The Violin - The Original Classic Edition. Hart George

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The Violin - The Original Classic Edition - Hart George

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Mori and others--Dando--Henry Blagrove, and his "Concerti da Camera"--Mr. Chappell and his "Monday Popular Concerts"--Henry C. Cooper, and the "Quartett Association"--M. Sainton, Hill, Piatti; John Carrodus, Herr Molique, and the Brothers Holmes--Progress of the Violin in Germany: Graun and Benda; John Sebastian Bach as Violinist and composer; Herr Joachim--Handel, influence of his compositions on the progress of the Violin--Haydn, and his Symphonies and Quartetts; A lady's ideal thereof--Mozart, and his "Method" for the Violin; his early attachment to the instrument--Schubert, Beethoven, Mendelssohn, Fesca, and their influence--Louis Spohr and his works--Bernard Molique--Joseph Mayseder--Kalliwoda--Herr Ernst, Joachim and Strauss, with Herr Wilhelmj, and their concerts

       375-409

       SECTION XV.--ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.

       Hudibras and the Champion Crowdero--George Herbert's references to Music--Christopher Simpson's Trinity in Uni-ty--Shakespeare's Sonnet VIII.--Violins from a medical point of view--"A Musician"--Origin of Tartini's "Sonato del Diavolo"-- Dr. Johnson and the Violin--Dr. Johnson on the Difficulty of Playing the Violin--Dr. Johnson's Epitaph on Phillips, the Welsh Violinist--Dr. Johnson's Knowledge of Music--Dr. Johnson on Fiddling and Freewill--Haydn in London: a "Sweet Stradivari;" Letters of the Rev. Thomas Twining--Gainsborough as a musician--Garrick and Cervetto--The King and the Player--Sir Walter Scott on Music and Fiddles; the Duke of Hamilton's passion for the Violin--A Cinderella Violoncello--A Stolen "Strad"--The Missing Scroll--Another Wandering Scroll--A Montagnana Instrument shot through the body--Fiddle Marks and the Credulous Dabblers--"Guarneri" at a Discount--Dragonetti's Gasparo: Letter thereon by Mr. Samuel Appleby--The Betts Stradivari: Letter

       by the late Charles Reade--Leigh Hunt on Paganini--Thackeray on Orchestral Music--Spohr and his Guarneri--Spohr and the Collector--The Ettrick Shepherd and the Violin--The Fiddle Trade: "Old Borax" and "Michael Schnapps," the Fiddle-ogre--The Prince and the "Fugal Vortex"--Sale of Cremonese Instruments at Milan in 1790--An Indefatigable Violinist--A Wish--Living Stradivaris--Pleasures of Imagination--A Royal Amateur--Pius IX. and the Musician--Ole Bull and Fiddle Varnish--Letter from Tartini on the Treatment of the Violin 410-507

       INDEX 509

       10

       LIST OF ILLUSTRATIONS

       FRONTISPIECE--Paganini's "Giuseppe Guarneri." 1743.

      PLATE

      FACING PAGE

      I.

      Stradivari Viola. 1672

      16

      II. Jacobus Stainer. 1669

       Giuseppe Guarneri del Gesu

       Niccolo Amati. Grand Pattern. 1641 32

       III. Violoncello by Antonio Stradivari 50

       IV. Antonio Stradivari. 1734

       The Gillott "Strad." 1715

       Giuseppe Guarneri del Gesu. 1734 66

       V. Carlo Bergonzi Violoncello. Grand Pattern 84

       VI. J. B. Guadagnini

       Storioni. 1797 102

       VII. Specimens of Scrolls 120

       VIII. Giuseppe Guarneri. 1742

       Antonio Stradivari. 1711

       Antonio Stradivari. 1703 136

       IX. Giuseppe Guarneri del Gesu. 1737 154

       X. Domenico Montagnana Violoncello 170

       XI. Antonio Stradivari. Tenor. 1690

       Antonio Stradivari. 1734 186

       XII. Giuseppe Guarneri del Gesu. 1738

       The "Dolphin" Strad. 1714

       Antonio Stradivari. 1718 200

       XIII. Antonio Stradivari. 1702

       Antonio Stradivari. 1722

       Antonio Stradivari. 1703 232

       XIV. Stradivari Violoncello 250

       XV. Chapel of the Rosary, Cremona 266

       XVI. Antonio Stradivari. 1708

       Antonio Stradivari. 1736

       Giuseppe Guarneri del Gesu. 1735 282

       XVII. The "Betts" Stradivari. 1704 298

       XVIII. Giuseppe Guarneri del Gesu Antonio Stradivari (Inlaid). 1687 316

       11

       XIX. Giuseppe Guarneri del Gesu. 1733

       Giuseppe Guarneri del Gesu. 1741

       Antonio Stradivari. 1726 332

       XX. Gasparo da Salo

       Giuseppe Guarneri del Gesu. 1735 348

       XXI. Antonio Stradivari. 1690 380

       "Marriage at Cana," by Paolo Veronese 376

       Tartini's Dream 428

       THE VIOLIN

       ITS FAMOUS MAKERS AND THEIR IMITATORS

       SECTION I

       The Early History of the Violin

       1.

       The early history of the Violin is involved in obscurity, and in consequence, much diversity of opinion exists with regard to it. The chief object of the writer of these pages is to throw light upon the instrument in its perfected state. It is, therefore, unnecessary to enter at great length upon the vexed question of its origin. The increased research attendant upon the development of musical history generally could hardly fail to discover facts of more or less importance relative to the origin of instruments played with a bow; but although our knowledge in this direction is both deeper and wider, the light shed upon the subject has not served to dissipate the darkness attending it. Certain parts have been illumined, and conclusions of more or less worth have been drawn therefrom; for the rest, all remains more hopelessly obscured and doubtful than the identity of the "Man in the Iron Mask" or the writer of the "Letters of Junius."

       It is satisfactory to know that the most valuable and interesting part of our subject is comparatively free from that doubt and tradition which necessarily attaches to the portion belonging to the Dark or Middle Ages. When we reflect that Music--as we understand it--is a modern art, and that all instruments of the Viol and Fiddle type, as far as the end of the fifteenth century, were rude if not barbarous, it can scarcely excite surprise that our interest should with difficulty be awakened in subtle questions pertaining to the archaeology of bowed instruments.

       The views taken of the early history of the leading instrument have not been more multiform than remote. The Violin has been made to figure in history sacred and profane, and in lore classic and barbaric. That an instrument which is at once the most perfect and the most difficult, and withal the most beautiful and the most strangely interesting, should have been thus glorified, hardly admits of wonder. Enthusiasm is a noble passion, when tempered with reason. It cannot be said, however,

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