_African Fiddle._—The Mosees, Mallowas, _The Violin Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.

more remote parts of the interior, play on a _rude violin_. The body is

a calabash; the top is covered with deer-skin, and two large holes are

cut in it for the sound to escape: the strings, or rather the string, is

composed of cow’s hair, and broad, like that of the bow with which they

play, which resembles the bow of a violin. Their grimace equals that of

an Italian _buffo_: they generally accompany themselves with the voice,

and increase the humour by a strong nasal sound.—_Bowdich’s Mission to

Ashantee._

“At parting, he (Bee Simera, a king in the Kooranko Country) sent his

_griot_, or minstrel, to play before me, and sing a song of welcome.

This man had a sort of fiddle, the body of which was formed of a

calabash, in which two small square holes were cut, to give it a tone.

It had only one string, composed of many twisted horse-hairs, and,

although he could only bring from it four notes, yet he contrived to

vary them so as to produce a pleasing harmony(!) He played at my door

till I fell asleep, and, waking at day-break, his notes still saluted my

ears; when, finding that his attendance would not be discontinued

without a _douceur_, I gave him a head of tobacco, and told him to go

home and thank his master.”—_Major Laing’s Travels in Western Africa._

“The admirers of Paganini (says Dr. Hogg, in his “_Visit to

Alexandria_”) may learn with surprise that a species of Violin, with a

single string, is not only well-known in Egypt, but is frequently played

in the streets, with extraordinary skill. Of the celebrated Italian, the

Egyptians never heard; but they often listen with delight to the

melodious sounds drawn forth from a single string by a wild untutored

Arab.”

_Greek Fiddle._—M. Fauriel, in his “Chants Populaires de la Grèce

Moderne,” says that the Greeks accompany their songs by an instrument

with strings, which is played with a bow, and that this is exactly the

ancient lyre of the Greeks, of which it retains the name as well as the

form. This lyre, he adds, when perfect, consists of five strings, but it

has frequently but two or three.

The _bow_ is of course a modern accessory, and must have changed,

materially, the mode of playing the instrument, as well as its effect.

_An Eight-Stringed Violin._—Prinz, in his History, assures us that,

about the year 1649, Lord Somerset invented a new kind of violin, which

had eight strings, instead of four; and that, in the hands of a master

who knew how to avail himself of its advantages, it was productive of

very extraordinary effects. To the truth of this, Kircher bears witness.

A violin, with eight strings, was also played on by a M. Urhan, at a

concert at the French _Conservatoire Royal_, in 1830.

_An intermediate Instrument._—With the plausible view of filling up a

void in the range of stringed instruments—that which occurs through the

interval of an _octave_ between the pitch of the viola and the

violoncello—a new instrument of the violin class was invented, a few

years ago, by a French Amateur, who proposed to designate it the

_Contralto_. Its four strings were tuned an octave below those of the

violin, and, consequently, a fourth below the common viola, or tenor,

and a fifth above the violoncello. In quartetts (according to the

inventor) the _second violin_ might in future be replaced by the

_viola_, and the viola by the _Contralto_; which latter would possess

the further advantage of enabling its player to execute with ease those

high passages that are so difficult on the violoncello.—That an

instrument thus designed _might_ sometimes participate effectively in

orchestral business, is extremely probable; but that it should displace

in quartetts the _second violin_, the importance of which, as an aid,

arises so much from its brilliancy, is not _at all_ to be supposed. The

truth appears to be, that what is here referred to as an invention,

possesses little claim to that character; for it was preceded by _the

baryton_, a stringed instrument of a character between the tenor and

violoncello, which has now entirely fallen into disuse. Prince Nicholas

Esterhazy, an ardent musical Amateur, was very fond of this instrument:

and Haydn, who composed a great number of pieces for it, in order to

supply the Prince’s incessant demand for novelty, frequently said that

the necessity he was under of composing so much for the baryton,

contributed greatly to his improvement.

_Something more than a Violin!_—M. Vincenti, a lute-master at Florence,

invented, some years ago, a violin with _eighteen strings_ and _two

bows_, and called it the _Violon-Général_, because it combined (or

professed to combine), with the tones of the violin, those of the

contra-basso, the violoncello, and the viola!

_An Air Violin._—A new and ingeniously invented instrument was

presented, some years since, to the “Académie des Sciences” of Paris, by

M. Isoard. It resembled the common violin, with the strings extended

between two wooden (or metal) blades. It was vibrated upon at one end by

a _current of air_, while, at the other, the player shortened the

strings by the pressure of the finger. In fact, the strings of

this instrument were acted upon by the current of air, _instead_ of

the common _bow_. The sounds were said to vary between those of the

French horn and bassoon. Were it possible for this invention to

come into ordinary use, the violin would have to be classed as a

_wind_-instrument!

_Automaton Violinist._—“After the extraordinary performance of Paganini

and Ole Bull, our readers will not be surprised at any new development

of the powers of this instrument, however great; but there are few in

the world who will hear, without wonder and admiration, of the

unequalled performance of Monsieur Marreppe’s _automaton violin-player_,

which was recently exhibited before the Royal Conservatory at Paris. Our

informant, M. Bruyère, who was present, thus describes this wonderful

piece of mechanism: “On entering the saloon, I saw a well-dressed

handsome figure of a man, apparently between forty and fifty, standing

with a violin in his hand, as if contemplating a piece of music which

lay on a desk before him; and, had I not gone to see an automaton, I

should have believed the object before me to have been endowed with life

and reason, so perfectly natural and easy were the attitudes and

expression of countenance of the figure! I had but little time for

observation, before the orchestra was filled by musicians, and, on the

leader taking his seat, the figure instantly raised itself erect, bowed

with much elegance two or three times, and then, turning to the leader,

nodded, as if to say he was ready, and placed his violin to his

shoulder. At the given signal, he raised his bow, and, applying it to

the instrument, produced, _à la Paganini_, one of the most thrilling and

extraordinary flourishes I ever heard, in which scarcely a semitone

within the compass of the instrument was omitted; and this, executed

with a degree of rapidity and clearness perfectly astonishing. The

orchestra then played a short symphony, in which the automaton

occasionally joined in beautiful style: he then played a most beautiful

fantasia in E natural, with accompaniments, including a movement

_allegro molto_ on the fourth string solo, which was perfectly

indescribable. The tones produced were like any thing but a violin; and

expressive beyond conception. I felt as if lifted from my seat, and

burst into tears, in which predicament I saw most persons in the room.

Suddenly, he struck into a cadenza, in which the harmonics, double and

single, arpeggios on the four strings, and saltos, for which Paganini

was so justly celebrated, were introduced with the greatest effect; and,

after a close shake of eight bars’ duration, commenced the coda, a

prestissimo movement, played in three parts throughout. This part of the

performance was perfectly magical. I have heard the great Italian—I have

heard the Norwegian—I have heard the best of music—but I never heard

such sounds as then saluted my ear. It commenced _p p p_, rising by a

gradual _crescendo_ to a pitch beyond belief, and then, by a gradual

_morendo_ and _calando_, died away, leaving the audience absolutely

enchanted. Monsieur Marreppe, who is a player of no mean order, then

came forward amidst the most deafening acclamations, and stated that,

emulated by the example of Vaucanson’s flute-player, he had conceived

the project of constructing this figure, which had cost him many years

of study and labour before he could bring it to completion. He then

showed to the company the interior of the figure, which was completely

filled with _small cranks_, by which the motions are given to the

several parts of the automaton, at the will of the conductor, who has

the whole machine so perfectly under control, that Monsieur Marreppe

proposes that the automaton shall perform any piece of music which may

be laid before him, within a fortnight. He also showed that to a certain

extent the figure was self-acting, as, on winding up a string, several

of the most beautiful airs were played, among which were “Nel

cor più,” “Partant pour la Syrie,” “Weber’s last Waltz,” and “La

ci darem la mano,” all with brilliant embellishments. But the

_chef-d’œuvre_ is the manner in which the figure is made to obey

the direction of the conductor, whereby it is endowed with a sort of

semi-reason.”—_Galignani’s Messenger._

* * * * *

_The Street Fiddler._—Behold the poor fellow, as he stands there in the

sun, against that dead wall, with a face that betrays many a foregone

year of patient endurance, and a figure that is the very index to

“narrow circumstances.” His old brown great coat, loose and

hard-worn—his battered hat—his shoes unconscious of blacking—are the

vouchers of his low estate. He wears “the hapless vesture of humility.”

He is half-blind, and will be _wholly_ so before long, for blindness is

the badge of his sad tribe;—but _then_—he will have a _companion_, in

the _dog_ that will lead him about!

See, how sobered is his style of execution—how passive his action! The

fire of enthusiasm is not for _him_: he can but shew the plodding of a

quiet spirit. He holdeth his bow, not as your topping players do, but

with a third part of its length below his hand. He finds this plan the

easiest, because it is his wont to work more from the _shoulder_ than

the _wrist_! Think no scorn of him, ye great artists—ye _triumphant_

euphonists! He is self-taught,—or, which is the same thing, hath learned

of his father, who was _alter ipse_, and who himself got his knowledge

“in the family.” Yet, though his bow-arm hath none of the sweep that

belongs to science, behold how he puts mettle into the heels of infancy,

and even peradventure brings a wriggle into the sides of old age: such

power is there in the notes of a fiddle, even in the hands of

decrepitude itself! The nursery-maids, who cannot condescend to _talk_

with a street-fiddler, as they would with a young policeman, accord a

smile, nevertheless, to some of his “passages,” and a halfpenny to his

pauperism. Musician as he is, or would be _called_ (for poverty has its

pride), do not test him with terms, or ask him the meaning of a “common

chord:” he will think you design to insult his misery with a dependent

allusion! Him _harmony_ concerneth not, nor counterpoint either;—he is a

simple _melodist_, and, to him, a few old tunes are the entire world of

music. After all, too, the finest melody in _his_ ear, is the sound of

human sympathy; and the best of music is the rattle of frequent

halfpence in his hat—a hat by night, a money-box by day! His daily

gains, what are they? A sorry pittance, truly; yet the poor old fellow,

albeit no classic, manages to live on the Horatian plan, “contentus

parvo,” and is very far from being the most thankless of mortals,

although

“For all his _shifts_, he cannot shift _his clothes_.”

It is not always people of the finest ear, who are the most intolerant

of ambulating fiddlers. There are some _dull_ persons who have little

other notion of music in _any_ shape, than as so much _noise_. The

complaint of these against the poor starveling here described, is that

he makes so _loud_ a noise. Let us only (with sly allusion to the early

name for the barbarous instrument) ask them one question—although even a

bad joke may be quite thrown away upon the dull:

Say, wherefore should it _not_ be loud,

The noise proceeding from a _crowd_?

And, while employing this kind of excuse, which will perhaps be received

as better than none, in behalf of a fraternity, who, if they _torment_ a

little, unquestionably do much more _suffer_, I may as well go on to

offer the following such-as-it-is

APOLOGY FOR MATTHEW MARKIT, A “COMMON FIDDLER.”

Let not wrath against him gather—

Call him not a useless bore!

Would you not, this dirty weather,

Have _a scraper at your door_?

Such is he;—nay, more than that,

He’s a _Scraper, and a—Mat_!

I do remember an itinerant, who used to sing a piece of dismal

merriment, with a squeaking violin accompaniment, to the appropriate

burden of “Heigh ho! fiddle de dee!” and a very wry face at each

recurrence of this peculiar interjection. He much affected Knightsbridge

and Hyde Park Corner, but was likewise visible at other points of the

metropolis. His wife, a diminutive body, with a small whine by way of

voice, helped to make “variety of wretchedness” in the exhibition. They

looked as if familiar with none but the copper coinage of the realm. Yet

they had generally their _côterie_ around them—their “assistance

admirative.” To be musical, _any how_, passes for a talent!

I will not suppose my readers so oblivious of an elderly joke, as not to

recognize the face of that which is about to greet them; but, having

found a version of it “turned to numbers,” I present it—a little “rubbed

up” for the occasion—to the indulgent attention of those who have only

met with it in prosaic statement:

A blind man, fed by fiddling,

Was known through many a street;

His “style,” far short of “middling,”

With some did pass for sweet.

He priz’d his fiddle greatly;

The _case_ had fainter praise—

The _case_ by “wife” made lately,

With half a yard of baize.

One day, when, led by Rover,

He had a bridge to pass,

His fiddle tumbled over,

Stick, case, and all, alas!

He straight set up a roaring,

And added such grimace,

That folks around came pouring,

And pitied his sad case.

“Sad _case_! Psha! twiddle diddle!”

Cried he, with scornful face;

“Could I but get my _fiddle_

D’ye think I’d mind _the case_?”

Having thus made ourselves familiar with the street fiddler, and

thereby, as it were, “sounded the very base-string of humility,” may we

not be fairly supposed to have reached the _fag-end_ of our subject?

Whilst on this lower level, however—or, in what may be termed the Vale

of Cacophony—I cannot conclude, without offering to the patience of my

kind readers two more scraps of verse, wherein I have sought to exhibit

a pair of specimens that belong, equally with the poor street fiddler,

to the class of—those that _might_ be dispensed with:

EPIGRAM

ON AN UNFORTUNATE MAN, AND BAD FIDDLER.

Though DIBBLE is feeble in all that he’s _at_,

Few fools ever _fondled a failure_ before, so.

In love, as in music, he stands for a _flat_—

(For his Fanny is false, and his fiddle is _more_ so),

While _he_ still ignoreth—what none can dispute—

That his suit’s out of tune, and his tune doesn’t suit!

ANOTHER, ON ANOTHER BAD FIDDLER.

When SCREECHLEY on that _noise-box_ harshly grates,

What, what’s the supposition that must follow?

_This_—that by some odd shifting of the Fates,

’Tis _Marsyas_’ turn to flay alive _Apollo_!

[Illustration: FINIS]

ADDENDUM.

FEMALE VIOLINISTS.

“Place aux dames!”

[This section of the Work, which should have formed Chapter VIII,

having been accidentally omitted in the printing, there remained

no other course than, either to insert it here (as is actually

done), or, by a dismissal utterly at variance with the laws of

gallantry and of justice, to exclude it altogether, and so to

debar the fairer portion of the community from all participation

in the honours connected with the “King of Instruments”—an idea

not to be for a moment entertained. If, in this volume, as in a

campaigning army, the ladies find themselves placed altogether in

_the rear_—let them attribute the position, in _this_ case as in

_that_, to anything but disrespect.]

Instead of a _bow-arm_, must ladies be allowed only the _arm_ of a

_beau_? Why should not a lady play on the Violin? The common objection

is, that it is ungraceful. The ladies in Boccaccio’s Decameron,

however—and who shall charge _them_ with want of grace?—played on the

_viol_, a bowed instrument requiring from the performer a similar

position and handling to those exacted by the violin. If this latter

instrument, considered in relation to a lady, _should_ be admitted to be

somewhat deficient in grace,—has not the lady, out of the overflowing

abundance of this quality, which is her sex’s characteristic, some of it

to spare for communication to the instrument? Can she not impart some

of it to whatsoever object she chooses to associate with herself?

Surely, she who can transform the rudest of beings from a bear to a man,

and from a man to a gentleman, can lend a few spare charms to so

grateful a receiver as the fiddle, which is found to repay in so

eloquent a manner the attentions bestowed on it. But if the doubters

continue to shake their heads at this, I would ask them whether, after

all, we are to expect grace in _every_ act and habit of a lady’s life,

and call on her to reject every thing that may be thought inconsistent

with it? Our modern respected fair one may, like Eve, have “heaven in

her eye;” but really, looking at some of the offices which we are

content to thrust upon her, it seems rather too much to insist that she

shall also, like our original mother, have “grace in _all_ her

movements.” Is there grace in making a pie, or cutting bread and butter,

or darning a stocking? If we have grace in the _effect_, shall we be

rigid to require it in the _means_ also? Now, the grace which belongs to

violin-playing is _audible_ rather than _visible_, residing in the

effect more than in the means: nor ought we to be such cormorants of

pleasure, as to demand that the person who is filling our _ears_ with

rapture, shall, at the same time, be enchanting to the utmost our

_eyes_. If, then, a lady, full of soul and intelligence, is capable of

expressing these through the fine medium which this instrument offers,

should she be debarred from it, and restricted perhaps to the harp,

because, forsooth, the grace that is merely external is found most in

association with the latter? Let us only be reasonable enough to be

satisfied, on principle, with the delicious effect that visits us

through the ears, and we shall then give no hyper-critical heed to the

rapid action of a lady’s arm in a _presto_ movement, or to the

depression of her head in holding the instrument; nor shall we continue

to demand, with a pertinacity more nice than wise, that a feminine

fiddler be

“Graceful as Dian when she draws _her_ bow.”

That exquisite sensibility which is one distinguishing charm of the

female character, has its fittest musical exponent in the powers of

the violin, which, therefore, in this particular sense, might even be

styled the women’s own instrument: but, without going so far as this,

there seems no sufficient reason why it should not, occasionally,

be honored by figuring in the hands of the fair. Should these

defensive remarks, however, be found unsatisfactory by your

anti-women’s-playing-the-violin-at-all sort of people, I have nothing

farther to say to them, but leave them to quote, undisturbed, their “quæ

sunt virorum, mascula dicas,” &c. For my own part, I think so highly

both of the ladies and the violin, that I rejoice at every opportunity

of their being introduced to each other, and am delighted to know that,

from time to time, certain clever and spirited women _have_ been found

ready to overcome the prejudices that have so long kept them asunder.

Let us by all means enquire who these are.

A very high name meets us at the outset of our investigation—no less a

one than that of QUEEN ELIZABETH. This exalted personage, who is

recorded to have been musical “so far forth as might become a princess,”

appears to have amused herself not only with the lute, the virginals,

and her own voice, but with the violin. An instrument of this

denomination, of the old and imperfect fashion, but splendidly “got up,”

has been traced to her possession. If any particulars of Her Majesty’s

style of performance could now be obtained, it would doubtless be found

that she displayed, in no common degree, what is called “a powerful

bow-arm,” but that she neglected the “sweet little touches” that give

delicacy to execution.

To arrive at instances nearer to our own time, let us go at once from

the Queen of England to Madame MARA, the Queen of Song. Her first

musical studies were directed to the violin. When yet an infant, the

little Gertrude Elizabeth Smaling (such was her name) discovered so

strong an inclination for the violin, that her father was induced to

give her a few lessons on that instrument. Her progress was so rapid,

that, as early as her tenth year, she excited the public surprise. It is

certain that the development of her vocal powers was not a little aided

by this cultivation of an instrument that may be called the friendly

rival of the human voice. She herself was known to declare, that, if she

had a daughter, she should learn the fiddle before she sang a note; for

(as she remarked) how can you convey a just notion of minute variations

in the pitch of a note? By a fixed instrument? No! By the voice? No!

but, by sliding the fingers upon a string, you instantly make the

slightest variations visibly, as well as audibly, perceptible. It was by

her early practice of the violin, that this celebrated woman had

acquired her wonderful facility of dashing at all musical intervals,

however unusual and difficult. She married a violoncellist, of no great

capacity, except for drinking.

MADDALENA LOMBARDINI SIRMEN, who united to high accomplishment as a

singer such an eminence in violin-playing, as enabled her, in some

degree, to rival Nardini, had an almost European reputation towards the

end of the last century. She received her first musical instructions at

the Conservatory of the _Mendicanti_ at Venice, and then took lessons

on the violin from Tartini. About the year 1780, she visited France and

England. This feminine artist composed a considerable quantity of violin

music, a great part of which was published at Amsterdam. A curious

document is extant as a relic of the correspondence between this lady

and Tartini. It consists of a perceptive letter from the great master,

the original of which, along with a translation by Dr. Burney, was

published in London in 1771. From this pamphlet, which is now among the

rarities of musical literature, I shall here give the Doctor’s English

version of the letter:

“My very much esteemed

“SIGNORA MADDALENA,

“Finding myself at length disengaged from the weighty business

which has so long prevented me from performing my promise to you,

I shall begin the instructions you wish from me, by letter; and

if I should not explain myself with sufficient clearness, I

entreat you to tell me your doubts and difficulties, in writing,

which I shall not fail to remove in a future letter.

“Your principal practice and study should, at present, be

confined to the use and power of the _bow_, in order to make

yourself entirely mistress in the execution and expression of

whatever can be played or sung, within the compass and ability of

your instrument. Your first study, therefore, should be the true

manner of holding, balancing, and pressing the bow lightly, but

steadily, upon the strings, in such manner as that it shall seem

to _breathe_ the first tone it gives, which must proceed from the

friction of the string, and not from percussion, as by a blow

given with a hammer upon it. This depends on laying the bow

lightly upon the strings, at the first contact, and on gently

pressing it afterwards; which, if done gradually, can scarce have

too much force given to it—because, if the tone is _begun_ with

delicacy, there is little danger of rendering it afterwards

either coarse or harsh.

“Of this first contact, and delicate manner of beginning a tone,

you should make yourself a perfect mistress, in every situation

and part of the bow, as well in the middle as at the extremities;

and in moving it up, as well as in drawing it down. To unite all

these laborious particulars into one lesson, my advice is, that

you first exercise yourself in a swell upon an open string—for

example, upon the second, or _la_: that you begin _pianissimo_,

and increase the tone by slow degrees to its _fortissimo_; and

this study should be equally made, with the motion of the bow up,

and down; in which exercise you should spend at least _an hour_

every day, though at different times, a little in the morning,

and a little in the evening; having constantly in mind that this

practice is, of all others, the most difficult, and the most

essential to playing well on the Violin. When you are a perfect

mistress of this part of a good performer, a swell will be very

easy to you—beginning with the most minute softness, increasing

the tone to its loudest degree, and diminishing it to the same

point of softness with which you began; and all this in the same

stroke of the bow. Every degree of pressure upon the string,

which the expression of a note or passage shall require, will, by

this means, be easy and certain; and you will be able to execute

with your bow whatever you please. After this, in order to

acquire that light pulsation and play of the wrist from whence

velocity in bowing arises, it will be best for you to practise,

every day, one of the _allegros_, of which there are three, in

Corelli’s solos, which entirely move in semiquavers. The first is

in D, in playing which you should accelerate the motion a little

each time, till you arrive at the greatest degree of swiftness

possible. But two precautions are necessary in this exercise. The

first is, that you play the notes _staccato_, that is, separate

and detached, with a little space between every two, as if there

was a rest after each note. The second precaution is, that you

first play with the point of the bow; and, when that becomes easy

to you, that you use that part of it which is between the point

and the middle; and, when you are likewise mistress of this part

of the bow, that you practise in the same manner with the middle

of the bow. And, above all, you must remember, in these studies,

to begin the _allegros_ or flights sometimes with an up-bow, and

sometimes with a _down-bow_, carefully avoiding the habit of

constantly practising one way.

“In order to acquire a greater facility of executing swift

passages in a light and neat manner, it will be of great use if

you accustom yourself to skip over a string between two quick

notes in divisions. Of such divisions you may play extempore as

many as you please, and in every key, which will be both useful

and necessary.

“With regard to the finger-board, or carriage of the left hand, I

have one thing strongly to recommend to you, which will suffice

for all, and that is the taking a violin part—either the _first_

or _second_ of a concerto, sonata, or song (any thing will serve

the purpose)—and playing it upon the _half-shift_; that is, with

the first finger upon G on the first string, and constantly

keeping upon this shift, playing the whole piece without moving

the hand from this situation, unless A on the fourth string be

wanted, or D upon the first but, in that case, you should

afterwards return again to the half-shift, without ever moving

the hand down to the natural position. This practice should be

continued till you can execute with facility upon the half-shift

any violin part, not intended as a solo, at sight. After this,

advance the hand on the finger-board to the whole-shift, with the

first finger upon A on the first string, and accustom yourself to

this position, till you can execute every thing upon the whole

shift with as much ease as when the hand is in its natural

situation; and when certain of this, advance to the

_double-shift_, with the first finger upon B on the first string.

When sure of that likewise, pass to the fourth position of the

hand, making C with the first finger, upon the first string: and,

indeed, this is a scale in which, when you are firm, you may be

said to be mistress of the finger-board. This study is so

necessary, that I most earnestly recommend it to your attention.

“I now pass to the third essential part of a good performer on

the Violin, which is the making a good _shake_; and I would have

you practise it slowly, moderately fast, and quickly; that is,

with the two notes succeeding each other in these three degrees

of _adagio_, _andante_, and _presto_; and, in practice, you have

great occasion for these different kinds of shakes; for the same

shake will not serve with equal propriety for a slow movement as

for a quick one. To acquire both at once with the same trouble,

begin with an open string—either the first or second, it will be

equally useful: sustain the note in a swell, and begin the shake

very slowly, increasing in quickness by insensible degrees, till

it becomes rapid. You must not rigorously move immediately from

semiquavers to demisemiquavers, or from these to the next in

degree; that would be doubling the velocity of the shake all at

once, which would be a _skip_, not a _gradation_; but you can

imagine, between a semiquaver and a demisemiquaver, intermediate

degrees of rapidity, quicker than the one, and slower than the

other of these characters. You are, therefore, to increase in

velocity, by the same degrees, in practising the shake, as in

loudness, when you make a swell.

“You must attentively and assiduously persevere in the practice

of this embellishment, and begin at first with an open string,

upon which, if you are once able to make a good shake with the

first finger, you will, with the greater facility, acquire one

with the second, the third, and the fourth or little finger, with

which you must practise in a particular manner, as more feeble

than the rest of its brethren.

“I shall at present propose no other studies to your application:

what I have already said is more than sufficient, if your zeal is

equal to my wishes for your improvement. I hope you will

sincerely inform me whether I have explained clearly thus far;

that you will accept of my respects, which I likewise beg of you

to present to the Princess, to Signora Teresa, and to Signora

Clara, for all whom I have a sincere regard; and believe me to

be, with great affection,

“Your obedient and most humble servant,

“GIUSEPPE TARTINI.”

REGINA SCHLICK, wife of a noted German Violoncellist and Composer, was

celebrated under her maiden name of Sacchi, as well as afterwards, for

her performance on the violin. She was born at Mantua in 1764, and

received her musical education at the _Conservatorio della Pietà_, at

Venice. She afterwards passed some years at Paris. This lady was a

particular friend of Mozart’s, and, being in Vienna, about the year

1786, solicited the great composer to write something for their joint

performance at her concert. With his usual kindness, Mozart promised to

comply with her request, and, accordingly, composed and arranged in his

mind the beautiful Sonata for the piano and violin, in B flat minor,

with its solemn adagio introduction. But it was necessary to go from

_mind_ to _matter_—that is, to put the combined ideas into visible form,

in the usual way. The destined day approached, and not a note was

committed to paper! The anxiety of Madame Schlick became excessive, and,

at length, the earnestness of her entreaties was such, that Mozart could

no longer procrastinate. But his favorite and seductive game of

billiards came in the way; and it was only the very evening before the

concert, that he sent her the manuscript, in order that she might study

it by the following afternoon. Happy to obtain the treasure, though so

late, she scarcely quitted it for a moment’s repose. The concert

commenced: the Court was present, and the rooms were crowded with the

rank and fashion of Vienna. The sonata began; the composition was

beautiful, and the execution of the two artists perfect in every

respect. The audience was all rapture—the applause enthusiastic: but

there was one distinguished personage in the room, whose enjoyment

exceeded that of all the other auditors—the Emperor Joseph II, who, in

his box, just over the heads of the performers, using his opera-glass to

look at Mozart, perceived that there was nothing upon his music-desk but

a sheet of white paper! At the conclusion of the concert, the Emperor

beckoned Mozart to his box, and said to him, in a half-whisper, “So,

Mozart, you have once again trusted to chance!”—“Yes, your Majesty,”

replied the composer, with a smile that was half triumph and half

confusion. Had Mozart—not _studied_—but merely _played over_, this music

_once_ with the lady, it would not have been so wonderful: but he had

never even heard the Sonata _with_ the violin[68].

LOUISE GAUTHEROT, a Frenchwoman, was also distinguished on this

instrument. In 1789 and 1790, she performed concertos at the London

Oratorios, making great impression by the fine ability she manifested.

In referring to this lady’s professional achievements, one of those who

refuse to consider violin-playing as “an excellent thing in woman,” has

indulged in the following remarks: “It is said, by fabulous writers,

that Minerva, happening to look into a stream whilst playing her

favorite instrument, the flute, and perceiving the distortion of

countenance it occasioned, was so much disgusted, that she cast it away,

and dashed it to pieces! Although I would not recommend, to any lady

playing on a valuable Cremona fiddle, to follow the example of the

goddess, yet it strikes me that, if she is desirous of enrapturing her

audience, she should display her talent in a situation where there is

only just light enough to make darkness visible.”—Shall we reply,

ladies, to a detractor who is forced to seek support for his opinions in

“fabulous writers,” and, even then, drags forward that which is no

parallel case? Nay, nay, let him pass! Let him retire into the darkness

which he so unwarrantably recommends to others!

LUIGIA GERBINI, who ranks among the pupils of Viotti, attained

considerable credit as a performer. In 1799, her execution of some

violin concertos, between the acts, at the Italian Theatre in Lisbon,

was attended with marked success; as were afterwards her vocal exertions

at the same Theatre. This lady visited Madrid in 1801; and, some years

later, gave evidence of her instrumental talent at some public concerts

in London.

SIGNORA PARAVICINI, another pupil of Viotti’s, earned a widely spread

fame as a violinist. At Milan, where various fêtes were given in

celebration of the battle of Lodi, the wife of Bonaparte was very

favorably impressed, during one of these, by the talents of Madame

Paravicini. Josephine, a woman of generosity as well as taste, became

the patroness of this lady, engaged her to instruct her son, Eugène

Beauharnois, and afterwards took her to Paris. However, for some reason

not publicly known, Madame Paravicini was, after a time, neglected by

Josephine; in consequence of which, and of other misfortunes, she became

so distressed in her circumstances, as to be compelled to live on the

money produced by the sale of her wearing-apparel. Driven at last to the

utmost exigence, she had no remaining resource, except that of applying

to the benevolence of the Italians then in Paris, who enabled her to

redeem her clothes, and return to Milan. There, her abilities again

procured her competence and credit. Her performance was much admired

also at Vienna, where, in 1827, she

“Flourished her _bow_, and showed how _fame_ was won.”

According to the report which travelled in her favour from thence, she

evinced a full and pure tone—a touch possessing the solidity and

decision of the excellent school in which were formed a Kreutzer and a

Lafont—and a mode of bowing so graceful, as to triumph over all

preconceived ideas of the awkwardness of the instrument in a female

hand. Madame Paravicini, in the course of her professional migrations,

was performing at Bologna in the year 1832.

CATARINA CALCAGNO, born at Genoa in 1797, received, as a child, some

instructions from the potential Paganini; and, at the age of fifteen,

astonished Italy by the fearless freedom of her play—but seems to have

left no traces of her career, beyond the year 1816.

Madame KRAHMEN, in 1824, executed a violin concerto of Viotti’s, with

great spirit and effect, at a concert in Vienna. At Prague, in the same

year, a young lady named SCHULZ gave public delight as a violin

performer. Mademoiselle ELEANORA NEUMANN, of Moscow, pupil of Professsor

Morandi, also astonished the public in like manner at Prague, and at

Vienna, when she had scarcely reached her tenth year! She is said to

have treated the instrument with great effect, and with a precision and

purity of tone not always to be found in those “children of _larger_

growth” who are content to substitute feats of skill, in place of these

essential requisites.

Madame FILIPOWICZ, of Polish derivation, has given us evidence, in

London, not many years since, of the success with which feminine sway

_may_ be exercised over the most difficult of instruments.

The instances I have thus brought forward will probably be deemed

sufficient—_else_ were it easy to go backward again in date, and to

mention Horace Walpole’s visit to St. Cyr, in one of the apartments of

which serious establishment, he beheld the young ladies dancing minuets

and country-dances, while a nun, albeit “not quite so able as St.

Cecilia,” played on the violin!—Or, I might allude to the threefold

musical genius of Mrs. Sarah Ottey, who, in 1721-22, frequently

performed solos at concerts, on the harpsichord, violin, and base-viol!

Enough, however, has been produced, to shew “quid femina possit”—what

the fair sex _can_ achieve, upon the first and most fascinating of

instruments.

THE END.

FOOTNOTES:

[1] M. Cartier, Musicien de la Chapelle du Roi, announced for

publication, several years ago, an “Essai Historique sur le Violon, et

sur les progrès de l’Art Musical, depuis le moyen age.” This

announcement was accompanied by the following observations:—“An

Historical Essay upon the Violin may, at first sight, appear to many to

possess but little interest. They will not readily believe that it is

capable of exciting their liveliest curiosity, and of presenting an

object of real utility, inasmuch as an attempt will be made to lead the

mind from the mere mechanism of the art to a moral and scientific view

of the subject, and to a consideration how far the _beau idéal_ of music

is indebted to the violin. The author proves that this instrument was

unknown to _the ancients_, and derives its origin from the _Druids of

Gaul_, from whom it afterwards passed to the bards of Scotland—that,

from this obscure beginning, it made its way through the dark ages, with

slow but certain success, till the beginning of the 17th century, when

it attained the first rank among instruments.”—(_Harmonicon_, 1827.) I

have not been able to discover whether this promised treatise has yet

seen the light. The idea of tracing the instrument to the _Druids of

Gaul_ seems more romantic than rational; but it would be something

gained for _la gloire de la France_, could such a theory be

substantiated.

[2] In England, during the time here referred to, the instruments of the

viol class were so much in favour that every considerable family had, as

a necessary part of its establishment, a complete _chest of viols_, that

is to say, a treble, tenor and bass-viol, each played with a bow, and

bearing such proportion to one another as do the modern violin, tenor

and violoncello.

[3] “Memoirs of the Musical Drama.”

[4] M. Baillot makes a somewhat longer draft upon the past tense; for he

states, that for nearly _three hundred years_ back there has been no

change in the structure of the violin.—Introduction to the “Méthode de

Violon du Conservatoire.”

[5] They who enjoy the advantage of access to curious books may see a

figure of a Provençal Fiddler in “Diez, Poesie der Troubadour.” Viol was

the old Norman French name for the fiddle used by the minstrels of the

middle ages, which was furnished variously with 3, 4, 5, or 6 strings.

Viula was the Provençal term—and arson, or arçon, for the _bow_.

[6] “It is a kinde of disparagement to be a cunning fiddler.”—_Feltham._

[7] The lute, of which hardly the shape, and still less the sound, are

now known, was, during the 16th and 17th centuries, the favourite

chamber instrument of every nation in Europe.

[8] According to Strutt, the name of _fiddlers_ was applied to the

_minstrels_ as early, at least, as the 14th century. “It occurs (says

that writer) in the Vision of Pierce the Ploughman, where we read, ‘not

to fare as a fydeler, or a frier, to seke feastes.’ It is also used, but

not sarcastically, in the poem of Launfel:—

They had menstrelles of moche honours,

Fydelers, sytolyrs, and trompoters.

“I remember also (says Strutt) a story recorded in a manuscript, written

about the reign of Edward III, of a young man of family, who came to a

feast, where many of the nobility were present, in a vesture called a

coat bardy, cut short in the German fashion, and resembling the dress of

a minstrel. The oddity of his habit attracted the notice of the company,

and especially of an elderly knight, to whom he was well known, who thus

addressed him: “Where, my friend, is your fiddle, your ribible, or

suchlike instrument belonging to a minstrel?” “Sir,” replied the young

man, “I have no crafte nor science in using such instruments.” “Then,”

returned the knight, “you are much to blame; for, if you choose to

debase yourself and your family by appearing in the garb of a minstrel,

it is fitting you should be able to perform his duty.”

[9] The miserable state of itinerant fiddlers, and other musicians, is

described by Putenham, in his _Arte of English Poesie_, printed in 1589;

and Bishop Hall, the satirist, adverting to their low condition,

describes them as

Selling a laughter for a cold meale’s meat.

[10] The learned Wilhelm Grimm, who quotes this curious record from

_Storck, Darstellungen aus dem Rhein-und Mosellande_, conceives that

this armorial bearing fully explains the allusion to the fiddle of

Volker, the accomplished musician and warrior in the old poem of the

“Nibelungen Lied” (supposed of the 12th century), and forms a key to the

enigma of his being exhibited in the joint capacity of champion and

fiddler, and bearing his fiddle, that is, his _arms_, into the battle

with him.

[11] The readiness of an apothecary to _take up a viol_ does not seem,

after all, a thing so much out of course. The singularity is, rather,

that he should be able to _make so little of it_.

[12] The viol, less powerful and penetrating than its supplanter, the

violin, was not without its recommendatory qualities. Hawkins speaks of

“the sweet and delicate tone which distinguishes the viol species.” Old

Thomas Mace, who wrote when the viol was declining in fashion, was

emphatic in its praise. “Your best provision,” says he, “and most

compleat, will be a good _chest of_ viols; six in number, viz. 2 basses,

2 tenors, and 2 trebles; all truly and proportionally suited.”

[13] According to this loose diction of honest Anthony’s, it would

appear as if Troylus and Achilles had exhibited a rivalry on the violin,

like Lafont and Paganini!

[14] That the Italians (says M. Choron) have perfected every sort of

vocal composition, is generally agreed; but a fact which is apt to be

overlooked, is that they have been the instructors of all Europe in

instrumental composition, and that to them we are indebted for the first

and most esteemed models in that department of the art. It is the

Italians who invented all the various kinds of instrumental music which

we have called single pieces or solos, from the sonata to the concerto.

In violin music, Corelli, Tartini, and their pupils, preceded the

composers of all the other nations of Europe, to whom they have served

as models. The same may be said with regard to the harpsichord, from

Frescobaldi to Clementi. All other single pieces have been constructed

on the model of the compositions for the two instruments just named.

[15] At the time of Corelli’s greatest reputation, Geminiani asked

Scarlatti what he thought of him. The man of hard learning replied that

“he found nothing greatly to admire in his composition, but was

extremely struck with the manner in which he played his concertos, and

his nice management of his band, the uncommon accuracy of whose

performance gave the concertos an amazing effect, even to the _eye_, as

well as to the ear; for (as Geminiani explained) Corelli regarded it as

essential to a band that their bows should all move exactly together,

_all up_, or _all down_; so that, at his rehearsal, which constantly

preceded every public performance of his Concertos, he would immediately

stop the band, if he saw an irregular bow.

We may smile a little at Scarlatti’s criticism; but the smile may extend

at the same time to the quaint precision of the Corellian custom it

notices:—a custom which suggests the idea of military mechanism, as well

as military time; or rather, which reminds us, in a still more lively

manner, of the old nursery pæan.

Here we go up, up, up,

And here we go down, down, downy!

Scarlatti (it may be here observed) was the first who introduced into

his airs, accompaniments for the violin, as well as bits of

symphony;—thus both enriching the melody, and giving relief to the

singer.

[16] The only English editions of the above-named works are those

published by Messrs. Robert Cocks and Co.; one of which editions is

printed from the original plates of copper, which formed part of the

stock of Walsh, who printed for Handel.

[17] Burney has made the mistake of stating that the work dedicated to

the Cardinal was the _Opera Quinta_; and, although this was obviously a

mere slip of the pen, carrying with it its own contradiction, it is

curious to observe with what easy acquiescence the successive English

Compilers have reprinted the error.

[18] The overture is inserted in the printed collections of Handel’s

Overtures; and it is conjectured that it was the _first_ movement which

appeared so difficult to Corelli.

[19] This must have happened about the year 1708; as it appears that

Scarlatti was settled at Rome from 1709 to the time of his decease.

Corelli’s Concertos therefore must have been composed many years before

they were published.

[20] The coincidences suggested by this juxta-position are so inviting

for an epigrammatic twist, that the indulgent reader will perhaps,

pardon the following attempt:

Each heading, in his art, the school of Rome,

Painter and Fiddler here have found their tomb.

Though dead in body, both in fame are quick—

Fame wrought with _hair_ appended to a _stick_!

So Genius triumphs, and her sway extends,

By means minute attaining greatest ends.

[21] Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns

the date above given, is the more likely to be correct, as he was

personally acquainted with Geminiani.

[22] According to Dr. Burney’s reckoning, his term of years would have

been 96: the reason for supposing that authority erroneous has been

already stated.

[23] It is a somewhat curious circumstance that the descendant of

Carbonelli, with an _i_ less than his progenitor, is at this day

exercising that very liquid calling which finally prevailed with the man

of music. Whether, besides selling superlative wine, he makes any

pretension to support the ancestral honors on the violin, is a point I

am unable to determine.

[24] There is another account of this love episode in Tartini’s life,

which does not conduct it so far as matrimony, but represents that, when

all the arguments of his friends against the match were found to be

without effect, his father was compelled to confine him to his room; and

that, in order to engage his attention, he furnished him with books and

musical instruments, by means of which he _soon overcame his passion_!

This statement, so opposed to the general experience of such matters,

will easily be discredited by all youthful hearts. Cure a young

gentleman’s passion, his first love, by locking him up in a study!

Preposterous. Let us cling to the more current account, and confide in

probability and Dr. Burney.

[25] Of several treatises which Tartini has written, the one most

celebrated, his “Trattato di Musica, secondo in vera scienza dell’

Armonia,” is that in which he unfolds the nature of this discovery, and

deduces many observations tending to explain the musical scale, and, in

the opinion of some persons, to correct several of the intervals of

which it is composed.

[26] For Tartini’s judicious letter of elementary hints, addressed to

Madame Sirmen, see the chapter on _Female Violinists_.

[27] Query, _Solo_?—PRINTER’S IMP.

[28] See the reference to the old sacerdotal habit of fiddling, at page

55.

[29] In his “Sonate Accademiche,” _opera seconda_, published in London,

1744, we meet (observes Mr. G. F. Graham), on the page immediately

preceding the music, with the first example we have noticed in _Sonate_

of that time, of an explanation of marks of bowing and expression that

occur in the course of the work. His marks for _crescendo-diminuendo_,

and for _diminuendo_, and for _crescendo_, are of the same form as the

modern ones—only _black_ throughout.—His mark for an up-bow consists of

a vertical line drawn from the interior of a semi-circle placed

beneath it. His mark for a down-bow is the same figure reversed in

position;—Mʳ. for _mordente_, &c. These are things worth noticing in

old music. In pages 67-9, of the same work, Veracini gives the Scottish

air of Tweedside, with variations; the first instance we know, of

Scottish music being so honored by an old Italian violinist.

[30] “I cannot understand how _Arts_ and _Sciences_ should be subject

unto any such fantastical, giddy, or inconsiderate toyish conceits, as

ever to be said to be _in fashion_, or _out of fashion_.”—_Mace’s

Music’s Monument._

[31] It was remarked, while he was in England, that his execution was

astonishing, but that he dealt occasionally in such tricks as tended to

excite the risible faculty, rather than the admiration, of his auditors.

[32] Voltaire’s contempt for _bad_ playing seems to have equalled his

indifference towards _good_, as may be evidenced in the following lines

from his caustic pen:—

toi, dont le violon

Sous un archêt maudit par Apollon

D’un ton si dur a _ráclé_, &c.

[33] Michael Kelly, who heard this artist at Vienna, on his return from

Russia, makes the following mention of him:—

“Giornovick, who was on his way from Russia to Paris, had been many

years first concerto-player at the court of Petersburgh. He was a man of

a certain age, but in the full vigour of talent: his tone was very

powerful, his execution most rapid, and his taste, above all, alluring.

No performer, in my remembrance, played such pleasing music. He

generally closed his concertos with a rondo, the subject of which was

some popular Russian air, to which he composed variations, with

enchanting taste.”

[34] Apropos of this deficiency of English, I find an anecdote in the

book of Parke, the oboist. He is describing the return from a

dinner-party.—“When we arrived at Tottenham-court Road, there being

several coaches on the stand, one was called for Jarnovicki, to convey

him home; but, on its coming up, although he had been in London several

years, he could not muster up English enough to name the street in which

he lived; and, none of the party knowing his residence, it produced a

dilemma, in which he participated, till, suddenly recollecting himself,

he broke out singing, _Marlbrouk s’en va-t-en guerre_, which enabled his

English friends to direct the coachman to Marlborough Street.”

[35] Parke, also, mentions the occurrence of this dispute, and the

challenge—stating, as the occasion, that Shaw had refused to leave his

proper station in the orchestra, to accompany Giornovichi.

[36] Authentic editions of these charming productions will be found in

the Catalogue of the Messrs. Robert Cocks and Co. who are the sole

publishers of Viotti’s Duos and Trios.

[37] It has been asserted that the _wire_ of his fourth string was

particularly fine and close, to ensure greater smoothness of surface,

and facilitate the sliding of the fingers.

[38] It is right to add here, that M. Guhr has subsequently reduced to a

system the results of his investigation into the peculiarities of

Paganini’s playing, and, illustrating the whole with copious examples,

has published it in a special work, of which an English version, under

the title of “Paganini’s Method of Playing the Violin,” has been put

forth by Messrs. Cocks and Co. The work is a curiosity in its kind, and

lays open, perhaps, as many of the great Artist’s labyrinthine recesses,

as could well be traced upon paper, for the guidance of those who would

toil in his track. Many of the difficulties thus exhibited to view, are

truly astounding—difficulties that look as inexpugnable as the

fortifications of Gibraltar! The _simultaneous four A’s flat_, do

“puzzle the will,” while the _artificial double harmonics_, and other

eagle-flights, cause an aching of “the mind’s eye,” in the attempt to

follow them. Ordinary students, in beholding such things, may well

experience a double shake of apprehension; but those of more energetic

fibre, and devoted patience, should by no means despair of attaining, at

least, a partial success in the undertaking.

Among the mechanical resources employed by Paganini, as essential for

the production of his extraordinary effects, M. Guhr mentions the

peculiar smallness or thinness of his strings—a quality the _reverse_ of

advantageous, as regards the _usual_ course of playing,—and his frequent

habit of screwing up his G string to B flat, through which device

certain passages, otherwise unmanageable, were brought within the scope

of possibility. Ordinary strings would resent this freedom of treatment

by a _snap_; but those of Paganini were, it seems, expressly fitted and

prepared for their _higher_ duty, in a way which M. Guhr minutely

explains.

[39] When Paganini was afterwards in England, it was observed by a rigid

time-keeper, who happened to attend one of his Concerts (at Winchester),

that his own portion of the performance, for which the requital was the

sum of £200, occupied just twenty-eight minutes.

[40] Duranowski, the Pole.

[41] M. Fétis, in his _Notice Biographique_, enters into a defence of

Paganini in this matter—explains the advantages of the _contract_

system, as liberating the artist from the petty cares that pertain to

concert-giving—and clears Paganini from the imputation of sordid

motives.

[42] _Some_ enlightenment on this point may be derived from a scrutiny

of M. Guhr’s Work, already referred to.

[43] Dr. Bennati read, before the _Royal Academy of Sciences_, at Paris,

a physiological notice of this extraordinary man, in which he gave it as

_his_ opinion, that his prodigious talent was mainly to be attributed to

the peculiar conformation which enabled him to bring his elbows close

together, and place them one over the other, to the elevation of his

left shoulder, which was an inch higher than the right; to the

slackening of the ligaments of the wrist, and the mobility of his

phalanges, which he could move in a lateral direction at pleasure. Dr.

Bennati also alluded to the excessive development of the cerebellum, as

connected with the extraordinary acuteness of his organs of hearing,

which enabled him to hear conversations carried on in a low tone, at

considerable distance.—M. Geoffroy St. Hilaire remarked that he had been

particularly struck with the prominence of the artist’s forehead, which

hung over his deeply-seated eyes like a pent-house.

[44] “_De l’Opéra en France._”

[45] Of harmony, or of fine melody, or of the higher relations between

poetry and music, the ostentatious Louis appears to have had no

conception. In a case of rivalry, wherein Battista, a scholar of

Corelli’s, played against one of the French band who was an ordinary

performer, he (the royal Auditor) preferred an air in “Cadmus” (an opera

of Lully’s, and not one of his best), as given by the Frenchman, to a

solo (probably of Corelli’s) by the Italian,—saying, “Voila mon gout, à

moi; Voila mon gout!”

[46] “Jamais homme n’à porté si haut l’art de jouer du violon: et cet

instrument était plus agréable entre ses mains qu’aucun autre de ceux

qui plaisent le plus.”—_Moreri, Dict. Historique._

[47] The above anecdote suggests another, of a somewhat similar cast,

pertaining to the great Musical Commemoration at Westminster Abbey, in

1791. A person falling upon a double bass, as it lay on its side,

immediately disappeared—nothing being seen of him, except his legs

protruding out of the instrument; and for some time no one could assist

him, owing to the laughter occasioned by his predicament!

[48] “Paris est le foyer musical de la France: les astres les plus

brillans roulent dans cette région préférée; mais hélas! leurs rayons ne

portent pas la lumière une grande distance. A peine sommes nous sortis

des portes de cette capitale, que nous tombons soudain dans une

obscurité profonde.”—(_Castil-Blaze, de l’Opéra en France._)

[49] “_Equisse de l’Histoire du Violon._”

[50] The universal diffusion of musical tendencies among the Germans has

been often made the subject of remark. A late traveller, visiting the

Theatre at Cassel, says that the orchestra there was half filled with

_officers_, who fiddled in their regimental uniform, without considering

the practice as at all derogatory from their dignity.

[51] Dr. Burney remarks that Geminiani used to claim the _invention_ of

the half-shift on the violin, and that he probably first brought it to

England; but that the Italians ascribed it to Vivaldi, and others to the

elder Matteis, who came hither in King William’s time.

[52] Of _Tassenberg_, a fine player, who came over to England with

William Cramer, little can be said. As he fell speedily into obscurity,

I place him here below in a note. With capacity for achieving a

position, but with no prudence for its retention, he endured much misery

through his own reckless follies. To some one who was once enquiring

where he _lived_, the reply was, “In and about the brick-kilns at

Tothill-Fields.”

[53] Apropos of the violoncello—let us here bestow a passing glance on

the name of _Merk_, distinguished more recently than that of Bernard

Romberg, in connection with the larger instrument. Merk seems to have

made a closer approach to our eminent Robert Lindley, in quality of

taste, than in firmness of hand, or brilliancy of tone. Mr. Novello, who

has rated him higher than any of our players, _except_ Lindley, adds a

remark with reference to the _double basses_ used in Germany—that they

have frequently, instead of _three_ strings, a complement of _four_,

thinner than those in use with us, and descending to E below the usual

scale—and that, when mixed with other instruments of the same class, the

depth and richness they produce are very fine.

[54] Life of Anthony à Wood, Oxford, 1772, p. 88, &c.

[55] In process of time, these compositions likewise were supplanted by

Martini’s Concertos and Sonatas, which, in their turn, were abandoned

for the Symphonies of Van Malder, and the sonatas of the elder Stamitz.

Afterwards, the trios of Campioni, Zanetti, and Abel came into play, and

then the symphonies of Stamitz, Canabich, Holtzbauer, and other Germans,

with those of Abel, Bach, and Giardini; which, having done their duty,

“slept with their fathers,” and gave way to those of Vanhall, Pleyel,

and Boccherini; and all have now gradually sunk into insignificance,

eclipsed by the superior brightness and grandeur of Haydn, Mozart,

Beethoven, Cherubini, and some others, whose symphonies are the delight

and wonder of the existing generation. So runs the changeful course of

musical success!

[56] As a grandson of the individual here recorded, the writer of these

pages may perhaps find licence to mention that there is extant in his

family a fine portrait of Dubourg, by the Dutch painter Vander Smissen,

interesting for the qualities of intelligence and good-humour that are

blended in its expression.

[57] Vide “Records of a Stage Veteran,” in the New Monthly Magazine.

[58] As to this asserted advantage of resorting to _chemical agency_,

the joke is somewhat of the oldest—so we may as well turn its coat, and

it will then wear the aspect of the following

HINT TO PURCHASERS.

To buy a fiddle when about,

Your way unto a Chemist’s win,

Where, if but twelve-pence you lay out,

You’re sure to get a _vial_ “_in_.”

[59] Should there be any to whom the foregoing estimate (which aims at

being a candid one) may seem to render imperfect justice to the claims

it deals with, I can only remind them that they have the same freedom as

myself to indulge their opinion, and to assert it. Nay, I will even

furnish them with four measured lines, by way of a text from which to

expand their own more propitious adjudication; provided only, that they

will accept them as conceived in any other spirit than that of

ill-nature, which is hereby wholly disavowed:—

Ask not how long shall flourish yet his fame,

Nor when shall cease the record of his glory!

Oblivion _dares not_ to efface his name,

Since e’en the _tomb_ cries out “_Memento Mori_!”

[60] “Diffuse the tuneful lenitives of pain.”—_Johnson._

[61] It must be borne in mind, that the three Quartett Concerts had been

given, with Mr. Dando as Leader, at the Horn Tavern; and the four

“Concerti da Camera,” at the Hanover Square Rooms;—that both parties had

advertised their forthcoming series;—and that it was pretty extensively

rumoured that the Blagrove, Gattie, Dando, and Lucas party had combined

to try their fortune in the new field.

[62] In the getting-up of Concertos for the annual _Concours_ in Paris,

the Violin students exercise a perseverance and length of labour truly

surprising; and, in the result, such is the perfect manner in which the

same Concerto is executed successively by sometimes a dozen candidates,

that it would puzzle the most skilful judges to discriminate the

individual to whom the prize should be awarded. In such cases, were it

not for the subsequent resource—the safe and certain test of

sight-playing, which brings into operation the intellect as well as the

hand—it would perhaps be impossible to give a single decision that

should not be open to dispute. Thus great is the power of execution

which practice confers—and thus rigorous, the _need_ of that practice!

[63] If an Amateur, who is capable of murdering time, should yet have

the grace of a disposition to offer some _apology_ for the act, I would

suggest his quoting, for that purpose, the subjoined rhyming octave:—

“Cease, cease this fiddling,” cried Sir John,

To Ned, his tune-perplexing son—

“You _lose your time_, you idle lout.”

“No, sir, my time I keep, throughout.”

“Psha! _keep_ time! no, _kill_ time, you mean,”

Mutter’d the father, full of spleen.

“_Kill_ him! well, sure, sir, I’m no zany,

For killing him who has killed _so many_.”

[64] The injurious and disqualifying effect of musical vanity,

complained of in France as well as here, is thus noticed by M.

Castil-Blaze:—“Although music is every where taught to our youth, and is

an art cultivated by a very considerable number of Amateurs, we find

very few amongst them who are really useful with regard to playing in

concert. And this proceeds, partly, from the fact of each individual

desiring to occupy the first place. I have known violin-players renounce

their instrument, because of finding themselves restricted to the

_second part_. As for your _tenor_, it is a department not to be

mentioned, and is left in the hands of those good elderly dullards who

have already forgotten the half of what they never very well knew.”

[65] As it is neither hoped nor intended that this chapter should

constitute a _gradus_, or complete code of instruction for the young

student, I do but hint at a _few_ of the streams of information that

Footnote: are open to him. A more extended view of these would result to

him from a reference to the printed catalogues of those very diligent

purveyors of _pabulum_ for auricular purposes, Messrs. Cocks and Co.;

but, should he look upon a copious Catalogue as little better than a

strange road without a guide, or a labyrinth without a _clue_—and should

he have no _live_ preceptor at hand, to consult—I would point his

attention to an available help from the same quarter, namely,

“_Hamilton’s Catechism for the Violin_,” small in compass as in cost,

wherein he will find, briefly indicated, the various steps by which,

with due regard to continuous advancement, he should make his way.

[66] It is noticeable, as among the advantages due to this enterprise,

that the text of the great Master, whose name it borrows, has been

rescued (so far as relates to his Quartetts) from the numerous _errors_

wherewith all the editions were chargeable; and that a new edition,

edited by Monsieur Rousselot (through whose labours that purification

was mainly accomplished) has been submitted to the public by Messrs.

Cocks & Co.

[67] Among the meritorious doings of provincial Amateurs (albeit _not_

in the way of Quartetts), I would here take occasion to mention the

Brighton “Choral Society,” commenced in 1835, under the zealous

management of Mr. H. Woledge, whose funds, as well as his time and

talent, were liberally contributed to the undertaking. That social

combination, although not continued beyond its third season, has been

followed by the Brighton “Amateur Symphony Society,” which, with Mr. B.

Thom for its Leader, and Mr. Woledge as its Secretary, is at this time

pursuing its career of recreative euphony. Such Societies as this last,

though they do not form quartett-players, can qualify their members to

supply, with creditable effect, some of the demands of an orchestra.

[68] When twenty-four bits, instead of twelve, are used for the

_purfling_, and when the _tail-piece_ is made of _two_ bits, the total

number of pieces extends to _seventy-one_!

[69] Anecdotes of Mozart, by Frederic Rochlitz.

PRINTED BY J. MALLETT, 59, WARDOUR STREET, LONDON. WORKS FOR

VIOLINISTS.

OTTO ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN, ENLARGED EDITION,

8VO. BOARDS, BY JOHN BISHOP,

(_With Illustrations_).

PRICE THREE SHILLINGS.

A TREATISE

ON THE

STRUCTURE AND PRESERVATION

OF THE

VIOLIN,

AND

ALL OTHER BOW INSTRUMENTS;

TOGETHER WITH

An Account of the most celebrated Makers, and of the genuine

Characteristics of their Instruments;

JACOBUS AUGUSTUS OTTO,

_Instrument Maker to the Court of the Grand Duke of Wiemar_.

Translated from the Original, with Additions and Illustrations,

JOHN BISHOP,

OF CHELTENHAM.

ROBERT COCKS & CO. LONDON.

OTTO ON THE CONSTRUCTION AND PRESERVATION OF THE VIOLIN, ENLARGED

EDITION, BY JOHN BISHOP.

_From the Author’s Preface._

“I have been induced to draw up a minute description of the construction

of the Violin and all other bow instruments, together with a careful

explanation of the forms of the genuine Italian instruments, by which

they may be clearly distinguished from the spurious imitations. I shall

specify those makers who, next to the Cremonese, have produced the best

instruments and worked on the most correct mathematical principles, and

shall treat at large of the rules which should be observed in repairing;

because, through this, most of the good Italian violins, and those of

other celebrated makers, have been spoiled.”

“... many good Violinists are unacquainted with the construction and

the various component parts of their instruments....” _Chap. II, p. 4._

_From the Morning Herald._

“The famous Treatise of Otto on the Violin has been ably translated by

Mr. John Bishop, whose book will be welcome to those who are curious in

the history of the instrument, in the biographies of its most renowned

makers, and in its mechanism philosophically considered.”

“The appendix (only found in this edition) contains a valuable article

on the proportions, &c. of the several parts of the violin, illustrated

by elaborate diagrams; and also another upon the bow, which was a

desideratum in the original work—thus completing the necessary circle of

information which every violinist should possess respecting the

mechanism of his instrument—and which will prove an effectual safeguard

against the mischievous practices of so-called restorers and repairers.”

“The study of this book will show any unfair dealing on the part of

dealers in old violins.”—_Harmonicon._

See also _Chap. IX, p. 342_, of “The Violin.”

A LIST

BOOKS OF INSTRUCTION

FOR THE

VIOLIN,

INCLUDING

THE METHODS OF THE MOST CELEBRATED MASTERS.

STANDARD EDITION OF DR. SPOHR’S GREAT WORK,

_With the Author’s own Sanction._

LOUIS SPOHR’S CELEBRATED VIOLIN SCHOOL, translated by JOHN

BISHOP, with two portraits of the Author—large music folio, whole

cloth boards, £1 11s. 6d.

TESTIMONIAL FROM THE AUTHOR.

“London, June, 1843.

“I have carefully looked over the English edition of my Violin School,

published by Messrs. Cocks and Co. and have no hesitation in

recommending it as a faithful translation of the original work.

“LOUIS SPOHR.”

The following is the reply to the Inscription Letter of the Publishers,

received by them from the Secretary to the

ROYAL ACADEMY OF MUSIC:

“Royal Academy of Music, February 13th, 1843.

“Sir,—I am directed by the Committee of Management of this

Institution, to state that they have much pleasure in granting

your wish to publish their names as patronizing your edition of

SPOHR’S VIOLIN SCHOOL. I am farther instructed to return you

their best thanks for your donation of a copy of the above Work,

and which they have felt much pleasure in directing to be placed

in the Library of the Academy.

“I am, Sir, your obedient Servant,

“To Robert Cocks, Esq.”

“J. GIMSON, Secretary.”

_From the Morning Chronicle._

“This edition is fully equal in value to the original German; or,

indeed, superior to it, when we consider the useful notes added by the

Translator, and the correct and beautiful manner in which the Volume has

been brought out by the Publishers.”

_From the Spectator._

“Any criticism on a work of such standing and repute as SPOHR’S VIOLIN

SCHOOL would now be superfluous, if not impertinent. Its reputation has

long been established throughout Europe; and the testimony of the best

judges has stamped it as the most perfect work of its kind.”

INSTRUCTION BOOKS FOR THE VIOLIN.

CAMPAGNOLI’S New and Progressive Method for the Violin,

translated by John Bishop, and dedicated to His late

Royal Highness the Duke of Cambridge—large music

folio, whole cloth boards £1 4 0

PAGANINI’S Method of Playing the Violin, by Charles Guhr,

translated by James Clarke 12 0

RODE, BAILLOT, and KREUTZER’S Method of Learning the

Violin, as adopted by the Conservatoire de Musique,

in Paris, translated by J. A. Hamilton 10 6

Supplement to Rode, Baillot, and Kreutzer’s Method 8 0

HAMILTON’S Catechism of the Violin, with an Appendix

by John Bishop, 6th Edition 1 0

PACINI’S Easy Method, with 50 Airs, 13th Edition, revised

by Hamilton 2 0

ABBÉ’S (fils) Treatise on Harmonics 1 6

GUHR’S Treatise on Single and Double Harmonics 4 0

PRAEGER’S Elementary and Practical School for the Violin,

in Three Parts.

Part 1. Easy Method, with 28 Airs, &c. 5 0

Part 2. The Indispensable, containing Scales, &c. 5 0

Part 3. Studies selected from Beethoven, Haydn, &c.

&c. &c. fingered 5 0

T. GOODBAN’S Violin Method 10 6

HOWELL’S Instruction Book 10 6

HOWELL’S Elementary Examples 6 0

MULLER’S Twenty Lessons for the acquirement of Time,

for one or two Violins 4 0

FOR THE VIOLA, OR TENOR VIOLIN.

INSTRUCTION BOOKS, SCALES, &c.

BRUNT’S Method for the Tenor, followed by 12 Studies 4 0

PRAEGER’S (H. A.) Scales and Chords in all the Keys,

with their proper fingering, at one view 1 0

PRAEGER’S (H. A.) 12 easy Preludes in different keys,

fingered for the use of those who wish to play

with feeling and expression 2 0

PRAEGER’S (H. A.) 18 Easy Studies, fingered 3 0

THE VIOLA FOR SOLO PERFORMERS.—“Why is the VIOLA so little cultivated

among amateurs in comparison with the rest of the Violin Family? It

would seem, in my judgment, to be especially adapted for them, as it

does not embrace that wide range and execution that the violin does, but

depends on the sweetness and volume of tone. For the performance of

_Notturnos_, perhaps no instrument is more suitable, as any one, who has

heard Mr. Hill on it, will confess.”—_Correspondent of Cocks’s Musical

Miscellany, July, 1851._

FOR THE VIOLONCELLO.

BAILLOT, LEVASSEUR, CATEL, and BAUDIOT’s Method for

the Violoncello, adopted by the Conservatoire, translated

by A. Merrick—fingered by T. Binfield 12 0

Supplement to ditto 6 0

HUS-DESFORGES’ Instruction Book for the Violoncello 10 6

HAMILTON’S Catechism for the Violoncello 1 0

DUPORT’S celebrated Essay for the Violoncello, translated

by John Bishop (_in the press_).

FOR THE CONTRE-BASSO, OR DOUBLE BASS.

MINE and FROLICH’S Method for the Double Bass (edited

by Hamilton) 8 0

STANDARD CLASSICAL WORKS

FOR VIOLIN, &c.

CORELLI’S TRIOS AND SOLOS.

CORELLI’S Forty-eight Trios for Two Violins and Violoncello,

Four Books, each 8 0

Or, complete in Three Volumes £1 4 0

CORELLI’S 12 celebrated Solos, newly arranged by Czerny 10 6

CORELLI’S 12 Solos, printed from the plates (copper)

originally belonging to Walsh 10 6

DE BÉRIOT’S Six Airs, varied for the Violin,

with accompaniment for the Pianoforte:

Nos. 1 to 5, each 4 0

8th Air 5 0

VIOTTI’S DUETTS AND TRIOS.

VIOTTI’S complete Collection of Duetts, Op. 1. 12 Duetts,

2 books, each 8 0

VIOTTI’S Six Duetts, Op. 5, 2 books, each 8 0

VIOTTI’S Six Duetts, Op. 6, 2 books, each 8 0

VIOTTI’S Three Duetts, Op. 18 8 0

VIOTTI’S Three Duetts, Op. 21 8 0

VIOTTI’S Three Duetts, Homage à l’Amitié 8 0

VIOTTI’S complete Collection of Trios,

First Set, Six Trios, Op. 2 10 6

Second Set, Op. 16 8 0

Third Set, Op. 17 8 0

Fourth Set, Op. 20 8 0

VIOTTI’S Three Airs, with Variations (Violin & Piano), each 2 0

BEETHOVEN’S Four Grand Trios, edited by Scipion Rousselot:

Nos. 1, 2, 3 (Op. 4) 12 0

No. 4 (Op. 3) 8 0

(_The only complete Edition_).

MOZART’S Original Trio for Violin, Tenor, and Bass 6 0

TRIOS by PLEYEL, HUMMEL, &c. for Violin, Tenor, and

Violoncello, or Pianoforte.

QUARTETTS.

TWO VIOLINS, TENOR, AND VIOLONCELLO.

BEETHOVEN’S 17 Quartetts for Two Violins, Tenor, and

Violoncello, edited by M. Scipion Rousselot, as performed

at the Beethoven Quartett Society in London,

with a Portrait and Memoir of the Composer. The

entire set, engraved in the best style, on extra large

plates, and printed on fine stout paper £6 6 0

_Separately._

Nos. 1, 2, 3, 4, 5, 6, composed for, and dedicated to,

Prince Lichnowsky (Op. 18), each 9 0

Nos. 7, 8, 9, dedicated to Prince Rasumowsky

(Op. 58), each 10 6

Nos. 10, 11, 12, and 14 (Ops. 74, 95, 97, and 133), each 10 6

Nos. 13, 15, 16, 17 (Ops. 130, 131, 132, and 135), each 12 0

HAYDN’S 83 Quartetts for Two Violins, Tenor, and Violoncello;

a new edition, revised and corrected, with

Portrait of the Author, and a Catalogue Thématique,

4 vols. bound in cloth £6 6 0

The Quartetts may be had singly, at 2s. 6d. 3s. and 4s. each;

or in Operas, or Sets of Six, at from 12s. to 16s. each set.

_N.B.—A Catalogue Thématique may be had, on application,

gratis and postage free._

MOZART’S Ten Quartetts, 4 vols. boards £2 2 0

First Set of Three 15 0

Second Set of Three 15 0

Third Set of Three, dedicated to the King of Prussia 15 0

Single Quartett 6 O

The Ten Quartetts in Score, 8vo. 10 Nos. £1 10 0

These unique and splendid Editions are

THE ONLY UNIFORM EDITIONS EXTANT

of the Quartetts of Haydn, Mozart, & Beethoven.

QUINTETTS.

TWO VIOLINS, TWO TENORS, AND VIOLONCELLO.

BEETHOVEN’S Quintetts, complete edition, as performed by

the Beethoven Society; edited by Scipion Rousselot—engraved

in the same style as the Quartetts, on large sized plates,

and printed on extra paper:

Grand Quintett—No. 1, in E flat (Op. 4) 10 6

No. 2, in C (Op. 29) 10 6

No. 3, in E flat (Op. 20) 10 6

No. 4, in B flat (Op. 20) 10 6

(The only complete English Edition,)

BEETHOVEN’S Grand Quintett, in E flat, for Piano, Violin,

Tenor, Flute, and Violoncello 6 0

DUSSEK’S Quintett for Piano, Violin, Tenor, Violoncello,

and Double Bass (Op. 41) 7 0

HAYDN’S Twelve Grand Symphonies, arranged by Dr. Hague

for Flute, two Violins, Tenor, and Violoncello, 4 books,

each 15 0

Pianoforte parts, each 4 0

MOZART’S Six Quintetts for two Violins, two Tenors,

and Violoncellos—6 books, each 8 6

Or, the Six complete in 5 volumes, boards £2 2 0

The first Five Quintetts, in score £1 2 6

The only correct editions of these Quintetts extant..

A. ROMBERG’S Quintetts for Violin, Flute, two Tenors,

and Violoncello

Six Quintetts, each 5 0

Three Quintetts, each 6 0

—————

SEPTETTS, &c.

All the Symphonies and Overtures of Auber, Beethoven, Haydn, Mozart,

Romberg, Rossini, &c.

(Catalogues gratis and postage free.)

—————

SYMHONIES AND OVERTURES FOR A FULL ORCHESTRA.

BEETHOVEN’S Grand Symphony. No. 1, in C (Op. 21) 12 0

HAYDN’S Grand Symphony, The Surprise 7 6

HAYDN’S Grand Military Symphony 7 6

MOZART’S Grand Symphonies, each 10 6

A. ROMBERG’S Grand Symphony in E flat (Op. 6) 10 6

*** Duplicate Violin, Tenor, and Bass Parts, each 1 0

OVERTURES FOR A FULL ORCHESTRA

BEETHOVEN’S Overture to Prometheus (Op. 48) 7 0

CHERUBINI’S Overtures to Anacreon and Lodoiska, each 6 0

MOZART’S Overtures—viz. Le nozze di Figaro, Il Flauto Magico,

Il Don Giovanni, Idomeneo, La Clemanza di Tito,

Cosi fan Tutti, La Vilanella Rapita, each 7 0

B. ROMBERG’S Overture in D (Op. 11) 7 6

C. M. VON WEBER’S Overture to Der Freyschütz 10 6

Duplicate Violin, Tenor, and Bass parts, each 1 6

—————

DANCE MUSIC

All Lanner, Strauss, Labitzky, and Musard’s Dances may be had

for a Full Orchestra.

—————

VIOLIN AND PIANOFORTE

(with accompaniments.)

Haydn’s Twelve Grand Symphonies, arranged for the Pianoforte by

Czerny, with Accompaniments for Violin, &c. Mozart’s Symphonies,

arranged by Clementi, with similar Accompaniments. Brilliant

Duetts for Pianoforte and Violin Concertante, by Mozart, Beethoven,

Rossini, Auber, Mayseder, Weber, Spohr, &c. with a large collection

of Music for Violin, &c. and Pianoforte.

—————

Just Published

A Catalogue of Standard and New Music for the Violin, Tenor, and

Violoncello. 11th Edition.

☞ This catalogue is not equalled throughout Europe for the number,

variety, and value of the Works it contains. It will be furnished

on application, gratis and postage free.

Applicants may also have, free by post, a List of Violins, Tenors,

Violoncellos, and other Instruments; including some undoubted

originals by the Italian Makers, with the Prices affixed.

ALSO

A Catalogue of the Original Works of Louis van Beethoven, with various

arrangements.

CATALOGUES, &c. FREE BY POST.

GENERAL CATALOGUES of Music for all Instruments, embracing a

stock printed from no less than a quarter of a million of plates,

may be had, on application, _gratis and postage free_.

A MISCELLANEOUS CATALOGUE of Standard and other Musical Works,

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Historical Treatises, &c. with rare and curious works, printed,

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SELECT CATALOGUE of Sacred Music, Vocal, and for the Organ, with

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IN COURSE OF PUBLICATION.

ORGAN WORKS, by W. T. Best; viz. The Organ Student, in Parts, at

2s. 6d. each; Six Adagios for the Organ, 5s.; Pedal Exercises,

&c. 12s.

Several Copies of Handel’s Complete Works, £25 to £42.

DR. BOYCE’S COLLECTION OF CATHEDRAL MUSIC, with Portrait, and

Memoirs of the Composers, by Joseph Warren, dedicated to H. R. H.

Prince Albert—3 vols. extra music folio, £6 6s.

A LARGE COLLECTION OF PORTRAITS OF MUSICAL MEN, at various

prices. Also Busts in bisque China of Haydn, Mozart, Beethoven,

Handel, J. S. Bach, Mendelssohn, and Weber, each 2s. 6d.

_Just Published_,

Vol. I. in Royal 8vo. Price £1 1s. of

(COCKS’S EDITION OF)

THE SCHOOL OF MUSICAL COMPOSITION,

BY DR. ADOLPH MARX.

This Edition, under the supervision of the Author himself (with

additions exclusively for the English translation), is published

simultaneously with the FOURTH GERMAN EDITION, _now in course of issue

at Liepzig_.

VIOLINS, BOWS, &c.

Vuillaume’s Copies of Straduarius, Guarnerius, the Amatis, Magini, &c.

price £14 each instrument.

Brazil Wood Violin, Tenor, and Violoncello Bows, by Vuillaume, at the

uniform price of thirty shillings; Moveable Hair, by the same,

eighteen-pence each hank; and his Patent Rosin, one shilling the box.

ROBERT COCKS & Co. NEW BURLINGTON STREET, _Music Publishers, by Special

Warrant, to the Queen_.

The Violin Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc. · 第 16 / 16 章

_African Fiddle._—The Mosees, Mallowas, Burnous, and natives from the