But you must not vigorously move immediately from semiquavers to demi–semiquavers, as in this example, or from these to the next in degree—that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demi–semiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practicing the shake, as in loudness when you make a swell. You must attentively and assiduously persevere in the practice of this embellishment, and begin at first with an open string, upon which if you are once able to make a good shake with the first finger, you will with the greater facility acquire one with the second, the third, and the fourth, or little finger, with which you must practice in a particular manner, as more feeble than the rest of its brethren. I shall, at present, propose no other studies to your application; what I have already said is more than sufficient, if your zeal is equal to my wishes, for your improvement. I hope you will sincerely inform me whether I have explained myself clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Prioress, to Signora Teresa, and to Signora Chiara, for all whom I have a sincere regard; and believe me to be, with great affection,
Your obedient and most humble servant,
Giuseppe Tartini.
VIOLIN NOTES.
BY OLE BULL.
PREFACE.
Ole Bull had long contemplated revising and filling out his fragmentary notes on the violin and its construction, jotted down at various times. Excepting some slight rearrangement they are now presented as he left them, unfinished and incomplete. As they stand they are genuine and characteristic, and doubtless indicate part of the general design he was not permitted to complete.
Aided by peculiar physical and nervous force Ole Bull presented that rare combination,—excellence in the technique of the left hand, with equal excellence in that of the bow. No difficulty in the fingering of double, treble, and quadruple tones seemed to exist for him. The fact that the violin is not best calculated for the powerful demands of a four–part passage, and that, therefore, the effect in a large hall is apt to be hazy and indistinct, should in no way detract from the wonderful skill required for its performance. In executing a trill he showed no partiality for a particular finger: the pulsation was always even and clear. His scales were extremely smooth, both in ascending and descending. He excelled in executing whole passages in any fixed position, also in rapid shifting from a low position to a high one and vice versâ, and in pizzicato with the left hand. In the management of the bow he was unrivaled. His staccato was peculiar to himself, and was simply perfection. Whether the bow was impelled in a succession of little rippling bounds or of detached martelé strokes, each note possessed wonderful distinctness and impetus. In the arpeggio the notes were never slurred together, and the double accentuation of the lowest and highest notes imparted a full rhythmic swing to such passages. The tremolo and sautillé displayed the delicate flexibility of his wrist. His tone was pure, elastic, and sympathetic.
In his compositions the various motives are always well worked out, and abound in broad and beautiful effects. As they were written for himself, they exemplify his peculiarities of fingering and bowing. Like Paganini’s, they are almost unplayable; for, apart from the difficulties of technique, without the vis viva of the master they lack their greatest charm.
To his remarkable personal magnetism was added a grace and dignity of appearance, an unvarying amiability and courtesy of manner. He met few whose feelings towards him, however antagonistic at first, did not speedily become warm and friendly, and little children loved him.