ADDENDUM.

“For all hisshifts, he cannot shifthis clothes.”

It is not always people of the finest ear, who are the most intolerant of ambulating fiddlers. There are somedullpersons who have little other notion of music inanyshape, than as so muchnoise. The complaint of these against the poor starveling here described, is that he makes solouda noise. Let us only (with sly allusion to the early name for the barbarous instrument) ask them one question—although even a bad joke may be quite thrown away upon the dull:

Say, wherefore should itnotbe loud,The noise proceeding from acrowd?

And, while employing this kind of excuse, which will perhaps be received as better than none, in behalf of a fraternity, who, if theytormenta little, unquestionably do much moresuffer, I may as well go on to offer the following such-as-it-is

APOLOGY FOR MATTHEW MARKIT,A “COMMON FIDDLER.”Let not wrath against him gather—Call him not a useless bore!Would you not, this dirty weather,Havea scraper at your door?Such is he;—nay, more than that,He’s aScraper, and a—Mat!

I do remember an itinerant, who used to sing a piece of dismal merriment, with a squeaking violin accompaniment,to the appropriate burden of “Heigh ho! fiddle de dee!” and a very wry face at each recurrence of this peculiar interjection. He much affected Knightsbridge and Hyde Park Corner, but was likewise visible at other points of the metropolis. His wife, a diminutive body, with a small whine by way of voice, helped to make “variety of wretchedness” in the exhibition. They looked as if familiar with none but the copper coinage of the realm. Yet they had generally theircôteriearound them—their “assistance admirative.” To be musical,any how, passes for a talent!

I will not suppose my readers so oblivious of an elderly joke, as not to recognize the face of that which is about to greet them; but, having found a version of it “turned to numbers,” I present it—a little “rubbed up” for the occasion—to the indulgent attention of those who have only met with it in prosaic statement:

A blind man, fed by fiddling,Was known through many a street;His “style,” far short of “middling,”With some did pass for sweet.He priz’d his fiddle greatly;Thecasehad fainter praise—Thecaseby “wife” made lately,With half a yard of baize.One day, when, led by Rover,He had a bridge to pass,His fiddle tumbled over,Stick, case, and all, alas!He straight set up a roaring,And added such grimace,That folks around came pouring,And pitied his sad case.“Sadcase! Psha! twiddle diddle!”Cried he, with scornful face;“Could I but get myfiddleD’ye think I’d mindthe case?”

Having thus made ourselves familiar with the street fiddler, and thereby, as it were, “sounded the very base-string of humility,” may we not be fairly supposed to have reached thefag-endof our subject? Whilst on this lower level, however—or, in what may be termed the Vale of Cacophony—I cannot conclude, without offering to the patience of my kind readers two more scraps of verse, wherein I have sought to exhibit a pair of specimens that belong, equally with the poor street fiddler, to the class of—those thatmightbe dispensed with:

EPIGRAMON AN UNFORTUNATE MAN, AND BAD FIDDLER.ThoughDibbleis feeble in all that he’sat,Few fools everfondled a failurebefore, so.In love, as in music, he stands for aflat—(For his Fanny is false, and his fiddle ismoreso),Whilehestill ignoreth—what none can dispute—That his suit’s out of tune, and his tune doesn’t suit!

ANOTHER, ON ANOTHER BAD FIDDLER.WhenScreechleyon thatnoise-boxharshly grates,What, what’s the supposition that must follow?This—that by some odd shifting of the Fates,’TisMarsyas’ turn to flay aliveApollo!

FINIS

[Thissection of the Work, which should have formed Chapter VIII, having been accidentally omitted in the printing, there remained no other course than, either to insert it here (as is actually done), or, by a dismissal utterly at variance with the laws of gallantry and of justice, to exclude it altogether, and so to debar the fairer portion of the community from all participation in the honours connected with the “King of Instruments”—an idea not to be for a moment entertained. If, in this volume, as in a campaigning army, the ladies find themselves placed altogether inthe rear—let them attribute the position, inthiscase as inthat, to any-thing but disrespect.]

Insteadof abow-arm, must ladies be allowed only thearmof abeau? Why should not a lady play on the Violin? The common objection is, that it is ungraceful. The ladies in Boccaccio’s Decameron, however—and who shall chargethemwith want of grace?—played on theviol, a bowed instrument requiring from the performer a similar position and handling to those exacted by the violin. If this latter instrument, considered in relation to a lady,shouldbe admitted to be somewhat deficient in grace,—has not the lady, out of the overflowing abundance of this quality, which is her sex’s characteristic, some of it to spare for communication tothe instrument? Can she not impart some of it to whatsoever object she chooses to associate with herself? Surely, she who can transform the rudest of beings from a bear to a man, and from a man to a gentleman, can lend a few spare charms to so grateful a receiver as the fiddle, which is found to repay in so eloquent a manner the attentions bestowed on it. But if the doubters continue to shake their heads at this, I would ask them whether, after all, we are to expect grace ineveryact and habit of a lady’s life, and call on her to reject every thing that may be thought inconsistent with it? Our modern respected fair one may, like Eve, have “heaven in her eye;” but really, looking at some of the offices which we are content to thrust upon her, it seems rather too much to insist that she shall also, like our original mother, have “grace inallher movements.” Is there grace in making a pie, or cutting bread and butter, or darning a stocking? If we have grace in theeffect, shall we be rigid to require it in themeansalso? Now, the grace which belongs to violin-playing isaudiblerather thanvisible, residing in the effect more than in the means: nor ought we to be such cormorants of pleasure, as to demand that the person who is filling ourearswith rapture, shall, at the same time, be enchanting to the utmost oureyes. If, then, a lady, full of soul and intelligence, is capable of expressing these through the fine medium which this instrument offers, should she be debarred from it, and restricted perhaps to the harp, because, forsooth, the grace that is merely external is found most in association with the latter? Let us only be reasonable enough to be satisfied, on principle, with the delicious effect that visits us through the ears, and we shall then give no hyper-critical heed to the rapid action of a lady’s arm in aprestomovement, or to thedepression of her head in holding the instrument; nor shall we continue to demand, with a pertinacity more nice than wise, that a feminine fiddler be

“Graceful as Dian when she drawsherbow.”

That exquisite sensibility which is one distinguishing charm of the female character, has its fittest musical exponent in the powers of the violin, which, therefore, in this particular sense, might even be styled the women’s own instrument: but, without going so far as this, there seems no sufficient reason why it should not, occasionally, be honored by figuring in the hands of the fair. Should these defensive remarks, however, be found unsatisfactory by your anti-women’s-playing-the-violin-at-all sort of people, I have nothing farther to say to them, but leave them to quote, undisturbed, their “quæ sunt virorum, mascula dicas,” &c. For my own part, I think so highly both of the ladies and the violin, that I rejoice at every opportunity of their being introduced to each other, and am delighted to know that, from time to time, certain clever and spirited womenhavebeen found ready to overcome the prejudices that have so long kept them asunder. Let us by all means enquire who these are.

A very high name meets us at the outset of our investigation—no less a one than that ofQueen Elizabeth. This exalted personage, who is recorded to have been musical “so far forth as might become a princess,” appears to have amused herself not only with the lute, the virginals, and her own voice, but with the violin. An instrument of this denomination, of the old and imperfect fashion, but splendidly “got up,” has been traced to her possession. If any particulars of Her Majesty’s style of performance could now be obtained,it would doubtless be found that she displayed, in no common degree, what is called “a powerful bow-arm,” but that she neglected the “sweet little touches” that give delicacy to execution.

To arrive at instances nearer to our own time, let us go at once from the Queen of England to MadameMara, the Queen of Song. Her first musical studies were directed to the violin. When yet an infant, the little Gertrude Elizabeth Smaling (such was her name) discovered so strong an inclination for the violin, that her father was induced to give her a few lessons on that instrument. Her progress was so rapid, that, as early as her tenth year, she excited the public surprise. It is certain that the development of her vocal powers was not a little aided by this cultivation of an instrument that may be called the friendly rival of the human voice. She herself was known to declare, that, if she had a daughter, she should learn the fiddle before she sang a note; for (as she remarked) how can you convey a just notion of minute variations in the pitch of a note? By a fixed instrument? No! By the voice? No! but, by sliding the fingers upon a string, you instantly make the slightest variations visibly, as well as audibly, perceptible. It was by her early practice of the violin, that this celebrated woman had acquired her wonderful facility of dashing at all musical intervals, however unusual and difficult. She married a violoncellist, of no great capacity, except for drinking.

Maddalena Lombardini Sirmen, who united to high accomplishment as a singer such an eminence in violin-playing, as enabled her, in some degree, to rival Nardini, had an almost European reputation towards the end of the last century. She received her first musical instructions at the Conservatory of theMendicantiatVenice, and then took lessons on the violin from Tartini. About the year 1780, she visited France and England. This feminine artist composed a considerable quantity of violin music, a great part of which was published at Amsterdam. A curious document is extant as a relic of the correspondence between this lady and Tartini. It consists of a perceptive letter from the great master, the original of which, along with a translation by Dr. Burney, was published in London in 1771. From this pamphlet, which is now among the rarities of musical literature, I shall here give the Doctor’s English version of the letter:

“My very much esteemed“Signora Maddalena,

“Finding myself at length disengaged from the weighty business which has so long prevented me from performing my promise to you, I shall begin the instructions you wish from me, by letter; and if I should not explain myself with sufficient clearness, I entreat you to tell me your doubts and difficulties, in writing, which I shall not fail to remove in a future letter.

“Your principal practice and study should, at present, be confined to the use and power of thebow, in order to make yourself entirely mistress in the execution and expression of whatever can be played or sung, within the compass and ability of your instrument. Your first study, therefore, should be the true manner of holding, balancing, and pressing the bow lightly, but steadily, upon the strings, in such manner as that it shall seem tobreathethe first tone it gives, which must proceed from the friction of the string, and not from percussion, as by a blow given with a hammerupon it. This depends on laying the bow lightly upon the strings, at the first contact, and on gently pressing it afterwards; which, if done gradually, can scarce have too much force given to it—because, if the tone isbegunwith delicacy, there is little danger of rendering it afterwards either coarse or harsh.

“Of this first contact, and delicate manner of beginning a tone, you should make yourself a perfect mistress, in every situation and part of the bow, as well in the middle as at the extremities; and in moving it up, as well as in drawing it down. To unite all these laborious particulars into one lesson, my advice is, that you first exercise yourself in a swell upon an open string—for example, upon the second, orla: that you beginpianissimo, and increase the tone by slow degrees to itsfortissimo; and this study should be equally made, with the motion of the bow up, and down; in which exercise you should spend at leastan hourevery day, though at different times, a little in the morning, and a little in the evening; having constantly in mind that this practice is, of all others, the most difficult, and the most essential to playing well on the Violin. When you are a perfect mistress of this part of a good performer, a swell will be very easy to you—beginning with the most minute softness, increasing the tone to its loudest degree, and diminishing it to the same point of softness with which you began; and all this in the same stroke of the bow. Every degree of pressure upon the string, which the expression of a note or passage shall require, will, by this means, be easy and certain; and you will be able to execute with your bow whatever you please. After this, in order to acquire that light pulsation and play of the wrist from whence velocity in bowing arises, it will be best for you to practise, everyday, one of theallegros, of which there are three, in Corelli’s solos, which entirely move in semiquavers. The first is in D, in playing which you should accelerate the motion a little each time, till you arrive at the greatest degree of swiftness possible. But two precautions are necessary in this exercise. The first is, that you play the notesstaccato, that is, separate and detached, with a little space between every two, as if there was a rest after each note. The second precaution is, that you first play with the point of the bow; and, when that becomes easy to you, that you use that part of it which is between the point and the middle; and, when you are likewise mistress of this part of the bow, that you practise in the same manner with the middle of the bow. And, above all, you must remember, in these studies, to begin theallegrosor flights sometimes with an up-bow, and sometimes with adown-bow, carefully avoiding the habit of constantly practising one way.

“In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use if you accustom yourself to skip over a string between two quick notes in divisions. Of such divisions you may play extempore as many as you please, and in every key, which will be both useful and necessary.

“With regard to the finger-board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all, and that is the taking a violin part—either thefirstorsecondof a concerto, sonata, or song (any thing will serve the purpose)—and playing it upon thehalf-shift; that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourthstring be wanted, or D upon the first but, in that case, you should afterwards return again to the half-shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half-shift any violin part, not intended as a solo, at sight. After this, advance the hand on the finger-board to the whole-shift, with the first finger upon A on the first string, and accustom yourself to this position, till you can execute every thing upon the whole shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to thedouble-shift, with the first finger upon B on the first string. When sure of that likewise, pass to the fourth position of the hand, making C with the first finger, upon the first string: and, indeed, this is a scale in which, when you are firm, you may be said to be mistress of the finger-board. This study is so necessary, that I most earnestly recommend it to your attention.

“I now pass to the third essential part of a good performer on the Violin, which is the making a goodshake; and I would have you practise it slowly, moderately fast, and quickly; that is, with the two notes succeeding each other in these three degrees ofadagio,andante, andpresto; and, in practice, you have great occasion for these different kinds of shakes; for the same shake will not serve with equal propriety for a slow movement as for a quick one. To acquire both at once with the same trouble, begin with an open string—either the first or second, it will be equally useful: sustain the note in a swell, and begin the shake very slowly, increasing in quickness by insensible degrees, till it becomes rapid. You must not rigorously move immediately from semiquavers to demisemiquavers, orfrom these to the next in degree; that would be doubling the velocity of the shake all at once, which would be askip, not agradation; but you can imagine, between a semiquaver and a demisemiquaver, 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 practising 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 practise 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 clearly thus far; that you will accept of my respects, which I likewise beg of you to present to the Princess, to Signora Teresa, and to Signora Clara, for all whom I have a sincere regard; and believe me to be, with great affection,

“Your obedient and most humble servant,

“Giuseppe Tartini.”

Regina Schlick, wife of a noted German Violoncellist and Composer, was celebrated under her maiden name of Sacchi, as well as afterwards, for her performance on the violin. She was born at Mantua in 1764, and received her musical education at theConservatoriodella Pietà, at Venice. She afterwards passed some years at Paris. This lady was a particular friend of Mozart’s, and, being in Vienna, about the year 1786, solicited the great composer to write something for their joint performance at her concert. With his usual kindness, Mozart promised to comply with her request, and, accordingly, composed and arranged in his mind the beautiful Sonata for the piano and violin, in B flat minor, with its solemn adagio introduction. But it was necessary to go frommindtomatter—that is, to put the combined ideas into visible form, in the usual way. The destined day approached, and not a note was committed to paper! The anxiety of Madame Schlick became excessive, and, at length, the earnestness of her entreaties was such, that Mozart could no longer procrastinate. But his favorite and seductive game of billiards came in the way; and it was only the very evening before the concert, that he sent her the manuscript, in order that she might study it by the following afternoon. Happy to obtain the treasure, though so late, she scarcely quitted it for a moment’s repose. The concert commenced: the Court was present, and the rooms were crowded with the rank and fashion of Vienna. The sonata began; the composition was beautiful, and the execution of the two artists perfect in every respect. The audience was all rapture—the applause enthusiastic: but there was one distinguished personage in the room, whose enjoyment exceeded that of all the other auditors—the Emperor Joseph II, who, in his box, just over the heads of the performers, using his opera-glass to look at Mozart, perceived that there was nothing upon his music-desk but a sheet of white paper! At the conclusion of the concert, the Emperor beckoned Mozart tohis box, and said to him, in a half-whisper, “So, Mozart, you have once again trusted to chance!”—“Yes, your Majesty,” replied the composer, with a smile that was half triumph and half confusion. Had Mozart—notstudied—but merelyplayed over, this musiconcewith the lady, it would not have been so wonderful: but he had never even heard the Sonatawiththe violin69.

Louise Gautherot, a Frenchwoman, was also distinguished on this instrument. In 1789 and 1790, she performed concertos at the London Oratorios, making great impression by the fine ability she manifested. In referring to this lady’s professional achievements, one of those who refuse to consider violin-playing as “an excellent thing in woman,” has indulged in the following remarks: “It is said, by fabulous writers, that Minerva, happening to look into a stream whilst playing her favorite instrument, the flute, and perceiving the distortion of countenance it occasioned, was so much disgusted, that she cast it away, and dashed it to pieces! Although I would not recommend, to any lady playing on a valuable Cremona fiddle, to follow the example of the goddess, yet it strikes me that, if she is desirous of enrapturing her audience, she should display her talent in a situation where there is only just light enough to make darkness visible.”—Shall we reply, ladies, to a detractor who is forced to seek support for his opinions in “fabulous writers,” and, even then, drags forward that which is no parallel case? Nay, nay, let him pass! Let him retire into the darkness which he so unwarrantably recommends to others!

Luigia Gerbini, who ranks among the pupils ofViotti, attained considerable credit as a performer. In 1799, her execution of some violin concertos, between the acts, at the Italian Theatre in Lisbon, was attended with marked success; as were afterwards her vocal exertions at the same Theatre. This lady visited Madrid in 1801; and, some years later, gave evidence of her instrumental talent at some public concerts in London.

Signora Paravicini, another pupil of Viotti’s, earned a widely spread fame as a violinist. At Milan, where various fêtes were given in celebration of the battle of Lodi, the wife of Bonaparte was very favorably impressed, during one of these, by the talents of Madame Paravicini. Josephine, a woman of generosity as well as taste, became the patroness of this lady, engaged her to instruct her son, Eugène Beauharnois, and afterwards took her to Paris. However, for some reason not publicly known, Madame Paravicini was, after a time, neglected by Josephine; in consequence of which, and of other misfortunes, she became so distressed in her circumstances, as to be compelled to live on the money produced by the sale of her wearing-apparel. Driven at last to the utmost exigence, she had no remaining resource, except that of applying to the benevolence of the Italians then in Paris, who enabled her to redeem her clothes, and return to Milan. There, her abilities again procured her competence and credit. Her performance was much admired also at Vienna, where, in 1827, she

“Flourished herbow, and showed howfamewas won.”

According to the report which travelled in her favour from thence, she evinced a full and pure tone—a touch possessing the solidity and decision of the excellent school in which were formed a Kreutzer and a Lafont—and a mode of bowing so graceful, as to triumph over all preconceived ideas of the awkwardness of the instrument in a female hand. Madame Paravicini, in the course of her professional migrations, was performing at Bologna in the year 1832.

Catarina Calcagno, born at Genoa in 1797, received, as a child, some instructions from the potential Paganini; and, at the age of fifteen, astonished Italy by the fearless freedom of her play—but seems to have left no traces of her career, beyond the year 1816.

MadameKrahmen, in 1824, executed a violin concerto of Viotti’s, with great spirit and effect, at a concert in Vienna. At Prague, in the same year, a young lady namedSchulzgave public delight as a violin performer. MademoiselleEleanora Neumann, of Moscow, pupil of Professsor Morandi, also astonished the public in like manner at Prague, and at Vienna, when she had scarcely reached her tenth year! She is said to have treated the instrument with great effect, and with a precision and purity of tone not always to be found in those “children oflargergrowth” who are content to substitute feats of skill, in place of these essential requisites.

MadameFilipowicz, of Polish derivation, has given us evidence, in London, not many years since, of the success with which feminine swaymaybe exercised over the most difficult of instruments.

The instances I have thus brought forward will probably be deemed sufficient—elsewere it easy to go backward again in date, and to mention Horace Walpole’s visit to St. Cyr, in one of the apartments of which serious establishment, he beheld the young ladies dancing minuets and country-dances, while a nun, albeit “not quite so able as St. Cecilia,” played on the violin!—Or, I might allude to the threefoldmusical genius of Mrs. Sarah Ottey, who, in 1721-22, frequently performed solos at concerts, on the harpsichord, violin, and base-viol! Enough, however, has been produced, to shew “quid femina possit”—what the fair sexcanachieve, upon the first and most fascinating of instruments.

1M. Cartier, Musicien de la Chapelle du Roi, announced for publication, several years ago, an “Essai Historique sur le Violon, et sur les progrès de l’Art Musical, depuis le moyen age.” This announcement was accompanied by the following observations:—“An Historical Essay upon the Violin may, at first sight, appear to many to possess but little interest. They will not readily believe that it is capable of exciting their liveliest curiosity, and of presenting an object of real utility, inasmuch as an attempt will be made to lead the mind from the mere mechanism of the art to a moral and scientific view of the subject, and to a consideration how far thebeau idéalof music is indebted to the violin. The author proves that this instrument was unknown tothe ancients, and derives its origin from theDruids of Gaul, from whom it afterwards passed to the bards of Scotland—that, from this obscure beginning, it made its way through the dark ages, with slow but certain success, till the beginning of the 17th century, when it attained the first rank among instruments.”—(Harmonicon, 1827.) I have not been able to discover whether this promised treatise has yet seen the light. The idea of tracing the instrument to theDruids of Gaulseems more romantic than rational; but it would be something gained forla gloire de la France, could such a theory be substantiated.

2In England, during the time here referred to, the instruments of the viol class were so much in favour that every considerable family had, as a necessary part of its establishment, a completechest of viols, that is to say, a treble, tenor and bass-viol, each played with a bow, and bearing such proportion to one another as do the modern violin, tenor and violoncello.

3“Memoirs of the Musical Drama.”

4M. Baillot makes a somewhat longer draft upon the past tense; for he states, that for nearlythree hundred yearsback there has been no change in the structure of the violin.—Introduction to the “Méthode de Violon du Conservatoire.”

5They who enjoy the advantage of access to curious books may see a figure of a Provençal Fiddler in “Diez, Poesie der Troubadour.” Viol was the old Norman French name for the fiddle used by the minstrels of the middle ages, which was furnished variously with 3, 4, 5, or 6 strings. Viula was the Provençal term—and arson, or arçon, for thebow.

6“It is a kinde of disparagement to be a cunning fiddler.”—Feltham.

7The lute, of which hardly the shape, and still less the sound, are now known, was, during the 16th and 17th centuries, the favourite chamber instrument of every nation in Europe.

8According to Strutt, the name offiddlerswas applied to theminstrelsas early, at least, as the 14th century. “It occurs (says that writer) in the Vision of Pierce the Ploughman, where we read, ‘not to fare as a fydeler, or a frier, to seke feastes.’ It is also used, but not sarcastically, in the poem of Launfel:—They had menstrelles of moche honours,Fydelers, sytolyrs, and trompoters.“I remember also (says Strutt) a story recorded in a manuscript, written about the reign of Edward III, of a young man of family, who came to a feast, where many of the nobility were present, in a vesture called a coat bardy, cut short in the German fashion, and resembling the dress of a minstrel. The oddity of his habit attracted the notice of the company, and especially of an elderly knight, to whom he was well known, who thus addressed him: “Where, my friend, is your fiddle, your ribible, or suchlike instrument belonging to a minstrel?” “Sir,” replied the young man, “I have no crafte nor science in using such instruments.” “Then,” returned the knight, “you are much to blame; for, if you choose to debase yourself and your family by appearing in the garb of a minstrel, it is fitting you should be able to perform his duty.”

They had menstrelles of moche honours,Fydelers, sytolyrs, and trompoters.

“I remember also (says Strutt) a story recorded in a manuscript, written about the reign of Edward III, of a young man of family, who came to a feast, where many of the nobility were present, in a vesture called a coat bardy, cut short in the German fashion, and resembling the dress of a minstrel. The oddity of his habit attracted the notice of the company, and especially of an elderly knight, to whom he was well known, who thus addressed him: “Where, my friend, is your fiddle, your ribible, or suchlike instrument belonging to a minstrel?” “Sir,” replied the young man, “I have no crafte nor science in using such instruments.” “Then,” returned the knight, “you are much to blame; for, if you choose to debase yourself and your family by appearing in the garb of a minstrel, it is fitting you should be able to perform his duty.”

9The miserable state of itinerant fiddlers, and other musicians, is described by Putenham, in hisArte of English Poesie, printed in 1589; and Bishop Hall, the satirist, adverting to their low condition, describes them asSelling a laughter for a cold meale’s meat.

Selling a laughter for a cold meale’s meat.

10The learned Wilhelm Grimm, who quotes this curious record fromStorck, Darstellungen aus dem Rhein-und Mosellande, conceives that this armorial bearing fully explains the allusion to the fiddle of Volker, the accomplished musician and warrior in the old poem of the “Nibelungen Lied” (supposed of the 12th century), and forms a key to the enigma of his being exhibited in the joint capacity of champion and fiddler, and bearing his fiddle, that is, hisarms, into the battle with him.

11The readiness of an apothecary totake up a violdoes not seem, after all, a thing so much out of course. The singularity is, rather, that he should be able tomake so little of it.

12The viol, less powerful and penetrating than its supplanter, the violin, was not without its recommendatory qualities. Hawkins speaks of “the sweet and delicate tone which distinguishes the viol species.” Old Thomas Mace, who wrote when the viol was declining in fashion, was emphatic in its praise. “Your best provision,” says he, “and most compleat, will be a goodchest ofviols; six in number, viz. 2 basses, 2 tenors, and 2 trebles; all truly and proportionally suited.”

13According to this loose diction of honest Anthony’s, it would appear as if Troylus and Achilles had exhibited a rivalry on the violin, like Lafont and Paganini!

14That the Italians (says M. Choron) have perfected every sort of vocal composition, is generally agreed; but a fact which is apt to be overlooked, is that they have been the instructors of all Europe in instrumental composition, and that to them we are indebted for the first and most esteemed models in that department of the art. It is the Italians who invented all the various kinds of instrumental music which we have called single pieces or solos, from the sonata to the concerto. In violin music, Corelli, Tartini, and their pupils, preceded the composers of all the other nations of Europe, to whom they have served as models. The same may be said with regard to the harpsichord, from Frescobaldi to Clementi. All other single pieces have been constructed on the model of the compositions for the two instruments just named.

15At the time of Corelli’s greatest reputation, Geminiani asked Scarlatti what he thought of him. The man of hard learning replied that “he found nothing greatly to admire in his composition, but was extremely struck with the manner in which he played his concertos, and his nice management of his band, the uncommon accuracy of whose performance gave the concertos an amazing effect, even to theeye, as well as to the ear; for (as Geminiani explained) Corelli regarded it as essential to a band that their bows should all move exactly together,all up, orall down; so that, at his rehearsal, which constantly preceded every public performance of his Concertos, he would immediately stop the band, if he saw an irregular bow.We may smile a little at Scarlatti’s criticism; but the smile may extend at the same time to the quaint precision of the Corellian custom it notices:—a custom which suggests the idea of military mechanism, as well as military time; or rather, which reminds us, in a still more lively manner, of the old nursery pæan.Here we go up, up, up,And here we go down, down, downy!Scarlatti (it may be here observed) was the first who introduced into his airs, accompaniments for the violin, as well as bits of symphony;—thus both enriching the melody, and giving relief to the singer.

We may smile a little at Scarlatti’s criticism; but the smile may extend at the same time to the quaint precision of the Corellian custom it notices:—a custom which suggests the idea of military mechanism, as well as military time; or rather, which reminds us, in a still more lively manner, of the old nursery pæan.

Here we go up, up, up,And here we go down, down, downy!

Scarlatti (it may be here observed) was the first who introduced into his airs, accompaniments for the violin, as well as bits of symphony;—thus both enriching the melody, and giving relief to the singer.

16The only English editions of the above-named works are those published by Messrs. Robert Cocks and Co.; one of which editions is printed from the original plates of copper, which formed part of the stock of Walsh, who printed for Handel.

17Burney has made the mistake of stating that the work dedicated to the Cardinal was theOpera Quinta; and, although this was obviously a mere slip of the pen, carrying with it its own contradiction, it is curious to observe with what easy acquiescence the successive English Compilers have reprinted the error.

18The overture is inserted in the printed collections of Handel’s Overtures; and it is conjectured that it was thefirstmovement which appeared so difficult to Corelli.

19This must have happened about the year 1708; as it appears that Scarlatti was settled at Rome from 1709 to the time of his decease. Corelli’s Concertos therefore must have been composed many years before they were published.

20The coincidences suggested by this juxta-position are so inviting for an epigrammatic twist, that the indulgent reader will, perhaps, pardon the following attempt:Each heading, in his art, the school of Rome,Painter and Fiddler here have found their tomb.Though dead in body, both in fame are quick—Fame wrought withhairappended to astick!So Genius triumphs, and her sway extends,By means minute attaining greatest ends.

20The coincidences suggested by this juxta-position are so inviting for an epigrammatic twist, that the indulgent reader will, perhaps, pardon the following attempt:

Each heading, in his art, the school of Rome,Painter and Fiddler here have found their tomb.Though dead in body, both in fame are quick—Fame wrought withhairappended to astick!So Genius triumphs, and her sway extends,By means minute attaining greatest ends.

21Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns the date above given, is the more likely to be correct, as he was personally acquainted with Geminiani.

22According to Dr. Burney’s reckoning, his term of years would have been 96: the reason for supposing that authority erroneous has been already stated.

23It is a somewhat curious circumstance that the descendant of Carbonelli, with aniless than his progenitor, is at this day exercising that very liquid calling which finally prevailed with the man of music. Whether, besides selling superlative wine, he makes any pretension to support the ancestral honors on the violin, is a point I am unable to determine.

24There is another account of this love episode in Tartini’s life, which does not conduct it so far as matrimony, but represents that, when all the arguments of his friends against the match were found to be without effect, his father was compelled to confine him to his room; and that, in order to engage his attention, he furnished him with books and musical instruments, by means of which hesoon overcame his passion! This statement, so opposed to the general experience of such matters, will easily be discredited by all youthful hearts. Cure a young gentleman’s passion, his first love, by locking him up in a study! Preposterous. Let us cling to the more current account, and confide in probability and Dr. Burney.

25Of several treatises which Tartini has written, the one most celebrated, his “Trattato di Musica, secondo in vera scienza dell’ Armonia,” is that in which he unfolds the nature of this discovery, and deduces many observations tending to explain the musical scale, and, in the opinion of some persons, to correct several of the intervals of which it is composed.

26For Tartini’s judicious letter of elementary hints, addressed to Madame Sirmen, see the chapter onFemale Violinists.

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