Having now taken a glance round at the chief centres of violin making that had during Stradivari's lifetime been strongly influenced by him, directly by means of his pupils or indirectly by the arrival there of his works, we may note that his qualities artistically or acoustically considered, while giving him a commanding position, did not reach so far as to annihilate, during competition, those of the Amatis, especially where the latter had been of long standing and followed earnestly in detail, they kept side by side as in Cremona. The influence of Stradivari beyond the borders of Italy had yet to receive its due acknowledgment from the crowds of imitators which have now become known or have pushed themselves in front of the public gaze.
CHAPTER VIII.
The Reputed Golden Period of Stradivari Late in Life—His Later Modifications of Design—Signs of Old Age Appearing—The Help He Received.
WE can now return back to Cremona, where we left the master in what might almost be termed the heydey of success, as he seems to have had full obeisance as the reigning chief among liutaros. The amount of work put forward—estimating carefully by what remains to us after the lapse of some hundred and eighty years or more—must have been possibly larger than is suspected and now might appear incredible if it were catalogued in detail, were it not for the extreme probability that minor or mere mechanical parts of the many instruments other than violins, violas, or violoncellos were effectively carried out under the supervision of Antonio Stradivari, his sons and assistants, of these probably what under the circumstances might even be termed a numerous staff.
The period 1700 to 1725 has been referred to by some writers as "the golden period" of Stradivari, not inaptly if we are to understand it in a pecuniary sense, as his income at the time was no doubt of a very satisfactory nature, but if taken from the standpoint of artistic elegance and finish in detail the master himself seems to have had some slight misgivings, as there are well-known indications in his latter days of having used some of hisearly patterns, as if a desire had arisen in his mind to return to his old love.
That some signs of advancing age should not be apparent in Stradivari's work during the period of 1715 to 1725 would scarcely be expected. It is just at this time, however, that he gives the strongest evidence of being the extraordinary man that he was. In 1715 and thereabouts, a time of all others, some critics might put it, when his most magnificent gems of art were sent out into the world, he was a veteran seventy-one years, a time of life that few people would look forward to as being appropriate for executing unrivalled masterpieces, but rather as having for some time retired for final rest after a full complement of working days; here, however, was a peerless artist actually in his prime! and as busy, possibly so, as at any early times.
At 1720 to 1725 a close student of his work of hand may discern some signs of what was to follow, it might be said naturally. In the first place the purfling gradually assumes a heavier aspect, it is a trifle bolder or thicker in substance, although sent round the borders of the instrument with apparently the same masterly handling and iron nervousness of the preceding years. The edging is also a degree stouter. Occasionally the corners are made to a more obtuse angle, adding to the whole design a more stolid look, as if mere elegance was about to be thrown aside and more simplicity and grandeur were being sought for. This was not continued, the master seemed afraid of going too far towards heaviness, he therefore cautiously withdrew to his own old lines. Sometimes—possibly taking up and constructing upon some of his old and early moulds—the corners are brought out more prominently, but with more substance than in his early days; the result is delightful for the connoisseur's eye. Accompanying these minute modifications there will be noticed an increase slight and gradual in the expression of heaviness in the sound holes. If possible there is more freedom from mere symmetrical proportion, they areplaced less accurately level, one being a trifle higher than the other, this by the bye was common with him at all times, although usually with a subtlety that left them unnoticed by an ordinary observer. This slight irregularity has been sometimes misinterpreted as one of the little secrets of the master whereby he obtained his excellent sonority; "discovered" was the exclamation, and a new rule laid down on Stradivari's lines—never place your sound holes on the same level, always one a trifle higher and you will get what the master was so famous for. The result, so far, has been a disappointment which laid bare some evidence that these over zealous enthusiasts were not sufficiently acquainted with the canons of Italian art. There was another peculiarity creeping on with regard to these sound holes—that of an enlargement of the curve opposing the lower wing, at first it gave a more staid aspect to the part, there was less sprightliness and youth about it, nevertheless it was fine at times, even magnificent, there being still the same determination of purpose, that of combining maturity of elegance with strength. Afterwards, the change—and if all the works of these later years could be seen, saved from the destructive ravages of time and wear, it would be pronounced scarcely perceptible in its progressive degrees—came creeping on, old age gradually insinuating itself in the mechanical part of the design.
From 1725 to 1737 was a time forming a proportion of Stradivari's career during which, if he arouses less enthusiasm among his admirers for the "work of hand," he outbalances it by far in exciting our astonishment at the man himself. In the year 1725, he was then eighty-one years of age, and his work, regarded from the standpoint of "periods" as given, or arbitrarily laid down by critics of the first half of the present century, was what is now known as just past the "golden" or "grand" period; that is, some signs of decadence in the finish of the instruments which he sent forth were for the first time becoming apparent. It is generally believed that Stradivari was still industriously engaged in constructinginstruments of different kinds and sizes as before, and that his time was occupied to the full in producing works in rapid succession, as in an uninterrupted stream. That the first part of this was probably quite true we can readily agree to, also that the out-put was continuous. Both, however, will need a little qualification when the surrounding circumstances are carefully weighed. Allowing the master possession of unusual mental and physical powers, with zeal unabated at the period included within the dates 1725 and 1735, it would be too much for us to believe him capable of working with the certainty and celerity of former years; with all his extraordinary abilities he would now be a less prolific worker.
This is in agreement with the number of works that have come down to us, and as the time advanced it became less and less until a veritable specimen of his latest period is extremely rare.
It has before been referred to that the sons of Stradivari worked with him for many years. They must have, from continual practice, been able to fit their own workmanship on to the designs of their father to a nicety that could not be surpassed. Their own individual designs are very seldom seen, consequent, no doubt, on so much of their time being devoted to helping their father, and until his death they must have rarely made on their own account.
There were other assistants who lent a helping hand in different branches of the work, among whom we will not omit mention of Carlo Bergonzi, a great master himself, but little inferior to Stradivari, and a good deal better than either of the sons.
The circumstances under which Carlo Bergonzi worked in the Stradivari establishment are not known; it is by no means certain that he received his early tuition in the place, but that he became an influence of considerable weight admits of no question. Whether he worked on the premises, or—his own being at one time or other next door—was an outside help no data is tohand that we can rely on, certain it is that his talent must have been fully recognised by the younger Stradivaris as their work declares.
Many years back there was some discussion about concerning the extent to which Carlo Bergonzi helped, or what part he undertook, if it were admitted that some of the Stradivari violins of the latest period were not entirely the work of the master. There was much said for and against the possibility or probability of there being any of Carlo Bergonzi's handiwork to be seen on any of the late Strads. No one seems to have questioned the presence of the influence of Bergonzi's style in the work of Franciscus Stradivari, the eldest of the sons, who, after labouring for many years on his father's moulds and patterns, might have reasonably been tempted to take a "leaf from the book" of such a master in designing as his friend and fellow-assistant, Carlo Bergonzi.
To take any sort of hint from that wonderful, although fitful genius, Giuseppe Guarneri, working within earshot, was not to be entertained for a moment, as the style of workmanship, the calibre and quality of tone belonging to his manner, was quite opposed to Stradivarian teaching, and besides which there are no records or traditions indicating even usual social intercourse. We are therefore thrown upon our own resources in estimating any connection of Carlo Bergonzi with the late work of Antonio Stradivari. The instruments themselves will be the only guide and, without doubt, in the face of other evidence, had it been present, the best. Stradivari's work during the last ten or more years of his life was showing exactly what we should expect of the man when working at a patriarchal age. The stamp of the veteran handicraftsman may be traced not unfrequently on the works of other eminent makers of Cremona, including Andreas, Hieronymus, Nicolas, and his son Hieronymus and others down to the latest period of Cremonese art, when Laurentius Storioni was proving that if in its last struggles it was not quite dead.
The distinguishing characteristics of old age workmay be briefly summed up in a few words—heaviness in design and uncertainty of execution. Good, even brilliant, conceptions may be started on new work, but the execution of them shows weakness, or even inability to carry them out well. We will apply this as a kind of test when overlooking the specimens handed down to us as being the production of the great Cremonese master at the age of between eighty and ninety-three years of age. If doing this simply from the connoisseur's point of view, without admitting any such influences as present or past monetary value, former ownership, in short, thrusting aside all considerations of pedigree, we shall soon have to divide them into two sections, one of which will be acknowledged by all connoisseurs to be really representative of the true Stradivarian manner adhered to strictly through a long working career, but with the only fault of not quite so well being said of it. Thus the sound holes, as before referred to in the tracings, were becoming heavier at the lower part and with a tendency in other details towards ruggedness. The varnish has a thicker and less dainty aspect, although of excellent quality still, but there is an impression of heaviness. In the carving of the scroll the same character prevails, the edges of the turns are stouter and at the back the grooves down to the shell are less refined in their execution. All these little specialities of touch, but no modifications, are the natural manifestation of the peculiar physical condition of the master at a very advanced age.
Let us now turn to the other section, that over some of which there is excellent reason for disputation, over others none.
It will be readily acceded that Stradivari at no time during his career ever favoured any exaggeration of curve in the design of his sound holes, there was always present the indication of a desire for a fine balance of parts, in fact, his ideal seems always to have been that of increasing, if possible, the elegance of the Amati sound holes while adding to its substantial aspect.
In some of what we have called the second section we find a lively, fine and rich transparent varnish such as Carlo Bergonzi was particularly an adept at; on the same instrument will be sound holes, that a moment's consideration will remove any hesitation as to the design being other than Carlo Bergonzi. As this remarkable artist had several types of sound holes, and no one knows how many subtypes, at his finger ends, a little knowledge of his two most opposite ones will bring at once to mind that he must have had a hand in no inconsiderable portion of what is called Stradivari's late work, as here is found the inclining inwards of his sound holes with the smaller upper part and heavier lower end. This will be found accompanied by the square looking upper part of the waist curve, the two things being alone almost sufficient to stamp the whole as being by Carlo Bergonzi, but here pedigree has stepped in and it was always called a Stradivari.
This is the one type of sound holes which has to be placed aside for a moment; the other type is of an opposite kind and very often to be seen accompanying the longer looking pattern of Carlo Bergonzi: it is free in design, having the upper and lower wings fully developed, that is, the straight cut of the wing is of full length, this individuality coming from Stradivari.
It is this portion of the details of the design that has led so many Students of the works of the Cremonese masters astray, they see the Stradivarian design, or we may call it peculiarity, and too hastily conclude as to its being the actual work of hand of the master. A little further consideration of the adjoining portions of the sound holes would bring to mind how little Stradivari was disposed towards any thinness of the opening out of the part leading from the wing to the nicks: if he had a tendency one way or the other, it would be towards more fulness, but his ideal being a beautiful equilibrium of all parts, this is clearly a point telling against the work as coming from his hand entirely. There is another part, too, that Stradivari seems to have most earnestly avoided, that ofmaking the top portion of the sound hole design reach over towards the centre, somewhat after the tendency of Andrea Guarneri, this causes the lower part to seem turned up more suddenly, it is, however, only by contrast between the two parts that this is so. Carlo Bergonzi's sound holes are more sprightly and vertical, and with their more mature style should not be confused with those of the preceding maker. Here, then, are two distinct types of sound holes independently of those referred to of earlier periods, to be seen attached to violins that have perhaps through several generations of owners been attributed to Antonio Stradivari, and in consequence been sold again and again for large sums. Here is evidence of there being something in a name. Had these instruments been carefully and properly analysed, with a strict regard to the habit of the master in respect of intention in design and execution at early and later periods, the mistake would not have occurred. The conclusions rushed at seem to have been that there was the proper age of the instrument, the varnish was of fine Cremonese type, the pattern and sound holes thought to be "Straddy," therefore it must be a Stradivari.
On the other hand, there is no obtainable evidence that these violins did not issue in new condition from Stradivari's atelier; we have in previous pages considered the amount of help at his elbow, and that this would be more and more called into requisition is but a reasonable conjecture: that it was actually the case is helped by the fact of violins being extant in which the age of the master is stated on the ticket—presumably written by himself. Possibly he felt some degree of pride in having accomplished, at the patriarchal age of about ninety years, work generally associated with the time and vigour of middle age. The existence of these violins, there may have been several more made than are known, has much significance, for the fact of his age being inserted may be fairly taken as indirect evidence not to be lightly put aside, that they were by himself looked upon as an accomplished work quite out of his usual way. Had hebeen constantly putting forth instruments made by his own hands, there would not have been anything unusual about them, but these, with date and age marked, seem to be a declaration of the master—see—I have made a violin at the age here stated! In these there is present exactly what would be expected in such work—indication of insufficiency of the physical powers for carrying into execution the dictates of the mental. The intellect of this wonder of humanity appears to have remained unclouded to the last.
The other violins of about the same epoch, and going under the master's name, have a manner of work that ought to have been perceived as being also distinct. Mere hastiness or slovenliness of work is not identical with the effect of inability to achieve mechanical neatness. It is this slovenliness of handiwork which Carlo Bergonzi gave way to so frequently; he could, when in the humour, work beautifully; this, with his fine perception of elegance of line, was possibly the secret of his being admitted into the atelier of Stradivari and of his influence over the sons. There may have been other special particulars regarding him that helped in the matter of which there does not appear to be any record.
CHAPTER IX.
Evidences in Stradivari's Work of Old Age—His Death and Burial—Work Left by Him—The Advance in Value of His Work Since His Decease.
RETURNING to the analysis of the individuality of the mechanical work on the violins of the latest epoch of Stradivari, one or two further details are worth consideration. The size, style and tool work of the scroll have always been admitted to take up a large share in the estimation of evidence present for identification of authorship. In some of the late specimens of Stradivari we can see at once that the hand has become less firm, the bold turns seem to have lost much of their former vigorous expression, and although thick enough in edge are closer, and impress the connoisseur of the inability of the artificer to spend more time and attention than was absolutely necessary. The groove down the back to the shell is less refined than previously, besides being more heavily gouged at the termination. Almost in contrast with these parts there are seen on other "very late Strads" a neatly cut shell widening out a trifle and minus the thick edging; an examination of the turns of the scroll will reveal the fact of its having been gouged in quite a different manner, the declevity being more concave, the result of running the gouge along the course instead of towards the centre which was the manner of the Amatis. This hollowing out of the turns was so frequently done byCarlo Bergonzi that it might be called his most natural mode of treatment; we can here see what evidence there is of this maker's probable help in the work of his master. If we admit the possibility of these being entirely Antonio Stradivari's handiwork, then there were more phenomenal aspects of the master's working powers left for our consideration than he had hitherto given the slightest hint of during his extraordinarily long career.
THE CHURCH OF ST. DOMENICO.
Taking therefore all the facts at our command in connection with the circumstances of the time, and the artist himself with his extended life, sifting these carefully we find the residue left is,—that his working powers gradually lessened in a perfectly natural way and that such entire work as left his hands during the last few, say six or seven years was, taken at the best, small in quantity; they came forth as from the last flickering embers of a decaying power whose influence, bequeathed to the world at large, was destined to increase indefinitely and whose secrets were left unrevealed, to be sought for earnestly, but in vain, by generation after generation.
Time, he with his hour glass, passing by the home of Antonio Stradivari in Cremona, found him full of years and honour among his own little world of friends and acquaintances, for beyond the borders of his country his name could have been known to few, and those only recognising him as a clever and successful practitioner in perhaps their own craft; his world wide fame had as yet received but a slight impetus when it became known that no more of the unapproachable gems of art were to issue from the unassuming house in the square of S. Domenico, Cremona.
Antonio Stradivari died in his 94th year at Cremona on the 18th of December, 1737, and was buried in the chapel of the Rosary in the Church of San Domenico. This church was situated exactly opposite his house, where, standing at his door—as he must have done many a time—the tomb which was to be his final resting-place came directly on the line of vision in front of him, butwithin the third recess or chapel past the intervening wall. So far as our scanty knowledge goes, there were no circumstances connected with his death that called for any special notice at the time. Possibly little more was remarked by the neighbours than that the aged musical instrument maker of the Piazza di San Domenico had died, and his two sons were to carry on the business. Perhaps none of them gave a thought to the immensely enhanced value of each of his works of art—or as they may have described them—the goods that he sold—that might be remaining two centuries forward.
He had lived to an almost patriarchal age, over ninety-three years. It is rare to find in the world's history a leading light among professors of science or art completing such a career of almost incessant labour both mental and physical. It is still more so to find the work of such a genius, large as was the quantity, increasing in value by "leaps and bounds" as time progressed after his decease. Most probably at the present day—supposing there to be extant as much as one-eighth of what he put forth—and that may be very much over the mark, the market value of what is recognised as his handiwork would still be a very long way above that of the whole of the work put forth throughout his life. It is on record that when he died there were ninety violins remaining unsold. There may be several good reasons for this; among them the fact that Carlo Bergonzi and Joseph Guarneri were working in rivalry at the time, and bidding for public favour less on account of fine workmanship than force and magnificence of style and general aspect, and that public attention was to some extent diverted in their direction; further, and perhaps more cogent, the recognition of the great brilliancy and largeness of Joseph Guarneri's tone, that must have seemed to the musical cognoscenti of Cremona remarkably fresh and vigorous.
But when the master had departed it was not long before the loss was seen to be irreparable. His work was sought for, there being none other of the kind to supply its place; further and further as time advancedit was becoming more and more evident that his like was not to be hoped for, notwithstanding the favour with which the public viewed the two rivals who were destined to work for a comparatively short period. When these two at last disappeared, it was a signal for another rise in the monetary value of Stradivari's work, and which was to continue progressing indefinitely until such time when there may be signs of an approaching renaissance.
FOOTNOTE:
[A]Our illustration of this house is from a photo. It will be noticed that it has not an imposing exterior and not much indication of the more spacious premises in the rear where the great master worked.
[A]Our illustration of this house is from a photo. It will be noticed that it has not an imposing exterior and not much indication of the more spacious premises in the rear where the great master worked.
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ONJOACHIM'S METHOD
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[Copy].
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HOW TO STUDY THE VIOLIN
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Strings and Tuning. The Bow and Bowing. Faults and their Correction. Scales and their Importance. Course of Study. Advice on Elementary Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr. Spohr's testimonial to Carrodus.
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THE BOW
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CELEBRATED VIOLINISTS,PAST AND PRESENT
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TECHNICS OFVIOLONCELLO PLAYING
BYE. VAN DER STRAETEN.
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Copy of Letter received by the Author from the great 'cellist,SIGNOR ALFRED PIATTI.
Cadenabbia, Lake of Como, March 9th, 1898.
Dear Sir,—I received the book you kindly sent me on "The Technics of Violoncello Playing," which I found excellent, particularly for beginners, which naturally was your scope. With many thanks for kindly remembering an old ex-violoncello player.
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Copy of Letter received by the Author from the eminent 'cellist,HERR DAVID POPPER.
Budapest, February 22nd, 1898.
Dear Sir,—In sending me your book on "The Technics of Violoncello Playing" you have given me a real and true pleasure. I know of no work, tutors and studies not excepted, which presents so much valuable material, so much that is absolutely to the point, avoiding—I might say, on principle—all that is superfluous and dispensable. Every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master.
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"THE STRAD LIBRARY," No. VI.
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VIOLIN PLAYING
BYJOHN DUNN
CONTENTS
Introductory—Qualities indispensable to the ideal Violinist—Hints on the Choice of a Teacher—Some Tricks of pretending professors exposed.
On the Choice of a Violin and Bow—Advice regarding general adjustment and repairs.
On the Choice of Strings—Stringing the Instrument and keeping the Pegs in Order.
On the General Posture—The manner of holding the Violin and Bow as accepted by the leading artists of the day.
On Fingering Generally—The various positions—Scales recommended—The Modern Orchestral "Principal" or (so-called) Leader.
On Gliding—Special Characteristics of some of the most Eminent Players.
Double Stopping—The main difficulty in Double Stopping—How to gain independence of Finger.
Bowings—Smooth Bowings—Solid Staccato—Spiccato—Spring Bow—Mixed Bowings.
Tone Production—Character of Tone—Rules and Conditions necessary to produce a good tone—Style and Expression.
London:"STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
"THE STRAD" LIBRARY, No. VII.
Crown 8vo, Cloth, 2/6, Post Free 2/9.
CHATS TO 'CELLO STUDENTS
BYARTHUR BROADLEY.
CONTENTS.
Preliminary remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow. How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same. General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist. Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers. General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur. Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow. On "Staccato" Bowing-Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes. On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion"v."Effect"—Choice of Positions. Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando. Double-Stopping—Useful in Developing the Hand—How to Determine the Fingering of Various Intervals—Gliding in Double Stops—Chords—A Correct Manner of Playing Chords. Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios. Graces and Embellishments—The Use of the Thumb—Extensions—Octaves. Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes! Delivery—Style—"Form"v."Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing.
London:"STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
TRANSCRIBER'S NOTES:
Inconsistencies in spelling and hypenation have been retained from the original.
Obvious typographical errors have been corrected as follows:Page 3:occuredchanged tooccurredPage 22:bechanged tohePage 31:connoissierschanged toconnoisseursPage 39:ignominouschanged toignominiousPage 60:Guadaguinichanged toGuadagnini
Page numbers in theList of Platesfor the ILLUSTRATIONS OF SCROLLS have been retained, but illustrations have been moved to be next to the paragraph in which they are referred.