The Violin

From his youth upwards, Mr. Dando’s society appears to have been courted, and his talents appreciated, by most of the amateurs of music in that part of our metropolis designated as the City, where more intimately he was known, owing to early introduction; and where his agreeable manners, added to his professional merits, contributed to the formation of some lasting friendships, as well as valuable connexions. Of these gentlemen, some were well skilled in the performance of the favourite works of the great quartett writers; and a larger number were qualified to form an accurate estimate of their merits. The charm of Mr. Dando’s style, as a quartett-player, had in due time (about the year 1834-5) rendered the fact apparent to his friends, that the choice works of those masters, which were the delight of the initiated, still remained “a sealed book,” not only to the general public, but even to the ordinary habitué of the concert-room; and it was thought that they only required a fair introduction, to secure to them that favour in public, which they so largely attracted in those private musical circles where they were familiarly known. Accordingly, in the year 1835, a subscription was opened amongst the amateurs – Mr. Dando’s more immediate admirers – for the purpose of submitting some of these works to more open notice. An occasion of distress was selected as an excuse for an evening’s public performance of quartetts, trios, &c. the profits of which were to be presented to a worthy individual who had fallen into pecuniary difficulties, and was about to quit our shores, to better his fortunes in America. A party was formed, with Mr. Dando at its head, and the First (as far as we have been able to ascertain) Public Quartett Concert in this country, was given on the 23rd September, 1835, at the Horn Tavern, Doctors’-Commons. This presentation was the commencement of an epoch in the musical history of this country. On the occasion, the amateurs mastered in force, and brought their friends, to support the two-fold object they had espoused. The evening passed away in raptures. A second public trial was immediately undertaken, and announced for the 12th October, in the same year; and then a third (on the 26th October), each, in succession, proving more widely attractive than its predecessors. So unequivocal was the success of these experiments on public taste, and such was the furore excited in the musical world by them, that from these performances may be dated the establishment of Quartett Concerts in this country.

As might be expected, the first blow so effectively struck, led, by its own impulse, to a regular series, which followed at rapid intervals (first at the same rooms, and afterwards at the London Tavern), between the 13th January, 1836, and the 31st January, 1838, two consecutive seasons.

In the mean time, an early spark had fired the train, and the idea extended to the west end of the town, where a company of talented professors combined to set on foot a sequence of similar attractions; and four had been quickly announced under the title of “Concerti da Camera,” at the Hanover Square Rooms, for the 7th and 21st of November, 5th and 19th of December, 1835. At the fourth of these meetings, Mr. Dando was engaged to play the principal viola part in Spohr’s Third Double Quartett. The effect of his performance of the part was notable; inasmuch as it led to an immediate invitation from Messrs. H. G. Blagrove and Lucas (the principal Violin and Violoncello on that occasion) to join them in the formation of a select party, for the more perfect study and presentation of Quartetts and other chamber instrumental compositions, which, by this time, were beginning to attract universal attention. Mr. Dando acceded to the proposition, and enrolled himself as the tenor-player of a party which was completed by the subsequent adhesion of Mr. Henry Gattie, as second violinist. The party, thus constituted, brought before the public the first of their “Quartett Concerts” at the Hanover Square Rooms, on the evening of the 17th March, 1836, with a completeness of effect in the ensemble, that threw all prior performances of their kind into the shade.

Under the impression produced by an audience of these interesting confederates, was penned the piece of panegyric that here-under asks the indulgent attention of such of my readers as are tolerant of verse: —

Happy the man of taste that’s ledHither, to have his cravings fed!He who this dainty circle nears,Takes in ambrosia at the ears,Through a new sense, revives a fable,And finds a feast that needs no table!When thus as one are met these four,What treat can Music yield us more?Ye birds, that haunt by night or day grove,Yield, yield in dulcetry to Blagrove!Say, is he not, while warbling now,Well worthy of a topmost bough?And do not these, that add their claim,Put all your “sylvan choirs” to shame?What think ye, feathered ones! of notesSo ravishing – and not from throats?How sweet, and exquisitely natty,Those trills ancillary, from Gattie!And list! t’ enhance our joy what can doThe “even tenor” of smooth Dando.Then, in the stream of sound to hook us“Deeper, and deeper still,” comes Lucas.Felicity, with clearest voice,Calls here on Echo to rejoice!Desire may here, with resting feet,Sit still – nor care to shift her seat.– Who-e’er thou art, that long’st to feel,Psha! Twitch no more “the electric eel!”Nor dream thy languor to dispelBy bathos of “the diving bell!”If in thy brain one corner yetTo dozing dulness be unlet —If ’scape thou would’st from stupor’s net,And, like a man just free from debt,Thy load of lumpishness forget —Come! for one hour be Pleasure’s pet!Oh, come, and hear a choice QuartettDiffused 60 by this consummate set!

About the time that gave birth to the intentions of this party, Mori – then at the zenith of his powers – finding that his juniors in the profession were taking steps in advance of him61, and determining upon the maintenance of his position, organized a party in which Messrs. Watts, Moralt, and Lindley were his coadjutors. Without much prelude, they commenced operations on the growingly attractive Quartett, by giving three “Classical Chamber Concerts” at Willis’s Rooms, on the 6th and 20th January, and 3rd February, 1836.

The flood-tide of public favor had now set in. We find no less than four distinct parties of leading professors embarked in serial quartett-performances; with others, occasionally launching on the swelling current, just for a little cruize. “Chamber Concerts” became the fashion; “Musical Réunions,” “Soirées Musicales,” and “Classical Instrumental Concerts,” multiplied almost ad infinitum. “The Beethoven Society” was formed, and a host of others followed suit – their names “legion” —all under favour of the absorbing interest in the Quartett. In short, since the season of 1836, these deserving works have become recognized and claimed as Public Property – witness the advertising columns of the diurnal and periodical press, which teem with announcements, in every form of allurement, inviting support.

Of all these associated parties, none has attained such distinguished popularity, and secured such unqualified approbation, as that of Messrs. Blagrove, Gattie, Dando, and Lucas. At an early stage of their career (the 23rd May, 1836), they were invited to perform at the “Philharmonic,” where they produced a sensation which at once established them on the pinnacle of public favour. From that date up to the 29th April, 1842 (the close of their seventh season), they continued their combined operations, with unabated éclat, at the Hanover Square Rooms. About that period, Mr. Blagrove, being desirous of investing his interest in a private undertaking of his own, withdrew from the association. The retirement of Mr. Blagrove did not, however, affect the stability of the “Quartett Concerts.” The veteran Loder, of Bath, recruited the party, undertaking to perform the viola part; Mr. Dando resumed the principal violin; Messrs. Gattie and Lucas retained their original appointments. Thus remodelled, the party removed its attractions to Crosby Hall, in the City, where, with Mr. Dando at its head, “The Quartett Concerts” continue to be carried on up to the present day.

It has been less the purpose, in this retrospect, to eulogize individuals, or to make comparisons between parties, than to set forth premises wherefrom we may reasonably conclude that the modus operandi adopted by that party to which we have more particularly pointed attention, must have been the best, if not the only, road to true excellence. The Quartett demands, not only individual efficiency in its execution, but collective agreement in the expression of its parts; the nicest discrimination in delineating its delicacies; and an ensemble animated, as it were, by one mind. To produce this unity of parts in one completeness, it is not sufficient that parties should merely play together; – they absolutely must meet for frequent practice together, and (according to the light that is in them) fixing upon the best interpretation of the author’s meaning, proceed to its exemplification with simultaneous feeling and decision.

We have it from undoubted authority – and record the fact for the benefit of all aspirants to public applause – that the Quartett-party, which has run the most brilliant and extended course, has devoted to the object which called it into existence the largest amount of industry and energy, in private preparation for its public exhibitions – these qualities being by them considered necessary additions to a well-digested experience, which, as the ground to begin upon, they previously possessed. Instead of rushing into public the moment they had formed their compact with each other, and trusting to the novelty of their introduction, or relying on a name already inscribed in capitals, indicative of honours achieved in another branch of the art, more dependent on manual dexterity than on mental cultivation – we find these (then young) professors patiently submitting themselves to the drudgery of preparation. There is the best authority for stating that they did not think six or eight rehearsals, previous to the production of a work in public, too much trouble, or time and application thrown away, or even unnecessarily bestowed. The success of their undertakings has been commensurate with the pains which they underwent to secure it. This accounts for their having achieved the vantage-ground in the general competition for distinction, while others, of more matured reputation as individual performers, failed to attain the preference which they were equally in quest of, by apparently the same path. How otherwise, it might be asked, could … But lest some should consider the digression to be growing tedious, let us at once resume the object with which we started, and complete our biographical sketch – leaving the facts and hints that have been incidentally recorded, to the further (private) meditation of such as are more particularly interested in them.

Mr. Dando first appeared as a member of the Philharmonic orchestra, in 1831: since which time he has held an uninterrupted engagement in its front rank of violins. As an orchestral leader, himself, he has had a long and honourable career, as well in the provinces as in London and its suburban offshoots. In the City, he has almost exclusively occupied that post. At the great concerts given by the amateurs at the London Tavern; at those of the “Classical” and “Choral Harmonists ” Societies; also at others brought out on a less extensive scale, at the “Horn Tavern,” Doctors’ Commons, the “Albion,” and “London” Tavern, his qualifications have been fully admitted, and the highest credit awarded. As to his peculiar manner, or style, it may doubtless be averred that, as a pupil, he must have profited largely by the example of his master, Mori; although, finally, his talents have become conspicuous in a very distinct school. Fire and vigour, more than feeling, were the characteristics of style in the one, while the other has become remarkable for the elegance of his expression, and the neatness of his execution – a neatness which is by no means unattended by the amount of vigour occasionally requisite to express the passion of an inspired author. In his hands, the violin has oftentimes become almost vocal, and his performance on that most expressive of instruments has been very characteristically described by an accomplished public critic, as “soul-satisfying in the extreme.”

Henry C. Cooper, a fine solo-player, indoctrinated by Spagnoletti, holds a distinguished place among our Violinists. In the absence of materials for treating of him in extenso, his laurels, green and vigorous as they are, can at present only be recognized – not displayed – in these ministering pages.

Edward William Thomas, of Welsh parentage, was born in 1814. His commencement with the Violin was under Mr. W. Thomas, formerly Leader of Covent Garden Theatre. It was said that he was too old to “do any good” (being then twelve years of age), but the prediction – like many other such familiar croakings – came happily to nothing.

Leaving Mr. W. Thomas, his young name-sake was placed at the Royal Academy of Music, under Oury, Cramer, Mori, and Spagnoletti; the result of which multiplication of masters was, that he no sooner began to feel the good effects of the endeavours of one, than he lost them under the different system pursued by another. To remedy this, he became a resident pupil in the house of the kind-hearted Spagnoletti, to whom, as well as to his first master (Thomas), he always evinced a feeling of grateful attachment.

His first appearance, as a Solo-player, was at “Russian Field’s” Concert, at Her Majesty’s Theatre, in 1832, when he played Spohr’s Dramatic Concerto: this was also the year of his first engagement (by Mr. Monck Mason) at Her Majesty’s Theatre, where he remained until the establishment of the Royal Italian Opera, which he left in 1850, to become the Leader of the Liverpool Philharmonic.

Bream Thom, a native of Portsmouth, dating his days from 1817, made his first approaches to the Violin at eight years of age, having from infancy evinced a predilection for music, although no other member of his family was that way inclined. He studied hard, and, at seventeen, was appointed Leader of the Orchestra at the Portsmouth Theatre. He appeared, in 1838, at the Hanover Square Concert-Room, in London, and was favourably received. Shortly afterwards (by the advice of Mr. Oury), he went to Paris, and placed himself under Monsieur Robretch, a professor to whom belongs the credit of having had some share in the tuition of De Beriot, and of Artot. Returning to England, he settled eventually at Brighton, where he has for some time officiated as Leader at the Theatre, Amateur Concerts, &c.

Charles Frederick Hall, five years a member of Her Majesty’s Theatre, and the present Musical Director of the Royal Marionette Theatre, London, was born at Norwich, in 1820.

When a mere child, his melodious voice attracted the attention of the Norwich denizens; but his early predilection for the stage induced his family to accept an engagement for him from Elliston, in 1829, for the purpose of bringing him out in juvenile operas (at the Surrey Theatre, London), in which Master Burke, Miss Coveney, Miss Vincent, and Master Henry Russell, &c. shared with our youthful vocalist the favours of the public. Eighteen months after this period, his friends recalled him to his birth-place, and articled him to Mr. Noverre, a dancing-master in high repute, by whose advice he immediately commenced the study of the Violin – upon which instrument he made such rapid progress, that his friends were urged to cancel their agreement with Noverre, and destine the youth exclusively for the musical profession.

Although his attainments in singing, as well as on the piano and violin, seemed to point with sufficient clearness to his proper path, a passion for the stage developed itself in 1833, when he appeared on the boards of the Norwich Theatre, in the character of “Little Pickle,” in the farce of the Spoiled Child; by which personation he attracted such notice, that the manager of the Theatre engaged him to appear in that character at all the theatres belonging to the Norwich Circuit.

The family of our youthful musician, being anxious to wean him from a theatrical career, usually so trying to the principles of a young mind, placed him with a German Violinist (Herr Müller), of whose experience he availed himself to such extent as to become, in 1835, (when only 15 years of age) the Leader of the Norwich Theatre.

While on a tour with the Norwich Company, our young Violinist made acquaintance with Edmund Kean; and, but for the sudden demise of that rare but very rambling genius, would, in all probability, have been so fascinated by his society, as to have relinquished the steady pursuit of music. Soon after this event, however (in 1837), we find him residing at Norwich, as a Professor of the Violin, Piano, Guitar, and Singing, in which accomplishments he had the honour of instructing several families of distinction. He was also appointed Organist of one of the churches, and became the most eminent solo violinist of his own county, and its neighbourhood. The Rev. R. F. Elwin (for many years sole manager of the Norwich Festivals, and a great admirer of musical talent), was influential in placing the youthful Violinist at the head of the musical department in his native city.

Anxious to emulate the best musicians of the capital, Charles Hall, much against the wish of his family, repaired to London, in 1840, and became a student at the Royal Academy of Music, in which establishment he availed himself of the valuable instruction of the best masters belonging to the institution.

The late Mr. T. Cooke, when Musical Director of Drury Lane Theatre, induced Mr. Hall to accept an engagement there as Leader of the Ballets and Pantomimes, in which position he continued for the space of five years.

In 1844, this enterprising artist wrote and delivered some entertaining Musical Lectures at the Holborn Literary Institution, under the title of “Poesy and Minstrelsy.”

Mr. Balfe, the Composer and Musical Director of Her Majesty’s Theatre, being much pleased with Mr. Hall’s performance on the violin during the Jenny Lind Concerts, took great notice of him, and engaged him for five years at that large and fashionable establishment. In the first year of this engagement, Mr. Hall offered the “Swedish Nightingale” the sum of £1000 to sing at two Concerts in Norwich. That enchanting warbler accepted the offer – the Concerts were given, upon the most liberal scale – and our adventurous artist cleared nearly £800 by the speculation. The Lord Bishop of Norwich appropriated his palace to the use of the Queen of Song, and the whole city was a scene of excitement and rejoicing, during the lady’s sojourn. After recording Mr. Hall’s well-deserved profits on this occasion, it must be added, with regret, that a large musical speculation, in 1848, deprived him of the chief portion of what he had so acquired.

With an undaunted spirit, our persevering artist wrote another musical entertainment, entitled “The Romance of Village Life,” which he gave, in 1850, at various London Literary Institutions, and which was warmly applauded on each occasion. Mr. Hall is the author of an amusing burlesque description of the well-known opera of The Bohemian Girl. He is also the author and composer of several favourite ballads: and some of the finest musicians of the day, among whom are Mr. Balfe and Mr. Wallace, have wedded his verse to music. His last production, now in course of publication, is entitled “Sacred Lays on the Ten Commandments.”

To attempt a notice in detail of all the English Professors of the Violin who are yet pursuing their career, and seeking occasions to make, or to confirm, a reputation, is alike beyond my power, and beside my purpose. A few general remarks that here occur, shall be subjoined.

So little had instrumental chamber-music (until within the last sixteen years) been cultivated among us, that the Solo-player and the orchestral Leader were those to whom the public attention had been almost exclusively confined. To fill these two offices to the extent of all possible occasion, requires but a small number of individuals. Some musicians, possessing talents which, directed by an assiduous singleness of purpose, might qualify them to shine in either of these two capacities, were unwilling to encounter the toil of a competition, in which so very few of the candidates can meet with the recompense of election. Others, gifted with fine musical feeling and taste, and having sound notions of the art generally, but not fully possessed of the strength of nerve which gives confidence, or the manual suppleness essential for brilliant execution, were naturally still less willing to court the rarely accorded honours of prominent employ. Of these two classes, principally, were the men who filled the ranks of our best orchestras. In the Opera Band were found the names of Watts, Ella (well-known also for his taste and resources, as a caterer for the delight of our higher musical circles), Reeve, and Pigott, – in the Philharmonic, Wagstaff, Dando, Griesbach, and Moralt – good violinists, accomplished musicians, and forming an invaluable acquisition in an orchestra. It was one of the consequences to be anticipated from the Chamber Concerts at length introduced (and to which Fashion soon began to lend the stamp of her currency), that a clearer and higher appreciation of such men as these should be formed. That expectation has been partly realized; and, with its fuller accomplishment, we shall be sure to have good orchestras in goodly number.

– For its connection with the state and prospects of the Violin School in England, the institution of the “Royal Academy of Music” calls for a few words of notice in this place. The vocal art, through some unexplained defects in the system pursued there – certainly not from the want of fine voices in the country – has hitherto derived no very conspicuous advantage from the establishment in question; but the instruction communicated to instrumentalists must have been of a better kind, for results of some importance have been manifested. Of several of the students who have cultivated the powers of the violin with marked success, the most distinguishable, perhaps, in point of genius, is Mawkes, a performer of very great promise, who had the benefit of aid from the master-hand of Spohr. Suddenly, however, and much to the regret of those who were watching with interest the development of his fine capacity, he seceded from playing in public, and is now living in seclusion. To this strange sequestration of a valuable gift, he is said to have been induced by scruples of a religious nature. Why any branch whatsoever of the refined arts may not be followed, as a profession, in perfect compatibility with the higher and ulterior purposes of life, it is difficult to discover. A man does not, commonly, take his principles from his worldly calling: he brings them to it, and finds in it a field for their due employment and exercise. Objections, however, that refer us to the conscience, as their seat and source, must ever be respected, even when (as in this case) their essential force is not apparent.

Blagrove is another name that claims especial mention, among the trophies of the Academy. This professor, also, has fortunately enjoyed the highest means of accomplishment in his art, having superadded to his noviciate at the Academy, a later prosecution of his studies under the direction of Spohr, of the purity and refinement of whose style he exhibited delightful traces in the quartett-performances at the head of which he figured, when the merits of that delightful class of compositions were as yet but imperfectly known. Mr. Blagrove enjoys the unquestioned reputation of being one of the best of our living artists. – Seymour is another of the Academy pupils whose talent has become favourably known to the public. As leader of the “younger strengths” forming the Academy orchestra, he has shewn much steadiness and ability.

When it is remembered how large an amount of instrumental talent in France has owed its development to the fostering care and excellent system of the Conservatoire, a very happy augury may be drawn from the results in this kind that have as yet followed the institution of the English Royal Academy of Music. Supposing this establishment to be rightly and effectively conducted, one of its beneficial consequences as regards the Violin-Students (and that by no means the smallest) will be found in the harmonious unity of feeling and execution that will pervade our orchestras, supplied as they will then mainly be, from the same source. As a general fact, it has been remarked with regret by Spohr, the great German master, that the Violinists of an orchestra never originate from the same School; – the exceptions to this being in the Conservatories of Paris, Prague, and Naples, where the orchestras have been enabled to produce surprising effects, through this unity among the Violinists.