A Copy of the Gasparo da Salo Violin used by Ole Bull, the Famous
Scandinavian Violinist, made by Mr. Gillingham, of Chiswick. (_The front
view of this violin will be found on the cover._)
THE VIOLIN
AND
OLD VIOLIN MAKERS
BEING A
HISTORICAL & BIOGRAPHICAL
ACCOUNT OF THE VIOLIN
With Facsimiles of Labels
of the Old Makers
BY
A. MASON CLARKE
[Author of “Biographical Dictionary of Fiddlers.”]
London:
WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.
_Publisher of Books on Music._
_Printed by The New Temple Press, Norbury Crescent, London, S.W.16._
A Copy of the Gasparo da Salo Violin used by Ole Bull, the famous
Scandinavian violinist. Made by Mr. Gillingham, of Chiswick.
PREFACE.
This little work is the outcome of some little thought, born of
hesitation. To be clear, I should mention that some years ago I
completed a somewhat exhaustive work on the violin, the first portion of
which reached the stereotype stage, but unfortunately owing to a fire
the plates were destroyed. Other business pressing, the work was laid
aside. In the meantime other books on the violin have been published, a
fact which might be taken as rendering any further work on the subject
superfluous. However, it has been suggested to me by some musical
friends that if I could produce a popular work which could be issued at
a low price it would be well received. Buoyed up with this hope, I set
to work with the object of presenting in a concise form such information
as I have thought necessary or at least of interest to every one who
elects to take up the violin, either as an object of recreation or
serious study. Time alone will prove whether or not the appearance of
this addition to the literature of the violin is justified.
In order to facilitate my labours I have consulted the leading British
and foreign authorities on the violin and kindred instruments. I have
also during many years devoted much time to the inspection and study of
genuine old instruments.
A. M. C.
Forest Hill, London.
CONTENTS.
PART I.
HISTORICAL.
PAGES
I.—Introductory and Early English 1-29
II.—Italy 30-35
III.—France 36-40
IV.—Germany 41-44
PART II.
BIOGRAPHICAL.
Violin Makers of the Old Schools.
I.—Italian, with Labels 45-71
II.—German and Tyrolese, with Labels 72-82
III.—French, with Labels 83-89
IV.—British, with Label 90-103
PART III.
On the Development of Classical Music for the Violin and other
Stringed Instruments 105-117
PART I.
HISTORICAL.
I.—INTRODUCTORY AND EARLY ENGLISH.
The origin of the violin is always a very interesting subject for study.
It is one upon which many great writers have devoted much time and
thought, but as they arrive at varying conclusions, and in some cases
opposite opinions, the result is to leave the mind of the student in a
state of conjecture and speculation.
In tracing the development of certain species of stringed instruments
the arguments of some authorities often appear pretty conclusive, but
generally we are confronted with such a mass of contradictory
assertions, that we can only treat the theories put forward as
approximate. The professor, teacher and matured student approaching this
subject, of course do so with great profit, as they are better able to
accept or reject whatever may be said concerning the ancestry of the
violin family, than is the young beginner.
For those who desire a more extended knowledge of the rise and progress
of the violin family a large field of literature is open. As a
preparatory the author recommends Otto’s “Treatise on the Structure and
Preservation of the Violin” (W. Reeves, London), which contains much
valuable and interesting information on the subject.
Now, there can be little doubt but that the simplest form of stringed
instrument (played with a bow) was conceived from the idea of a
stretched string fixed at two _points_, vibration being excited by means
of a jagged stick. The earliest known instrument of this species,
according to M. Fétis (a great historical writer on the subject) is the
ravanastron, stated to have been invented by an ancient King of Ceylon,
called Ravana, some five or six thousand years ago. It consisted of a
cylinder of sycamore wood, hollowed out from one end to the other. “This
cylinder is about 4⅜ inches long, and has a diameter of 2 inches. Over
one end is stretched a piece of boa skin, with large scales, which forms
the belly or sound-board. The cylinder is crossed from side to side—at
one-third of its length, next the sound-board—by a rod or shank of deal,
which serves as a neck, of the length of 22 inches, rounded on its under
part, but flat on the top, and slightly inclined backwards. The head of
this neck is pierced with two holes for the pegs, half an inch in
diameter; not in the side, but in the plane of the sound-board. Two
large pegs, 4 inches in length, shaped hexagonally at the top, and
rounded at the ends which go into the holes, serve to tighten two
strings made of the intestines of the gazelle, which are fixed to a
strap of serpent skin attached to the lower extremity of the rod or
shank. A little bridge ¾ of an inch long, cut sloping on the top, but
flat on the part which rests on the sound-board, and worked out
rectangularly in this part, so as to form two separate feet, supports
the strings. As to the bow, it is formed of a small bamboo, of which the
upper portion is slightly curved, and the lower (nearly) straight. A
hole is made in the head of the bow, at the first knot, for fixing a
hank of hair, which is strained and fixed at the other end, by binding a
very flexible rush string twenty times round it.”
Such is this most primitive bow instrument, slight modifications of
which still exist in Eastern countries. The Chinese and Japanese fiddles
one often sees now in music-shops are not at all unlike the ancient
ravanastron. That India appears to have given birth to bow instruments,
and to have made them known to other parts of Asia, Egypt and afterwards
to Europe, no conjecture is needed, for the instruments themselves
exist, and still preserve the characteristics of their native
originality.
We will now pass over a few thousand years during which time stringed
instruments of great variety and of every conceivable shape had been
invented and improved upon in different countries of the world, their
gradual development (brought about, no doubt, more by circumstances
existing at various periods than by any real aim towards artistic
achievement) giving birth to the various families of stringed
instruments in use at the present day, e.g., the violin family, the
harp, guitar, mandoline and pianoforte.
* * * * * * * *
In tracing the progress of the violin (which the author will endeavour
to do in connection with its music and performers) it is necessary to
content ourselves with a more definite standpoint, therefore, we will
commence with a period when the viol or fiddle family came upon the
scene, the immediate precursor of the violin; the viol, in fact, is not
inaptly termed the grandfather of the violin.
The great distinctive feature between a viol and the present violin
family, is that instead of F sound-holes, viols had C holes. Some had
sound-holes in the shape of what are known as “flaming sword” holes.
They carried five or six strings, sometimes more, and the finger-board
was mounted with frets, for (as was then thought) the more certain means
of stopping the notes in perfect tune, an idea which, to modern
violinists, involves an absurdity.
Viols are known to have been in use as early as the fifteenth century
(some writers go back to the thirteenth, but these early ones partook
more of the nature and shape of the guitar than of the subsequent viol).
The viol continued in use up to the beginning of the reign of Charles I,
and was one of the most popular instruments in its time. There were
generally four in use, viz., treble, alto, tenor and bass, and occupied
in some respects the position now held by our violin, tenor, ’cello and
double bass. To an ordinary observer there is little difference in
appearance between the shape of a treble viol and the earliest violin,
so that a considerable latitude of doubt may be allowed to exist as to
the finality of the former and the adoption of the latter; but certain
it is that the violin of the time became to be appreciated to such an
extraordinary degree, that the principal viol and lute makers towards
the end of the sixteenth century set about making violins in the place
of viols. Whether the idea of this change was dictated by the caprice of
novelty, or whether any special demand arose for an instrument of more
extended compass by reason of the advancement made in the musical
compositions of the time, it is difficult to determine with certainty.
It is significant, however, that at this period of the advancement of
the violin, the musical influence of Tallis (the founder of English
church music), and of Bird, his illustrious pupil, was manifesting
itself throughout this country, and in Italy the music of Palestrina
exercised a similar influence.
In the year 1662 appeared the first work printed in England containing
any reference to the violin. It was written by one John Playford, and is
entitled “A Brief Introduction to the Skill of Musick,” wherein is the
following relating to the violin:
“The treble violin is a cheerful and sprightly instrument, and much
practised of late, some by book, and some without; which of these two is
the best way, may easily be resolved. First, to learn to play by rote or
ear, without book, is the way never to play more than what he can guess
by seeing and hearing another play, which may soon be forgotten, but, on
the contrary, he which learns and practices by book, according to the
rules of musick, fails not after he comes to be perfect under these
rules, which guide him to play more than ever he was taught or heard,
and also to play his part in concert, the which the other will never be
capable of, unless he hath this usual guide.
“These rules of music are in a plain method, as it shows in the first
six chapters of this book, the which being perfectly understood, viz.,
the notes of the scale or gamut, which directs the places of all notes,
flat and sharp, by which are pricked all lessons and tunes on the five
lines, thus distinguishing of the several parts by their cliffs, as the
treble, tenor, and basse. Lastly, the names of the notes, their
quantities, proportions, and rests, according to the rule of keeping
time, etc. There then remains two things to be instructed in, how the
violin is strung and tuned, and secondly, to give you directions for the
stopping the several notes, both flat and sharp, in their right places.
Then, first observe that this cannot be expressed in words unless on the
neck or finger-board of the violin there be set five or six frets, as is
on the viol. This, though it be not usual, yet it is the best and
easiest way for a beginner, for by it he has a certain rule to direct
him to stop all his notes in exact tune, which those that do learn
without seldom attain so good an ear to stop all notes in perfect tune.
Therefore, for the better understanding of these following examples, I
shall assign to those six frets on the finger-board of your violin six
letters of the alphabet in their order” (here follow examples), after
which he says:
“These few rules (and the help of an able master to instruct thee in the
true fingering, and the several graces and flourishes that are necessary
to be learnt by such as desire to be exquisite hereon), will in a short
time make thee an able proficient.”
These quaint instructions would hardly suffice to meet the requirements
of modern violin playing, but it is interesting to observe the rules and
precepts laid down for the student’s guidance over two hundred years
ago. Observe also the recommendation of frets for accuracy in stopping
the notes.
The viol, however, was not destined to die a sudden death, at any rate,
in this country. The soft wailing tone of the viol still found many
admirers, principally amongst amateurs, who regarded the violin in the
nature of an interloper. Their cause too was vindicated by one Thomas
Mace, who, curious to relate, was born in the same year as John Playford
(1613). This worthy lived in Cambridge, and in 1676 published a work
entitled “Musick’s Monument, or a Remembrancer of the best practical
music both Divine and Civil that has ever been known to be in the
world,” certainly a most ambitious title and one that does not in the
least suffer on its comparison with the precepts contained in the book.
He was one of the clerks of Trinity College, Cambridge, and seemed to
have acquired considerable knowledge of matters musical. Under whom he
was educated, or by what means he became possessed of so much skill as
to be able to furnish matter for the above work, he has nowhere informed
us. We may collect from it that he was enthusiastically fond of music,
and of a devout and serious disposition, though cheerful and good
humoured.
His knowledge of music seems to have been confined to the practice of
the lute (his favourite instrument) and the viol. The third part of this
work is devoted chiefly to the viol, and in this he censures the abuse
of music in the number of bass and treble instruments in the concerts of
his time, in which he says, it was not unusual to have but one small
weak-sounding bass viol to two or three “scoulding violins.” This
disproportion he seeks to remedy by the observance of the following
instructions. He says:
“Your best provision (and most compleat) will be a good chest of viols
six in number, viz., 2 basses, 2 tenors, and 2 trebles. All truly and
proportionably 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, but we have now very excellent good workmen who (no
doubt) can work as well as those if they be so well paid for their work
as they were, yet we chiefly value old instruments before new, for by
experience they are found to be far the best. The reason for which I can
no further dive into than to say, I apprehend that by extream age the
wood (and those other adjuncts) glew, parchment, paper, lynings of
cloath (as some use), but above all the vernish. These are all so very
much (by time) dryed. Linefied, made gentle, rarified, or (to say better
even) agefied, so that that stiffness, stubbornness, or clunginess,
which is natural to such bodies are so debilitated and made plyable,
that the pores of the wood have a more and free liberty to move, stir,
or secretly vibrate, by which means the air (which is the life of all
things both animate and inanimate), has a more free and easy recourse to
pass and repass, and whether I have hit upon the right cause I know not,
but sure I am that age adds goodness to instruments, therefore they have
the advantage of all our late workmen.
“Now suppose you cannot procure an entire chest of viols suitable, etc.
Then thus. Endeavour to pick up (here or there) so many excellent good
odd ones as near suiting as you can (every way), viz., both for shape,
wood, colour, etc., but especially for size. And to be exact in that
take this certain rule, viz., let your bass be larger, then your trebles
must be just as short again in the string, viz., from bridge to nut, as
are your basses, because they should stand 8 notes higher than the
basses. Therefore, as short again (for the middle of every string is an
8th) the tenors (in the string) just so long as from the bridge to F
fret because they stand a 4th higher.
“Let this suffice to put you into a complete order for viols.”
We have given the above quotation _in extenso_ without breaking in with
any comment, in order that the student may better understand the
peculiar phraseology used by this ancient authority. The student will
observe that old instruments were equally valued in those days as in
these, and this too was at a period anterior to the fame of the great
Stradivarius, whose grand period commenced with the opening of the
eighteenth century.[1]
There appears to be a general consensus of opinion favouring the theory
that Gaspar da Salo, the founder of the Brescian school of violin
makers, who probably worked from 1560 to 1610, was the first to make
violins in their present shape. Be this as it may, no mention is made of
any of his instruments having found their way into this country at this
period, nor is he mentioned in any way in connection with the adoption
of the violin in this country, the probability is that our own viol and
lute makers commenced a school of their own, although nothing definite
seems to be known as to who they were. One thing, however, seems
certain, the early English violin makers were far behind the Italians in
point of workmanship. The English model was large and clumsy, while that
of Italy left hardly any room for improvement.
* * * * * * * *
The derivation of the word fiddle[2] appears to be wrapt in obscurity,
and must in no way be taken as coeval with the term violin. According to
Strutt, the antiquary (who wrote a very interesting work last century on
the sports and pastimes of the early English), the name of fiddler was
applied to the minstrels or itinerant musicians of the fourteenth
century. Chaucer, in his “Canterbury Tales,” mentions the term in
connection with “The Clerke of Oxenforde.”
For him was lever han at his beddes head
A Twenty Bokys clothyd in blacke or rede
Of Aristotel and hys philosophie
Than robys riche or fidel or sautrie.
In the “Vision of Pierce the Ploughman,” we read “not to fare as a
Fydeler or a Frier to seke Feastes.”
It would appear that as time went on, these wandering minstrels or
fiddlers sunk very much in popular estimation, and were held in very low
esteem, so much so, that in the reign of Elizabeth was passed an Act
entitled “An Act for the punishment of rogues, vagabonds, and sturdy
beggars,”[3] and amongst the malefactors amenable under this Act were
included “‘Wandering Minstrels’ (other than players of interludes
belonging to any Barron of the realm, or any other honourable personage
of greater degree if authorised to play under the hand and seal of arms
of such Baron, or personage”) the penalty being “such pain and
punishment as by this Act is in that behalf appointed.”
We hear of the itinerant musician again in an ordinance from Oliver
Cromwell dated 1656, during his protectorship, which prohibited “all
persons commonly called fidlers or minstrels” from “playing, fidling and
making music in any inn, alehouse or tavern,” and also from “proffering
themselves, or desiring or intreating any one to hear them play or make
music in the places aforesaid.”
The great moralist, Owen Feltham, in his “Resolves,” 1631, also touches
upon the subject. Under his remarks on music we read: “It is a kind of
disparagement to bee a cunning fiddler. It argues his neglect of better
employment and that he hath spent much time upon a thing unnecessarie.
Hence it hath been counted ill for great ones to sing and play like an
arted musician, Philip asked Alexander if hee was not ashamed that he
‘sang so artfully.’” In the “Westminster Magazine” for February, 1775,
is an article entitled “Fiddling Defended,” as follows:
“Some people are unreasonably severe against Fiddlers, but surely there
is no absurdity in attracting the eyes of the fair in displaying a white
hand, a ring, a ruffle, or sleeve to advantage. Who can blame the
performer who is successful enough to fiddle himself into a good
fortune? Whatever the rigid and austere may think, the approbation of
the ladies is no small spur to a proficiency in music as well as in many
other sciences. It is highly probable that Achilles (though the blind
bard is silent upon this head) would not have strummed his harp with so
much glee if the ears of Deidamia and Brifeis had not been tickled by
it.—A FIDDLER.”
Peacham, in his description of a “Compleat Gentleman,” published 1634,
addresses his readers thus: “I desire no more in you than to sing your
part sure and at first sight, and withall to play the same upon your
violl or the exercise of the lute privately to yourselfe”—and in another
place he observes: “King Henry the eighth could not onely sing his part
sure but of himselfe compose a service of foure five and sixe parts”—and
we are told that Queen Elizabeth was a tolerable performer on the
virginals (the precursor of the pianoforte) and also the violin.
The next source from which any historic information concerning the
fiddle is obtained is from the writings of one Anthony Wood, of Oxford,
who, although not a professional player, was an enthusiastic amateur
whose opinion was not to be despised.
This worthy in his life written by himself in the year 1654 gives an
amusing account of a musical escapade which it may not be out of place
here to repeat, as the work is rather scarce and difficult of access. It
throws an interesting light on the state of music at that period. He
says:
“Having by this time got some musical acquaintance, a frolick by all
meanes must be taken by us; and what should it be, but to disguise
ourselves in poore habits, and like contry fidlers scrape for our
livings? Faringdon Fair this yeare was the place designed to go to: And
all of us (five in number) lodging in a house in the Middle Rew in Magd.
parish,—belonging to one Gregory a Chandler, wee sate out very early the
next morning, and calling first on Mr. Th. Latton’s house at Kingston
Baképuze, wee bid him good morrow by 2 or 3 tunes. He came in the hall
among us, listened to our musick, gave us money, and ordered drink to
(be) carried to us. After wee had done with him, wee retired to the In
standing on the road going to Farringdon, dined there, and after dinner
wee were entertain’d by some of the neighbours, who danc’d (as I
remember) on the Green, gave us some money and victualls, and I think
wee returned very late that evening to Oxon. The names of those in this
exploit were, myself and Will Bull before mentioned, who played on the
Violins, Edm. Gregorie, B.A., and gent. com. of Mert. Coll. who play’d
on the bass viol, John Nap of Trinity on the citerne, and George Mason,
of the said Coll. on another wyer instrument, but could do nothing. Soon
after we took a voyage northward, called at Hampton Poyle, played at Mr.
Wests’ house, had some money, but more drink. Afterwards we went (I
think) to Kidlington, got something there, returned in the evening, and
certain soldiers overtaking us, they by force, made us play in the open
field, and then left us without giving a penny.
“Most of my companions would afterwards glory in this, but I was
ashamed, and could never endure to hear of it.”
He goes on to relate that by 1656 he “had a genuine skill in musick, and
frequented the weekly meetings of musitians in the house of Will Ellis,
late Organist of St. Johns Coll., situated and being in a house,
opposite to that place whereon the Theatre was built.” Here he gives a
list of the company who met and performed their parts on lutes and
viols. The music masters were: “Will Ellis, Batchelor of Musick, and
owner of the house, who always played his part either on the organ or
virginal:—Dr. John Wilson, the public professor, the best at the lute in
all England. He sometimes play’d on the lute, but mostly presided
(directed) the consort.—Curteys, a lutenist, lately ejected from some
choire or cathedral church. Thomas Jackson, a bass violist.... Ed. Low,
Organist lately of Christ Church. He play’d only on the organ; so when
he played on that instrument Mr. Ellis would take up the counter-tenor
viol, if any person were wanting to perform that part. Gervace Littleton
... a violist; he was afterwards a singing man of St. Johns Coll. Will
Glexney, who had belonged to a choire before the warr ... he played well
upon the bass-viol, and sometimes sung his part.... Proctor, a young man
and a new comer. John Parker, one of the university musitians. But Mr.
Low, a proud man, could not endure any common musitians to come to the
meeting, much less to play among them. Of this kind I must rank John
Haselwood, an apothecary, a starch’d formal clister-pipe, who usually
played on the bass-viol, and sometimes on the counter-tenor. He was very
conceited of his skill (though he had but little of it) and therefore
would be ever and anon ready to take up a viol before his betters, which
being observed by all, they usually called him ‘Handlewood.’ The rest
were but beginners.
“Proctor died soon after this time, he had been bred up for Mr. John
Jenkyns, the mirrour and wonder of his age for musick, was excellent for
the lyra-viol, and division-viol, good at the treble-viol, and
treble-violin, and all comprehended in a man of three or four and twenty
years of age. He was much admired at the meetings, and exceedingly
pitied by all the facultie for his loss.”
“A. W. was now advised to entertain one Will James, a dancing master, to
instruct him on the violin, who by some was accounted excellent on that
instrument, and the rather, because it was said that he had obtained his
knowledge in dancing and musick in France. He spent, in all, half a
yeare with him, and gained some improvement from him; yet at length he
found him not a compleat master of his facultie, as Griffith and Parker
were not; and, to say the truth, there was no complete master in Oxon
for that instrument, because it _had not hitherto been used in consort_
among gentlemen, only by common musitians, who played but two parts. The
gentlemen in private meetings, which A. W. frequented, played three,
four, and five parts with viols, as treble-viol, tenor, counter tenor,
and bass, with an Organ, virginal or harpsicon joyn’d with them; and
they esteemed a violin to be an instrument only belonging to a _common
fiddler_, and could not endure that it should come among them, for feare
of making their meetings to be vaine and fiddling. But before the
restoration of King Charles II, and especially after, viols began to be
out of fashion, and only violins used, as treble-violin, tenor, and bass
violin; and the King, according to the French mode, would have 24
violins playing before him while he was at meales, as being more airie
and brisk than viols.”
Under the year 1658 he informs us that: “Tho. Baltzar, a Lubecker borne,
and the most famous artist for the violin that the world had yet
produced, was now in Oxon. And this day (July 24th), A. W. was with him
and Mr. Ed. Low at the Meeting house of Will Ellis. A. W. did then and
there, to his very great astonishment, heare him play on the violin. He
then saw him run up his fingers to the end of the finger-board of the
violin, and run them back insensibly, and all in alacrity and in very
good tune, which he nor any in England saw the like before. A. W.
entertained him and Mr. Low with what the house could then afford, and
afterwards he invited them to the tavern; but they being engag’d to goe
to other company, he could no more heare him play or see him play at
that time. Afterwards he came to one of the weekly meetings, at Mr.
Ellis’s House, and he played to the wonder of all the auditory; and
exercising his fingers and instrument several wayes to the utmost of his
power. Wilson, thereupon, the public professor (the greatest judge of
musick that ever was) did, after his humoursome way stoope downe to
Baltzar’s feet to see whether he had a huff (hoof) on, that is to say,
to see whether he was a devil or not, because he acted beyond the parts
of man.”
“About this time it was, that Dr. John Wilkins, warden of Wadham Coll.,
the greatest curioso of his time, invited him and some of the musitians
to his lodgings in that Coll. purposely to have a consort, and to see
and heare him play. The instruments and books were carried thither, but
none could be persuaded there to play against him in consort on the
violin.
“At length the company perceiving A. W. standing behind in a corner,
neare the dore, they haled him in among them, and play, forsooth he
must, against him. Whereupon he being not able to avoid it, took up a
violin and behaved himself as poor Troylus did against Achilles. He was
abashed at it, yet honour he got by playing with and against such a
grand master as Baltzar was.”
“Mr. Davis Mell was accounted hitherto the best for the violin in
England, as I have before told you, but after Baltzar came into England,
and showed his most wonderful parts on that instrument, Mell was not so
admired, yet he played sweeter, was a well bred gentleman, and not given
to excessive drinking as Baltzar was.”
* * * * * * * *
Baltzar occupies a twofold prominence, he was one of the earliest German
performers, and the first to give any real impetus towards the
popularity of the violin in this country. He is also stated to have been
the first to introduce the practice of “shifting.”
* * * * * * * *
During the reign of Charles I, and also during the Cromwellian
usurpation, music was practically at a standstill. Instrumental music in
churches was prohibited, and the theatres were soon after shut up.
Indeed, as a previous historian of the art has observed, “nothing but
syllabic and unisonous psalmody was authorised or even permitted in the
Church. Organs were taken down; organists and choirmen reduced to
beggary, and the art of music, and indeed all arts but those of killing,
canting, and hypocracy, discountenanced, if not prescribed. The only
demand made for the fiddle was in the performance of low class music as
an accompaniment to the bacchanalian orgies, in favour during this
profligate period.”
However, with the restoration of Charles II, came the restoration of
music in this country. The musical taste of this monarch having been
formed in France during his sojourn there, he was naturally anxious to
introduce the French style into this country, and as we have seen from
the writings of A. Wood, he emulated the French King, Louis XIV, by
employing a band of twenty-four violins. From this period, and with this
impetus, the epoch of violin playing in England may be said to date.
The leader of this band of twenty-four violins was Baltzar; he was
succeeded by John Banister, who was really the first English violinist
of any note.
Pepys, in his Diary, under date February 20, 1667, says: “They talk how
the King’s violin Banister is made. That a Frenchman (Louis Grabu) is
come to be chief of some part of the King’s music.”
It is worthy of notice that Banister was sent abroad by Charles II in
order to study music and acquire the French taste, and so fit himself
for the leadership of the King’s band, which post, however, he soon lost
for asserting in the King’s hearing that the English violinists were
superior to those of France, which probably accounts for the note made
by Pepys in his Diary.
Banister must have been a very enthusiastic musician, for he was the
first who publicly advertised concerts in this country.
The following advertisement is extracted from the “London Gazette,”
under date Monday, December 30, 1672.
“These are to give notice, that at Mr. John Bannister’s House (now
called the Music School) over against the George Tavern in White Fryers,
this present Monday, will be musick performed by excellent Masters,
beginning precisely at 4 of the Clock in the afternoon, and every
afternoon, for the future precisely at the same hour.”
* * * * * * * *
We have now arrived at the close of the seventeenth century, by which
time the supremacy of the violin was established not only in England,
but in all countries where culture and the fine arts march hand in hand.
* * * * * * * *
Before bringing this notice to a close, let us glance briefly at the
artistic activity prevailing during the early part of the eighteenth
century.
In his workshop at Cremona would be found the great violin maker,
Antonius Stradivarius, producing those inimitable instruments which have
rendered him so famous. We find Corelli at the head of the first school
of violinists at Rome (of which he was the founder), turning out pupils
destined to shed lustre into whatever country they carried their art,
and writing those immortal sonatas, that will ever retain their high
character as examples of tonal purity, and with Boccherini, laying the
foundation of chamber music.
In 1714 the arrival in England of Geminiani and Veracini, the great
Italian violinists, contributed to make the violin more popular as well
as to advance the practice of execution. They also supplied the
performers on that instrument with compositions far superior to any they
had possessed prior to their arrival.
The establishment of Italian opera in England served to raise up a host
of violinists, who were not slow in availing themselves of the
facilities afforded them for studying under the great Italian masters
continually visiting this country. The result has been, that England at
the present day is able to point with pride to some of the most notable
performers on the violin, as belonging to her ranks.
II.—ITALY.
In musical execution, the early schools of Italy showed a marked
superiority over the rest of Europe, particularly with regard to the
violin.
Corelli, who was born in 1653, was the first to establish a new school
in instrumental composition, distinguished from that which preceded it
by a graceful, rhythmical and natural manner of writing. He was the
first composer who brought the violin into repute; and his originality,
facility and delicacy of style, greatly contributed to the popularity of
the violin. He was founder of the Roman, or what may now be called the
ancient school of violinists, and obtained the proud title of “Princeps
Musicorum.” After the publication of Corelli’s works, there was scarcely
a town in Italy where the violin was not cultivated and in which some
distinguished performer on that instrument did not reside. Most of his
contemporaries formed themselves on his model—as Albioni, of Venice,
Torelli, of Verona, Valentini (whose works were published in Holland),
and Marietto, who was a Neapolitan violinist attached to the household
of the Duke of Orleans.
Tartini, born 1692, the most celebrated performer on the violin of his
day, formed all his scholars on the solos of Corelli.[4] He was the
first who observed the phenomenon of the third sound, which he did in
the year 1714, at Venice. This is the resonance of a third note when the
two upper notes of a chord are sounded; and may be distinctly heard if a
series of consecutive thirds are played on the violin, they being
perfectly in tune.
* * * * * * * *
Let us now briefly notice the two great Italian schools of violin
makers, which, up to the end of the seventeenth century, had been called
into existence.
The first was the Brescian school, the founder of which was Gasparo da
Salo. This maker, as we have mentioned elsewhere, was the first to
introduce the violin in its present size and shape. The next
representative of this school was John Paul Maggini, who worked from
1600 to 1640. Other makers there were, viz., Mariani, Buddiani, Ambrosi,
Bente, Pietro Sancto Maggini (son of J. P. Maggini), but they call for
no special comment.
The next great school was the Cremonese, founded by Andreas Amati, who
was succeeded by his sons, Antony and Hieronymus Amati, and they worked
together for some time. The most noted of this family was Nicolas Amati
(born 1596, died 1684). The Cremonese renown for violin making, however,
attained its climax in the productions of Antony Stradivarius
(1644-1737) and Joseph Guarnerius (1683-1745). The various lesser lights
who worked in these two schools will be duly noticed in the biographical
portion of this work.
* * * * * * * *
The music of this period falls next to be noticed. Mr. Charles Reade, in
his able articles on Cremona fiddles, which appeared in the August
numbers of the “Pall Mall Gazette” for 1872, states, “Man invents only
to supply a want.” This observation is peculiarly applicable to the
violin; for we find that with the advancement of musical composition
came the desire to attain greater perfection in the art of violin
making. This is illustrated by the fact that the performance of modern
music would be next to impossible on one of the old violins, by reason
of the then shortness of the neck; hence arises the necessity for
refitting old violins with longer necks, thus giving the performer
greater command over the high notes, and adding largely to the strength
of the instrument.
The use of the violin in the orchestra began to receive recognition with
the dawn of the seventeenth century. Monteverde, in his opera of
“Orfeo,” printed in 1615, scores for “two little French violins”
(_piccoli violini alla Francese_).
Without referring to the periods anterior to the seventeenth century,
concerning which we have little or no information, we know that during
the first two generations of that century, music in Italy was mostly in
the madrigal style. The capabilities of instrumental music, apart from
the voice, however, were soon discovered, and composers entered gladly
upon a new and wide field of musical effort. The compositions were
usually comprehended under the names of studies, fantasias, capricci,
sonatas, concertos and other pieces in various styles.
Corelli has been accredited with fixing the form of the sonata, and
Torelli, his contemporary, with inventing the concerto.
When dramatic music began to prevail under Corelli, it was scientific
and rather dry, Geminiani first enriched it by expression; but it was
under Tartini that it attained the highest degree of expression, both as
to composition and execution. Soon after this period the concerto was
greatly improved in the hands of Jarnowick and Mestrino, both of whom
were still surpassed by Viotti, who gave to this style the character
which seems so peculiarly its own and brought it to a degree of
perfection which it seems incapable of exceeding.
These remarks apply equally to solo as to concerted music: by which term
we understand music for several voices or instruments, the parts of
which do not stand in the relation of solo and accompaniments, but are
of nearly equal importance; equally _obbligato_, either because each of
them has its appropriate part, or because each takes up the strain
successively, the others alternately becoming accompaniments. This
method is practically alike in the duet, the trio, the quartet, the
quintet, and other pieces where each instrument has its separate part.
Boccherini was the first who, in 1768, gave to these forms a fixed
character. After him came Fiorillo, Giardini, Pugnani, and lastly,
Viotti.
Such was the style of music, so far as the violin is concerned, from the
time of Corelli to the commencement of this century.
Although Italy has since had to yield the palm for instrumental music to
other countries, we must not overlook the fact that for generations she
held undisputed sway in the realm of music; both as regards composers
and performers.
III.—FRANCE.
We will now direct our attention to France.
Towards the latter end of the sixteenth century the lute was a very
favourite and general instrument. About the year 1577 the violin was
introduced by Baltazarini, a then celebrated performer, who was sent at
the head of a band of performers by Marshal Brissac to Catherine de
Medicis, and was appointed valet de chambre to the Princess. Beyond this
little appears to be known of him.
We have elsewhere had occasion to refer to the band of twenty-four
violins of Louis XIV. The leader of this band was a Florentine named
Lully, who was instrumental in introducing the Italian music into
France, thus giving to that country a new musical existence. The high
standard then prevailing in Italy, he, however, failed to maintain, but
be this as it may, the French seemed to have acquired a kind of
distinctive reputation as performers, for M. Choron says: “With respect
to the style in which the French have real and undisputed merit, and,
indeed, in many respects have a marked superiority, is the instrumental
in general, and especially that of the violin.... The excellence of the
twenty-four violins of Louis XIV formed by Lully and of other
violinists, was highly spoken of so far back as the seventeenth
century,” and he adds, “I do not, however, know how to reconcile these
facts with the following remark of Corette[5] in the preface to his
“Method of Accompaniment,” published at Paris about the year 1750. ‘At
the commencement of this century’ (says Corette) ‘music was very dull
and slow,’ etc.... When Corelli’s sonatas were first brought from Rome
(about 1715), nobody in Paris could play them. The Duke of Orleans, then
Regent, being a great amateur of music, and wishing to hear them, was
obliged to have them _sung_ by three voices. The violinists then begun
to study them, and, at the expiration of some years, three were found
who could play them. Baptiste, one of these, went to Rome to study them
under Corelli himself,” and M. Choron continuing, says: “Be this as it
may, since that period, instrumental music has been studied with ardour
by the French, and they have made astonishing progress in it. France has
now an excellent school for the violin, founded upon that of Italy.”
It seems rather astonishing to believe that singers could be found to
sing that which took a violinist years of practice to perform,
especially in view of the fact that France at that period almost
neglected the vocal art, and we must regard Corette’s criticism as
somewhat biased, notwithstanding he was “a furious partisan of the
French school of music.”
No doubt the French had to supply their repertoires of chamber music
(when they required it) from the Italian composers, the music of France
in Lully’s time being mostly composed for the lyric drama, which was
then greatly in vogue.
The first to call into existence a French school was Jean Marie Leclair,
who received his instructions from Somis, an Italian. He does not,
however, appear to have formed any great performers, owing, probably, to
the European fame of the great Italian masters. According to one
historian the real founder of the French school was Pierre Gavinies,
born at Bordeaux in 1726. Be this so or not, he certainly produced some
fine masters. Indeed, during the eighteenth century, France was
productive of the finest violinists that had been heard. We have only to
mention such names as Lahousaye, Barthélémon, Rode, Kreutzer, Lafont,
Baillot, Habeneck and De Beriot, in proof of this assertion.
* * * * * * * *
The early records of violin making in France, like those of other
countries, seem buried in obscurity. Its literature offers but scant
information of a reliable character, and we are therefore compelled to
make the most of such evidence as is afforded by the slender testimony
of paintings and ecclesiastical monuments.
We are told that Baltazarini was the first to introduce the violin (or
rather the performance of it) into France, in the year 1577, so that it
is safe to assume no maker of any note existed anterior to this period.
One authority tells us that, in the year 1566, the name of Tywersus of
Nancy appears as a lute and violin maker, and is reported to have
assisted Andreas Amati to finish certain instruments made for the chapel
of Charles IX. Soon after this period several names of makers are
recorded, but little seems to be known of them, or of their work.
Excellence in violin making seems to have commenced with the middle of
the eighteenth century, when the name of Nicholas Lupot appears on the
scene as the founder of the French school. Before he died, however, in
1824, France had given birth to John Baptiste Vuillaume, in whose hands
the construction of violins attained the utmost perfection. His
instruments are much admired and often realise large sums of money. Many
makers of great merit have since cropped up, which has had the effect of
establishing France as the greatest producer of the instrument, the
subject of these pages.
IV.—GERMANY.
Let us now direct our spirit of inquiry into Germany, that land of music
and musicians. This country, notwithstanding its present musical
position appears to have been somewhat behind the times in regard to the
production of any early violin performers of note, and affords the names
of fewer musicians than almost any other country during the sixteenth
century, if we except Spain. An explanation of this seems to be afforded
by the fact of the wars, which devastated Germany during the latter part
of the sixteenth and beginning of the seventeenth centuries, and
particularly the terrible Thirty Years’ war, during which five great
armies overran that unhappy country, carrying desolation and havoc in
every part of it. These wars destroyed the arts, which can only flourish
in the bosom of peace and happiness. It is certain that at this period
the school of Germany was greatly inferior to that of Italy; it even
appears that the French school began before the German to emerge from
obscurity. Reason is wanting to account for the German lack of early
performers, but we feel constrained to borrow the following words from
Dubourg. He says: “We may observe, that, although derived originally,
like all others, from that of Italy, and contracting no inconsiderable
obligations to it in its progress, it has been, on the whole, much less
indebted to the Italians for resources and support, than the school
either of France or England.”
Although the early German performers were inferior as soloists to those
of Italy or France, they were certainly able to hold their own as
orchestral players. Be this as it may, they have certainly, in modern
times, produced some of the finest violinists the world has seen; the
music too, has long since supplanted that of Italy.
Thomas Baltzar, born at Lubec about 1630, was esteemed the finest violin
performer of his time; but he came to England as we have seen in 1658,
and helped to rescue the violin from the low estimation in which it was
then held, an honour, however, he only lived five years to enjoy.
It was not until the early part of the eighteenth century that any
attempts were made to establish a German violin school. Amongst the
first to diffuse any artistic influence may be mentioned Francis Benda,
1709-86, and John Stamitz, 1719-61, but the honour of founding a
distinct school must be awarded to Leopold Mozart (father of the great
W. A. Mozart) and after him came William Cramer, who ultimately came to
England; these were followed by J. Salomon and Kiesewetter.
Louis Spohr, born 1784, may rightly be termed the founder of the modern
German school, he was both a performer and composer of the highest
order. The names of Guhr, Mayseder and Molique are also well known as
performers of great merit.
* * * * * * * *
Violin making in Germany commenced with the name of Jacobus Stainer,
born at Hall, near Absam, in the Tyrol, 1621, died 1683. It has been
said, though without authority, that he was an apprentice of Nicholas
Amati, a statement which would gain little credence on comparing the
instruments of each of these makers.
The next makers in succession are the Klotz family (six in number),
1670-1741. Other makers will be found in the biographical section.