ORIGIN AND EARLY HISTORY OF THE VIOLIN.
The Fiddle Family—the Epigonion—the Semicon—the Plectrum—the Magadis and Sambuce—Orpheus and the lyre—the Plectrum an implement of percussion, not a bow—the Egyptian Chelys—Orpheus at Versailles—the fidicula of the Latin Dictionary—Welch claims—Crowd and Crowder—Instrument of the Saxon Glee-men—Strutt’s sports and pastimes—Italy—Successive stages of the invention—the Sounding-board—the neck—the bow—the Rebec—the viol—conversion of the viol into the violin—the tenor viol, &c.—chest of viols—Cremona fiddles—Hieronymus Amati—Galilei’s dialogues—claim of the Neapolitans—violins and organs in Verona in 1580—Corelli’s Violin, and Annibale Caracci—Piccoli Violini alla Francese—Monteverdi’s Orfeo—Mersennus—the Barbiton—the Kit—the Musurgia of Luscinius—the Rebec and Viol-di-Gamba—Violars accompanying the troubadours—Saxon word Fidle, German Videl, Icelandic Fidla, &c.—Fythelers of the old English romances—passage from the Life of St. Christopher—Chaucer and the Canterbury Tales—Absolon, the parish clerk—the ribible—the violin in low esteem before the Restoration—minstrels included among rogues, vagabonds, and sturdy beggars—Percy’s reliques—King of the minstrels—Butler’s Hudibras—Crowdero—France—sculptures on the portal of Notre Dame, in Paris—the Decameron—Michele Todini—the first to introduce the Double Bass—Arms of the Town of Alzei—Inhabitants called Fiddlers—Cushion Dance described—Hone’s table book—Miss Hutton’s Oakwood Hall—Punch and the fiddler—‘a regularly educated Zany’—Purcell’s catches—Epigram upon Young, father and son—Anthony à Wood’s Autobiography—the Restoration favourable to music—the Violin introduced at Court—Matthew Lock, master to the Court band—Cambert, Lulli’s predecessor—the music of the drama: act tunes—arrival of Nicolo Matteis—first music-engraving in England—‘Musick’s Monument,’ and Thomas Mace.—[ pp. 1,] et seq.
[CHAPTER II.]
THE ITALIAN SCHOOL.
The Italians the first to develope the powers of the violin—the old and modern schools—Baltazarini the early violin player—Giuseppe Guami—Agostino Aggazzari introduced instrumental concertos into churches—Carlo Farina—Michael-angelo Rossi—Giambattista Bassani—violin master of Corelli—Torelli—Valentini—Arcangelo Corelli—Lulli’s jealousy of him—publishes his first twelve sonatas—his solos—becomes acquainted with Handel—visits Naples—anecdotes—sickens and dies—anniversary performance in the Pantheon—his private character—anecdotes—his will—contemporary performers—Don Antonio Vivaldi—Francesco Geminiani—visits Naples—comes to England—visits Ireland—his death in Dublin—his character—anecdotes—lorenzo Somis—his Suonate printed at Rome in 1722—stephano Carbonelli—resides with the Duke of Rutland—leads the opera-band, &c.—becomes a wine-importer—dies in 1772—epigram—Pietro Locatelli—Arte di nuova modulazione—dies in 1764—Giuseppe Tartini—marries, and is discarded by his family—settles at Venice—his appointment at the church of St. Anthony of Padua—his Suonate and Concerti—his Adagios—dies at Padua—the Devil’s sonata—the dream—a legend in verse—Francesco Maria Veracini, the younger—anecdotes—an excellent contrapuntist—Pietro Nardini—a favourite pupil of Tartini—visits Tartini in his last illness—Thomas Linley one of his pupils—Luigi Boccherini—settles in Spain—dies at Madrid in 1806—his compositions—Felice Giardini—studies at Milan and Turin—visits Rome and Naples—arrives in London—visits St. Petersburg, and dies at Moscow—his character—Antonio Lolli—dies at Naples—anecdote—Gaetano Pugnani—founds a school at Turin—his style—his compositions—anecdotes—dies at Turin—Giovanni Mane Giornovichi (Jarnowick) pupil of Lolli—loses his popularity—dies of apoplexy—anecdotes—Giovanni Battista Viotti—eclipses Giornovichi—quits public life—anecdotes—ordered to quit England—embarks in the wine trade—loses his fortune—proceeds to Paris—retires on a pension—dies in England in 1824—his character and compositions—Francesco Vaccari—his early proficiency—performs in England—Masoni—leaves Italy for South America—goes to India—visits England, 1834—an invitation in rhyme—Spagnoletti—his enthusiasm—his liberality—his quarrel with Ambrogetti.—[pp. 37], et seq.
[CHAPTER III.]
PAGANINI.
Birth and parentage—surmises and false rumours—his early education—his public début at Genoa—begins to travel on his own account—his father’s rapacity—youthful excesses—a bidding for his violin—renounces gaming—his favorite Guarnerius—enters the service of the Princess of Parma—origin of his performances on one and two strings—follows the Princess to Florence—his intense application—his “Studies”—revisits Leghorn—anecdote—visits Turin and Ferrara—attacked with disease—the story of his uniform—his friendship with Rossini—contends with Lafont—remarks of M. Fétis and others—Paganini’s tribute to the excellence of Louis Spohr—gives two concerts at Pavia—remarkable announcement—invited to Vienna in 1828, by Prince Metternich—the Pope confers on him the order of the Golden Fleece—Mayseder’s despair—absurd and injurious rumours—Paganini’s manifesto—his great popularity at Vienna—concert for the benefit of the poor—anecdotes—visits Prague, Dresden, Berlin, and Warsaw—opinions of the Berlin journalists—declines to compete with Praun—epigram—visits Frankfort—mimicked on the stage—goes to Paris—description of Paganini’s performance from La Globe, (with cuts)—attempts to explain his method—M. Guhr’s Treatise—manner of tuning the instrument—management of the bow—use of the left hand—harmonics—double effects—Paganini’s wonderful gains—his letter to the Révue Musicale—what occurred at Padua—the devil seen at his elbow—foundation of the rumours—comes to England—quotation from the “Athenæum”—stringing a gridiron—raising the prices of admission—the Claqueurs—his first English concert—Mr. Gardner’s description—quotations—Mori’s joke and Cramer’s thankfulness—harmonic notes and staccato runs—farewell concert—revisits Italy—purchases the Villa Gajona—proposes to publish—decorated by Maria Louisa—want of health—gambling speculation—serious illness—his last moments at Nice—his son Achilles—his burial refused—superstitious rumours—his will—bequeaths his favorite violin to the city of Genoa—his personal habits and peculiarities—his mode of travelling—his habits at home—his desire of repose—anecdote of an amateur—Paganini’s slender general knowledge—his projects—mistrust of friends—his visitors—invitations—habits in company—aversion to light—recollection of names—preparation for a concert—rehearsal—his physical conformation—his influence on the art—a “farewell”—his compositions—critical remarks of M. Fétis—conclusion.—[pp. 110], et seq.