“While sitting thus, wrapped in this slumber of the soul, sounds broke upon my ear, which were sometimes of a hurried, sometimes of a prolonged and sustained character, and were repeated, in softened tones, by the echoes around. I found they proceeded from a mountain-horn; and their effect was heightened by a plaintive female voice. Struck, as if by enchantment, I started from my lethargy, listened with breathless attention, and learned, or rather engraved upon my memory, the Ranz des Vaches which I send you. In order to understand all its beauties, you ought to be transplanted to the scene in which I heard it, and to feel all the enthusiasm that such a moment inspired.”
This susceptibility of pure and simple emotions, which it is delightful to recognize as one of the attributes of real genius, was in Viotti associated with a clear and cultivated intellect. He passed much of his life in the society of the accomplished, the literary, and the scientific; and his active mind gathered strength and refinement from the intercourse. If the Horatian dictum be right, that
“Principibus placuisse viris haud ultima laus est,”
it may be added to the sum of Viotti’s personal merits, that he gained the respect and esteem of the great, with whom he mixed on proper terms, not forgetful of their rank as persons of birth and fortune, nor of his own, as a man of rare talent. The strictest integrity and honour regulated his transactions; and his feelings were kind and benevolent. Thus it may be seen that his character, as a man, was calculated to give increased dignity and influence to his name as a musician.
In the latter capacity, it has, with great truth, been remarked of him, that though the virtuosi of the present day contrive to execute manual difficulties exceeding those which were attempted in his time, he has never been surpassed in all the highest qualities that belong to performance on his instrument. His compositions for it remain, to this day, unrivalled in spirit and grandeur of design, graceful melody, and variety of expression; and they still furnish, when performed by the surviving disciples of his school, one of the most delightful treats which a lover of the great and beautiful in music can receive. The Concerto, in particular, which attained some of its improvements in the hands of the elegant Jarnowick, and the sweetly-expressive Mestrino, derived a marked advancement from Viotti, who gave to this style the character which seems so peculiarly its own, and brought it to a degree of elevation which it seems incapable of surmounting. The specimens of his composition in this line, that principally claim the attention of the amateurs of instrumental music, are those in G, in A minor, in D, and in E minor. The theme of the Concerto in D is in the highest degree brilliant, though it must not be forgotten that it is taken from a trio of Pugnani’s in E flat.
It has been well suggested, as a hint to the solo-players at our London Concerts, that Viotti’s Concertos offer material far more desirable for their use than those eternal “Airs with Variations,” which convey to the feelings of the auditor so little sense of variety, and in general tend to exhibit nothing beyond the dexterity of what the Italians call a spacca-nota, or note-splitter.
The most popular of his Trios are Op. 16, 17, and 18. The whole of his Duos are admirable, as respects both invention and energy: they may be called Concertos in miniature[36].
Among the disciples of the school of this great master, may be enumerated Rode (on the whole regarded as the best), Alday, Labarre, Vacher, Cartier, Pixis, Madame Paravicini, Mademoiselle Gerbini, and our countryman, Mori.
Francesco Vaccari, born at Modena, about the year 1772, commenced his practice of the instrument at the infantine age of five years, under the tutelage of his father, who, delighted with his quickness of apprehension, would frequently encourage him to play at sight, not by the gauds and “immoment toys” that are the common habits of childhood, but by gifts of new music. After four years of domestic study, he was introduced by his father to Pugnani, who, with a natural mistrust of precocious powers, did not like, at first, to be troubled with “child’s-play,” although, on hearing him, he could not refrain from applauding his execution. The boy went afterwards to Florence, and had instructions from Nardini. The habit so early instilled into him by his father, of playing at first sight, procured him a triumph at Mantua, when he was yet but thirteen; for he was enabled to execute, without hesitation, a new Concerto which Pichl, its composer, placed before him. In 1804, after he had visited most of the great towns in Italy, he obtained from the King of Spain the appointment of First Violin of his chamber-band. The disturbed state of that country drove him into Portugal; and he was, at two several periods, performing in England. Vaccari was distinguished by purity of tone and of taste, a tender expression, execution without trick, and a nice exactitude of intonation.
Masoni, a Florentine, born 1799, attained very brilliant powers of execution, which he displayed chiefly in foreign countries—quitting Italy in 1817, for South America, from whence, after various migratory musical labours, he passed over to India, and stirred to liveliest emotion the languid people of Calcutta. In the spring of 1834, he visited England, where his tours de force, and surprising dexterities of bowing, would have won for him a more copious admiration than they did, if, instead of coming so closely in the rear of the Genoese “Miracle of Man,” who had well nigh exhausted our stock of musical sympathies, he had been his antecedent. I would here ask the gentle reader’s indulgence towards the following bit of measured hyperbole, perpetrated at the above time, and admitted into a weekly publication of Mr. Leigh Hunt’s:—