| King René of Anjou with his Court Musicians | [Frontispiece] |
| From the Breviary of King René, written and
illuminated in the Fifteenth Century by some of those appearing
in the picture. Preserved in the Bibliothèque de l’Arsenal, Paris. | |
| First Violin, Symphony Society of New York, Alexander Saslavsky | [Facing page 10] |
| A Little Savoyard in Paris with vielle, or hurdy-gurdy (old print) | [14] |
| St. Cecilia | [18] |
| From the Adoration of the Lamb by Jan and Hubert
van Eyck, in the Cathedral of St. Bavon, Ghent. St. Cecilia is
playing the organ, one of the Angels a harp (of the “Irish” type)
and another a violin without “bouts” and with crescent-shaped
sound-holes. Note the peculiar and archaic shape of the bow.
This picture was painted in the Fifteenth Century. | |
| Violin by Gasparo di Salò | [22] |
| Violin by Maggini | [24] |
| Cremona in 1830 | [26] |
| From an engraving by Caporali. | |
| Violin by Antonius and Hieronymus Amati | [30] |
| The Hellier Stradivari | [34] |
| Bought by Sir Samuel Hellier of Womborne,
Staffordshire, England, from Stradivari about 1734. It was
made in 1679, but its history between these dates is unknown.
The Hellier Stradivari is one of the most famous examples of
Stradivari’s work and is one of his very rare inlaid
violins. The bows are of an old model, as their points plainly
show, made before the days of Tourte. | |
| Violin by Guarneri del Gesù | [38] |
| Used by Paganini in most of his concerts. Now in Genoa. | |
| Instrument-maker’s Workshop (Eighteenth Century) | [40] |
| From the Encyclopaedia of Diderot and d’Alembert. | |
| François Tourte, “the Stradivari of the bow” | [44] |
| First Viola, Symphony Society of New York, Samuel Lifschey | [48] |
| Viola d’amore | [50] |
| Owned by the University of Edinburgh. Note the
beautiful inlay of the tail-piece and neck, the carved female
head instead of scroll with the eyes strangely veiled. The
sound-holes of the “flaming-sword” type are beautifully and
gracefully cut. This instrument lacks the “sympathetic strings,”
with which it was originally strung. | |
| Gaspard Duiffoprugcar | [52] |
| Viola da Gamba | [54] |
| Made by Gaspard Duiffoprugcar, with picture
inlaid in the back. | |
| First violoncellist, Symphony Society of New York, Engelbert Roentgen | [56] |
| Viola da Gamba | [60] |
| Owned by the Museum of the Brussels Conservatory
of Music. The back is of rosewood. The inlay, neck, scroll and
tail-piece (carved in the shape of Mercury’s caduceus) are of
ivory. The instrument is an exquisite work of art. It is of
later date than the viola d’amore facing page [50], as
the crescent-shaped sound-holes show. | |
| Gentleman of the Seventeenth Century playing the viola da gamba, or basse de viole | [64] |
| First Double Bass, Symphony Society of New York, Morris Tivin | [68] |
| Lutemaker’s shop and Two Men playing the Double Bass. Date 1568 | [70] |
| First Flute, Symphony Society of New York, George Barrère | [74] |
| Frederick the Great playing a flute concerto with his orchestra at Sans Souci | [78] |
| By Chodowieki. | |
| First Oboe, Symphony Society of New York, Henri de Busscher | [84] |
| Cor Anglais, Symphony Society of New York, A. Bianco | [90] |
| Bassoon, Symphony Society of New York, Ugo Savolini | [94] |
| Clarinet, Symphony Society of New York, Gustav Langenus | [98] |
| Contrabass Clarinet, Symphony Society of New York, Richard Kohl | [102] |
| Horn, Symphony Society of New York, Josef Franzl | [106] |
| Trumpet, Symphony Society of New York, Carl Heinrich | [110] |
| Trombone, Symphony Society of New York, R. Van der Elst | [114] |
| Tuba, Symphony Society of New York, Luca Del Negro | [118] |
| Tympani, Symphony Society of New York, Karl Glassmann | [122] |
| Percussion, Symphony Society of New York, Hans Goettich | [126] |
| Drum, Xylophone and Triangle, Symphony Society of New York, Samuel Borodkin | [130] |
| Theorbo | [136] |
| Made by Giovanni Krebar of Padua in 1629. The body
is of ivory and the neck and peg-box of ivory engraved with a view
of Venice, incised figures dancing and fencing and a garden scene.
The pegs show that there were eight bass notes, or diapasons; a
single string to each note, five double strings on the fingerboard
and one, the highest of all and single, called the chanterelle,
or melody string. | |
| Three Chitaroni | [140] |
| The first is a theorbo, or bass lute, with a long
upper neck to give length for the bass strings. It is five feet
long. Notice the three sound-holes joined together (rosaces) and
the mother-of-pearl ornamentation. This lute is strung with six
pairs of strings on the fingerboard: each pair is tuned in unison.
Seven single, or diapason strings (or open basses) are stretched
from the upper peg-box. The Chitarone in the centre, also
richly inlaid with mother-of-pearl, has also three connected
sound-holes, six pairs of unisons upon the fingerboard and eight
diapason, or open bass, strings on the neck. It is six feet long!
The third chitarone has six pairs of unisons and seven
diapason (or bass) strings. The neck is ornamented with checker work. | |
| Claudio Monteverde | [144] |
| Car of musicians. Triumph of Maximilian | [148] |
| By Albrecht Dürer, about 1518. | |
| Car of musicians. Triumph of Maximilian | [150] |
| By Albrecht Dürer, about 1518. | |
| Car of musicians. Triumph of Maximilian | [152] |
| By Albrecht Dürer, about 1518. | |
| Chamber music in France, in 1635 | [156] |
| By Abraham Bosse. | |
| One of the Twenty-Four Violins of the King, 1688 | [160] |
| Jean Baptiste Lully | [164] |
| Engraved by Gérard Edelinck. | |
| Marin Marais | [170] |
| The most famous player of the viola da gamba
of the Seventeenth Century and Lully’s assistant conductor. | |
| Arcangelo Corelli | [178] |
| Concert | [182] |
| Domenico Scarlatti at the gravicembalo
(harpsichord); Tartini, violin; Martini, flute; Locatelli and
Lanzetti. | |
| Rameau | [184] |
| Portrait by Restout, engraved by Benoist. Bibliothèque
Nationale, Paris. | |
| Johann Sebastian Bach | [186] |
| Portrait by C. F. R. Lissewsky (1772) in the
Joachimstalschen Gymnasiums, Berlin. | |
| Handel | [188] |
| Portrait by Thomson. | |
| Handel conducting the Orchestra | [190] |
| Handel at the cembalo (old print). | |
| Gluck | [194] |
| Portrait by Duplessis. | |
| Haydn | [200] |
| Portrait by Gutenbrunn painted in London in 1770.
Engraved by Luigi Schiavonetti. | |
| Mozart | [208] |
| Portrait by Cignaroli in 1770. | |
| Beethoven | [218] |
| Portrait by Lebronne. Engraved by Höfer. | |
| C. M. von Weber | [232] |
| Portrait by Schimon. | |
| Schubert | [238] |
| Water color sketch by W. A. Rieder. | |
| Mendelssohn | [242] |
| From a pencil-drawing by Bendemann in 1835.
Autographed by Mendelssohn. | |
| Berlioz | [246] |
| Lithograph by Fischer in 1863. Autographed by Berlioz. | |
| Liszt | [252] |
| From a photograph taken in Budapest in 1875. | |
| Wagner | [258] |
| Photograph taken in Munich. | |
| Tschaikowsky | [266] |
| Photograph taken in Petrograd. | |
| Saint-Saëns’s Festival Concert, Salle Pleyel, Paris, in 1896 | [268] |
| Saint-Saëns at the piano; Sarasate, violin; and
Taffanel conducting the Orchestra of the Société des Concerts du
Conservatoire. Drawn by J. Grigny. | |
| Debussy | [270] |
| Photograph taken in Paris. | |
| Orchestra of the Symphony Society of New York | [272] |
| Walter Damrosch conducting. | |
| Orchestra of the Eleventh Century | [274] |
| Development of the capital of a column in St.
George’s, Boscherville, Normandy. | |
| Page from Conductor’s score | [276] |
| Beginning of Second Movement of Beethoven’s
Fifth Symphony. | |
| Richard Strauss conducting | [278] |
| Minstrels playing harp, flute, and pipe and tabor | [280] |
| From an illuminated Ms. of the Romaunt
of the Rose, owned by the British Museum. Fifteenth Century. | |
| Harp of the Fourteenth Century (King David) | [286] |
| From a Ms. of the Fourteenth Century. | |
| Violinist, singer, and lady at the virginal | [292] |
| From Playford’s Banquet of Music. Printed
in the Savoy for Henry Playford at his shop near the Temple
Church (London, 1688). | |
| Concert with harpsichord | [296] |
| From Peter Preller’s Modern Music Master
(London, Eighteenth Century). | |