which his unaided memory could have
supplied, each Fiddle had its tale to relate. His thoughts were
carried back to the successful energies of his past. Tarisio may be said
to have lived the life of a hermit to the time of his death. He
had no pleasures apart from his Fiddles; they were his all in this
world. Into his lodgings, in the Via Legnano, near the Porta Tenaglia,
in Milan, no living being but himself was ever permitted to enter.
His nearest neighbours had not the least knowledge
of his occupation. He mounted to his attic without exchanging a
word with any one, and left it securely fastened to start on his
journeys in the same taciturn manner. He was consequently regarded
as a mysterious individual, whose doings were unfathomable. The
time, however, has arrived when the veil hiding the inner life of
this remarkable man should be lifted, and here I am indebted for
particulars to Signor Sacchi, of Cremona, who received them from
a reliable source. Tarisio had been seen by his ever-watchful neighbours
to enter his abode, but none had noticed him quit it for several
days. The door was tried and found locked; no answer was returned
to the sundry knockings. That Tarisio was there the neighbours were
convinced. The facts were at once brought under the notice of the
municipal authorities, who gave instructions that an entry should
be made by force into the mysterious man's apartment. The scene
witnessed was indeed a painful one. On a miserable couch rested
the lifeless body of Luigi Tarisio; around, everything was in the
utmost disorder. The furniture of the apartment consisted mainly
of a chair, table, and the couch upon which lay the corpse. A pile
of old Fiddle-boxes here and there, Fiddles hung around the walls,
others dangling from the ceiling, Fiddle-backs, Fiddle-heads, and
bellies in pigeon-holes; three Double-Basses tied to the wall, covered
with sacking. This was the sight that met the gaze of the authorities.
Little did they imagine they were surrounded with gems no money
would have bought from their late eccentric owner. Here were some
half-dozen Stradivari Violins, Tenors, and Violoncellos, the chamber
Gasparo da Sal� Double-Bass now in the possession of Mr. Bennett,
and the Ruggeri now belonging to Mr. J. R. Bridson, besides upwards
of one hundred Italian instruments of various makers, and others
of different nationalities. All these were passed over by the visitors
as so much rubbish in their search for something more marketable.
At last they alighted on a packet of valuable securities together
with a considerable amount of gold. A seal was placed upon the apartment,
pending inquiries as to the whereabouts of the dead man's relatives.
In due time, some nephews came forth and laid claim to the goods
and chattels of the Italian Fiddle connoisseur. Luigi Tarisio died
in October, 1854. Three months later, upon the news being communicated
to M. Vuillaume, of Paris, he soon set out for Milan, and had the
good fortune to secure the whole of the collection, at a price which
left him a handsome profit upon the transaction, besides the pleasurable
feeling of becoming the possessor of such a varied and remarkable
number of instruments. Having given the
reader all the information I have been able to collect concerning
Tarisio, I will only add that he had advantages over all other connoisseurs,
inasmuch as he found the instruments mostly in their primitive condition,
and free from any tampering as regards the labels within them. He
was thus enabled to learn the characteristics of each without fear
of confusion. The days of taking out the labels of unmarketable
names and substituting marketable counterfeits had not arrived. The principal buyers
of Italian instruments on the Continent, when dealing in this class
of property was in its infancy, were Aldric, MM. Chanot senior,
Thibout, Gand, Vuillaume of Paris, and Vuillaume of Brussels. In
London, among others, were Davis, Betts, Corsby, and John Hart.
There is yet another, the omission of whose name would be a blemish
in any notice of the Violin and its connoisseurs. I refer to Mr.
Charles Reade, the novelist, who in early life took the highest
interest in old Italian Violins. We are indebted to him in a great
measure for bringing into this country many of the most beautiful
specimens we possess. Impressed with the charms of the subject,
he visited the Continent for the pleasure it afforded him of bringing
together choice specimens, and thus opened up the intercourse between
England and the Continent for the interchange of old Violins which
continues to this day. It would be difficult to find an instance
where the intricacies of the subject were so quickly mastered as
in his case. Without assistance, but solely from his own observation,
he gained a knowledge which enabled him to place himself beside
the Chief Continental connoisseurs, and compete for the ownership
of Cremonese masterpieces. These were the men who laid bare the
treasures of Cremona's workshops, and spread far and wide love and
admiration for the fine old works. Connoisseurship such as theirs
is rare. To a keen eye was united intense love of the art, patience,
energy, and memory of no ordinary kind, all of them attributes requisite
to make a successful judge of Violins. Charles Lamb, on
being asked how he distinguished his "ragged veterans"
in their tattered and unlettered bindings, answered, "How does
a shepherd know his sheep?" It has been observed that, "Touch
becomes infinitely more exquisite in men whose employment requires
them to examine the polish of bodies than it is in others. In music
only the simplest and plainest compositions are relished at first;
use and practice extend our pleasure—teach us to relish finer
melody, and by degrees enable us to enter into the intricate and
compounded pleasure of harmony." Thus it is with connoisseurship
in Violins. Custom and observation, springing from a natural disposition,
make prominent features and minute points of difference before unseen,
resulting in a knowledge of style of which it has been well said
"Every man has his own, like his own nose." As an ardent votary
of the Violin, regarded from a point of view at once artistic and
curious, Count Cozio di Salabue takes precedence of all others.
He was born about the time when the art of Italian Violin-making
began to show signs of decadence, and having cultivated a taste
for Cremonese instruments, he resolved to gratify his passion by
bringing together a collection of Violins which should be representative
of the work and character of each maker, and serve as models to
those seeking to tread the path of the makers who made Cremona eminent
as a seat of Violin manufacture. Virtuosity emanating from a spirit
of beneficence is somewhat rare. When, however, utility occupies
a prominent place in the thoughts of the virtuoso, he becomes a
benefactor. The virtuosity of Count Cozio was of this character.
His love for Cremonese instruments was neither whimsical nor transient.
From the time when he secured the contents of the shop of Stradivari
to the end of his life—a period of about fifty years—he
appears to have exerted himself to obtain as much information as
possible relative to the art, and to collect masterpieces that they
might in some measure be the means of recovering a lost art. When
in the year 1775 he secured ten instruments out of ninety-one which
Stradivari left in his shop at the time of his death, he must surely
have considered himself singularly fortunate, and the happiest of
collectors. That such good fortune prompted him to make fresh overtures
of purchase cannot be wondered at. We learn from the correspondence
of Paolo Stradivari that the Count had caused two letters to be
sent by the firm of Anselmi di Briata to Paolo inquiring if he was
willing to part with the tools and patterns used by his father Antonio,
and that Paolo replied on May 4, 1776: "I have already told
you that I have no objection to sell all those patterns, measures,
and tools which I happen to have in my possession, provided that
they do not remain in Cremona, and you will recollect that I have
shown you all the tools I have, and also the box containing the
patterns.... I place all at your disposal, and as it is simply a
friendly matter" (Paolo Stradivari appears to have had large
dealings in cloth and other goods with the firm of Anselmi di Briata,
of Casale, a small city on the Po), "I will give you everything
for twenty-eight giliati."It does not appear that Paolo's correspondents
were moved in their answer by any feelings of sentimentality or
of friendship: on the contrary, the tone of the letter was clearly
commercial, they having made an offer of twenty-three giliati less
than demanded. Paolo Stradivari in his reply, dated June 4, 1776,
says: "Putting ceremony aside, I write in a mercantile style.
I see from your favour of the 13th ultimo (which I only received
by the last courier), that you offer me five giliati for all the
patterns and moulds which I happen to possess, as well as for those
lent to Bergonzi, and also for the tools of the trade of my late
father; but this is too little; however, to show you the desire
I have to please you, and in order that not a single thing belonging
to my father be left in Cremona, I will part with them for six giliati,
providing that you pay them at once into the hands of Domenico Dupuy
& Sons, silk stocking manufacturers. I will send you the things
above-mentioned, conditionally that I keep the five giliati and
use the other one to defray expenses for the case, the packing,
and the custom-house duty, which will be necessary to send them,
and I shall let you have back through Messrs. Dupuy, residing under
the Market Arcades in Turin, any balance that should remain, or
(if you like) you may pay the said Messrs. Dupuy seven giliati,
and I shall then defray all the expenses, and send also the two
snake-wood bows which I possess.—(Signed) PAOLO STRADIVARI." In reply to this
interesting letter, Messrs. Anselmi di Briata appear to have written
accepting the terms offered by Paolo Stradivari, and to have explained
to him that they had been in treaty with a certain Signor Boroni,
relative to the purchase of a Violin, and having come to terms they
wished the instrument to be packed with the tools and moulds. Paolo,
in acknowledging this communication, June 25, 1776, says: "In
reply to your favour of the 10th instant, Signor Boroni will hand
me over the Violin upon hearing that the money has been paid to
Messrs. Dupuy. I shall then have no objection to place it in the
same case together with the patterns and implements left by my father."
From this and subsequent correspondence we learn that Messrs. Anselmi
di Briata, being wholesale traders, were in a suitable position
to act as intermediaries in the purchase of Violins on behalf of
Count Cozio. Their business necessitated their visiting Cremona,
and thus they appear to have seen the Violin of Signor Boroni, and
also another belonging to a monk or friar named Father Ravizza,
both of which were subsequently bought, as seen by the following
extracts from a letter of Paolo Stradivari:— "Cremona, July
10, 1776. We learn from Messrs. Dupuy of the receipt of the seven
giliati, which you have paid on our account.... As we have already
prepared everything, we shall therefore inform Father Ravizza and
Signor Boroni; I have, however, to mention that I did not think
I possessed so many things as I have found. It being according to
what has been promised, it cannot be discussed over again.... It
will be a very heavy case, on account of the quantity of patterns
and tools, and consequently it will be dangerous to put the Violins
in the same package." The writer refers to the two instruments
before mentioned: "I fear without care they will let it fall
in unloading it, and the Violins will be damaged; I inform you therefore
of the fact.... You must let me know how I have to send the case.
If by land, through the firm of Tabarini, of Piacenza, or to take
the opportunity of sending by the P�." In passing, it may be
remarked that the distance between Cremona and Casale by the river
P� is about sixty miles. The later correspondence makes known the
fact of the precious freight having been consigned to the firm of
Anselmi di Briata by way of the P�, and that it was entrusted to
the care and charge of a barge-master named Gobbi. It is by no means
uncommon to discover the memories of men kept green in our minds
from causes strangely curious and unexpected. Many seek to render
their names immortal by some act the nature of which would seem
to be imperishable, and chiefly fail of their object; whilst others,
obscure and unthought of, live on by accident. Imagine the paints
and brushes, the pencils and palettes, the easel and the sketches
of Raffaele having been given over to a P� barge-master, and that
chance had divulged his name. Would he not in these days of microscopic
biography have furnished work for the genealogist, and been made
the subject of numberless pictures? Hence it is that the admirers
of Stradivari cannot fail to remember the name of honest Gobbi,
who carried the chest wherein were the tools with which the Raffaele
of Violin-making wrought the instruments which have served to render
his memory immortal. Soon after the date
of Paolo's last letter, he became seriously ill, dying on the 9th
of October, 1776. The correspondence was then taken up by his son
Antonio. He says in his letter dated November 21, 1776: "I
shall send you the case with the patterns and tools of my late grandfather
Antonio, which was packed and closed before my father was bedridden.
You will find it well-arranged, with mark on it, and with red tape
and seal as on the Violins already sent to you." He next refers
to other patterns which he found locked up in a chest and which
he believes were unknown or forgotten by his father, and offers
to dispose of them, with a Viola, and concludes by promising to
send the receipts, the copies of which show that the remnants of
the tools and patterns were bought for three giliati. It is unnecessary
in this place to make further reference to Count Cozio as a collector,
the chief information concerning him being spread over the section
of Italian makers. The facsimile of one of the Count's letters here
given will serve both as an interesting remembrance of him and as
evidence of his keen interest in all relating to the art of which
he was so distinguished a votary.
Probably the earliest
collector of Italian Violins in England was William Corbett. He
was a member of the King's orchestra, and having obtained permission
to go abroad, went to Italy in 1710, and resided at Rome many years,
where he is said to have made a rare collection of music and musical
instruments. How he managed to gratify his desire in this direction
seems not to have been understood by his friends, his means, in
their estimation, not being equal to such an expenditure. Hence
arose a report that he was employed by the Government to watch the
Pretender. Corbett died at an advanced age in 1748, and bequeathed
his "Gallery of Cremonys and Stainers" to the authorities
of Gresham College, with a view that they should remain for inspection
under certain conditions, leaving ten pounds per annum to an attendant
to show the instruments. Whether the wishes of the testator were
carried out in any way there is no information, but the instruments
are said to have been disposed of by auction a short time after
his decease. The principal early
collectors in this country were the Duke of Hamilton, the Duke of
Cambridge, the Earl of Falmouth, the Duke of Marlborough, Lord Macdonald,
and a few others. Later, Mr. Andrew Fountaine, of Narford Hall,
Norfolk, became the owner of several fine Italian instruments, and
made himself better acquainted with the subject, perhaps, than any
amateur of his time. Among the Stradivari Violins which Mr. Fountaine
possessed was that which he purchased from M. Habeneck, the famous
professor at the Paris Conservatoire in the early part of the nineteenth
century. Another very fine specimen of the late period, 1734, was
also owned by him, a Violin of grand proportions in a high state
of preservation, and of the richest varnish. The Guarneri Violins
that he possessed were of a very high class. Among these may be
mentioned a very small Violin by Giuseppe Guarneri, probably unique,
which instrument was exhibited among the Cremonese Violins at the
South Kensington Museum in 1872, together with another of the same
size by Stradivari, and a third by the brothers Amati. The number of rarities
brought together by the late Mr. James Goding was in every respect
remarkable. At one period he owned twelve Stradivari Violins, and
nearly the same number by Giuseppe Guarneri, all high-class instruments.
It would take up too much time and space to name the particular
instruments which were comprised in this collection. The remnant
of this group of Cremonese Fiddles was dispersed by Messrs. Christie
and Manson in 1857. Mr. Plowden's collection was another remarkable
one, consisting of eight instruments of the highest class. The late Joseph Gillott
was a collector, who, in point of number, exceeded all others. He
did not confine himself solely to the works of the greatest makers,
but added specimens of every age and clime; and at one time he must
have had upwards of 500 instruments, the chief part of which belonged
to the Italian School. When it is remembered that the vast multitude
of stringed instruments disposed of by Messrs. Christie and Manson
in 1872 did not amount to one-half the number originally owned by
Mr. Gillott, some idea of the extent of his collection may be gained.
Among the many curious instances of the love of collecting Violins,
which sometimes possesses those unable to use them, perhaps that
of Mr. Gillott is the most singular. Notable collections,
be they of Fiddles, medals, pottery, or pictures, have sometimes
had their rise in accidents of a curious kind. Lord Northwick dated
his passion for coins to a bag of brass ones, which he purchased
in sport for eight pounds. His lordship ended by purchasing, in
conjunction with Payne Knight, the collection of Sir Robert Ainslie,
for eight thousand pounds, besides sharing with the same collector
the famous Sicilian coins belonging to the Prince Torremuzza. The
Gillott collection of Fiddles had its origin in a picture deal.
Mr. Gillott happened to be making terms in his gallery at Edgbaston
relative to an exchange of pictures with Edwin Atherstone, poet
and novelist, who collected both Violins and pictures. A difficulty
arose in adjusting the balance, when Mr. Atherstone suggested throwing
a Fiddle in as a counterpoise. "That would be to no purpose,"
remarked Mr. Gillott, "for I have neither knowledge of music
nor of the Fiddle." "I am aware of that," rejoined
his friend; "but Violins are often of extraordinary value as
works of art." Mr. Gillott, becoming interested in the subject,
agreed to accept the Fiddle as a make-weight, and the business was
settled. A few months later the floor of his picture gallery on
all sides was lined with cases, single and double, containing Violins
in seemingly endless profusion. It was about the year 1848 he conceived
the notion of bringing together this mammoth collection; and in
about four years he had made himself master of the largest number
of Italian instruments ever owned by a single individual. He suddenly
relinquished the pursuit he had followed with such persistency;
he disposed of a great number, and laid the remainder aside in his
steel-pen works at Birmingham, where they slumbered for upwards
of twenty years. The time at last arrived when this pile of Fiddles
was to be dispersed. It fell to my lot to classify them, and never
shall I forget the scene I witnessed. Here, amid the din of countless
machines busy shaping magnum-bonums, swan-bills, and divers other
writing implements, I was about to feast my eyes on some of the
choicest works of the old Italian Fiddle-makers. Passing through
offices, warehouses, and workshops, I found myself at a door which
my conductor set himself to unlock—an act not often performed,
I felt assured, from the sound which accompanied his deed. To adequately
describe what met my eyes when the door swung back on its hinges,
is beyond my powers of description. Fiddles here!—Fiddles
there!—Fiddles everywhere, in wild disorder! I interrogated
my friend as to the cause of their being in such an unseemly condition,
and received answer that he had instructions to remove most of the
instruments from their cases and arrange them, that I might better
judge of their merits. I was at a loss to understand what he meant
by arranging, for a more complete disarrangement could not have
been effected. Not wishing to appear unmindful of the kindly intentions
of my would-be assistant, I thanked him, inwardly wishing that this
disentombment had been left entirely to me. The scene was altogether
so peculiar and unexpected as to be quite bewildering. In the centre
of the room was a large warehouse table, upon which were placed
in pyramids upwards of seventy Violins and Tenors, stringless, bridgeless,
unglued, and enveloped in the fine dust which had crept through
the crevices of the cardboard sarcophagi in which they had rested
for the previous quarter of a century. On the floor lay the bows.
The scene might not inappropriately be compared to a post-mortem
examination on an extended scale. When left alone I began to collect
my thoughts as to the best mode of conducting my inquiry. After
due consideration I attacked pyramid No. 1, from which I saw a head
protruding which augured well for the body, and led me to think
it belonged to the higher walks of Fiddle-life. With considerate
care I withdrew it from the heap, and gently rubbed the dust off
here and there, that I might judge of its breeding. It needed but
little rubbing to make known its character; it was a Viola by Giuseppe
Guarneri, filius Andre�, a charming specimen (now in the ownership
of the Earl of Harrington). Laying it aside, I pulled out from the
pile several others belonging to the same class. Being too eager
to learn of what the real merits of this huge pile of Fiddles consisted,
I rapidly passed from one to the other without close scrutiny, leaving
that for an after pleasure. So entirely fresh were these instruments
to me, that the delight I experienced in thus digging them out may
well be understood by the connoisseur. After thus wading through
those resting on the table, I discovered some shelves, upon which
were a number of cases, which I opened. Here were fine Cremonese
instruments in company with raw copies—as curious a mixture
of good and indifferent as could be well conceived. Not observing
any Violoncellos, when my attendant presented himself I inquired
if there were not some in the collection. I was unable to make him
understand to what I referred for some little time, but when I called
them big Fiddles, he readily understood. He had some faint idea
of having seen something of the kind on the premises, and started
off to make inquiry. Upon his return, I was conducted to an under
warehouse, the contents of which were of a varied character. Here
were stored unused lathes, statuary, antique pianos, parts of machinery,
pictures, and picture-frames. At the end of this long room stood,
in stately form, the "big Fiddles," about fifty in number—five
rows, consequently ten deep. They looked in their cases like a detachment
of infantry awaiting the word of command. Years had passed by since
they had been called upon to take active service of a pacific and
humanising nature in the ranks of the orchestra. Had they the power
of speech, what tales of heroism might they have furnished of the
part they played at the "Fall of Babylon" and the "Siege
of Corinth," aye! and "Wellington's Victory" (Beethoven,
Op. 91). A more curious mixture of art and mechanism could not easily
be found than that which the contents of this room exhibited. With
what delight did I proceed to open these long-closed cases! The
character of the Violins naturally led me to anticipate much artistic
worth in the Violoncellos, and I had not judged erroneously. Bergonzi,
Amati, Andrea Guarneri, Cappa, Grancino, Testore, Landolfi, and
men of less note, were all well represented in this army of big
Fiddles. Having glanced at the merits and demerits of these instruments,
I observed to my conductor that I imagined I had seen all. "No,"
he answered; "I was about to mention that there are a few Violins
at Mr. Gillott's residence, and perhaps we had better go there at
once." I readily assented, and in due time reached Edgbaston.
There seemed no doubt as to the whereabouts of these instruments,
and I was at once ushered into the late Mr. Gillott's bedroom.
Pointing to a long mahogany glazed case occupying one side of the
chamber, the attendant gave me to understand I should there find
the Violins. At once I commenced operations. Pushing aside the first
sliding door, I saw a row of those cardboard cases made to hold
the Violin only, which many of my readers will doubtless remember
seeing at the time of the sale at Messrs. Christie's. By this time
it may readily be imagined that an idea had taken possession of
my mind, that I had not, after all, seen the best portion of the
collection. The circumstance of Violins being deposited in the sleeping
apartment of their owner was sufficient to give birth to this conjecture.
Upon removing the lid of the first cardboard case, my eyes rested
on a charming Stradivari of the Amati period, a gem of its kind.
Gently laying it on the table, that I might examine it later, I
opened the next case. Here rested a magnificent Giuseppe Guarneri,
the instrument afterwards bought by Lord Dunmore, date 1732. Pursuing
my delightful occupation, I opened another case, the contents of
which put the rest completely in the shade—here rested the
Stradivari, date 1715, the gem of the collection. Unable to restrain
my curiosity, I rapidly opened sixteen cases in all, from which
I took out six Stradivari, two Guarneri, one Bergonzi, two Amati,
and five other Violins of a high class. It was observed at
the time of the sale of this remarkable collection, which took place
shortly after the dispersion of Mr. Gillott's gallery of pictures,
that "Every well-ordered display of fireworks should have its
climax of luminous and detonating splendour, throwing into shade
all the preliminary squibs, crackers, and rockets, the Catherine
wheels, the Roman candles, and the golden rain. The French, with
modest propriety, term this consummation a bouquet."
I cannot find anything more applicable than this word to the scene
I have attempted to describe. It only remains for me to say, in
reference to this array of Fiddles, that I passed a week in their
company, and a more enjoyable one I have never had during my professional
career. Dr. Johnson, who
understood neither Fiddling nor painting, who collected neither
coins nor cockle-shells, maggots nor butterflies, was clearly of
the same opinion as the author of "Tristram Shandy," that
there is no disputing against hobby-horses. He says: "The pride
or the pleasure of making collections, if it be restrained by prudence
and morality, produces a pleasing remission after more laborious
studies; furnishes an amusement, not wholly unprofitable, for that
part of life, the greater part of many lives, which would otherwise
be lost in idleness or vice; it produces a useful traffic between
the industry of indigence and the curiosity of wealth, and brings
many things to notice that would be neglected."
Sketch of the Progress of the Violin It may be said that
the Violin made its appearance about the middle of the sixteenth
century. There are instances where reference is made to Violins
and Violin-playing in connection with times prior to that above-named,
but no reliance can be placed on the statements. Leonardo da Vinci,
who died in 1523, is spoken of as having been a celebrated performer
on the Violin. The instrument he used is described as having had
a neck of silver, with the singular addition of a carved horse's
head.1 This description, however, is sufficiently
anomalous to make one rather sceptical, as to whether the instrument
denoted possessed any particular affinity to the present Violin.
Reference is made to the picture of the "Marriage at Cana,"
by Paolo Veronese, as furnishing evidence of the form of instruments
used in Italy in the 16th century, and a description is given of
the musical part of the subject as follows: "In the foreground,
in the vacant space of the semicircle formed by the table, at which
the guests of the marriage at Cana are seated, Titian is playing
on the Double-Bass, Paolo Veronese and Tintoretto on the Violoncello;
a man with a cross on his breast is playing on the Violin, Bassano
is blowing the Flute, and a Turkish slave the Sackbut."
The naming of the
performers is presumably correct, and greatly heightens our interest
in the group musically. It is clear, however, that the nomenclature
of the instruments is erroneous. In the engraved section of the
famous picture here given, Paolo Veronese is represented taking
part in the performance of a Madrigal, wearing an expression of
countenance indicative of rapt pleasure, engendered by the mingling
of the tones of his Tenor Viol in the harmonies. Behind Paolo Veronese
is seated Tintoretto, playing an instrument identical with that
in the hands of the painter of the picture. On the opposite side
of the table is Titian, with the point of his bow almost touching
the dog, playing the fundamental tones on the Violono. He apparently
displays an amount of real relish for his task, which bespeaks a
knowledge of the responsibility belonging to the post of Basso.
The ecclesiastic seated next to Titian, wearing the chain with crucifix,
is performing on a Soprano Viol. The instruments, in short, are
Italian Viols, the Tenors of which were strung with six strings,
and the Violono, or Bass, with six or seven. It is this order of
Viols to which reference is made in the work of Ganassi del Fontego,
and they are, therefore, distinct from the four-stringed Viols made
at Brescia and Mantua. The earliest player
on the Violin of whom we have any account worthy of attention was
Baltazarini, a native of Piedmont. He removed to France in the year
1577, whither he was sent by Marshal de Brissac to superintend the
music of Catherine de Medici. He was probably the introducer of
Italian dances into Paris, and he delighted the Court as much by
his skill on the Violin as by his writing of ballet music. During the last half
of the sixteenth century a new species of music made way in Italy
which exercised a marked effect on the progress of the Violin, namely,
that of the concert orchestra. It was chiefly cultivated at Venice
and Ferrara. At the latter place the Duke of Ferrara maintained
a great number of musicians in his service. At this period there
were no concerts of a public character; they were given in the palaces
of the wealthy, and the performers were chiefly those belonging
to their private bands. The opera, in which
instruments were used to accompany the voice, began to be put upon
the stage of the public theatres in Italy about the year 1600. The
opera "Orfeo," by Claudio Monteverde, a Cremonese, famous
both as a composer and Violist, was represented in 1608. The opera
in those times differed essentially from that of modern days. Particular
instruments were selected to accompany each character; for instance,
ten Treble Viols to accompany Eurydice, two Bass Viols to Orpheus,
and so on. No mention is made of Violins further than that two small
Violins (duoi Violini piccoli alla Francese) are to accompany the
character of Hope, from which it is inferred that a band of Violins
was in use not much later. It is to the introduction
of the Sonata that the rapid progress in the cultivation of Violin-playing
is due. Dr. Burney tells us the earliest Sonatas or Trios for two
Violins and a Bass he discovered were published by Francesco Turini,
organist of the Duomo, at Brescia, under the following title: "Madrigali
� una, due, e tre voci, con alcune Sonate � due e � tre, Venezia,
1624." He says: "I was instigated by this early date to
score one of these Sonatas, which consisted of only a single movement
in figure and imitation throughout, in which so little use was made
of the power of the bow in varying the expression of the same notes,
that each part might have been as well played on one instrument
as another." In this branch of
composition Corelli shone forth with considerable lustre, and gave
great impetus to the culture of the Violin. It was at Rome that
his first twelve Sonatas were published, in 1683. In 1685 the second
set appeared, entitled "Balletti da Camera"; four years
later the third set was published. The genius of Corelli may be
said to have revolutionised Violin-playing. He had followers in
the chief cities of Italy. There was Vitali at Modena, Visconti
at Cremona (who, it is said, tendered his advice to Stradivari upon
the construction of his instruments—advice, I think, little
needed); Veracini at Bologna, and a host of others. Dibdin, the
Tyrt�us of the British navy, said: "I had always delighted
in Corelli, whose harmonies are an assemblage of melodies. I, therefore,
got his Concertos in single parts, and put them into score, by which
means I saw all the workings of his mind at the time he composed
them; I so managed that I not only comprehended in what manner the
parts had been worked, but how, in every way, they might have been
worked. From this severe but profitable exercise, I drew all the
best properties of harmony, and among the rest I learnt the valuable
secret, that men of strong minds may violate to advantage many of
those rules of composition which are dogmatically imposed."
We must now retrace
our steps somewhat, in order to allude to another Violinist, who
influenced the progress of the leading instrument out of Italy,
viz., Jean Baptiste Lulli. The son of a Tuscan peasant, born in
the year 1633, Lulli's name is so much associated with the romantic
in the history of Violin-playing that he has been deprived in a
great measure of the merits justly his due for the part he took
in the advancement of the instrument. The story of Lulli and the
stew-pans2 bristles with interest for juvenile musicians,
but the hero is often overlooked by graver people, on account of
his culinary associations. When Lulli was admitted to the Violin
band of Louis XIV., he found the members very incompetent; they
could not play at sight, and their style was of the worst description.
The king derived much pleasure from listening to Lulli's music,
and established a new band on purpose for the composer, namely,
"Les petits Violons," to distinguish it from the band
of twenty-four. He composed much music for the Court ballets in
which the king danced. 2: Lulli having shown
a disposition for music, received some instructions on the rudiments
of the art from a priest. The Chevalier de Guise, when on his travels
in Italy, had been requested by Mademoiselle de Montpensier, niece
of Louis XIV., to procure for her an Italian boy as page, and happening
to see Lulli in Florence, he chose him for that purpose, on account
of his wit and vivacity, and his skill in playing on the guitar.
The lady, however, not liking his appearance, sent him into her
kitchen, where he was made an under scullion, and amused himself
by arranging the stew-pans in tones and semitones, upon which he
would play various airs, to the utter dismay of the cook. Lulli contributed
greatly to the improvement of French music. He wrote several operas,
and many compositions for the Church, all of which served to raise
the standard of musical taste in France. To him also belongs the
credit of having founded the French national opera. We will now endeavour
to trace the progress of the Violin in England. It is gratifying
to learn that, even in the primitive age of Violin-playing, we were
not without our national composers for the instrument. Dr. Benjamin
Rogers wrote airs in four parts for Violins so early as 1653 (the
year Corelli was born). John Jenkins wrote twelve sonatas for two
Violins and a Bass, printed in London in 1660, which were the first
sonatas written by an Englishman. About this date Charles II. established
his band of twenty-four Violins. During his residence on the Continent
he had frequent opportunities of hearing the leading instrument,
and seems to have been so much impressed with its beauties that
he set up for himself a similar band to that belonging to the French
Court. The leader was Thomas Baltzar, who was regarded as the best
player of his time. Anthony Wood met Baltzar at Oxford, and says
he "saw him run up his fingers to the end of the finger-board
of the Violin, and run them back insensibly, and all in alacrity
and in very good time, which he nor any one in England saw the like
before." Wood tells us that Baltzar "was buried in the
cloister belonging to St. Peter's Church in Westminster." The
emoluments attached to the Royal band, according to Samuel Pepys,
appear to have been somewhat irregular. In the Diary, December 19,
1666, we read: "Talked of the King's family with Mr. Kingston,
the organist. He says many of the musique are ready to starve, they
being five years behindhand for their wages; nay, Evens, the famous
man upon the Harp, having not his equal in the world, did the other
day die for mere want, and was fain to be buried at the alms of
the parish, and carried to his grave in the dark at night without
one linke, but that Mr. Kingston met it by chance, and did give
12d. to buy two or three links." The state of the
Merry Monarch's exchequer in 1662, according to an extract from
the Emoluments of the Audit Office, seems to have been singularly
prosperous. An order runs as follows: "These are to require
you to pay, or cause to be paid, to John Bannister, one of His Majesty's
musicians in ordinary, the sum of forty pounds for two Cremona Violins,
by him bought and delivered for His Majesty's service, as may appear
by the bill annexed; and also ten pounds for strings for two years
ending 24th June, 1662." The King's band was
led in 1663 by the above-named John Bannister, who was an excellent
Violinist. His name is associated with the earliest concerts in
England, namely, those held at "four of the clock in the afternoon"
at the George Tavern, in Whitefriars. Roger North informs us the
shopkeepers and others went to sing and "enjoy ale and tobacco,"
and the charge was one shilling and "call for what you please." In the year 1683,
Henry Purcell, organist of the Chapel Royal, published twelve sonatas
for two Violins and a Bass. These famous instrumental compositions
were written, the author tells us, in "just imitation of the
most famed Italian masters, principally to bring the seriousness
and gravity of that sort of musick into vogue." Purcell, in
conformity with an age of dedications, thus addressed the Merry
Monarch:— "May it please
your Majesty, I had not assum'd the confidence of laying ye following
compositions at your sacred feet, but that, as they are the immediate
results of your Majestie's Royal favour and benignity to me (which
have made me what I am), so I am constrained to hope I may presume
amongst others of your Majestie's over-obliged and altogether undeserving
subjects that your Majesty will, with your accustomed clemency,
vouchsafe to pardon the best endeavours of your Majestie's "Most humble and obedient
subject and servant,
Charles II. is said
to have understood his notes, and to sing in (in the words of one
who had sung with him) a plump bass, but that he only looked upon
music as an incentive to mirth, not caring for any that he could
not "stamp the time to." The endeavour of his accomplished
and gifted young organist to lead the King and his people to admire
what he terms "the seriousness and gravity" of Italian
music, and "to loathe the levity and balladry of our neighbours,"
was indeed worthy of England's greatest musician. In the year 1678,
Thomas Britton, known as the "musical small-coal man,"
gave concerts in this country, and a long series it was, extending
over a period of forty-six years. The shape the movement took was
that of a musical club, which was maintained at Britton's expense. The concert-room
of Tom Britton was over his coal-shop in Aylesbury Street, leading
from Clerkenwell Green to St. John Street. From the year 1678 to
the time of his death, in 1714, the concerts of Britton were attended
by persons of all ranks.
Thus the first germ
of the great musical societies gave a marked impulse to the culture
of stringed music in England. Attention was turned to the subject;
its humanising effects were recognised, and parties met in several
places for the practice of chamber music. Our progress in Violin-playing
at this date was clearly satisfactory. We had a Violinist named
John Henry Eccles, belonging to a clever family of musicians. He
became a member of the band of Louis XIV., and was regarded as an
excellent player and musician. He published in Paris some solos
for the Violin in 1720. His brother Thomas was also a good Violinist.
Fortune, however, did not smile upon him. He is described as being
one of those itinerant musicians—perhaps the last of them—who
in winter evenings went to taverns, and for a slender subsistence
bore the insults of those disinclined to listen to their performance.
This order of itinerant musicians may be described as having descended
from the Fiddling minstrels, whom the wealthy in earlier times often
retained in their houses, giving them coats and badges bearing the
family arms. These musicians, in place of amusing the nobility,
ultimately attended wakes and fairs. They were sometimes retained
at the large inns, where the guest while eating, an old English
writer says, was "offered music, which he may freely take or
refuse, and if he be solitary the musicians will give him the good
day, with music in the morning." In Puritan times this class
of musician was thought to have so much increased as to need a special
act for their suppression, which gave rise to Butler's creation,
the "Champion Crowdero." Returning to our subject with
Thomas Eccles, we have the following interesting account of the
unfortunate Violinist, by a musician: "It was about the month
of November, 1753, that I, with some friends, were met to spend
the evening at a tavern in the City, when this man, in a mean but
decent garb, was introduced to us by the waiter; immediately upon
opening the door I heard the twang of one of his strings from under
his coat, which was accompanied by the question, 'Gentlemen, will
you please to hear my music?' Our curiosity, and the modesty of
the man's deportment, inclined us to say yes, and music he gave
us, such as I had never heard before, nor shall again under the
same circumstances. With as fine and delicate a hand as I ever heard,
he played the whole fifth and ninth solos of Corelli, and two songs
of Mr. Handel; in short, his performance was such as would command
the attention of the nicest ear, and left us his auditors much at
a loss to guess what it was that constrained him to seek his living
in a way so disreputable. He made no secret of his name; he said
he was the youngest of three brothers, and that Henry, the middle
one, had been his master, and was then in the service of the King
of France. He lodged in the Butcher Row, near Temple Bar, and was
well known to the musicians of his time, who thought themselves
disgraced by this practice of his, for which they have a term of
reproach not very intelligible; they call it going a-busking."4 I have now to mention
a Violinist whose talents raised the instrument greatly, particularly
in England, viz., Francesco Geminiani. He was instructed by Corelli,
and imbibed much of his master's breadth of style. He came to England
in the year 1714. In 1716 he published a set of twelve sonatas,
which attracted some notice at the time from their novelty. In these
he plunged into difficulties deemed then very unusual, but withal
his compositions were elegantly written. He afterwards wrote and
published solos and concertos, besides a "Treatise on Good
Taste," and the "Art of Playing on the Violin," the
latter being the first instruction book for the instrument deserving
of the name. The instrumental music at this period was composed
for four Violins, Tenor, Violoncello, and Double-Bass, and was called
the Concerto Grosso. Having lightly sketched
the progress of the Violin in England down to about the year 1750,
it will, perhaps, be better to take the thread of the instrument's
progress in Italy, which we brought to the days of Corelli. The first half of
the 18th century was rich in Italian Violinists and writers for
the instrument, of whom the chief was Giuseppe Tartini, born 1692.
Dr. Burney says of his compositions: "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 Basses,
which were never casual, or the effect of habit or auricular prejudice
and expectation, but learned, judicious, and certain." It would
be difficult to add to this judgment of the compositions of Tartini.
The truth of Burney's remarks is better understood at this moment
than when penned. During the space of nearly a century the sonatas
of Tartini lay dormant, and only within recent years have their
beauties been again recognised. Such works as Tartini's are all-important
links in the chain of musical progress. Pietro Locatelli,
a pupil of Corelli, introduced a style of playing quite in advance
of his time. His compositions abound with novel combinations; double
stops, harmonics, and arpeggios are displayed with wonderful results.
Burney says that "Locatelli had more hand, caprice, and fancy
than any Violinist of his time." The immediate follower
of the style of Locatelli was Lolli, born 1728, who wrote pleasing
airs and used novel effects, but failed to go further. It was one
of his feats to play on one string—a performance very properly
held in contempt in our day, having neither sense nor grace to recommend
it. Felice Giardini was
another musician of the style of Locatelli. He was born at Turin,
in the year 1716. His performance at Naples and Berlin excited considerable
notice. In 1742 he visited England, and created some sensation,
his style being new to the British public. Boccherini probably
did more towards furthering the cultivation of stringed instrument
music than any composer of his day, with the exception of Haydn.
There are in his compositions movements of varied styles, well written
for their respective instruments. His quintettes are among his chief
productions, and their elegance and brilliancy are remarkable. The
part allotted to his own instrument, the Violoncello, often bristles
with difficulties, and hence it is that these compositions are so
seldom heard. Boccherini was the first composer who wrote quintettes
with two Violoncello parts. We now reach a stage
in the history of the progress of the Violin the importance of which
cannot be over-estimated; I refer to the influence which the compositions
of Giovanni Battista Viotti exerted upon the cultivation of our
instrument. With the famous Viotti sprang up a school of Violin-playing
as marked in style as that introduced by Corelli. Viotti was a pupil
of Pugnani, and owed his success to the rare teaching of that master.
The sensation that Viotti created in Paris was great. His varied
style, his rich tone and elegance in playing, were far beyond anything
that the Parisian public had previously experienced. With Viotti
was ushered in a new era in solo playing. His concertos exhibit
the capabilities of the instrument in elegantly constructed passages,
such as none but a master of the Violin could pen. He wrote upwards
of twenty concertos, those in A minor, in G, in D, and in E minor
being the favourites, and to this day highly esteemed by Violinists
of every school. His duos and trios are pleasing and effective,
and, though long since superseded by works of greater erudition,
they form a landmark in the history of the progress of the instrument. Campagnoli, born
in 1751, was a composer of rare ability. Had he written nothing
but the "Studies on the Seven Positions of the Violin"
he would have left enough to mark the character of his genius. Happily
he has bequeathed to us many other writings. The "Fantasias
and Cadences," forming a book of upwards of 100 pages, is a
work full of interest to the Violinist. His modulations are singularly
effective. He has also written some Studies for the Tenor, and,
lastly, a "Violin School." I cannot but think that Campagnoli's
educational compositions do not receive the attention which they
merit, and are too often laid aside as old-fashioned. There is a
certain quaintness in his writings, but this much may be said of
many other compositions whose beauties are not neglected on that
account. It would be difficult to find material more solid than
that afforded by the writings of Campagnoli, if the foundation of
Violin-playing of the highest character is to be laid. We reach the pinnacle
of the Italian school of Violin-playing in the wondrous Paganini;
born February 18, 1784, died May 27, 1840. It is needless to recount
the extraordinary achievements of this remarkable man. M. F�tis
and others have collected the most interesting particulars relative
to Paganini and his compositions, and to their entertaining accounts
the reader can turn for information. It is sufficient to mention
that Paganini carried the marvellous in Violin-playing as far as
seems possible. The number of his imitators has been enormous, and
many of them, withal, so barbarous as to render anything savouring
of "� la Paganini" contemptible. The compositions of Paganini
are no longer Paganini's when played by others. He, above all Violinists
that ever lived, possessed an individuality in his style of playing
which has hitherto defied imitation. From Paganini to
his pupil Camillo Sivori is the next step in my notice. The artistic
career of Sivori was a glorious one. Elegance of style and charming
purity of tone were qualities peculiarly his. Antonio Bazzini,
both as a solo Violinist and composer for the instrument, has achieved
lasting fame. Having endeavoured
to lightly sketch the history of Italian performers, and of Italian
music bearing on the instrument to the present time, it remains
to notice a remarkable follower of the Italian school of Violin-playing
in the Norwegian, Ole Bornemann Bull. The executive skill of this
famous Violinist was of the highest order, and perhaps no other
artist, with the exception of Paganini, gained such a world-wide
renown. It is now necessary
to refer to the course of events touching the Violin in France.
As the influence of Viotti resulted in a remodelling of the French
style of playing, our survey will make it necessary to go back the
greater part of a century. Jean Marie Leclair,
the pupil of Somis, is the first Violinist deserving of mention.
He was born at Lyons in 1697. In 1729 he visited Paris, where he
was engaged at the opera. He wrote several sonatas for Violin and
Bass, and for two Violins and Bass, besides other compositions.
The difficulties occurring in many of these writings are of no ordinary
character, and if they were rendered with anything approaching to
exactness, the progress made on the Violin must have been very rapid
between the days of Lulli and those of Leclair. Pierre Gavini�s claims
attention both as an executant and composer. There is a freshness
about his compositions which has caused many of them to be recently
roused from their long sleep, and re-issued in the improved garb
of a modern edition. His best-known works are the twenty-four Studies,
Concertos, and Sonatas. Although there were
several Violinists in France of average ability between the time
of Gavini�s and that of Rode, they scarcely claim attention in this
somewhat hasty sketch; and I will, therefore, pass to the players
linked with Viotti to his pupil Rode. He was born at Bordeaux in
1774. F�tis remarks, "From Corelli to Rode there is no hiatus in
the school, for Corelli was the master of Somis, Somis of Pugnani,
Pugnani of Viotti, and Viotti of Rode." His twenty-four Caprices,
and his Concertos and Airs, are much admired by all Violinists for
their elegance and effectiveness. Paganini played the concertos
of Rode publicly upon several occasions; Baillot and Kreutzer were
associated with Rode at the Paris Conservatoire, and likewise in
the compilation of the well-known Instruction Book written expressly
for the use of the pupils at the Conservatoire. Baillot was famed
for his admirable bowing and refined playing. Kreutzer is, of course,
better known from his Forty Studies than from anything else that
he has written. His concertos partake more of the study than of
the name they bear, and are valued accordingly. Lafont was instructed
by both Rode and Kreutzer, and held a high position among the Violinists
of his time. Fran�ois Antoine
Habeneck was a pupil of Baillot at the Paris Conservatoire, where
he distinguished himself, and became a professor. Among his pupils
were Alard, Sainton, and Deldevez. M. Alard was born
in 1815. He succeeded Baillot at the Conservatoire in 1843, holding
the position for many years, and retiring shortly after the death
of his father-in-law, M. Vuillaume. M. Alard was the master of Sarasate.
M. Sainton was born in 1813 at Toulouse. He took the first prize
at the Conservatoire in 1834. He settled in London in 1845. Shortly
afterwards he became principal professor of the Violin at the Royal
Academy of Music, and leader under Signor Costa. It now remains for
me to notice the Belgian school. The first to name is Charles de
B�riot, one of the most delicious players we have had. As a composer
for his instrument, he opened up entirely fresh ground; he banished
all that was dry, and gave us those fresh and pleasant Airs with
Variations, and Morceaux de Salon, teeming with novel effects. It
can never be said that De B�riot alarmed the amateurs with outrageous
difficulties; on the contrary, he gave them passages comparatively
easy to execute, full of effect, and yet withal astonishing to
the listener. De B�riot probably made more amateur Violinists than
any composer of his time. Henri Vieuxtemps
was a thorough master of his art. His Concertos are compositions
worthy of the title they bear; they do not consist of a number of
difficulties strung together without meaning, but are properly constructed
works. He has written many Fantasias, all of which are the delight
of good Violinists. His compositions being most difficult to render,
they are chiefly known among artists, but in these days of rapid
development in Violin-playing among amateurs, a new and wide field
will certainly be opened for them. From Belgium to Poland
seems a wide step in my discourse, but it is really not so. Although
the Polish Violinists retain much originality in their style of
playing and compositions, it is to the French school that they belong.
Lipinski, Wieniawski, and Lotto were all educated in the Paris school. Lipinski has written
a good deal for his instrument, and instructed many well-known players. Henri Wieniawski
was essentially a great artist. He was a marvellous Violinist, and
displayed great genius as a composer for his instrument. Adolphe Pollitzer
settled in London many years since, and occupied a leading position
among our resident Violinists. Having lightly touched
upon the various heads of the French school, I must again take up
the thread of the English history of the instrument from about 1750,
at which period we may trace a growing admiration for Violin-playing,
notwithstanding the disparagement which this accomplishment received
from different notabilities. Foremost among the revilers stands
Lord Chesterfield, who considered playing upon any musical instrument
to be illiberal in a gentleman. The Violin would seem to have been
regarded by his lordship with a supreme amount of displeasure. His
opinion of Violinists savoured greatly of that held by the framers
of the statute passed in the reign of Elizabeth touching minstrels,
who were to be included among "rogues, vagabonds, and sturdy
beggars" wandering abroad. Lord Chesterfield says, "Music
is usually reckoned one of the liberal arts, and not unjustly, but
a man of fashion who is seen piping or Fiddling at a concert degrades
his own dignity. If you love music, hear it; pay Fiddlers
to play for you, but never Fiddle yourself." Such was Lord
Chesterfield's advice to his son. It is quite evident that he had
no notion of the exquisite enjoyment derivable from being an executant
in a quartette, the conversational powers of which have been so
frequently noticed. That Lord Chesterfield's strictures discouraged
the practice of the Violin in the higher circles of society is very
probable, appearing as they do in a work which was held in the light
of a textbook upon the conduct of a gentleman for some considerable
time. Happily, the hollowness of much of his advice came to be recognised,
and he who deemed cards and dice a necessary step towards fashionable
perfection, and ordained that Fiddlers were to be paid to play for
you as substitutes for your own personal degradation, came to be
remembered, possibly, more on account of the laxity of his precepts
than for any other reason. In the days of Lord
Chesterfield lived Michael Christian Festing, who was particularly
zealous in the cause of music. He was a pupil of Geminiani, and
wrote several solos. Festing still further carried out the idea
of Britton, the "small-coal man," by bringing together
a number of noblemen and gentlemen amateurs for the practice of
concerted music. They met at the Crown and Anchor Tavern in the
Strand, and named their society the "Philharmonic." So
much for his furtherance of the art. It now remains to notice the
great boon which Festing conferred upon his brother professors and
their descendants. It is this which has given his memory lasting
life in the annals of English music. We are indebted to
Festing as the chief instrument in the formation of the Royal Society
of Musicians, which he may be said to have founded in the year 1738.
This society derived its origin from the following curious circumstance.
Festing being one day seated at the window of the Orange Coffee
House, then at the corner of the Haymarket, observed a very intelligent-looking
boy, who was driving an ass and selling brickdust. The lad was in
a deplorable condition, and excited the pity of the kind-hearted
musician, who made inquiries concerning him, and discovered that
he was the son of an unfortunate professor of music. Struck with
grief and mortification that the forlorn object before him should
be the child of a brother musician, Festing resolved to attempt
something for the boy's maintenance. Shortly after, with the help
of other benevolently-disposed persons, he raised a fund for the
support of decayed musicians and their families, and thus laid the
foundation of the society, which is the first of its kind in Europe.
Handel was one of its first and principal members, and left it a
legacy of �1,000. Little did Festing and his supporters dream that
their society, humble enough in 1738, would grow into a society
possessing �80,000 in 1874—a sum which, however high-sounding,
was all-insufficient to permit the committee to dispense the amount
of good desired. Returning again to
our subject, we find that in Festing's lifetime there were several
patrons of the art, the chief of whom were the Prince of Wales,
the Duke of Cumberland, and the Earl of Mornington. Speaking of
the Earl, the Hon. Daines Barrington says he "furnishes an
instance of early attention to musical instruments. His father played
well for a gentleman, on the Violin, which always delighted the
child while in his nurse's arms, and long before he could speak."
When he was nine years old, "an old portrait-painter came to
the family seat, who was a very indifferent performer on the Violin,
but persuaded the child that if he tried to play on that instrument,
he would soon be able to bear a part in a concert. With this inducement
he soon learned the two old catches of the 'Christ-Church Bells,'
and 'Sing one, two, three, come follow me;' after which, his father
and the painter accompanying him with the other two parts, he experienced
the pleasing effects of a harmony to which he himself contributed.
Soon after this he was able to play the second Violin in Corelli's
sonatas, which gave him a steadiness in time that never deserted
him." We may now glance
at the period when Salomon came to England in 1781. Too much stress
can scarcely be laid upon the good effected by Salomon's talents
for the progress of music, and more particularly in behalf of instrumental
music. We are deeply indebted to this musician for the spirit and
enterprise which he displayed, in bringing to England, at no trifling
pecuniary risk, the immortal Haydn. Salomon having established a
series of twenty concerts in 1790, it occurred to him that to invite
the famous musician to London would aid his enterprise. He communicated
with Haydn, offering him the sum of fifty pounds for each concert.
These terms were accepted, and Haydn set out for London, at the
age of fifty-nine. He remained in England over a year, and composed
the celebrated "Twelve Symphonies" known as the Salomon
set. Salomon was one of the promoters of the Philharmonic Society,
and led the orchestra at the first concert given by the society
in 1813. Enough has been said to show the nature of the part he
took in the development of music in England. Enjoying the friendship
of those who moved in the higher circles of society, where his polished
manners and high attainments ever made him a welcome guest, he was
enabled to command such patronage as to make his laudable ventures
successful. Among the Violinists
of Salomon's day, resident in England, were William and Fran�ois
Cramer, to whom severally were assigned the leadership of the Ancient
Concerts and of the Opera. The next Violinist
who gained some celebrity was Nicholas Mori, born in London in the
year 1796. He was associated with the formation of the Royal Academy
of Music, in Tenterden Street, and became the principal instructor
on the Violin at that institution. Paolo Diana (a Cremonese known
under his adopted name of Spagnoletti) and Kieswetter each contributed
his share towards the advancement of the instrument during their
stay in this country. The names of Dando
and Henry Blagrove bring us to the players of our own time. These
thoroughly representative English Violinists have done much to raise
the standard of the public taste. In the year 1835, the "Concerti
da Camera" were established (in imitation of those given in
Paris by Pierre Baillot), and served to extend our knowledge of
classical chamber music. The formation of the Musical Union still
further increased our knowledge and taste in the same direction.
The long roll of celebrated Continental artists introduced at the
Society's concerts sufficiently stamps its character. All that remained
to be done was to make the Quartette popular, and to bring it within
the reach of all. This has been achieved by the indefatigable labours
of Mr. Chappell in his Monday Popular Concerts. For
some time the public failed to appreciate Mr. Chappell's scheme,
but the enterprising director, nothing daunted, continued his course,
and had ultimately the gratification of being besieged in his citadel
at St. James's Hall, from the commencement of the season to its
close. Before closing our
remarks on the progress of Violin-playing in England, we have still
to mention a few other names in connection with this subject. Henry
C. Cooper was a Violinist who ranked with the chief representatives
of the English Soloists, and during a long professional career achieved
much success. He set on foot, together with his coadjutors, M. Sainton,
Hill, and Signor Piatti, the Quartette Association, the concerts
of which were given at Willis's Rooms during several seasons. The
career of Mr. John Carrodus was watched by his brother artists with
much interest. As a pupil of Herr Molique, he gave early signs of
exceptional talents; it was felt that he must inevitably come to
the front; all that was predicted, and even more, in due time came
to pass. He achieved a commanding position among the foremost Violinists
of our time, both as a soloist and leader. With the names of Messrs.
Henry and Alfred Holmes, I come to a close of the English branch
of the subject. The brothers Holmes attracted the notice of Spohr,
who was so delighted with their abilities that he composed and dedicated
to them three Duets for two Violins. The first name of
any note in connection with the Violin in Germany is that of Graun,
who was born in the year 1700. He became concertmaster to the King
of Prussia, and excelled as a Violinist. His pupil, Francis Benda,
next claims attention. Dr. Burney says of him: "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 tells us that "his
tones were of the finest description, the clearest and most euphonious
that can be imagined." Benda published studies for his instrument,
and also several solos and other works, all of which are admired
for their good and cantabile style. About this period
appeared the admirable compositions for the Violin of that great
master of his art, John Sebastian Bach—works differing essentially
from those of his contemporaries. "He was not
of an age, but for all time." To describe the character
and beauties of Bach's Violin writings is within neither my province
nor capacity. As an amateur Violinist and an observer of all that
relates to the Violin, I may refer, however, to the vast amount
of good which the compositions of Bach have exercised upon the cultivation
of Violin-playing, and the marvellous development that they have
received at the hands of many of our leading Violinists. For this
happy state of things we are largely indebted to Herr Joachim; but
for him these treasures might have remained hidden behind a cloud
of airs vari�s, fantasias, and what not, for many a
year to come. Herr Joachim has made the Sonatas of Bach familiar
to thousands who a few years since scarcely knew of their existence.
The difficulties which abound in these solid writings could only
have been written by a master perfectly acquainted with the capabilities
of the instrument. Many a tyro who plunges into the stream of Bach's
crotchets and quavers soon finds himself encompassed by a whirlpool
of seeming impossibilities, and is frequently heard to exclaim that
the passages are impracticable. Vain delusion! Bach was himself
a Violinist, and never penned a passage the rendering of which is
impossible. The ease and grace with which a Joachim makes every
note heard and felt, induces many a one to wrestle with Bach, the
more so when it is found that the great author has confined himself
to the lower positions of the instrument. Vain delusion number two!
Bach exacts more on terra firma than many later
writers have claimed in their wildest aerial flights. From Bach to Handel
is an easy step in our discourse. They were born within a year of
each other, and were possessed of minds of similar calibre, though
differently exercised. It would not, perhaps, be over-strained to
call them respectively the Nelson and Wellington of music. The compositions
of Handel materially advanced the Violin. His Overtures, Trios,
Sonatas, and Concertos, were all received with the utmost attention,
and led on to works by later composers, which would probably have
never existed but for Handel's example. We now reach the
time when the Symphony was perfected by Haydn, who, following the
steps of Bach, brought this branch of the art to a degree of perfection
hitherto unknown. The influence of this composer on the progress
of the Violin cannot be over-estimated. The Quartettes of Haydn
are too well known to need more than mention here. The Quartettes
of Giardini and Pugnani were laid aside to give place to these inspired
compositions. The following amusing comparison, drawn by a lady,
between the Quartettes of Haydn and the speech of articulate humanity
appears in Bombet's "Letters on Haydn," and, though pretty
well known, will lose nothing by repetition:— "In listening
to the Quartettes of Haydn, this lady felt as if present at a conversation
of four agreeable persons. She thought that the first Violin had
the air of an eloquent man of genius, of middle age, who supported
a conversation, the subject of which he had suggested. In the second
Violin she recognised a friend of the first, who sought by all possible
means to display him to advantage, seldom thought of himself, and
kept up the conversation rather by assenting to what was said by
the others than by advancing any ideas of his own. The Alto was
a grave, learned, and sententious man. He supported the discourse
of the first Violin by laconic maxims, striking for their truth.
The Bass was a worthy old lady, rather inclined to chatter, who
said nothing of much consequence, and while she was talking the
other interlocutors had time to breathe. It was, however, evident
that she had a secret inclination for the Alto, which she preferred
to the other instruments." It may be said that
the foregoing extract is more funny than just. Probably this is
the case; however, I make use of it as throwing some light on the
enjoyment derivable from listening to a Quartette, without reference
to its critical bearings. Resuming our subject
again: Haydn wrote eight easy Sonatas for Violin and Pianoforte,
but they are not of sufficient importance to cause them to be much
played. Haydn used frequently to take the Tenor parts in his Quartettes. Leopold Mozart, born
in 1719, the father of the illustrious musician, was a Violinist,
and wrote a "Method" for his instrument. He died in 1787. To the great Mozart
Violinists owe much; his compositions for the instrument raised
its standing considerably. It is unnecessary to give here a detailed
list of those of his writings in which the Violin takes part—they
are happily known to most players. Mozart played the Violin from
boyhood, and was taught by his father. It is gratifying to know
that nearly all the great composers played upon stringed instruments,
if not with proficiency, yet enough to enable them to make pleasurable
use of their acquirements. Sebastian Bach, Handel, and Schubert
were Violin-players; Haydn and Mendelssohn could take their Tenor
part in a Quartette; and lastly, Beethoven used to amuse himself
with the Double-Bass. Their compositions evidence a practical knowledge
of stringed instruments, as distinct from theory. The glorious compositions
of Beethoven for the Violin need no comment here; their beauties
have formed the theme of the ablest critics; and I have no desire
to contribute my humble mite to their exhaustive remarks. With Fesca we again
come amongst the Violinists. He was born at Magdeburg, in 1789.
His Quartettes are very pleasing compositions; they are chiefly
"Solo Quartettes." The next Violinist
claiming attention is the highly gifted Louis Spohr, the greatest
composer for the Violin that ever lived, who combined in his own
person high executive powers with a rare fecundity of classical
composition. The Concertos of Spohr belong to an entirely different
class from those of Viotti, Kreutzer, and others, inasmuch as Spohr's
music is written so as not only to display the beauties of the instrument,
but also to give the noblest specimens of its orchestration. His
Duets for two Violins, his Tenor and Violin Duets and Quartettes,
are all too well known to need more than passing mention. From Spohr has grown
up a school of Violin-playing of a very distinctive character. Bernard
Molique was endowed with great powers, both as a performer and a
composer for his instrument. His Concertos are compositions of the
highest character, and require for their rendering a finished artist. Joseph Mayseder was
a Violinist of an order distinct from that of Spohr or Molique.
His style was exceedingly brilliant. Mayseder may also be said to
have created a school of his own, and, owing to the circulation
that his compositions obtained in England, his style was introduced
among a great number of our countrymen. Kalliwoda wrote and played
very much in the Mayseder manner. His Airs and Variations are especially
brilliant compositions; his Overtures are also much admired for
their sparkling and dramatic character. I come now to notice
one of the greatest artistes of our time—Herr Ernst—whose
playing was impassioned in the highest degree. He made the Violin
express his innermost thoughts in tones of delicious tenderness,
such as his hearers can never forget. By nature noble, generous,
and affectionate, the shade and substance of each trait was faithfully
reflected in his exquisite playing. His compositions are among the
finest solo writings we have. To mention his "Otello,"
"Airs Hongrois," "Le Proph�te," and his "Studies,"
will be sufficient to call to the mind of most Violinists the high
character of his compositions. It now only remains
for me to briefly allude to the German artists each Concert Season
makes us familiar with. First and foremost, the mighty Herr Joachim,
a host in himself. His able coadjutor, Herr Strauss, was justly
admired for his intellectual rendering of the great masters, and
the artistic spirit he invariably displayed. Herr Wilhelmj was regarded
as one of the first players of our time, his executive powers being
of the highest order. CONTENTS
SECTION
VI.—THE ENGLISH SCHOOL AND MAKERS SECTION
VII.—THE VIOLIN AND ITS VOTARIES. SKETCH OF THE PROGRESS
OF THE VIOLIN SECTION
VIII.—ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN. |