The Violin Part 2

"Having, by 1654, obtained a proficiency in musick, he and his companions were not without silly frolicks, not now to be maintained."-What should these frolics be, but to disguise themselves in poor habits, and, like country fiddlers, sc.r.a.pe for their livings! After strolling about to Farringdon Fair, and other places, and gaining money, victuals and drink for their trouble, they were overtaken, in returning home, by certain soldiers, who forced them to play in the open field, and then left them

But if this same fiddle you fain would play bold, You must go to his son, who'll be Young when he's old.

There's old Young and young Young, both men of renown, Old sells, and Young plays, the best fiddle in town; Young and old live together, and may they live long, Young, to play an old fiddle; old, sell a new song!

The zealous, ingenious, minute and gossiping Anthony Wood, to whose journalizing propensity we are indebted for a free insight into the state of music at Oxford, during the time of the Civil War (when musical sounds were scarcely any where else to be heard in the kingdom), was an ardent admirer of the violin, while its admirers were yet scarce; and has left us, in his life, written by himself, some particulars relating to the instrument, that are too pleasant, as well as curious, to be here pa.s.sed by. Let me introduce this quaint worthy, speaking of himself in the third person, and under the abridged designation of A. W.

In 1651, "he began to exercise his natural and insatiable genie to music. He exercised his hand on the violin, and, having a good eare to take any tune at first hearing, he could quickly draw it out from the violin, but not with the same tuning of the strings that others used. He wanted understanding, friends and money, to pick him out a good master; otherwise he might have equalled in that instrument, and in singing, any person then in the University. He had some companions that were musical, but they wanted instruction as well as he."

The next year, being obliged to go into the country, for change of air and exercise, with a view to rid himself of an ague, he states that "while he continued there, he followed the plow on _well_-days, and sometimes plowed: and, having had, from his most tender years, an Proctor, a young man and a new comer:-John Packer, one of the university musitians. But Mr. Low, a proud man, could not endure any common musitian to come to the meeting, much less to play among them. Of this kind I must rank Joh. Haselwood, an apothecary, a starch'd formal clister-pipe, who usually played on the base-viol, and sometimes on the counter-tenor. He was very conceited of his skill (though he had but little of it), and therefore would be ever and anon ready to take up a viol[11] before his betters; which being observed by all, they usually called him _Handlewood_. The rest were but beginners. Proctor died soon after this time; he had been bred up by Mr. John Jenkins, the mirrour and wonder of his age for musick, was excellent for the lyra-viol and division-viol, good at the treble-viol, and violin, and all comprehended in a man of three or four and twenty yeares of age. He was much admired at the meetings, and exceedingly pitied by all the facultie for his loss."

"A. W. was now advised to entertain one William James, a dancing-master, to instruct him on the violin, who, by some, was accounted excellent on that instrument, and the rather because it was said that he had obtained his knowledge in dancing and music in France. He spent, in all, half a yeare with him, and gained some improvement; yet at length he found him not a compleat master of his facultie, as Griffith and Parker were not: and, to say the truth, there was no compleat master in Oxon for that instrument, because _it had not been hitherto used in consort_ among gentlemen, only by common musitians, who played but two parts. The gentlemen in private meetings, which A. W. frequented, played three, four, and five parts with viols[12]-as treble-viol, tenor, counter-tenor, and ba.s.s, with an organ, virginal, or harpsicon joined with them; and they esteemed _a violin_ to be an instrument only belonging to a _common fiddler_, and could not endure that it should come among them, for feare of making their meetings to be vain and fiddling. But, before the restoration of King Charles II, and _especially after_, viols began to be out of fashion, and only violins used, as treble violin, tenor, and base violin; and the King, according to the French mode, would have _twenty-four violins_ playing before him while he was at meals, as being more airie and brisk than _viols_."

Under the year 1658, he tells us that "Tho. Baltzar, a Lubecker borne, and the most famous artist for the violin that the world had yet produced (!), was now in Oxon, and this day, July 24, A. W. was with him, and Mr. Ed. Lowe, at the house of Will. Ellis. A. W. did then and there, to his very great astonishment, heare him play on the violin. He then saw him run up his fingers to the end of the finger-board of the violin, and run them back insensibly; and all with alacrity and _very good tune_, which he nor any in England saw the like before. A. W.

entertained him and Mr. Low with what the house could then afford, and afterwards he invited them to the taverne; but they being engaged to goe to other company, he could no more heare him play or see him play at that time. Afterwards he came to one of the weekly meetings at Mr.

Ellis's house, and he played to the wonder of all the auditory, and exercising his finger and instrument several wayes to the utmost of his power. Wilson thereupon, the public Professor, the greatest judge of musick that ever was, did, after his humoursome way, stoope downe to Baltzar's feet, to see whether he had a huff (hoof) on, that is to say, to see whether he was a devil or not, because he acted beyond the parts of man."

"About this time it was that Dr. John Wilkins, warden of Wadham, the greatest _curioso_ of his time, invited him (Baltzar) and some of the musitians to his lodgings in that Coll. purposely to have a consort, and to see and heare him play. The instruments and books were carried thither, but none could be persuaded there to play against him in consort on the violin. At length the company perceiving A. W. standing behind in a corner neare the dore, they haled him in among them, and play, forsooth, he must against him. Whereupon he, being not able to avoid it, took up a violin, as poor Troylus did against Achilles[13]. He abashed at it, yet honour he got by playing with and against such a grand master as Baltzar was."

The restoration of monarchy and episcopacy in England (observes Dr.

Burney) seems to have been not only favorable to sacred music, but to secular; for it may be ascribed to the particular pleasure which Charles II received from the gay and sprightly sound of the violin, that this instrument was introduced at Court, and the houses of the n.o.bility and gentry, for any other purpose than country-dances, and festive mirth.

Hitherto there seem to have been no public concerts; and, in the music of the chamber, in the performance of _Fancies_ on instruments, which had taken place of vocal madrigals and motets, the violin had no admission, the whole business having been done by _viols_. Charles II, who, during the usurpation, had spent a considerable time on the continent, where he heard nothing but French music-upon his return to England, in imitation of Louis XIV, established a band of violins, tenors and bases, instead of the viols, lutes and cornets, of which the Court Band used to consist. Soon after the establishment of this band, Matthew Lock held the appointment of master to it; and the same t.i.tle was conferred, about 1673, on Cambert, a French musician, who had preceded Lulli in composing for, and superintending, the Opera at Paris, and who came over to England after Lulli had obtained the transfer of his patent.

From this time, the Violin Family began to rise in reputation among the English, and had an honorable place a.s.signed them, in the music of the Court, the theatres and the chamber; while the succession of performers and compositions, with which the nation was afterwards supplied from Italy and elsewhere, stimulated the practice and established the character of this cla.s.s of instruments, which have ever since been universally acknowledged to be the pillars of a well-ordered orchestra, and more capable of perfect intonation, expression, brilliancy, and effect, than any other that have ever been invented. It should be observed, however, that, although the revival of the theatres at the Restoration was followed by the introduction of what were termed _act-tunes_ (short compositions played betwixt the acts of the drama), whereby the public services of the violin were brought into requisition, yet the state of dramatic music was, for some years, too low to admit of those services being very important. The music of the drama had attained scarcely any separate development, but was still confounded with that of the church, to the disadvantage of both. All the most noted composers for the theatre, for several years after the Restoration, were members of cathedral and collegiate churches-a circ.u.mstance which encouraged a jester, Tom Brown, to remark that "men of the musical profession hung betwixt the church and the play-house, like Mahomet's tomb betwixt two load-stones."

A general pa.s.sion for the violin, and for pieces expressly composed for it, as well as a taste for Italian music, seem to have been excited in this country about the _end_ of Charles the Second's reign, when French music and French politics became equally odious to a great part of the nation. The hon. Mr. North, who listened attentively to every species of performance, says that "the decay of French music, and favor of the Italian, came on by degrees. Its beginning was accidental, and occasioned by the arrival of _Nicola Matteis_; he was an excellent musician; performed wonderfully on the violin. His manner was singular; but he excelled, in one respect, all that had been heard in England before: his _arcata_, or manner of bowing, his shakes, divisions, and indeed his whole style of performance, was surprising, and every _stroke of his bow_ was _a mouthful_. When he first came hither, he was very poor; but not so poor as proud, which prevented his being heard, or making useful acquaintance, for a long time, except among a few merchants in the City, who patronized him; and, setting a high value on his condescension, he made them indemnify him for the want of more general favor. By degrees, however, he was more noticed, and was introduced to perform at Court. But his demeanor did not please, and he was thought capricious and troublesome, as he took offence if any one whispered while he played; which was a kind of attention which had not been much _in fashion_ at our Court. It was said that the Duke of Richmond would have settled a pension upon him, though he wished him to change his manner of playing, and would needs have one of his pages show him a better. Matteis, for the sake of the jest, condescended to take lessons of the page; but learned so fast, that he soon outran him in his own way. But he continued so outrageous in his demands, particularly for his _solos_, that few would comply with them, and he remained in narrow circ.u.mstances and obscurity a long while; nor would his superior talents ever have contributed to better his fortune, had it not been for the zeal and friendly offices of two or three dilettanti, his admirers.

These, becoming acquainted with him, and courting him in his own way, had an opportunity of describing to him the temper of the English, who, if humoured, would be liberal; but, if uncivilly treated, would be sulky, and despise him and his talents; a.s.suring him that, by a little complaisance, he would neither want employment nor money. By advice so reasonable, they at length brought him into such good temper, that he became generally esteemed and sought after; and, having many scholars, though on moderate terms, his purse filled apace, which confirmed his conversion. After this, he discovered a way of acquiring money which was then perfectly _new_ in this country: for, observing how much his scholars admired the lessons he composed for them (which were all _duos_), and that most musical gentlemen who heard them wished to have copies of them, he was at the expense of having them neatly engraved on copper plates, in oblong octavo, which was the beginning of engraving music in England; and these he presented, well bound, to lovers of the art and admirers of his talents, for which he often received three, four and five guineas. And so great were his encouragement and profits in this species of traffic, that he printed four several books of _Ayres for the Violin_, in the same form and size."

Of the jealousy which attended the progress of the violin in public favor among the English, there occurs some amusing evidence in the "_Musick's Monument_" of that rich, exuberant and right pleasant egotist, Thomas Mace, published in 1676. This worthy, who exalted the lute and viol, his own peculiar instruments, looked with distrust on the growing importance and credit of that which had been before so imperfectly understood and insufficiently employed. In speaking of the instruments till then in chief use, and the propriety of balancing their relative proportions of sound in concerted pieces, he remarks, complainingly-"_the scoulding violins will out-top them all_." In a sort of dialogue, in rhyme, between the author and his lamenting lute, he makes the latter exclaim:-

The world is grown so slight! full of new fangles, And takes its chief delight in jingle-jangles, With _fiddle-noises_, &c.

CHAPTER II.

THE ITALIAN SCHOOL.

"Oh! known the earliest, and esteemed the most"

BYRON.

Having shown, on such evidence as I have been able to adduce, that the Italians are, most probably, the rightful claimants of the distinction which attaches to the _invention_ of the modern or _true_ violin, it is now to be considered by what bright array of names, by what successive efforts of skill and genius, they have likewise become ent.i.tled to the greater distinction of having been the first to develop the wonderful powers of the instrument, and the chief agents through whom its charming dominion in the realms of music was diffused, ere the great German composers, in more recent days, applied their powers to the extension and enrichment of the field for stringed instruments.

In casting a glance over the catalogue of bright Italian names, we find two, that demand to be especially noted for their great influence in advancing the progress of the "leading instrument," and that serve indeed to mark two main epochs in its history. These are Corelli and Viotti-the first const.i.tuting the head of the old school, the last that of the modern; and each (it may be parenthetically said) almost as interesting to contemplate in personal character, as in professional eminence. The intermediate names, most ent.i.tled to attention, are Tartini, Geminiani and Giardini. These, with others of considerable celebrity, though of less effective influence in the formation of what we have designated the Italian School, will be here noticed critically and biographically, according to their several pretensions and proceedings. Before we come to Corelli, however, there are some few to be treated of in the character of his predecessors, and as having prepared the way for his more dignified and important career.

BALTAZARINI has been already designated as the earliest violin-player of real eminence that the annals of music present to notice. His celebrity was much extended by the transplanting of his talent into France, where he acquired the new appellation of De Beaujoyeux, by virtue of the delight he afforded to a people whose natural gaiety of temperament could not but a.s.sort happily with the lighter range of sounds so readily evoked from the violin. It was in 1577, that Baltazarini, with _a band of violins_, was sent from Piedmont by Marshal Brissac to Queen Catherine de Medicis, who appointed him her "Premier Valet de Chambre,"

and Master of her Band. France has reason to be grateful to his memory, and Italy may fairly be proud of it.

GIUSEPPE GUAMI, organist of Lucca Cathedral, who published, in 1586, some voluminous compositions belonging to the cla.s.s of _cantiones sacrae_, or motetts, is cited by Draudius, in his "Bibliotheca Cla.s.sica,"

as an excellent performer on the violin.

Another early violinist, AGOSTINO AGGAZZARI, born of a n.o.ble family at Siena, and a scholar of Viadana, appears to have been the first who introduced instrumental Concertos into the Church; though Dr. Burney supposes that these Concertos must only be understood in the very qualified sense of _Salmi Concertati_, or psalms accompanied with violins; and he adds, that Concertos _merely_ instrumental, either for the church or chamber, seem to have had no existence till about the time of Corelli.

CARLO FARINA, of Mantua, who published, in 1628, a Collection of "Pavans and Sonatas" for the violin, is recorded by Walther (in his Musical Lexicon), as having figured in the service of the Elector of Saxony, as a celebrated performer on the instrument.

MICHAEL ANGELO ROSSI, a composer, as well as an able violinist, signalized himself somewhat oddly at Rome, in 1632, by performing the part of Apollo, in a musical drama, with the violin as the expressive symbol and exponent of his melodial powers, _instead_ of the cla.s.sically attributed lyre. The strangeness of the anomaly was doubtless lost sight of amidst the enjoyment it was the means of conferring: nor would the example, were it taken up in our own times, by a competent artist, be likely to fail in producing a similar subserviency of taste to pleasure.

If, in _these_ days, the man who plays Apollo Like charms could conjure from the fiddle's hollow, _We_, too, should find the heaven-descended lyre Omitted "by particular desire!"

And Phbus, fitted with a fiddle so, Would dart fresh wonders from his newer _bow_!

Though there was only one violin employed (observes Dr. Burney) in the first operas by Jacopo Peri and Monteverdi, yet, as the musical drama improved, and the orchestra was augmented, the superiority of that instrument was soon discovered by its effects, not only in the theatre, but in private performances; and the most eminent masters, without knowing much of its peculiar genius or powers, thought it _no degradation_ to compose pieces expressly for the use of its votaries.

Among the most early of these productions, may be ranked the _Suonate per Chiesa_ of Legrenzi, published at Venice, 1655; _Suonate da Chiesa e Camera_, 1656; _Una Muta di Suonate_ (a Variety of Sonatas), 1664; and _Suonate a due Violini e Violone_, 1677.

The next individual of eminence in connexion with the instrument is GIAMBATTISTA Ba.s.sANI, of Bologna, whose name derives additional l.u.s.tre from his having been the violin-master of Corelli. Ba.s.sani was a man of extensive knowledge and abilities in his art, having been a successful composer for the church, the theatre and the chamber, between the years 1680 and 1703, as well as an excellent performer on the violin. His sonatas for that instrument, and his accompaniments for it to his ma.s.ses, motetts, psalms and cantatas, manifest a knowledge of the finger-board and the bow, which appears in the works of no other composer anterior to Corelli; and the lovers of the pure harmony and simple melody of that admirable master, would still receive great pleasure from the performance of Ba.s.sani's sonatas for violins and a ba.s.s. Specimens of Ba.s.sani's music may be found in Latrobe's and Stephens's Selections.

The names of TORELLI, VALENTINI, and the elder VERACINI, may be dismissed with a brief mention; because, though of eminence in their day, they are not connected with any very marked influence on the art; and the published works which they have given to the world have long since attained a dormant state. It should be observed, however, as ill.u.s.trating the very capricious nature of _fashion_, that Valentini for a while eclipsed Corelli himself in popularity.

ARCANGELO CORELLI, under whose able direction the violin may be said to have first acquired the definite character and regulated honors of _a school_,[14] was a native of Fusignano, a town situated near Imola, in the territory of Bologna, and was born in the month of February, 1653.

His first instructor was Matteo Simonelli, by whom he was taught the rudiments of music, and the art of practical composition; but, the genius of Corelli leading him to prefer secular to ecclesiastical music, he afterwards became a disciple of Ba.s.sani.

Corelli entertained an early propensity for the violin, and, as he advanced in years, laboured incessantly in the practice of it. It has been said, though without authority, that, in the year 1672, he went to Paris, and was driven thence by the jealousy and violence of Lully, who could not brook so formidable a rival.

In 1680, he visited Germany, and met with a reception suitable to his merit, from most of the German princes, but particularly from the Elector of Bavaria, in whose service he was retained, and continued for some time. After a few years' residence abroad, he returned to Rome, and there pursued his studies with a.s.siduity. It was at Rome that he published (about 1683) his first _twelve Sonatas_. In 1685, the second set appeared, under the t.i.tle of _Balletti da Camera_. In 1690, he gave to the press the third "Opera" of his Sonatas; and in 1694, the fourth, which, consisting of movements fit for _dancing_, like the second, he called _Balletti da Camera_. This species of instrumental composition, the sonata, first imagined in the course of the 17th century, has been fixed, in many respects, by Corelli.

The proficiency of Corelli on his favourite instrument became so great, that his fame was extended throughout Europe, and the number of his pupils grew very considerable; for, not only his own countrymen, but even persons from distant kingdoms, resorted to him for instruction, as the greatest master of the violin that had, at that period, been heard of in the world. It does not appear, indeed, that he had attained a power of _execution_ in any degree comparable to that of later professors. The style of his performance was, however, learned, elegant, and occasionally impressed with feeling; while his _tone_ was firm and even. Geminiani, who was well acquainted with it, used expressively to compare it with that of a sweet trumpet. One of those who heard him perform, has stated that, during the whole time, his countenance was distorted, his eyes were as red as fire, and his eye-b.a.l.l.s rolled as if he were in agony. This was the enthusiasm of genius-the influence of the "praesens divus," Apollo-the exalted state so well characterized by the poet's exclamation,

"Est Deus in n.o.bis-agitante calescimus illo!"

About the year 1690, the Opera had arrived at a flourishing state in Rome, and Corelli led the band as princ.i.p.al Violin[15]. It was not till ten years after this date, that he published his _Solos_,[16] the work by which he acquired the greatest reputation during his life-time, and to which, in its established character of a text-book for students, the largest share of attention on the whole has been directed. It was the fifth in the series of his publications, and was issued at Rome under the following t.i.tle:-"Sonate a Violini e Violone o Cimbalo: Opera Quinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia." This work was dedicated to Sophia Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that the author himself was accustomed to perform on particular occasions.

Corelli's great patron at Rome was Cardinal Ottoboni, the distinguished encourager of learning and the polite arts, to whom, in 1694, he dedicated his Opera Quarta,[17] and in whose palace he constantly resided, "col spezioso carrattere d'attuale Servitore" of his Eminence, as he expresses himself in the dedication-with more of the humility of grat.i.tude, by the by, than of the independence of genius. Crescembini, speaking of the splendid and majestic "Academia," or Concert, held at Cardinal Ottoboni's every Monday evening, observes that the performance was regulated by Arcangelo Corelli, that most celebrated professor of the violin-"famosissimo professore di violino." Another t.i.tle, expressive of the high consideration in which he was held by his contemporaries, is that applied to him by Francesco Gasparini, who calls him "Virtuosissimo di violino, e vero _Orfeo_ di nostro tempo."

It was at Cardinal Ottoboni's that Corelli became acquainted with Handel, of whom the following anecdote is related. On one of the musical evenings given there, a Serenata, written by the latter, ent.i.tled _Il Trionfo del Tempo_, was ordered to be performed, out of compliment to this great composer. Whether the style of the overture was new to Corelli, or whether he attempted to modify it according to his taste and fancy, does not appear[18]; but Handel, giving way to his natural impetuosity of temper, s.n.a.t.c.hed the violin from his hand. Corelli, with that gentleness which always marked his character, simply replied:-"Mio caro Sa.s.sone, questa musica e nello stile Francese, di che io non m'intendo."-"My dear Saxon, this music is in the French style, with which I am not acquainted."

The biography of Corelli has received the accession of several interesting anecdotes, through one of his most ill.u.s.trious pupils, Geminiani, who was himself an eye and an ear witness of the matters he has related. These may find a fitting place here.

At the time when Corelli was at the zenith of his reputation, a royal invitation reached him from the Court of Naples, where a great curiosity prevailed to hear his performance. The un.o.btrusive _Maestro_, not a little loth, was at length induced to accept the invitation; but, lest he should not be well accompanied, he took with him his own second violin and violoncello players. At Naples he found Alessandro Scarlatti and several other masters[19], who entreated him to play some of his concertos before the king. This he, for a while, declined, on account of his whole band not being with him, and there was no time, he said, for a rehearsal. At length, however, he consented, and, in great fear, performed the first of them. His astonishment was very great to find that the Neapolitan band executed his concertos almost as accurately at sight as his own band after repeated rehearsals, and when they had almost got them by heart. "_Si suona_ (said he to Matteo, his second violin) _a Napoli_!"-"They _play_, at Naples!"

After this, he being again admitted into his Majesty's presence, and desired to perform one of his sonatas, the king found the adagio so long and dry, that, being tired of it, he _quitted the room_, to the great mortification of Corelli. Afterwards, he was desired to lead, in the performance of a masque composed by Scarlatti, which was to be executed before the king. This he undertook, but, owing to Scarlatti's very limited acquaintance with the violin, Corelli's part was somewhat awkward and difficult; in one place it went up to F, and when they came to that pa.s.sage, Corelli failed, and could not execute it; but he was astonished, beyond measure, to hear Petrillo, the Neopolitan leader, and the other violins, perform with ease that which had baffled his utmost skill. A song succeeded this, in C minor, which Corelli led off in C major. "_Ricomminciamo_" (let us begin again), said Scarlatti, good-naturedly. Still, Corelli persisted in the major key, till Scarlatti was obliged to call out to him, and set him right. So mortified was poor Corelli with this disgrace, and the deplorable figure which he imagined he had made at Naples, that he stole back to Rome, in silence. Soon after this, a hautboy-player (whose name Geminiani could not recollect) acquired such applause at Rome, that Corelli, disgusted, would never again play in public. All these mortifications, superadded to the success of Valentini, whose Concertos and performance, though infinitely inferior to those of Corelli, were become fashionable, threw him into such a state of melancholy and chagrin, as was thought to have hastened his death.

The account thus furnished by Geminiani, of Corelli's journey to Naples, is something beyond mere personal anecdote; for, as Dr. Burney fitly observes, it throws light upon the comparative state of music at Naples and at Rome in Corelli's time, and exhibits a curious contrast, between the fiery genius of the Neapolitans, and the meek, timid and gentle character of Corelli, so a.n.a.logous to the style of his music. To this reflection it might have been added, that the latter part of the narrative forms a painful contribution to the catalogue of instances in which public caprice has done the work of ingrat.i.tude, and consigned the man of genius to a neglect which his sensitive nature must render the worst of cruelties.

In 1712, the _Concertos_ of Corelli were beautifully engraved, at Amsterdam, by Etienne Roger, and Michael Charles La Cene, and dedicated to John William, Prince Palatine of the Rhine. The author survived the publication of this admirable work but six weeks; the Dedication bearing date at Rome, the 3rd of December, 1712, and he dying on the 18th of January, 1713.

Corelli was interred in the church of the Rotunda, otherwise called the Pantheon, in the first chapel on the left hand of the entrance of that beautiful temple. Over the place of his interment, there is a sepulchral monument with a marble bust, erected to his memory, at the expense of Philip William, Count Palatine of the Rhine, under the direction of Cardinal Ottoboni. The monument bears an inscription in tributary Latin, and the bust represents him with a music-paper in his hand, on which are engraved a few bars of that celebrated air, the _Giga_, in his 5th Sonata. It is worthy of remark, that this monument is contiguous to that of the greatest of painters, Raffaelle[20].