The Violin

Footnote_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.

Footnote_3

“Memoirs of the Musical Drama.”

Footnote_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.”

Footnote_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.

Footnote_6

“It is a kinde of disparagement to be a cunning fiddler.” —Feltham.

Footnote_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.

Footnote_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.”

Footnote_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

Footnote_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.

Footnote_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.

Footnote_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.”

Footnote_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!

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_26

For Tartini’s judicious letter of elementary hints, addressed to Madame Sirmen, see the chapter on Female Violinists.

Footnote_27

Query, Solo? – Printer’s Imp.

Footnote_28

See the reference to the old sacerdotal habit of fiddling, at page 55.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_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.

Footnote_33

Michael Kelly, who heard this artist at Vienna, on his return from Russia, makes the following mention of him: —

Footnote_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.”

Footnote_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.