The Violin

Hackwood lived till 1821, and was for some years father (as the term goes) of the Royal Society of Musicians.

It may be incidentally mentioned that a great benefit to our English performers on bow-stirred instruments in general, was produced by Abel’s residence here for about a quarter of a century. That fine musician and performer, the pupil and friend of Sebastian Bach, though he handled an instrument (the viol-da-gamba) of a species which was not in common use, and was even about to be completely laid aside, became nevertheless the model, in adagio-playing, of all our young professors on bowed instruments, who, taught by his discretion, taste, and pathetic manner of expressing a few notes, became more sparing of notes in a cantabile, and less inclined to attempt such flourishes as have no higher purpose than to display mechanical readiness. The wonders achieved by Abel in the extraction of tone from an instrument which, albeit possessed of some sweetness, was radically so crude and nasal, as the viol-da-gamba (that remnant of the old “chest of viols”), are something truly memorable among the triumphs of art. The Robert Lindley of our own day and country, transcendant in the quality of tone which he could elicit, stands a minor marvel, as compared in this sense with Abel, —his instrument being one that is naturally so much more grateful and practicable.

Richard Cudmore, a native of Chichester, was born in 1787. His success began with his juvenile days, for he performed a solo in public when only nine years old; and at eleven, with still higher ambition, he played a concerto at Chichester, composed by himself! Such a thing is of course only marvellous with reference to the means which it is possible for a child to possess: accordingly, on these occasions, there is always “a liberal discount allowed” – the indulgent auditor forming his estimate on the Horatian plan of “contentus parvo.” At twelve years of age, young Cudmore attained the provincial triumph of leading the band at the Chichester Theatre – played a concerto for the comic actor, Suett, at his benefit – and performed a violino primo part amongst the “older strengths” of the Italian Opera-band in London. In the mean time he was introduced to Salomon, and had the advantage of some training from that noted Master. After the subsequent enjoyment of some years of country fame, Cudmore changed the scene of his operations to London, and, giving scope to the versatility of his talent, became a pupil of Woelfl’s on the pianoforte, and, in the sequel, a public performer on that instrument also. – A striking proof of his musical ability is shewn in an anecdote recorded of him. On one occasion a performance took place at Rowland Hill’s Chapel, in Blackfriars Road, for which Salomon had rehearsed, in conjunction with Dr. Crotch and Jacobs. Salomon, however, being unexpectedly subpœnaed on a trial, requested Cudmore to become his substitute at the chapel, when he performed the music at sight, before from two to three thousand persons. – Another extraordinary instance of his skill in sight-playing, or what the French call l’exécution à livre ouvert, was given in a private concert at Mr. C. Nicholson’s, where he executed at sight a new and difficult manuscript concerto, which was accidentally brought thither.

At Liverpool, where he occasionally conducted the public concerts, he once performed a concerto on the violin by Rode; one on the piano by Kalkbrenner; and a third, by Cervetto, on the violoncello! At a later period, he became leader of the band at the establishment called the Manchester Amateur Concert.

G. F. Pinto, grandson of the performer of that name already noticed (whose ardent temperament he seems to have inherited, with no countervailing discretion), affords a remarkable instance of premature musical genius. He studied the violin under Salomon and Viotti, and, at fifteen years of age, had attained such accomplishment on that instrument, that he could lead an orchestra, in the performance of the symphonies of Haydn, with no very discernible inferiority to Salomon. He became also a proficient on the pianoforte, and evinced good knowledge of counterpoint, in several vocal publications of merit and originality, which he sent forth when about the age of seventeen. The syren voice of Pleasure, however, lured this promising genius to his destruction. Possessed of a fine person, and a mischievous store of vanity, he became a martyr to dissipation about the year 1808, before he had completed his twenty-first year.

Thomas Linley (Junior), eldest son of the vocal composer of that name, was born at Bath, in 1756, and displayed, at a very early age, extraordinary powers on the violin – performing a concerto in public when but eight years old. To qualify him more effectually for a musical career, through a due acquaintance with theory, his father placed him under the able tuition of Dr. Boyce; after which he was sent to Florence, chiefly to prosecute the study of his favourite instrument, under the eye of Nardini. Through the kind agency of the Italian violinist, Linley acquired the advantageous friendship of Mozart, then a youth of about his own age. On his return from his studies on the continent, young Linley repaired to Bath, to lead his father’s concerts and oratorios, which he did with such precision and animation as to gain high credit. His manner of performing the concertos of Handel and Geminiani was also much admired; nor did he fail to exhibit marks of opening excellence as a composer, in his own solos and concertos, occasionally introduced, as well as in several vocal dramatic productions, which evinced considerable imagination and spirit. The brilliant professional hopes founded on these achievements were destined, however, to be suddenly darkened: for the object of them met with an untimely death in the year 1778, by the upsetting of a pleasure-boat.

Thomas Cooke – who is there, having open ears, that does not know something of the versatile and ingenious Tom Cooke? – was born in Dublin, and was ready with his violin, at the age of seven, to play a concerto in public. Expert with hand, tongue, and pen, he has performed three times three successive solos, on as many different instruments, in one night, for his benefit – and, in moments of composure, has written for all of them. At a very early age, he became director and leader of the music at the Theatre Royal, Dublin; from which condition he suddenly transformed himself into that of a singer, and enjoyed a success of several seasons at the English Opera-House, in London, as vocalist and composer. His next course of exertion was at Drury Lane, as singer, and afterwards as musical director, leader, and composer, in which latter triple capacity he pursued a long and steady career. The violin was eminently useful in his hands, if it cannot be said to have been, in the highest degree, brilliant.

“Tom Cooke,” observed a chronicler, some time since, in one of the magazines, “is certainly the most facetious of fiddlers, and is the only person at present connected with theatres, who smacks of the olden days of quips and cranks. Some of his conundrums are most amusing absurdities.” After assigning to him, by a somewhat venturesome decision, the authorship of the receipt for getting a vial-in at a chemist’s58, the same writer gave two other specimens of Cooke’s powers of jest, as thus: —

Once, whilst rehearsing a song, Braham said to Cooke, who was leading, “I drop my voice there, at night” – intimating that he wished the accompaniment to be more piano. “You drop your voice, do you?” said Cooke; “I should like to be by, and pick it up.”

During the run of the Tragedy of Manfred, he remarked, “How Denvil keeps sober through the play, I can’t think; for he is calling for spirits, from the first scene to the last!”

Some few years have now elapsed, since this well-remembered professor was borne to that spot where – instead of the achievements of talent, or the humours of character – a few meagre words, and a date or two, comprise usually all that is told to the stray pedestrian, or the passing wind!

Nicholas Mori, who, in certain respects, is entitled to rank high among English Violinists, was born in London, in 1796. The instrument that became the medium of his success in maturer years, was the object of his regard even in infancy – for, at three years of age, he was clutching a contracted specimen of it in his little grasp, and receiving some initiatory hints from Barthélemon. At eight, prepared and advertised as a prodigy, he was publicly playing that Professor’s difficult concerto, styled “The Emperor.” A few years later, his aspiring hand was conspicuous at the Concerts given by Mr. Heaviside, the Surgeon. To add the solid to the showy, the aid of Viotti (then almost a seceder from the profession) was wisely invoked; and nearly six years of his valuable guidance were obtained. Meanwhile, the active youth, still boyishly habited in jacket and frill, was careering through an engagement in the Opera orchestra. There, at the age of twenty, he became leader of the Ballet, on the retirement of Venus, which post he held until, in 1834, he succeeded to that of the silvery Spagnoletti.

The Philharmonic Concerts, which commenced in 1813, had opened a new field for the display of high talent in almost every department of the musical art. The interest and advancement of Mori, in that quarter, were zealously undertaken by Viotti; and he became one of the Directors of the Society, for several seasons. In 1819, he married the widow of Mr. Lavenu – an alliance which made him the successor to a lucrative business.

Another native Establishment, instituted in his time, afforded further opportunity for the indefatigable exertions of Mori. The Royal Academy of Music received him within its walls, as one of its principal teachers of the violin. Among his pupils there, were Oury, Patey, Richards, Musgrove, and his own younger son, Nicholas. The success of his Concert-speculations, meanwhile, was attested by the overflowing audiences they constantly drew together; but such a result was not accomplished without great attendant labour and anxiety. His Classical Chamber-Concerts, commenced in 1836, in sequence to those of Blagrove’s party, kept his name still prominent before the public until his death, which took place on the 14th June, 1839.

Few professional men have possessed equal influence in our musical circles, with that which was attained by this distinguished artist; and few have succeeded in acquiring so large a share of public patronage. Yet, favourite of the public as he was, from first to last, it must be regretfully added that he failed to secure the cordial sympathy of his professional brethren, to whom his irritability of temper, and brusquerie of manner, rendered his official government no halcyon reign. For all that was thus unpleasant, however, a cause was discovered, that left his real character untouched. Physical disturbance, existing and accumulating for some length of time, before his sudden decease, had impaired the functions of the brain, and unsettled the moral impulses. With such ground for acquittal of the agent, offence was at once forgotten, and sympathy alone entertained.

As to the too eager pursuit of pecuniary advantage, which has been sometimes charged upon this artist, it may not be quite so easy to award entire absolution. It is very possible, however, that what seemed the love of money, was really the love of family, urging to provident collection. Should this plea be deemed inconclusive, there would still remain much excuse for the individual, in a certain bias, or tendency, that is notoriously far too prevalent among us. I mean that inveterate habit of referring all things to the commercial principle, which, causing the musical art, in this country, to be regarded mainly as an object of gain– is bitterly unfavourable to the growth of a kindly feeling among its members (each of whom too often learns to consider his neighbour as a rival to be repressed, rather than a friend to be assisted) – and wears down the enthusiasm for high art, by a vexatiously incessant attrition with common arithmetic.

“Non bene conveniunt, nec in unâ sede morantur,

Plutus et Euterpe!”

In Germany, on the contrary, where art is loved chiefly for itself, and where moderate desires attend its exercise, the social feeling among musical men – a thing delightful to witness – is as beneficial in its influence on the character of the individual professor, as in its effect on the general interests of the art. The same remark applies, in a lesser degree, to the credit of the musical profession in France. It is not too much to hope that the now obviously increasing diffusion of musical taste and intelligence among ourselves, will bring, as its ultimate consequences, a diminished care for emolument, and a closer fraternal feeling among our artists.

To advert more minutely to Mori’s powers as a Violinist – since he was not great in all the requisites, it follows that he can scarcely be regarded as an artist of the very highest order. That mechanical command over the executive difficulties of the instrument, for which he was so remarkable, and which enabled him, when yet a boy, to delight the lovers of the surprising – was his chief merit – “the pith and marrow of his attribute.” The tuition he received from Viotti, that most vigorous of Violinists, was of great importance in directing and maturing his great manual capacity; but, though he derived from him, and from his own assiduous study, a full, free tone, a dashing execution, and the most accurate neatness, – his temperament, somewhat hard and ungenial, seems to have been too little in accordance with Viotti’s, to admit of his fully acquiring all the advantages which that great preceptor was fitted to impart. He caught most felicitously the art of triumphing over difficult passages – the perfection of mere fiddling – but he had not the soul to awaken, through the magic of expression, those deeper sensibilities in which music finds the truest source of its empire. Mori’s playing, with its powers and its deficiencies, was admirably suited to the apprehension and desires of a fashionable audience. It was showy, but not profound; striking, but not moving; full of artificial neatness, with little of natural grace. His hand wrought to more purpose than his mind. He was (before the malady that finally subdued him) a man of rigid nerve, and had all the advantages that confidence could bestow, – and these, especially in solo playing, are far from inconsiderable – but then, for want of the sensitiveness pertaining to a more delicate organization, he lost the finest part of what might have been accomplished. He has occupied a very marked place amongst English instrumentalists; but, for the reasons here alleged, the impression he produced seems not likely to prove of a very durable character, so as to secure to him any considerable future importance in musical annals. As a composer for his instrument, he possessed very slender pretensions. His performance itself, admirable as it was in some points, sufficiently shewed why he could not hope to distinguish himself in composition. The few manifestations he made in that way have given no cause for regretting his general habit of trusting to the works of others, for the musical ideas which he had to convey59.

“To snatch a grace beyond the reach of art– ”

Mr. Loder, of Bath, long prominent among provincials, and not unknown in the metropolis, was justly esteemed for his knowledge of the orchestra, and his utility as an able leader.

Mr. Henry Gattie, welcomed in his youthful days as a charming solo-player, in which capacity he ran for a time a pretty close race with Mori, has since contented himself, for the most part, with the less ambitious employment of orchestral playing; but his finished taste, and true musical feeling, ensured him a very favourable attention, when, on the memorable occasion of the experiment at Quartett performances (to be presently referred to), he took the Second Violin part among the confraternity at the Hanover Square Rooms.

Antonio James Oury was born in London, in the year 1800. His father, a native of Nice, of noble descent, left home to follow the early campaigns of the then General Buonaparte – was taken prisoner by the English, and lodged near Southampton, at which place he married, in 1799, the daughter of a Mr. Hughes, not unknown in literary circles – and then followed the joint profession of musician and dancing-master, possessing, at the same time, great natural capacity for several branches of the fine arts.

The subject of our present sketch, at the age of three years, commenced his infantine attentions to the violin, under the tuition of his own father, and of the father of our talented composer, George Macfarren. In 1812, young Oury became the pupil of three eminent professors – Mori, Spagnoletti, and Kiesewetter. In 1820, he heard Spohr for the first time: as a result of the impression then received, his perseverance became so great, that, for the space of seven months, he practised no less than fourteen hours a-day! In the same year, he went to Paris, to study under those magnates of the modern French School of the Violin – Baillot, Kreutzer, and Lafont. From each of these masters (and without the knowledge of the others) our young artist managed to take two lessons a week, for several successive winters, at the same time studying composition under Monsieur Fétis. He then made his début at the London Philharmonic Society, at the Concert given for the widow and family of his late master, Kiesewetter. He also became a member of the “Ancient Concerts,” Philharmonic, and Opera orchestras, and joint leader with François Cramer, at the Birmingham, York, Leicester, and Derby Musical Festivals – and also made several operatic tours in Ireland and elsewhere.

In 1826, Oury was engaged as Leader of the Ballet, Sub-Leader of the Opera, and Solo-Violin, at the King’s Theatre; and, as successor of Mori and Lacy, he held this tripartite post for five years – displaying, whensoever the occasion permitted, the graces of a light and free execution.

In 1831, Mr. Oury married the distinguished pianiste, Madlle. Belleville, whose father had also been an officer of Napoleon’s, and was afterwards French Tutor to the Princesses of Bavaria. His first trip with Madame Oury was to Liverpool, as Leader of De Begnis’ Italian Opera, where they gave, conjointly with Paganini, a grand Concert at the Theatre Royal, in behalf of the local poor. In 1832, they left England for Hamburgh, Berlin, St. Petersburgh, and Moscow, giving (in all) twenty-three Concerts, during a residence of two years, in Russia, and returning (after playing at the Imperial Court) to Berlin. They next visited Leipzig, Dresden, Prague, and Vienna – making a brilliant sojourn of two years in the Austrian capital. Mr. Oury visited Pesth and Buda, alone and gave seven Concerts, with great success and profit; played in presence of the Imperial Court, at the Bourge Theatre, Vienna, and returned to Munich. Again (accompanied by Madame Oury) he gave Concerts in all the principal towns of the Rhine, till they arrived in Holland, where Madame Oury was attacked by a serious illness, which interrupted a number of professional engagements. After a successful tour, however, to all the chief towns of Holland, they returned to Dusseldorf, on the occasion of the first performance of Mendelssohn’s Oratorio of “Paulus.” At Aix-la-Chapelle, they gave Concerts in conjunction with their friends Malibran and De Beriot – visited Belgium – played at the Court – and then resided two years in Paris, with Paganini, at the Neotherme. During this period, Mr. Oury entered the orchestra of “Les Italiens” (then performing at the Odéon), and made himself conversant with the operas of Donizetti, under the author’s own conducting. Subsequently, he returned to England, after an absence of nine years.

In 1846 and 47, again visiting Italy, Mr. Oury and his accomplished partner gave Concerts at Rome, Naples, Venice and Milan, and returned to England in 1848. Mr. Oury next accepted the post of Leader of the Seconds, on the notable occasion of Mr. Balfe’s forming a new orchestra (to meet the opposition of the Royal Italian Opera), at Covent Garden.

Before taking leave of the subject of this notice, a few particulars remain to be added. Mr. Oury, with his accomplished wife, has composed a number of brilliant Drawing-Room Duetts Concertante, for piano and violin, which have procured their entrée to most of the musical saloons and Courts of Europe. Mr. Oury has had no scanty share of honours bestowed on him – such as the being appointed one of the Professors at the Royal Academy of Music in London, at the time of its foundation – a member of several Continental Philharmonic Societies – and an honorary member of the Academy and Congregation of St. Cecilia, at Rome. By these distinctions, it is sufficiently denoted that he has secured to himself a reputation through a large part of musical Europe.

It has been said, that a sense of injustice during the encounter with professional jealousies in the home field of exertion, first drove this clever artist to take a wider range, and visit continental cities. If so, he has no reason to regret the event, having abundantly “seen the world,” and gathered of its laurels to any reasonable heart’s content.

Among the professional pupils whom Mr. Oury has had the honour of aiding in their early practice, may be mentioned the well-known composers, George Macfarren and Sterndale Bennett, and (of amateurs) that distinguished dilettante and classical violinist, the present Earl Falmouth.

Joseph Haydon Bourne Dando, well-entitled to honourable mention among English violin-players, was born at Somers Town, in the year 1806. At an early age he had developed a taste for music, and, under the guidance of his uncle, Signor Brandi, attained to considerable facility of execution on his instrument.

In 1819, he was placed under the tuition of Mori with whom he continued his studies (off and on) for about seven years, although no great cordiality appears to have been established between them. They were, in fact, of essentially different temperaments. After some years of practical training, during which he had mastered most of the difficulties written as concertos and studies for the violin – finding the influence, as well as the disposition, of his master, opposed to the display of his acquirements in what may be termed musical gymnastics, our young artist wisely (and, for the advancement of musical taste in this country, fortunately) turned his genius and talents to useful account, in studying and illustrating the higher order of beauties contained in those charming works which had been written, by some of the great masters in composition, for “chamber-performance;” more especially the quartetts of Haydn, Mozart, Beethoven, Spohr, &c.

Although opportunities for exhibiting his proficiency, as a solo-player, were restricted, they could not be entirely suppressed. Enough has transpired to warrant us in the conclusion, that, with a fair field, Mr. Dando might, in that branch of his art, at the present day, have stood second to none. As a quartett-player, he has achieved a reputation which places him in the front rank of contemporary violinists.

Any notice of Mr. Dando’s professional career, which should pretend to throw a light on his progress and present position as an artist, must necessarily include much that properly belongs to a history of the rise and progress of Quartett-performances in England. It is to him, probably, that we are indebted, not only for the first public introduction of the Quartett in London, but also, in a great degree, for our present familiar acquaintance with those elegant works, which have of late years so largely contributed to the increase of our musical enjoyment. A license may therefore be reasonably solicited for diverging into matter which, under other circumstances, might appear foreign to the purpose of a mere biographical sketch. It is presumed, however, that no apology will be required for crossing the strict boundary line, by stating some of the following particulars; seeing that they, in reality, are quite apropos of the general design of this work, and come with propriety under the present section of it.