These reflections have led me to propose the restoration of the lyre, and that in its most ancient form, as a four-stringed instrument; for such form would be attended with a great advantage, namely, that the whole of the violin music at present extant would be instantly applicable to it.
Its advantages over the violin or violoncello played pizzicato, are its far greater beauty of form, the absence of the wooden tone, the freedom of its strings, and its capability of a fuller harmony—a vast recommendation in these days.
The lyre is indeed altogether unrivalled for beauty of form. It may be constructed of any size to avoid the wooden tone of the sounding-box. Its strings, which vibrate with perfect freedom, may be accurately stopped by means of a metallic instrument. Half or quarter notes may be produced on it; and these may be run into each other, upward or downward, by carrying the stop correspondingly over the string.
It is not, however, enough to propose this: I have carried into practice what I recommend. By merely cutting away the finger-board of an old lute, reducing it to the length of a violin, and fitting it up with four strings, I have procured a lyre which fulfils every expectation that can reasonably be founded on such a transformation.
Great beauty and even splendour may, however, be given to the form of the lyre, and of these it is quite worthy, for its capabilities seem to have little limit. I have no doubt, therefore, that it is destined to become, in the hands of the vocalist, precisely what the violin is in those of the instrumentalist.
DONALD WALKER.
A BIOGRAPHICAL NOTICE OF TAMBURINI. BY M. CASTIL BLAZE.
ANTONIO TAMBURINI, the man who has brought base singing to its utmost perfection, was born at Faenza, March 28, 1800. He was the son of Pasquale Tamburini and Luigia Collina. His father was a professor of music at Faenza, playing on the clarionet, the horn, and the trumpet. He quitted this town and went to Fossombrone, near Ancona, where he became the director of the musicians entertained by the municipal authorities. Antonio accompanied his father, who taught him the rudiments of music, and then gave him lessons on the horn. At the age of nine the young Tamburini played this instrument very well, though it never pleased him; but the fatigue attendant on its practice in the case of so young a subject, brought on a serious illness, which determined his father to change the object of his son’s musical studies. When his health was perfectly re-established, he was placed under the Maestro di Capello at Fossombrone, who exercised him continually in the solfeggi, and then brought him forward in all the churches of the town and its environs. He was everywhere admired for the beauty of his voice; but when he was twelve years old, his father’s engagement at Fossombrone being ended, they returned to his native town of Faenza, where he was engaged at the theatre to sing the soprano parts in the chorus. The smallest towns in Italy possess their musical artists of the first merit; and such singers as Mombelli, David, and Donzelli, did not disdain to assist at the theatre of Faenza during the fair. Our youthful choriste heard and admired their execution; he profited by what he heard, and without receiving lessons from any one, formed his own style on the models that he had thus daily opportunities of witnessing. He divided his time between the church and the theatre, as is the custom in countries where music still forms a prominent part in the service of the temple. His assistance was required in the chapels of all the neighbouring convents, where his fine voice and delicate and florid execution were the theme of universal admiration.
At eighteen Tamburini resolved to see the world, and, without bidding adieu to his parents, this nightingale of Faenza took flight for Bologna, the rendezvous of all those pretenders to musical fame who, possessing moderate talent, come there hoping to form engagements with the managers of various corps of itinerant artists who seek for such to fill their ranks; and with one of these, who was forming a troupe for the theatre at Cento, he associated himself.
In the mean time the delicate soprano of Tamburini had become a fine base, at once sonorous and flexible—full of expression and pathos, and, at the same time, capable of executing with ease rapid and brilliant passages. He made his débût in the town of Cento, in La Contessa di Col-Erboso of Generali, and was agreeably surprised by the reception he met with: the measured and moderate praises bestowed on him in his native town had not prepared him for the enthusiastic plaudits that awaited this his débût in the first rank of dramatic character as a base singer. However, such was his success, that it emboldened the leader to advertise a representation for the benefit of this highly-favoured débutant: honour was, however, all that he derived from this evening’s success; the profit went to the funds of the troupe. At Mirandola, at Correggio, his success was the same: at the latter place he met with Azioli, who congratulated him on his voice and his talent, telling him at the same time, that with more regular study he would probably have had less brilliant success. Their musical tour completed, the troupe returned to Bologna, where one of the actors proposed to ask for the Teatro Contavalli, for the purpose of giving representations, but Tamburini distrusted his powers, nor could the favourable reception he had hitherto met with make him confident of success with the more refined audience of Bologna. In this diffidence none shared, and it was determined that the attempt should be made. The dilettanti of Bologna confirmed the judgment already given at Cento, Mirandola, and Correggio; in consequence, he was immediately engaged for the theatre at Piacenza, during the Carnival of 1819. Here Tamburini found a much more extensive musical library, and was enabled thus to quit the circumscribed path he had hitherto trodden, and to launch out at once into the wide field of Rossini’s compositions. He appeared first in the Cenerentola, and his fame spreading rapidly, Rimbaldi came express from Naples to judge of the merits of this youthful pretender, and finding that report had not exaggerated his talents, immediately engaged him for the Teatro Nuovo in that city. If his débût here was not marked by that enthusiastic applause which had awaited him in other places, his success was not the less solid, being only delayed by the caution of a fastidious public, which here, as in Paris, withholds its praise till the judgment is entirely satisfied. It is enough to say, his engagement was renewed for the next season.