The Violin / Its Famous Makers and Their Imitators

by George Hart

SECTION XIV

Sketch of the Progress of the Violin

It may be said that the Violin made its appearance about the middle of the sixteenth century. There are instances where reference is made to Violins and Violin-playing in connection with times prior to that above-named, but no reliance can be placed on the statements. Leonardo da Vinci, who died in 1523, is spoken of as having been a celebrated performer on the Violin. The instrument he used is described as having had a neck of silver, with the singular addition of a carved horse's head.¹ This description, however, is sufficiently anomalous to make one rather sceptical, as to whether the instrument denoted possessed any particular affinity to the present Violin. Reference is made to the picture of the "Marriage at Cana," by Paolo Veronese, as furnishing evidence of the form of instruments used in Italy in the 16th century, and a description is given of the musical part of the subject as follows: "In the foreground, in the vacant space of the semicircle formed by the table, at which the guests of the marriage at Cana are seated, Titian is playing on the Double-Bass, Paolo Veronese and Tintoretto on the Violoncello; a man with a cross on his breast is playing on the Violin, Bassano is blowing the Flute, and a Turkish slave the Sackbut."

1 "Lives of Haydn and Mozart," translated from the French by L. A. C. Bombet. 1818.

The naming of the performers is presumably correct, and greatly heightens our interest in the group musically. It is clear, however, that the nomenclature of the instruments is erroneous. In the engraved section of the famous picture here given, Paolo Veronese is represented taking part in the performance of a Madrigal, wearing an expression of countenance indicative of rapt pleasure, engendered by the mingling of the tones of his Tenor Viol in the harmonies. Behind Paolo Veronese is seated Tintoretto, playing an instrument identical with that in the hands of the painter of the picture. On the opposite side of the table is Titian, with the point of his bow almost touching the dog, playing the fundamental tones on the Violono. He apparently displays an amount of real relish for his task, which bespeaks a knowledge of the responsibility belonging to the post of Basso. The ecclesiastic seated next to Titian, wearing the chain with crucifix, is performing on a Soprano Viol. The instruments, in short, are Italian Viols, the Tenors of which were strung with six strings, and the Violono, or Bass, with six or seven. It is this order of Viols to which reference is made in the work of Ganassi del Fontego, and they are, therefore, distinct from the four-stringed Viols made at Brescia and Mantua.

The earliest player on the Violin of whom we have any account worthy of attention was Baltazarini, a native of Piedmont. He removed to France in the year 1577, whither he was sent by Marshal de Brissac to superintend the music of Catherine de Medici. He was probably the introducer of Italian dances into Paris, and he delighted the Court as much by his skill on the Violin as by his writing of ballet music.

During the last half of the sixteenth century a new species of music made way in Italy which exercised a marked effect on the progress of the Violin, namely, that of the concert orchestra. It was chiefly cultivated at Venice and Ferrara. At the latter place the Duke of Ferrara maintained a great number of musicians in his service. At this period there were no concerts of a public character; they were given in the palaces of the wealthy, and the performers were chiefly those belonging to their private bands.

The opera, in which instruments were used to accompany the voice, began to be put upon the stage of the public theatres in Italy about the year 1600. The opera "Orfeo," by Claudio Monteverde, a Cremonese, famous both as a composer and Violist, was represented in 1608. The opera in those times differed essentially from that of modern days. Particular instruments were selected to accompany each character; for instance, ten Treble Viols to accompany Eurydice, two Bass Viols to Orpheus, and so on. No mention is made of Violins further than that two small Violins (duoi Violini piccoli alla Francese) are to accompany the character of Hope, from which it is inferred that a band of Violins was in use not much later.

It is to the introduction of the Sonata that the rapid progress in the cultivation of Violin-playing is due. Dr. Burney tells us the earliest Sonatas or Trios for two Violins and a Bass he discovered were published by Francesco Turini, organist of the Duomo, at Brescia, under the following title: "Madrigali à una, due, e tre voci, con alcune Sonate à due e à tre, Venezia, 1624." He says: "I was instigated by this early date to score one of these Sonatas, which consisted of only a single movement in figure and imitation throughout, in which so little use was made of the power of the bow in varying the expression of the same notes, that each part might have been as well played on one instrument as another."

In this branch of composition Corelli shone forth with considerable lustre, and gave great impetus to the culture of the Violin. It was at Rome that his first twelve Sonatas were published, in 1683. In 1685 the second set appeared, entitled "Balletti da Camera"; four years later the third set was published. The genius of Corelli may be said to have revolutionised Violin-playing. He had followers in the chief cities of Italy. There was Vitali at Modena, Visconti at Cremona (who, it is said, tendered his advice to Stradivari upon the construction of his instruments—advice, I think, little needed); Veracini at Bologna, and a host of others. Dibdin, the Tyrtæus of the British navy, said: "I had always delighted in Corelli, whose harmonies are an assemblage of melodies. I, therefore, got his Concertos in single parts, and put them into score, by which means I saw all the workings of his mind at the time he composed them; I so managed that I not only comprehended in what manner the parts had been worked, but how, in every way, they might have been worked. From this severe but profitable exercise, I drew all the best properties of harmony, and among the rest I learnt the valuable secret, that men of strong minds may violate to advantage many of those rules of composition which are dogmatically imposed."

ANTONIO STRADIVARI. 1690. (Made for Cosimo III. de Medici, Grand Duke of Florence.) Plate XXI.

We must now retrace our steps somewhat, in order to allude to another Violinist, who influenced the progress of the leading instrument out of Italy, viz., Jean Baptiste Lulli. The son of a Tuscan peasant, born in the year 1633, Lulli's name is so much associated with the romantic in the history of Violin-playing that he has been deprived in a great measure of the merits justly his due for the part he took in the advancement of the instrument. The story of Lulli and the stew-pans² bristles with interest for juvenile musicians, but the hero is often overlooked by graver people, on account of his culinary associations. When Lulli was admitted to the Violin band of Louis XIV., he found the members very incompetent; they could not play at sight, and their style was of the worst description. The king derived much pleasure from listening to Lulli's music, and established a new band on purpose for the composer, namely, "Les petits Violons," to distinguish it from the band of twenty-four. He composed much music for the Court ballets in which the king danced.

2: Lulli having shown a disposition for music, received some instructions on the rudiments of the art from a priest. The Chevalier de Guise, when on his travels in Italy, had been requested by Mademoiselle de Montpensier, niece of Louis XIV., to procure for her an Italian boy as page, and happening to see Lulli in Florence, he chose him for that purpose, on account of his wit and vivacity, and his skill in playing on the guitar. The lady, however, not liking his appearance, sent him into her kitchen, where he was made an under scullion, and amused himself by arranging the stew-pans in tones and semitones, upon which he would play various airs, to the utter dismay of the cook.

Lulli contributed greatly to the improvement of French music. He wrote several operas, and many compositions for the Church, all of which served to raise the standard of musical taste in France. To him also belongs the credit of having founded the French national opera.

We will now endeavour to trace the progress of the Violin in England. It is gratifying to learn that, even in the primitive age of Violin-playing, we were not without our national composers for the instrument. Dr. Benjamin Rogers wrote airs in four parts for Violins so early as 1653 (the year Corelli was born). John Jenkins wrote twelve sonatas for two Violins and a Bass, printed in London in 1660, which were the first sonatas written by an Englishman. About this date Charles II. established his band of twenty-four Violins. During his residence on the Continent he had frequent opportunities of hearing the leading instrument, and seems to have been so much impressed with its beauties that he set up for himself a similar band to that belonging to the French Court. The leader was Thomas Baltzar, who was regarded as the best player of his time. Anthony Wood met Baltzar at Oxford, and says he "saw him run up his fingers to the end of the finger-board of the Violin, and run them back insensibly, and all in alacrity and in very good time, which he nor any one in England saw the like before." Wood tells us that Baltzar "was buried in the cloister belonging to St. Peter's Church in Westminster." The emoluments attached to the Royal band, according to Samuel Pepys, appear to have been somewhat irregular. In the Diary, December 19, 1666, we read: "Talked of the King's family with Mr. Kingston, the organist. He says many of the musique are ready to starve, they being five years behindhand for their wages; nay, Evens, the famous man upon the Harp, having not his equal in the world, did the other day die for mere want, and was fain to be buried at the alms of the parish, and carried to his grave in the dark at night without one linke, but that Mr. Kingston met it by chance, and did give 12d. to buy two or three links."

The state of the Merry Monarch's exchequer in 1662, according to an extract from the Emoluments of the Audit Office, seems to have been singularly prosperous. An order runs as follows: "These are to require you to pay, or cause to be paid, to John Bannister, one of His Majesty's musicians in ordinary, the sum of forty pounds for two Cremona Violins, by him bought and delivered for His Majesty's service, as may appear by the bill annexed; and also ten pounds for strings for two years ending 24th June, 1662."

The King's band was led in 1663 by the above-named John Bannister, who was an excellent Violinist. His name is associated with the earliest concerts in England, namely, those held at "four of the clock in the afternoon" at the George Tavern, in Whitefriars. Roger North informs us the shopkeepers and others went to sing and "enjoy ale and tobacco," and the charge was one shilling and "call for what you please."

In the year 1683, Henry Purcell, organist of the Chapel Royal, published twelve sonatas for two Violins and a Bass. These famous instrumental compositions were written, the author tells us, in "just imitation of the most famed Italian masters, principally to bring the seriousness and gravity of that sort of musick into vogue." Purcell, in conformity with an age of dedications, thus addressed the Merry Monarch:—

"May it please your Majesty, I had not assum'd the confidence of laying ye following compositions at your sacred feet, but that, as they are the immediate results of your Majestie's Royal favour and benignity to me (which have made me what I am), so I am constrained to hope I may presume amongst others of your Majestie's over-obliged and altogether undeserving subjects that your Majesty will, with your accustomed clemency, vouchsafe to pardon the best endeavours of your Majestie's

"Most humble and obedient subject and servant,
"H. PURCELL."

Charles II. is said to have understood his notes, and to sing in (in the words of one who had sung with him) a plump bass, but that he only looked upon music as an incentive to mirth, not caring for any that he could not "stamp the time to." The endeavour of his accomplished and gifted young organist to lead the King and his people to admire what he terms "the seriousness and gravity" of Italian music, and "to loathe the levity and balladry of our neighbours," was indeed worthy of England's greatest musician.

In the year 1678, Thomas Britton, known as the "musical small-coal man," gave concerts in this country, and a long series it was, extending over a period of forty-six years. The shape the movement took was that of a musical club, which was maintained at Britton's expense.

The concert-room of Tom Britton was over his coal-shop in Aylesbury Street, leading from Clerkenwell Green to St. John Street. From the year 1678 to the time of his death, in 1714, the concerts of Britton were attended by persons of all ranks.

"Tho' mean thy rank, yet in thy humble cell, Did gentle peace and arts unpurchased dwell. Well pleased, Apollo thither led his train, And Music warbled in her sweetest strain. Cyllenius too, so fables tell, and Jove Came willing guests to poor Philemon's grove. Let useless pomp behold, and blush to find So low a station, such a liberal mind."3

3 These verses were written by Mr. John Hughes, who was a frequent performer on the Violin at Britton's concerts. (Hawkins.)

Thus the first germ of the great musical societies gave a marked impulse to the culture of stringed music in England. Attention was turned to the subject; its humanising effects were recognised, and parties met in several places for the practice of chamber music. Our progress in Violin-playing at this date was clearly satisfactory. We had a Violinist named John Henry Eccles, belonging to a clever family of musicians. He became a member of the band of Louis XIV., and was regarded as an excellent player and musician. He published in Paris some solos for the Violin in 1720. His brother Thomas was also a good Violinist. Fortune, however, did not smile upon him. He is described as being one of those itinerant musicians—perhaps the last of them—who in winter evenings went to taverns, and for a slender subsistence bore the insults of those disinclined to listen to their performance. This order of itinerant musicians may be described as having descended from the Fiddling minstrels, whom the wealthy in earlier times often retained in their houses, giving them coats and badges bearing the family arms. These musicians, in place of amusing the nobility, ultimately attended wakes and fairs. They were sometimes retained at the large inns, where the guest while eating, an old English writer says, was "offered music, which he may freely take or refuse, and if he be solitary the musicians will give him the good day, with music in the morning." In Puritan times this class of musician was thought to have so much increased as to need a special act for their suppression, which gave rise to Butler's creation, the "Champion Crowdero." Returning to our subject with Thomas Eccles, we have the following interesting account of the unfortunate Violinist, by a musician: "It was about the month of November, 1753, that I, with some friends, were met to spend the evening at a tavern in the City, when this man, in a mean but decent garb, was introduced to us by the waiter; immediately upon opening the door I heard the twang of one of his strings from under his coat, which was accompanied by the question, 'Gentlemen, will you please to hear my music?' Our curiosity, and the modesty of the man's deportment, inclined us to say yes, and music he gave us, such as I had never heard before, nor shall again under the same circumstances. With as fine and delicate a hand as I ever heard, he played the whole fifth and ninth solos of Corelli, and two songs of Mr. Handel; in short, his performance was such as would command the attention of the nicest ear, and left us his auditors much at a loss to guess what it was that constrained him to seek his living in a way so disreputable. He made no secret of his name; he said he was the youngest of three brothers, and that Henry, the middle one, had been his master, and was then in the service of the King of France. He lodged in the Butcher Row, near Temple Bar, and was well known to the musicians of his time, who thought themselves disgraced by this practice of his, for which they have a term of reproach not very intelligible; they call it going a-busking."⁴

4 The term "busker" is still applied to musicians who perform outside public-houses, on steamboats, and elsewhere.

I have now to mention a Violinist whose talents raised the instrument greatly, particularly in England, viz., Francesco Geminiani. He was instructed by Corelli, and imbibed much of his master's breadth of style. He came to England in the year 1714. In 1716 he published a set of twelve sonatas, which attracted some notice at the time from their novelty. In these he plunged into difficulties deemed then very unusual, but withal his compositions were elegantly written. He afterwards wrote and published solos and concertos, besides a "Treatise on Good Taste," and the "Art of Playing on the Violin," the latter being the first instruction book for the instrument deserving of the name. The instrumental music at this period was composed for four Violins, Tenor, Violoncello, and Double-Bass, and was called the Concerto Grosso.

Having lightly sketched the progress of the Violin in England down to about the year 1750, it will, perhaps, be better to take the thread of the instrument's progress in Italy, which we brought to the days of Corelli.

The first half of the 18th century was rich in Italian Violinists and writers for the instrument, of whom the chief was Giuseppe Tartini, born 1692. Dr. Burney says of his compositions: "Though he made Corelli his model in the purity of his harmony and simplicity of his modulation, he greatly surpassed that composer in the fertility and originality of his invention; not only in the subjects of his melodies, but in the truly cantabile manner of treating them. Many of his adagios want nothing but words to be excellent pathetic opera songs. His allegros are sometimes difficult; but the passages fairly belong to the instrument for which they were composed, and were suggested by his consummate knowledge of the finger-board and the powers of the bow. As a harmonist he was, perhaps, more truly scientific than any other composer of his time, in the clearness, character, and precision of his Basses, which were never casual, or the effect of habit or auricular prejudice and expectation, but learned, judicious, and certain." It would be difficult to add to this judgment of the compositions of Tartini. The truth of Burney's remarks is better understood at this moment than when penned. During the space of nearly a century the sonatas of Tartini lay dormant, and only within recent years have their beauties been again recognised. Such works as Tartini's are all-important links in the chain of musical progress.

Pietro Locatelli, a pupil of Corelli, introduced a style of playing quite in advance of his time. His compositions abound with novel combinations; double stops, harmonics, and arpeggios are displayed with wonderful results. Burney says that "Locatelli had more hand, caprice, and fancy than any Violinist of his time."

The immediate follower of the style of Locatelli was Lolli, born 1728, who wrote pleasing airs and used novel effects, but failed to go further. It was one of his feats to play on one string—a performance very properly held in contempt in our day, having neither sense nor grace to recommend it.

Felice Giardini was another musician of the style of Locatelli.⁵ He was born at Turin, in the year 1716. His performance at Naples and Berlin excited considerable notice. In 1742 he visited England, and created some sensation, his style being new to the British public.

5 In "Les Maîtres Classiques," edited by M. Alard, and the "Hohe Schule," edited by Ferdinand David, will be found some of the best examples of this composer, as well as of many others noticed here.

Boccherini probably did more towards furthering the cultivation of stringed instrument music than any composer of his day, with the exception of Haydn. There are in his compositions movements of varied styles, well written for their respective instruments. His quintettes are among his chief productions, and their elegance and brilliancy are remarkable. The part allotted to his own instrument, the Violoncello, often bristles with difficulties, and hence it is that these compositions are so seldom heard. Boccherini was the first composer who wrote quintettes with two Violoncello parts.

We now reach a stage in the history of the progress of the Violin the importance of which cannot be over-estimated; I refer to the influence which the compositions of Giovanni Battista Viotti exerted upon the cultivation of our instrument. With the famous Viotti sprang up a school of Violin-playing as marked in style as that introduced by Corelli. Viotti was a pupil of Pugnani, and owed his success to the rare teaching of that master. The sensation that Viotti created in Paris was great. His varied style, his rich tone and elegance in playing, were far beyond anything that the Parisian public had previously experienced. With Viotti was ushered in a new era in solo playing. His concertos exhibit the capabilities of the instrument in elegantly constructed passages, such as none but a master of the Violin could pen. He wrote upwards of twenty concertos, those in A minor, in G, in D, and in E minor being the favourites, and to this day highly esteemed by Violinists of every school. His duos and trios are pleasing and effective, and, though long since superseded by works of greater erudition, they form a landmark in the history of the progress of the instrument.

Campagnoli, born in 1751, was a composer of rare ability. Had he written nothing but the "Studies on the Seven Positions of the Violin" he would have left enough to mark the character of his genius. Happily he has bequeathed to us many other writings. The "Fantasias and Cadences," forming a book of upwards of 100 pages, is a work full of interest to the Violinist. His modulations are singularly effective. He has also written some Studies for the Tenor, and, lastly, a "Violin School." I cannot but think that Campagnoli's educational compositions do not receive the attention which they merit, and are too often laid aside as old-fashioned. There is a certain quaintness in his writings, but this much may be said of many other compositions whose beauties are not neglected on that account. It would be difficult to find material more solid than that afforded by the writings of Campagnoli, if the foundation of Violin-playing of the highest character is to be laid.

We reach the pinnacle of the Italian school of Violin-playing in the wondrous Paganini; born February 18, 1784, died May 27, 1840. It is needless to recount the extraordinary achievements of this remarkable man. M. Fétis and others have collected the most interesting particulars relative to Paganini and his compositions, and to their entertaining accounts the reader can turn for information. It is sufficient to mention that Paganini carried the marvellous in Violin-playing as far as seems possible. The number of his imitators has been enormous, and many of them, withal, so barbarous as to render anything savouring of "à la Paganini" contemptible. The compositions of Paganini are no longer Paganini's when played by others. He, above all Violinists that ever lived, possessed an individuality in his style of playing which has hitherto defied imitation.

From Paganini to his pupil Camillo Sivori is the next step in my notice. The artistic career of Sivori was a glorious one. Elegance of style and charming purity of tone were qualities peculiarly his.

Antonio Bazzini, both as a solo Violinist and composer for the instrument, has achieved lasting fame.

Having endeavoured to lightly sketch the history of Italian performers, and of Italian music bearing on the instrument to the present time, it remains to notice a remarkable follower of the Italian school of Violin-playing in the Norwegian, Ole Bornemann Bull. The executive skill of this famous Violinist was of the highest order, and perhaps no other artist, with the exception of Paganini, gained such a world-wide renown.

It is now necessary to refer to the course of events touching the Violin in France. As the influence of Viotti resulted in a remodelling of the French style of playing, our survey will make it necessary to go back the greater part of a century.

Jean Marie Leclair, the pupil of Somis, is the first Violinist deserving of mention. He was born at Lyons in 1697. In 1729 he visited Paris, where he was engaged at the opera. He wrote several sonatas for Violin and Bass, and for two Violins and Bass, besides other compositions. The difficulties occurring in many of these writings are of no ordinary character, and if they were rendered with anything approaching to exactness, the progress made on the Violin must have been very rapid between the days of Lulli and those of Leclair.

Pierre Gaviniès claims attention both as an executant and composer. There is a freshness about his compositions which has caused many of them to be recently roused from their long sleep, and re-issued in the improved garb of a modern edition. His best-known works are the twenty-four Studies, Concertos, and Sonatas.

Although there were several Violinists in France of average ability between the time of Gaviniès and that of Rode, they scarcely claim attention in this somewhat hasty sketch; and I will, therefore, pass to the players linked with Viotti to his pupil Rode. He was born at Bordeaux in 1774. Fétis remarks, "From Corelli to Rode there is no hiatus in the school, for Corelli was the master of Somis, Somis of Pugnani, Pugnani of Viotti, and Viotti of Rode."

His twenty-four Caprices, and his Concertos and Airs, are much admired by all Violinists for their elegance and effectiveness. Paganini played the concertos of Rode publicly upon several occasions; Baillot and Kreutzer were associated with Rode at the Paris Conservatoire, and likewise in the compilation of the well-known Instruction Book written expressly for the use of the pupils at the Conservatoire. Baillot was famed for his admirable bowing and refined playing. Kreutzer is, of course, better known from his Forty Studies than from anything else that he has written. His concertos partake more of the study than of the name they bear, and are valued accordingly.

Lafont was instructed by both Rode and Kreutzer, and held a high position among the Violinists of his time.

François Antoine Habeneck was a pupil of Baillot at the Paris Conservatoire, where he distinguished himself, and became a professor. Among his pupils were Alard, Sainton, and Deldevez.

M. Alard was born in 1815. He succeeded Baillot at the Conservatoire in 1843, holding the position for many years, and retiring shortly after the death of his father-in-law, M. Vuillaume. M. Alard was the master of Sarasate. M. Sainton was born in 1813 at Toulouse. He took the first prize at the Conservatoire in 1834. He settled in London in 1845. Shortly afterwards he became principal professor of the Violin at the Royal Academy of Music, and leader under Signor Costa.

It now remains for me to notice the Belgian school. The first to name is Charles de Bériot, one of the most delicious players we have had. As a composer for his instrument, he opened up entirely fresh ground; he banished all that was dry, and gave us those fresh and pleasant Airs with Variations, and Morceaux de Salon, teeming with novel effects. It can never be said that De Bériot alarmed the amateurs with outrageous difficulties; on the contrary, he gave them passages comparatively easy to execute, full of effect, and yet withal astonishing to the listener. De Bériot probably made more amateur Violinists than any composer of his time.

Henri Vieuxtemps was a thorough master of his art. His Concertos are compositions worthy of the title they bear; they do not consist of a number of difficulties strung together without meaning, but are properly constructed works. He has written many Fantasias, all of which are the delight of good Violinists. His compositions being most difficult to render, they are chiefly known among artists, but in these days of rapid development in Violin-playing among amateurs, a new and wide field will certainly be opened for them.

From Belgium to Poland seems a wide step in my discourse, but it is really not so. Although the Polish Violinists retain much originality in their style of playing and compositions, it is to the French school that they belong. Lipinski, Wieniawski, and Lotto were all educated in the Paris school.

Lipinski has written a good deal for his instrument, and instructed many well-known players.

Henri Wieniawski was essentially a great artist. He was a marvellous Violinist, and displayed great genius as a composer for his instrument.

Adolphe Pollitzer settled in London many years since, and occupied a leading position among our resident Violinists.

Having lightly touched upon the various heads of the French school, I must again take up the thread of the English history of the instrument from about 1750, at which period we may trace a growing admiration for Violin-playing, notwithstanding the disparagement which this accomplishment received from different notabilities. Foremost among the revilers stands Lord Chesterfield, who considered playing upon any musical instrument to be illiberal in a gentleman. The Violin would seem to have been regarded by his lordship with a supreme amount of displeasure. His opinion of Violinists savoured greatly of that held by the framers of the statute passed in the reign of Elizabeth touching minstrels, who were to be included among "rogues, vagabonds, and sturdy beggars" wandering abroad. Lord Chesterfield says, "Music is usually reckoned one of the liberal arts, and not unjustly, but a man of fashion who is seen piping or Fiddling at a concert degrades his own dignity. If you love music, hear it; pay Fiddlers to play for you, but never Fiddle yourself." Such was Lord Chesterfield's advice to his son. It is quite evident that he had no notion of the exquisite enjoyment derivable from being an executant in a quartette, the conversational powers of which have been so frequently noticed. That Lord Chesterfield's strictures discouraged the practice of the Violin in the higher circles of society is very probable, appearing as they do in a work which was held in the light of a textbook upon the conduct of a gentleman for some considerable time. Happily, the hollowness of much of his advice came to be recognised, and he who deemed cards and dice a necessary step towards fashionable perfection, and ordained that Fiddlers were to be paid to play for you as substitutes for your own personal degradation, came to be remembered, possibly, more on account of the laxity of his precepts than for any other reason.

In the days of Lord Chesterfield lived Michael Christian Festing, who was particularly zealous in the cause of music. He was a pupil of Geminiani, and wrote several solos. Festing still further carried out the idea of Britton, the "small-coal man," by bringing together a number of noblemen and gentlemen amateurs for the practice of concerted music. They met at the Crown and Anchor Tavern in the Strand, and named their society the "Philharmonic." So much for his furtherance of the art. It now remains to notice the great boon which Festing conferred upon his brother professors and their descendants. It is this which has given his memory lasting life in the annals of English music.

We are indebted to Festing as the chief instrument in the formation of the Royal Society of Musicians, which he may be said to have founded in the year 1738. This society derived its origin from the following curious circumstance. Festing being one day seated at the window of the Orange Coffee House, then at the corner of the Haymarket, observed a very intelligent-looking boy, who was driving an ass and selling brickdust. The lad was in a deplorable condition, and excited the pity of the kind-hearted musician, who made inquiries concerning him, and discovered that he was the son of an unfortunate professor of music. Struck with grief and mortification that the forlorn object before him should be the child of a brother musician, Festing resolved to attempt something for the boy's maintenance. Shortly after, with the help of other benevolently-disposed persons, he raised a fund for the support of decayed musicians and their families, and thus laid the foundation of the society, which is the first of its kind in Europe. Handel was one of its first and principal members, and left it a legacy of £1,000. Little did Festing and his supporters dream that their society, humble enough in 1738, would grow into a society possessing £80,000 in 1874—a sum which, however high-sounding, was all-insufficient to permit the committee to dispense the amount of good desired.

Returning again to our subject, we find that in Festing's lifetime there were several patrons of the art, the chief of whom were the Prince of Wales, the Duke of Cumberland, and the Earl of Mornington. Speaking of the Earl, the Hon. Daines Barrington says he "furnishes an instance of early attention to musical instruments. His father played well for a gentleman, on the Violin, which always delighted the child while in his nurse's arms, and long before he could speak." When he was nine years old, "an old portrait-painter came to the family seat, who was a very indifferent performer on the Violin, but persuaded the child that if he tried to play on that instrument, he would soon be able to bear a part in a concert. With this inducement he soon learned the two old catches of the 'Christ-Church Bells,' and 'Sing one, two, three, come follow me;' after which, his father and the painter accompanying him with the other two parts, he experienced the pleasing effects of a harmony to which he himself contributed. Soon after this he was able to play the second Violin in Corelli's sonatas, which gave him a steadiness in time that never deserted him."

We may now glance at the period when Salomon came to England in 1781. Too much stress can scarcely be laid upon the good effected by Salomon's talents for the progress of music, and more particularly in behalf of instrumental music. We are deeply indebted to this musician for the spirit and enterprise which he displayed, in bringing to England, at no trifling pecuniary risk, the immortal Haydn. Salomon having established a series of twenty concerts in 1790, it occurred to him that to invite the famous musician to London would aid his enterprise. He communicated with Haydn, offering him the sum of fifty pounds for each concert. These terms were accepted, and Haydn set out for London, at the age of fifty-nine. He remained in England over a year, and composed the celebrated "Twelve Symphonies" known as the Salomon set. Salomon was one of the promoters of the Philharmonic Society, and led the orchestra at the first concert given by the society in 1813. Enough has been said to show the nature of the part he took in the development of music in England. Enjoying the friendship of those who moved in the higher circles of society, where his polished manners and high attainments ever made him a welcome guest, he was enabled to command such patronage as to make his laudable ventures successful.

Among the Violinists of Salomon's day, resident in England, were William and François Cramer, to whom severally were assigned the leadership of the Ancient Concerts and of the Opera.

The next Violinist who gained some celebrity was Nicholas Mori, born in London in the year 1796. He was associated with the formation of the Royal Academy of Music, in Tenterden Street, and became the principal instructor on the Violin at that institution. Paolo Diana (a Cremonese known under his adopted name of Spagnoletti) and Kieswetter each contributed his share towards the advancement of the instrument during their stay in this country.

The names of Dando and Henry Blagrove bring us to the players of our own time. These thoroughly representative English Violinists have done much to raise the standard of the public taste. In the year 1835, the "Concerti da Camera" were established (in imitation of those given in Paris by Pierre Baillot), and served to extend our knowledge of classical chamber music. The formation of the Musical Union still further increased our knowledge and taste in the same direction. The long roll of celebrated Continental artists introduced at the Society's concerts sufficiently stamps its character. All that remained to be done was to make the Quartette popular, and to bring it within the reach of all. This has been achieved by the indefatigable labours of Mr. Chappell in his Monday Popular Concerts. For some time the public failed to appreciate Mr. Chappell's scheme, but the enterprising director, nothing daunted, continued his course, and had ultimately the gratification of being besieged in his citadel at St. James's Hall, from the commencement of the season to its close.

Before closing our remarks on the progress of Violin-playing in England, we have still to mention a few other names in connection with this subject. Henry C. Cooper was a Violinist who ranked with the chief representatives of the English Soloists, and during a long professional career achieved much success. He set on foot, together with his coadjutors, M. Sainton, Hill, and Signor Piatti, the Quartette Association, the concerts of which were given at Willis's Rooms during several seasons. The career of Mr. John Carrodus was watched by his brother artists with much interest. As a pupil of Herr Molique, he gave early signs of exceptional talents; it was felt that he must inevitably come to the front; all that was predicted, and even more, in due time came to pass. He achieved a commanding position among the foremost Violinists of our time, both as a soloist and leader. With the names of Messrs. Henry and Alfred Holmes, I come to a close of the English branch of the subject. The brothers Holmes attracted the notice of Spohr, who was so delighted with their abilities that he composed and dedicated to them three Duets for two Violins.

The first name of any note in connection with the Violin in Germany is that of Graun, who was born in the year 1700. He became concertmaster to the King of Prussia, and excelled as a Violinist. His pupil, Francis Benda, next claims attention. Dr. Burney says of him: "His manner was neither that of Tartini nor of Veracini, nor that of any other leader; it was purely his own, though founded on the several models of the greatest masters;" and Hillar tells us that "his tones were of the finest description, the clearest and most euphonious that can be imagined." Benda published studies for his instrument, and also several solos and other works, all of which are admired for their good and cantabile style.

About this period appeared the admirable compositions for the Violin of that great master of his art, John Sebastian Bach—works differing essentially from those of his contemporaries.

"He was not of an age, but for all time."

To describe the character and beauties of Bach's Violin writings is within neither my province nor capacity. As an amateur Violinist and an observer of all that relates to the Violin, I may refer, however, to the vast amount of good which the compositions of Bach have exercised upon the cultivation of Violin-playing, and the marvellous development that they have received at the hands of many of our leading Violinists. For this happy state of things we are largely indebted to Herr Joachim; but for him these treasures might have remained hidden behind a cloud of airs variés, fantasias, and what not, for many a year to come. Herr Joachim has made the Sonatas of Bach familiar to thousands who a few years since scarcely knew of their existence. The difficulties which abound in these solid writings could only have been written by a master perfectly acquainted with the capabilities of the instrument. Many a tyro who plunges into the stream of Bach's crotchets and quavers soon finds himself encompassed by a whirlpool of seeming impossibilities, and is frequently heard to exclaim that the passages are impracticable. Vain delusion! Bach was himself a Violinist, and never penned a passage the rendering of which is impossible. The ease and grace with which a Joachim makes every note heard and felt, induces many a one to wrestle with Bach, the more so when it is found that the great author has confined himself to the lower positions of the instrument. Vain delusion number two! Bach exacts more on terra firma than many later writers have claimed in their wildest aerial flights.

From Bach to Handel is an easy step in our discourse. They were born within a year of each other, and were possessed of minds of similar calibre, though differently exercised. It would not, perhaps, be over-strained to call them respectively the Nelson and Wellington of music. The compositions of Handel materially advanced the Violin. His Overtures, Trios, Sonatas, and Concertos, were all received with the utmost attention, and led on to works by later composers, which would probably have never existed but for Handel's example.

We now reach the time when the Symphony was perfected by Haydn, who, following the steps of Bach, brought this branch of the art to a degree of perfection hitherto unknown. The influence of this composer on the progress of the Violin cannot be over-estimated. The Quartettes of Haydn are too well known to need more than mention here. The Quartettes of Giardini and Pugnani were laid aside to give place to these inspired compositions. The following amusing comparison, drawn by a lady, between the Quartettes of Haydn and the speech of articulate humanity appears in Bombet's "Letters on Haydn," and, though pretty well known, will lose nothing by repetition:—

"In listening to the Quartettes of Haydn, this lady felt as if present at a conversation of four agreeable persons. She thought that the first Violin had the air of an eloquent man of genius, of middle age, who supported a conversation, the subject of which he had suggested. In the second Violin she recognised a friend of the first, who sought by all possible means to display him to advantage, seldom thought of himself, and kept up the conversation rather by assenting to what was said by the others than by advancing any ideas of his own. The Alto was a grave, learned, and sententious man. He supported the discourse of the first Violin by laconic maxims, striking for their truth. The Bass was a worthy old lady, rather inclined to chatter, who said nothing of much consequence, and while she was talking the other interlocutors had time to breathe. It was, however, evident that she had a secret inclination for the Alto, which she preferred to the other instruments."

It may be said that the foregoing extract is more funny than just. Probably this is the case; however, I make use of it as throwing some light on the enjoyment derivable from listening to a Quartette, without reference to its critical bearings.

Resuming our subject again: Haydn wrote eight easy Sonatas for Violin and Pianoforte, but they are not of sufficient importance to cause them to be much played. Haydn used frequently to take the Tenor parts in his Quartettes.

Leopold Mozart, born in 1719, the father of the illustrious musician, was a Violinist, and wrote a "Method" for his instrument. He died in 1787.

To the great Mozart Violinists owe much; his compositions for the instrument raised its standing considerably. It is unnecessary to give here a detailed list of those of his writings in which the Violin takes part—they are happily known to most players. Mozart played the Violin from boyhood, and was taught by his father. It is gratifying to know that nearly all the great composers played upon stringed instruments, if not with proficiency, yet enough to enable them to make pleasurable use of their acquirements. Sebastian Bach, Handel, and Schubert were Violin-players; Haydn and Mendelssohn could take their Tenor part in a Quartette; and lastly, Beethoven used to amuse himself with the Double-Bass. Their compositions evidence a practical knowledge of stringed instruments, as distinct from theory. The glorious compositions of Beethoven for the Violin need no comment here; their beauties have formed the theme of the ablest critics; and I have no desire to contribute my humble mite to their exhaustive remarks.

With Fesca we again come amongst the Violinists. He was born at Magdeburg, in 1789. His Quartettes are very pleasing compositions; they are chiefly "Solo Quartettes."

The next Violinist claiming attention is the highly gifted Louis Spohr, the greatest composer for the Violin that ever lived, who combined in his own person high executive powers with a rare fecundity of classical composition. The Concertos of Spohr belong to an entirely different class from those of Viotti, Kreutzer, and others, inasmuch as Spohr's music is written so as not only to display the beauties of the instrument, but also to give the noblest specimens of its orchestration. His Duets for two Violins, his Tenor and Violin Duets and Quartettes, are all too well known to need more than passing mention.

From Spohr has grown up a school of Violin-playing of a very distinctive character. Bernard Molique was endowed with great powers, both as a performer and a composer for his instrument. His Concertos are compositions of the highest character, and require for their rendering a finished artist.

Joseph Mayseder was a Violinist of an order distinct from that of Spohr or Molique. His style was exceedingly brilliant. Mayseder may also be said to have created a school of his own, and, owing to the circulation that his compositions obtained in England, his style was introduced among a great number of our countrymen. Kalliwoda wrote and played very much in the Mayseder manner. His Airs and Variations are especially brilliant compositions; his Overtures are also much admired for their sparkling and dramatic character.

I come now to notice one of the greatest artistes of our time—Herr Ernst—whose playing was impassioned in the highest degree. He made the Violin express his innermost thoughts in tones of delicious tenderness, such as his hearers can never forget. By nature noble, generous, and affectionate, the shade and substance of each trait was faithfully reflected in his exquisite playing. His compositions are among the finest solo writings we have. To mention his "Otello," "Airs Hongrois," "Le Prophète," and his "Studies," will be sufficient to call to the mind of most Violinists the high character of his compositions.

It now only remains for me to briefly allude to the German artists each Concert Season makes us familiar with. First and foremost, the mighty Herr Joachim, a host in himself. His able coadjutor, Herr Strauss, was justly admired for his intellectual rendering of the great masters, and the artistic spirit he invariably displayed. Herr Wilhelmj was regarded as one of the first players of our time, his executive powers being of the highest order.