“To fill the languid pause with finer joy.”
“To fill the languid pause with finer joy.”
Louis Julien Castels de Labarre, one of the pupils who were modelled by the above great master, was born at Paris, 1771, of a noble family of Picardy. When finished as an instrumentalist, from the hands of Viotti, he went, at the age of twenty, to Naples, where he studied composition under Sala, at the Conservatory of La Pietà, as he did afterwards in France, under Méhul. After two years of success as “premier violon” at the Théâtre Français, he entered the orchestra of the Grand Opera. The published works of Labarre for his instrument are of the lighter kind.
Of a year later in date of birth than the preceding artist, isPierre Jean Vacher, also of Paris. At eight years of age he commenced his labours on the violin, under Monin, of whom fame is nearly silent;and a few years later, hissecondmaster (albeit “nulli secundus”) was Viotti. From the age of fourteen to nineteen, Vacher was engaged as violinist at the great Theatre at Bordeaux. In the early part of the French Revolution, he went to Paris, where he remained several years in the orchestra of the Vaudeville Theatre, and became known as a composer by means of some popular airs, suited to the demands of that establishment. He was afterwards employed in the orchestras of the Théâtre Feydeau, and of the Académie de Musique, &c. He published several operas (or works) of violin music.
Pierre Rode, another of the eminent players formed by Viotti, was born at Bordeaux, in 1774. His musical tendencies were manifested from his infancy; and, after some instructions bestowed on him in compliance with his early bias, he was sent, while yet but thirteen years old, to Paris, which city has always been considered, in modern times, as the centre of the musical art in France, and enjoys indeed something approaching to a monopoly of it48. Here he was introduced to Viotti, who made kindly estimate of his capacity, and interested himself much in directing and improving its exercise. His first public appearance was in 1790, before a Parisian audience—one of his master’s concertos being the subject of the display. Shortly after this, he was appointed principal second violin at the Théâtre Feydeau, and obtained further notice by means of his performance of other concertos of Viotti’s, on selected occasions.
In 1796, Rode commenced professional travelling, and went through Holland and Hamburgh to Berlin. Returning homewards, he was shipwrecked on the English coast. This accident gave him an opportunity of visiting his great preceptor Viotti (who was as yet receiving English shelter and hospitality),—but it did not enable him to make the impression of his talents felt here; for, after one attempt, in which (probably through the disadvantage of being hardly known to us islanders) he met with slender encouragement, the solemn terrors then prevalent at the Alien Office intervened to arrest his ambitious bow-arm. In those really perilous days, our green-eyed government certainly sawmoreperils than had either existence or probability. It would seem as if the plague of democracy had been by them considered to infest the very garments of a Frenchman, and the air that surrounded his person. It mattered not in what shape, or with what business, he presented himself; suspicion whispered analiàsagainst them all. If he professed to amuse, he was but the more likely to be intent on deceiving. Viewed by the help of this principle, a fiddler became obviously a highly dangerous character. If discord was confessedly mingled with his strains, surely revolution might lurk in his fiddle-case. “Let no such man be trusted;” and, accordingly, Rode was invited to discontinue his sojourn, “parmi nous autres Anglais.” His countryman, Mons. Fétis, in recording the particulars of Rode’s career, has fallen into the error of attributing to the Englishpublic, instead of their politicaldirectors, his unhonored departure.
Re-embarking for Hamburgh, the disappointed artist travelled through Germany, and again reached Paris, the scene of his first triumphs. Here he was appointed Professor of the Violin at the Conservatory, and playedwith renewed success at the Feydean Concerts;—but, with a continued disposition for travelling, he went soon after to Madrid. Boccherini, then established in that city, entered into friendship with him, and scored several of his concertos for him.
In 1800, Rode returned to Paris, and was at once nominated Solo Violin to the private band of Bonaparte, Chief Consul. His fame and his excellence were by this time alike matured. He was invited to St. Petersburg in 1803, receiving the appointment of First Violin to the Emperor’s band, with the sole duty of playing at the Court Concerts, and at those given in the Imperial Theatre. After five years thus passed with high credit, he returned to Paris, and gave what was professedly his last public concert. Great was the disappointment, however, among the discerning Parisian Amateurs, at finding that a great change had come over thespiritof his performance—that he had no longer at command the brilliancy and fire which had marked him for one of Viotti’sown, but that a premature decay seemed to be upon him, although the purity of tone, the taste, the elegant style of bowing, were yet remaining. This exhibition appears to have had a chilling effect upon the artist himself, who, for a long time afterwards, was heard by his friends alone. In this latter way, his quartett-playing, accompanied by Baillot and Lamarre, created real gratification.
His love of fame, meanwhile, did not decline with the powers which had formerly attended and balanced it. He undertook a further course of travel in 1811, and went through Austria, Hungary, Styria, Bohemia, Bavaria, and Switzerland. In 1814, he was resident at Berlin, whence he returned to his native Bordeaux. He could not yet reconcile his mind, however, to therelinquishment of a career which his abated energies forbade him to continue. It was reserved for another (and a most mortifying) visit to Paris, to convince him that the hope of shining was now but a morbid feeling within him. He quitted that scene in a state of grievous and irrecoverable depression. The wanderer came back to his home, only to languish onwards to his grave. Towards the close of 1829, a paralytic stroke affected both his body and his intellect. In this state he lingered nearly twelve months, and died in November, 1830.
Monsieur Fétis has recently referred49, with a just exultation, to the days wherein the triple force of Rode, Kreutzer, and Baillot, threw its lustre over the French School of Violin-players. He characterizes the talent of Rode as subtle, delicate, brilliant, and frequently suggestive, in its effects, of the great master who had called it forth. “There are few living,” he observes, “who have heard that admirable talent in all its beauty, as it was displayed at the concerts of the Rue Feydeau, and at those of the Opera; but the artists whohaveenjoyed that pleasure, will never forget the model of perfection which then astonished them.”
As a writer for his instrument (it has been remarked), Rode merits a distinguished place. His musical education, as regards the principles of composition, had been neglected, so that he was at first obliged to derive from his friends the accompaniments to his Concertos; but his melodies are remarkable for sweetness; the plans of his compositions are well conceived; and he is not without originality. His Concertos are well known and admired, wherever the violin is played. Paganini has performed them at his concerts. His quartetts—which,are, in fact, brilliant solos for the first violin, accompanied by a second violin, tenor and bass—have also had great success, especially when his own skilful hand lent its aid to their execution.
Ten Concertos,—four Quartetts for two violins, tenor and bass,—three Airs with variations, for a full orchestra, and the same arranged as quartetts—three sets of violin Duetts—and a share in the compilation of the celebrated “Méthode d’Instruction,” adopted for the violin-students at the French Conservatory—are the principal labours of this master. He also wrote some detached pieces, as Andantes, Rondos, &c.
Rodolphe Kreutzer, the son of a German musician in the service of the King of France, was born at Versailles, in 1767, and, in consequence of his French birth-place and career, is claimed with superior right by the French School, although something of German intermixture, besides that of the blood, must be distinguished in the early lessons he received on his instrument, both from his father, and from a far more important preceptor, Anthony Stamitz.—Under the latter, his advancement was so rapid as to induce hisdébut, at the age of thirteen, at theConcert Spirituel, where he performed a concerto, either of his own, or his master’s composition, as has been variously represented. From that time to the age of twenty, his compositions for the violin became frequent, though rather directed by innate genius than by the prescriptive rules of composition, of which he had acquired very little. His desires extended meanwhile towards the condition of a theatrical Composer, in which object he was assisted by the patronage of the Queen, Marie Antoinette, as well as by the appointment he received, in 1790, of First Violin at theOpéra Comique. Of hisLodoiska, and other achievements in operaticmusic, it is needless here to treat: but it may be noted as a curious fact, that his neglect of the study of harmony continued till after he had been the composer of at least three successful operas. He seemed to write by instinct; and his custom, while composing, was to walk about his room, singing his melodies, and playing on his violin, till he found an accompaniment which pleased him. When afterwards appointed a Professor at the newly-establishedConservatoire, he fancied that to be a learned contrapuntist was necessary to the performance of his duties, and so entered, somewhat too late in life, on a course of study which had little other effect than to cripple his imagination. As a Professor, however, he is distinguished by the number of excellent pupils whom he has produced. His mode of instruction was signalized by the enthusiasm and confidence he instilled into his scholars. An energy that shrank from no difficulties, lived in the master, and was reflected in his disciples, who became distinguished, in general, for a brilliant execution.
Kreutzer made a tour, in 1798, through the north of Italy and Germany, and returned to Paris by the way of Hamburg and Holland, giving concerts in all the principal cities. After this, he wielded his instrument in the immediate service of Napoleon; and, on Rode’s departure for Russia, he succeeded him as Solo Violin at the Opera; which situation he exchanged, in 1810, for that ofChef d’Orchestre. Fourteen years afterwards, decorated with the insignia of the Legion of Honour, he changed his post to that of general Director of the Music at the Opera; and, after this accumulation of credit, he retired in 1826. Declining health led him to Geneva, where he died, in January, 1831.
Kreutzer’s compositions, independently of those forthe stage (which exceed thirty in number), consist of two “sinfonie concertanti” for two violins—one sinfonia for violin and violoncello concertante—upwards of fifty concertos, duetts, trios and quartetts—five sets of sonatas for violin and bass—eight sets of studios and capriccios—and several airs with variations. The compilation of theViolin-systemfor the Conservatory was also in part effected by him.
Charles Philippe Lafont, one of the most excellent of recently living violinists, was born at Paris, where the beauties of his execution long continued to draw numerous audiences to the concerts he was in the habit of giving. His first lessons in the art were received from his uncle, Bertheaume. After having, successively, Berton, and Navoigille the elder, as masters in composition, and acquiring, by unaided study, a knowledge of singing, he travelled with his uncle, who procured him occasions for exhibiting his various powers in the principal cities of Europe. Returning to France in 1794, he first appeared at Paris as a vocalist; but wasmostadmired as aviolin performer, in which character he shone at the Opera concerts, and theSalle Olympique. He completed his studies under Kreutzer and Rode—to the latter of whom, in the sweet qualities of his style, he mainly inclined. His next journey was to Petersburg, where he resided several years, as the Emperor’s First Violin. In 1805 or 1806, he returned to his native city; and was appointed leader at the King’s Chapel.
A suavity and elegance, especially incantabilemovements—a tasteful selection of ornament—and an exemplary purity of tone—have been remarked as denoting this artist. The scene in his career which exhibits him inan indiscreet rivalry with Paganini, will be found under the memoir given of that extraordinary person.
Pierre Baillot, of high name in the French School, which he was partly enabled to acquire through Italian instruction, was born about the year 1770, near Paris, to which city the curious in coincidences will be delighted to find that they can trace the local origin of so many of those eminent violinists who have made it, also, the scene of their brilliant exertions. Baillot repaired early to Rome, where he remained some years under the tuition of Polani, an excellent Professor of the school of Tartini. His own feeling and intellect appear to have done more for his advancement, however, than the lessons of preceptors. An artist of a very high order, well versed in the mechanical resources of his instrument, he was also thoroughly embued with musical sentiment, and was a discriminating judge in matters of composition.
After his return from Italy, the sound and excellent qualifications he evinced were the cause of his succeeding Rode, about the year 1795, as Professor of the violin at the Paris Conservatory. He was the editor, and (with Rode and Kreutzer) a joint compiler, of the noted System of Instruction which has contributed so important an aid towards the successful formation of, perhaps, all the living French violinists. The System for the Violoncello, in use at the same institution, was likewise produced under his editorship.
Fine taste, variety of manner, admirable bowing, and forcible tone, marked the performance of Baillot. In playing solos, to accompany the dancers at the Opera, Baillot was, consciously, out of his element; but at the annual quartett-meetings, where the business was that of giving manifestation to the genius of Boccherini,Haydn, Mozart, and Beethoven, his soul was kindled, and his powers came forth.—His pupils have been many—including Habeneck and Mazas.
Alexandre Jean Boucher, born, “comme tant d’autres” of his class, in fiddler-fostering Paris, came into the world in 1770, and arrived at early excellence on “the leading instrument.” When seventeen years old, he went to Spain, where he was appointed Violinist of the Chamber and Chapel of Charles IV. During the time that monarch resided in France, Boucher was also in his suite. His mode of obtaining introduction to the “Majesty of Spain” was as remote from all the prescriptions of courtly etiquette as can well be imagined. It forms the subject of a good anecdote, thus translated from the “Souvenirs” of Blangini, the well-known musical composer:—
“Boucher, when a very young man, at Madrid, was without friends, nor had anything to depend on, save his bow and his strings. He knew that the King of Spain was passionately fond of music, and he was anxious that his Majesty should hear him play; but, having no friend who could help him to obtain an introduction at Court, he fell upon the following scheme for the attainment of his object. One day, he stationed himself in the doorway of the palace gate-keeper’s lodge. The man at first scrupled to allow him to remain there; but he at length consented, and Boucher began to play in his most exquisite style. After a little time, the rolling of the King’s carriage was heard at a distance; his Majesty was going out to take a drive, and, as he approached, Boucher played with increased energy and delicacy. The King, surprised at what he heard, stopped and enquired who was playing. On being informed, he ordered that Boucher should be presented to him. Hedirected him to go to the palace on the following day. Boucher of course obeyed the mandate. The King was enchanted with his talent, and, shortly after, he was appointed first violin of his Majesty’s Chamber Band.”
Shortly after the second restoration of the Bourbons to the throne of France, Boucher proceeded to St. Petersburgh, where he was engaged to give some concerts. Here again we derive from Signor Blangini an anecdote, which he states himself to have received from an individual of undoubted veracity, who had it from the violinist himself.
“Every one who has seen Boucher, must have been struck by his singular resemblance to the Emperor Napoleon: this resemblance was remarkable, not only in his countenance, but in his figure. During his stay at St. Petersburgh, he was one evening engaged to perform at a concert given by the Grand Chamberlain, Prince Narishkin. The Emperor Alexander was present, and in the course of the evening his Majesty stepped up to Boucher, and said, with the affability for which he was distinguished,
“Monsieur Boucher, I have a favour to ask of you.”
Boucher bowed.
“It is an affair,” continued the Emperor, “quite unconnected with the exercise of your profession.”
“I am wholly at your Majesty’s service.”
“Well, come to the palace to-morrow morning, at twelve precisely. You shall be immediately shown into my cabinet, and I will tell you what I have to request. It is a favour which will greatly oblige me.”
“Boucher puzzled himself the whole night, but without being able to form any probable conjecture of what the Emperor wanted. Next day, he repaired to the palace at the appointed hour. When he was usheredinto the Emperor’s cabinet, the persons there, among whom was the Grand Duke Constantine, immediately withdrew. Alexander desired Boucher to follow him into an adjoining apartment. There he saw, on a sofa, a small three-cornered hat, a sword, a Colonel’s uniform of the chasseurs of the French Imperial Guard, and a cross of an officer of the Legion of Honour.
“Now,” said the Emperor Alexander, “I will explain to you the favour I have to request. All those objects which you see there, belonged to the Emperor Napoleon; they were taken during the campaign of Moscow. I have frequently heard of yourresemblanceto Napoleon; but I did not expect to find the likeness so strong as it is. My mother often regrets that she never saw Napoleon; and what I wish you to do—is to put on that dress—and I will present you to her.”
“The Emperor withdrew, and left Boucher to array himself in the imperial costume. When he had completed his toilette, he was conducted to the apartment of the Empress. The Emperor assured his mother that the illusion was complete, and that she might now say she had seenthe great man. These were Alexander’s words.”
—Libon, born in 1775, was one of the pupils of Viotti. He became first violinist at theChapelof the King of Portugal—and subsequently held a similar appointment at Madrid, under Charles IV. In this our Protestant country, where the violin holds no place in the musical service of the church, the mention of such engagements as these, represents hardly any definite idea to the mind. “What can thefiddlepossibly have to do withreligion?” is a question very likely, here, to precipitate itself from the lips of some honest mystified Englishman. It is a question whichIdo not undertake to answer, havingno suchexperienceon the subject as would give any value to my reply; but I recommend those who are anxious for a solution of the point, to travel abroad—to witness personally this kind of conjunction, as it exists there—and totestit by its effects upon heart and mind.—In 1803, Libon returned to Paris, and was successively first violinist to the Empresses Josephine and Maria Louisa, and to Charles X. He was the composer of several much-admired Studies, and of various pieces played at theConservatoire. He died in 1838.
—Bellon, who presents oddly the example of a fine artist made out of a man of commerce, is one of the French violinists who have displayed their talents in our metropolis. The following notice of him was given in the Harmonicon, on the occasion of his performing, in 1826, a Concerto of Kreutzer’s, at the Philharmonic Concert:—
“The composition denotes a rich invention, united to great practical knowledge, and was played with a feeling, a firmness, a length of bow, and a breadth of tone, which, in these squeaking days, were as unexpected as delightful. M. Bellon is already a highly distinguished disciple of that fine school of the violin which boasts of Viotti as its head, and enumerates among its members, Rode, Baillot and Kreutzer; the latter of whom—the well-known composer of many admired operas—is his master, and has so well seconded his natural inclinations, that he has enabled him, in the short space of four years, to stand forward and be acknowledged as one of the greatest violinists of the day. His history is rather curious: he was a respectable tradesman in Paris, and was offered a violin in barter for one of his commodities, an umbrella. He agreed to the exchange, acquired some little knowledge of the instrument, became a pupil ofKreutzer, was accepted (though beyond the prescribed age) at theConservatoire, and is now what we have described him.”
François-antoine Habeneck(the eldest of three brothers of this name) was born at Mezières, June 1st, 1781. Being the son of a performer in a regimental band who was a native of Manheim, but had taken service in France, he learned from his father to play the violin, and at the age of ten he played Concertos in public. After residing in several towns where his father’s regiment was in garrison, he went to Brest, and passed many years there, solely occupied with the care of developing his faculties, as far as he could do so, without model, and without master. While there, he wrote several Concertos and even Operas, without any other guide than his instinct, and without possessing any notions of the art of writing. He was more than twenty years of age when he arrived in Paris. Being admitted to theConservatoire, as a pupil of M. Baillot, he was not long in placing himself in the first rank amongst the violinists who proceeded from that school; and, after a brilliant competition, he obtained the first prize in 1804, and was appointedrépétiteurof his Master’s class. The Empress Josephine, after having heard him in a solo, testified her satisfaction by a pension of 1200 francs. About the same epoch, he obtained, as the result of a competition, a place among the first violins at the opera. Less fortunate in a second competition, which was shortly after opened, for the post of leader of the second violins at the same theatre, Habeneck saw preferred to himself a violinist of moderate ability, of the name of Chol, a very respectable man, but by no means equal to the young artist in talent. In a short time, however, this injusticewas repaired, for he was trusted with the post of first violinadjointfor the solos; and when Kreutzer took the direction of the orchestra, after the retirement of Persuis, Habeneck succeeded him as first violin.
In 1806, he had become distinguished for that happy organization which specially qualified him for the direction of a concert-orchestra. At this period, it was the practice, for the violinists who had obtained a first prize at the concerts of theConservatoire, alternately to direct the concerts of that school for a year. But the superior capabilities of Habeneck for this undertaking soon became so evident, that he remained in possession of the appointment till the temporary close of the Conservatory in 1815, after the entry of the allied armies into Paris. It was in these concerts that he caused to be played, for the first time, Beethoven’s First Symphony (in C). At a later period, when he was charged with the direction of the sacred concerts at the Opera, he continued to make the works of this great artist known to the few enlightened amateurs who came to hear them. But it was, especially, when a new Concert Society was organized at the Conservatory, in 1828, that these grand compositions excited the liveliest enthusiasm by the warmth and energy which M. Habeneck was able to impress upon the execution of them.
Appointed director of the Opera in 1821, Habeneck discharged the functions of that office until 1824. At this period, the Viscount of Rochefoucault changed the administration of that theatre; but, in order to indemnify M. Habeneck, he created for him the place of Inspector-General of theConservatoire, which he never filled, and a third violin class; and caused Kreutzer to retire, in order to give to M. Habeneck his post of chef-d’orchestre to the Opera. After the revolution of 1830, M. Habeneckadded to these appointments that of first violin in the King’s band. His best pupils at the Conservatory were M. Cavillon and M. Allard.
M. Tolbecqueis one of the artists who have acquired reputation in France. In the season of 1831, he visited England, and performed at the Philharmonic Concert; since which time, he has become familiarized among us, with a reputation that stands higher for solidity than for brilliancy. M. Tolbecque has a younger brother, who is also a violinist of some skill, and is known in England.
Prosper Sainton, whose talents have been advantageously known to British audiences for several seasons past, was born at Boulogne, in 1814, being the son of a merchant in that town. His parents, who were no votaries of music, gave him an education that looked towards the law. His maternal grandfather, however, discerning something of the youth’s real bias, gave him some initiatory musical notions, and then succeeded, though with difficulty, in obtaining the paternal consent that his grandson should be provided, at college, with an instructor for the violin. Opposing fears represented that such an indulgence would wholly turn aside the pupil from his severer studies. Notwithstanding these prognostications, he gained an eminent position in his class, and was afterwards admitted Bachelor of Letters, with the fullest credit.
In 1830, the period at which young Sainton passed his examination for the University, the Revolution of July burst forth, and proved nearly the ruin of his father (then President of the Tribunal of Commerce at Toulouse), who became deeply involved in the commercial crisis that ensued. In spite of this disaster, he was anxious that his son should still maintain the jurisprudential complexion of his studies; but filial respectcould notalwayshold in suppression the tendencies of struggling nature—and the son’s vocation for music became more and more manifest. The notion of entering,oneday, the Paris Conservatory, had taken root in his mind. A permission to repair to the capital forlegalpurposes, led to the fulfilment of the cherished vision. In the trustful idea of being able, by his progress in a new direction, to furnish ground for a reversal of the paternal decree, he entered, with a beating heart, within the resonant walls of theConservatoire. There, received, in 1832, into Monsieur Habeneck’s class, he commenced the only career that could satisfy his long-baffled inclination. For the first year, indeed, he managed to pursue his law-course, along with the very dissimilar course prescribed at the Conservatory;—but, after that vain trial of a somewhatMezentianprocess, he surrendered himself entirely to his passion for the violin, and declined all further concern with Justinian and thePandects. Thedrywas thus exchanged for thedelectable—hard fact, for tender feeling.Law, by this arrangement, had one reluctant follower theless—andMusic, one loving disciple themore.
Fortified with a potent plea—that of the secondprize, which he obtained in 1833—the young aspirant succeeded in reconciling his father to his engagement in the artistic arena; and then, with powers fully emancipated, his progress was rapid, and the following year brought him to the attainment of thefirstprize.
Thedébûtof Sainton in Paris was of a most encouraging success; but, without waiting to construct a fixed reputation there, he quitted the capital, to enter on a course of professional travel, to which mode of life, a youthful imagination, unshaded by experience, was lending the usual irresistible attractions. The result, however, shewed no disheartening contrast with hopesthus sanguine; for he met with favour everywhere. After visiting Italy, Germany, Russia, Sweden, Denmark and Spain, he returned to the place of his nativity, to share with parents, of whom he was then become the sole support, the fruits of his persevering labours.
In 1844, after the decease of his mother, Sainton made his first appearance in London, where his reception at the concerts of the Philharmonic Society was such as to induce his return in the year following;—since which time, he has only quitted our shores to addonemore country to his travelling list—namely, Holland,—where new successes, crowned with presents from Royalty, gladdened his career. His residence in England has been followed by various appointments—those of Violin-Professor at the Royal Academy of Music, Leader at the Italian Opera and at the Philharmonic, and (in 1848) Conductor and Violin Solo-player in Her Majesty’s State Band.
Monsieur Sainton’s works for the violin, to the present time, comprise:—1. A Fantasia in A.—2. An Air with Variations, in D.—3. A Capriccio, with Piano Accompaniment.—4. A Concert Waltz.—5. A Concerto in A, Op. 9.—6. An ItalianThema, with Variations, Op. 10.—7. A Fantasia on Lindpaintner’s “Standard-Bearer.”—8. Fantasia on Lucrezia Borgia.—9. Souvenirs from the “Figlia del Reggimento.”—10. Air with Variations, in G.—11. Concerto in D minor.—12. Concerted Solo in E major.
Under the French School, as most nearly assimilating with it in character, may be included the able artists who, in recent days, have contributed to the honour of Belgium. At the head of these, stand De Beriot and Vieuxtemps;—of whom, as well as of their compatriot, Artot, some account shall here be introduced.
Charles Auguste De Beriot, conspicuous for the perfection of the qualities by which his playing has been distinguished—for remarkably just intonation—grace—refined taste—rich and charming tone—and for elegant bowing and wonderful execution, was born at Louvain, of noble parentage, in 1802. Left an orphan at the age of nine, he found, in M. Tiby, professor of music in that town, a tutor, a second father, and a master who laboured with zeal to develop his happy dispositions for music. Already had he arrived at a certain degree of skill on the violin; and his progress had been so rapid, that he was able to play Viotti’s Concerto in A flat (letter H) in such mode as to excite the admiration of his compatriots. Endued, besides, with a contemplative mind (says M. Fétis), and having no model immediately at hand that he could imitate, he sought within himself for that principle of the beautiful, whereof he could have no notion, except through the spontaneous strivings of his own individuality. As to the report that he was the pupil of Jacotot, it appears that the general attention of the Belgians had been directed for years to the prodigious results which were said to be derived from “Jacotot’s Method;” and that De Beriot, wishing to know what advantagehemight obtain from its processes, had some conversations with its inventor, and then learned from it little more than two things, ofgravityrather than ofnovelty; viz. that perseverance triumphs over all obstacles—and that, in general, we are notwillingto do all that we areableto do. The young artist comprehended the truth contained in these oracular propositions, and turned it to his own profit. To this extent only can De Beriot be called the pupil of Jacotot.
A happy organization, moral as well as physical,an education well commenced—and labour regulated with the greatest judgment—could not fail to ensure for De Beriot the acquisition of a very remarkable talent. Nothing was still necessary but contact with fine talents of other kinds, in order to finish, to adjust, and to give determined character. De Beriot was nineteen years old, when (in 1821) he quitted his native town, and repaired to Paris; where his first object of care was to play before Viotti, at that time Director of the Opera. After hearing him with attention, “You have,” said the renowned artist, “a fine style; give yourself up to the business of perfecting it; hear all the men of talent; profit by everything, and imitate nothing.” This advice seemed to imply the recommendation to have no master. De Beriot, however, thought it necessary to take lessons of Baillot, and entered the Conservatory with this view; but he was not long in discovering that his talent had already a character of its own, which it would be difficult to modify, without injuring its originality. He continued therefore but a few months in the classes of the Conservatory, resumed the control of his own labours, and soon appeared at concerts with brilliant success. His first Airs with Variations, compositions full of grace and novelty, augmented his rising reputation.
From a brilliant career in Paris, De Beriot passed, in 1826, into England, where he met with a corresponding reception. In London, as well as in some of our provincial cities, he gave concerts, that were attended with transports of applause. Besides engagements at the Philharmonic Society, he was heard at some of the Musical Festivals, which take place annually in the principal towns of England. Of the impression he produced among ourselves, a markedindividualinstance is on record, in the fact (stated in the Harmonicon) of acertain gentleman travelling from Glasgow expressly to hear him play a Concerto at the Birmingham Musical Festival, and declaring himself amply recompensed by the result, for his trouble, time, expense and fatigue! To his performance during one of his later visits to England, theHarmoniconthus alluded:—
“We knew not which most to admire—his tone, his vigor, the determined manner in which he sprang to his extreme shifts, his staccato passages, the bow bounding from the string with an elasticity almost magical, or the boldness and certainty of his double stops.”
Returning to his native land, with a now brilliant renown, De Beriot was presented to King William, who, although he had little love for music, understood the necessity of assuring the independence of a young artist who gave such promise of becoming an honour to his country. He granted him a pension of 2000 florins, with the title of “first violin solo” in his private band. The Revolution of 1830 deprived De Beriot of these advantages.
It was at one time objected to this artist, that, bounding the scope of his talent to the composing and playing of Airs with Variations, he shut himself up within too confined a sphere. Of this reproach he cleared himself, by the composition ofConcertos, which he played on various occasions, and wherein he discovered grander proportions, both as to conception and execution. The last of these Concertos is full of originality.
A marked incident in the life of this artist, was his hymeneal engagement with the celebrated Malibran; and the close opportunities thus possessed of hearing that accomplished woman, appear to have exercised the happiest influence on his own talent. At Naples, where he appeared at a concert given at the TheatreSan Carlos, he obtainedan enthusiastic success, very uncommon among the Italians; for that nation, passionate in its admiration ofsong, pays usually a lower degree of homage toinstrumentalists.—An anecdote or two may serve to close our notice of this eminent artist. One of our own violinists, more noted for his execution than his feeling, was once complaining to him that he found he could produce very little effect with his (De Beriot’s)airs variés.—“C’est qu’il y faut de l’âme!” (“What they require, issoul”) was the laconic reply of the Belgian.
An auditor at one of the concerts here, in which De Beriot was to exhibit his powers being previously unacquainted with the person of the great artist, inquired of a neighbouring sitter (apparently French) whetherthatwere De Beriot—indicating, at the same time, the individual on whom his supposition rested. The foreign gentleman made answer in the affirmative; adding, with enthusiasm, and in English of his own modification, “Sare, you may be sure dat dere isbot wonDe Ber-r-r-riot!”
Henri Vieuxtempswas born at Verviers, in 1820. His father, a soldier retired from the service, practised as a maker and tuner of musical instruments; and little Henry evinced, at an early date, his natural taste for music, by the pleasure he found in listening to the performances of his father on the violin. At two years of age, he amused himself for hours together by rubbing the hair of a violin-bow on the strings of a little instrument. At the age of four and a half, he began to read music. A zealous amateur, charmed with the child’s happy indications, offered to defray the expenses of his musical education, and placed him under the tuition of M. Ledoux, an able professor of the violin, who, by his lessons, developed the talents of the young violinist,destined soon to become one of the most distinguished artists of his day. So rapid was his progress, that he was enabled, at the age of eight years, to undertake, with his master, a tour for the purpose of giving concerts in the principal towns of Belgium. While at Brussels, he met with De Beriot, who, struck with his precocious skill, gratuitously gave him lessons for several months, In the spring of 1830, he went with his new master to Paris, and performed at a concert given in theSalleof theRue de Cléry. The future eminence of the artist-child was then confidently predicted. Returning to Verviers, a short time after, Vieuxtemps resumed his studies. In 1833, he engaged with his father in a tour through Germany, during which he acquired, by the custom of playing in public, the assurance necessary to the unembarrassed display of talent. It was at Vienna that he obtained his first really important success. While there, he took some lessons of Simon Sechter, Organist to the Court, and then returned to Brussels, where he only stayed a few months. At the end of 1834, he went to Paris, and, finding no opportunity of exhibiting his talents in that city, he proceeded to London, where, however, his reception fell somewhat short of his expectations. Returning to Paris in the summer of 1835, he resolved to perfect his knowledge of music, and entered on a course of studies in composition, under Reicha. The superficial but rapid method of this professor was exactly that which best suited an instrumentalist, little anxious to acquire a profound knowledge of the forms of counterpoint, for which he considered he had no use. After this, he began writing his first compositions, and played them in the course of a tour in Holland, which he made in 1836;—he then went again to Vienna, and published his first works.
In 1838, Vieuxtemps played with success at the theatre at Brussels, and also in a concert given in the Church of the Augustins by the Philanthropic Society. His performances were “fantaisies” and fragments of Concertos, in which some happy ideas were noticeable, but mixed with incoherences. Immediately after this, he set out for Russia, giving concerts, by the way, at Prague Leipsig, Dresden, and Berlin. On quitting this last city for Petersburgh, he was seized with a serious illness, in a little Russian village, and was detained there more than two months. On his arrival at Petersburgh, he met with splendid success, as he did also at Moscow. It was in Russia that he wrote a new Violin Concerto, and a Grand “Fantaisie” (orchestral), the superiority of which, when compared with his foregoing productions, is so marked, that his detractors, both at Paris and Brussels, availed themselves of this fact to dispute the authorship. It is no unreasonable supposition, that his future works will give an emphatic denial to these jealous insinuations. After a stay of more than a year in Russia, Vieuxtemps returned to Brussels in 1840, and, the 7th of July following, he played his new Concerto and his “Fantaisie” in a grand concert given for the benefit of the musicians of the orchestra at the theatre. These pieces, in the execution of which the artist displayed the finest talent, excited transports of enthusiasm. Vieuxtemps played them again, with similar result, at the concerts given at Antwerp, on the inauguration of the statue of Rubens.
A Parisian success formed now the object of Vieuxtemps’ advancing ambition. This he obtained in the winter following, exciting no less interest by the merit of his later productions, than by his skill upon his instrument. He afterwards made a second tour in Holland, andthen revisited Germany, and appeared, for the third time, at Vienna. Having travelled through Poland, he returned to Brussels in June 1843, and, in the fall of that year, was heard in America. His subsequent career has confirmed all the anticipations formed by the judicious as to the distinction he would attain.
Joseph Artot, born at Brussels in 1815, had for his first music-master his father, a player of the first horn at the theatre of that city. At the age of five, hesolfa-edwith facility; and, with less than eighteen-months’ study on the violin, he was able to play at the theatre, in a Concerto of Viotti’s. Charmed with the felicitous aptitude of the child, M. Snel, at that time first violin-solo, undertook the task of developing it by his instructions, and not long afterwards sent him to Paris. There, Artot was admitted as a page at the Chapel-Royal; and when he had attained his ninth year, he passed under the direction of the elder Kreutzer, for the study of the violin. This distinguished artist conceived a regard for him, and often gave him lessons, out of class, at the Conservatory. On the retirement of Kreutzer, in 1826, his brother Augustus Kreutzer, who replaced him, evinced for Artot no less kindness than his predecessor. Artot had just completed his twelfth year, when the second violin-prize was awarded him, in the competition at the Conservatory. In the year following, he obtained the first prize. He then quitted Paris, to visit his own country—playing with success at Brussels, and making, some months after, a journey to London, where he was not less fortunate. Returning subsequently to Paris, Artot became attached to the orchestras of various theatres; but the desire of making himself known caused him to renounce these appointments, and travel in the south of France. The result was successful everywhere. He has writtenquatuorsfor the violin, and aquintettfor piano, two violins, alto and bass, two airs with variations for the violin,—and other works.
Shifting the ground, and giving a fresh stir to our attention, let us now pass “fromgaytograve, from lively to severe”—or, in other words, fromFrancetoGermany; in which latter country, will be found ample matter for observation and comment, as relates to the theme we are pursuing.
“Plain, without pomp—and rich, without a show.”—Dryden.
Germany and Italy mayeachbe regarded as an abiding realm of sweet sounds, a special nursery andhomeof music. They are the two countries from which, since the days of modern civilization, the great supplies of musical thought and feeling have been diffused abroad, for the delight of nations;—thefeeling, for the most part, proceeding from Italy, and thethoughtfrom Germany, comformably to the characteristics of the two people respectively. Impulse and passion predominate on the Italian side—intellect and fancy on the German, and the division into two great schools, or systems, marked severally by these opposite qualities, takes its date from about the commencement of the 18th century. The two musicalnatures, thus distinguished from each other, have found each a different channel for itsexpression—that of Italy becoming essentiallyvocal, that of Germany,instrumental. Italian music is fresh from the heart, spontaneous, andglowingwith melody: German music, true to the spirit of its birth-place, is either grave and solid, or wild and fantastic. Less simple than the Italian in its elements, the German musical genius hassought its chief glory amid the intricate combinations of orchestral science, where its laborious and meditative turn can have fullest exposition.
Passing from these general remarks to a consideration of the German School of theViolin, in particular, we may observe, that, although derived originally, like all the others, from that of Italy, and contracting no inconsiderable obligations to it in its progress, it has been, on the whole, much less indebted to the Italians for resources and support, than the School either of France or England. The cause of this arises out of the admitted fact, that the Germans are essentially a more musical people50—are more deeply imbued with a musical character of their own—than the natives of the two latter countries. They have been less willing, as well as less needing, than these, to incur the debt to Italy—and certainly less willing to add to its amount. The love of the instrument diffused itself very speedily among them (the Germans), and their own powerful musical organization enabled them not only to modify more promptly, after their own character, the hints which they received from its original Italian cultivators, but to be satisfied with a smaller quantity of confirmation from the same source. Their comparative independence, however, or disinclination to borrow, has been somewhat unfavourable to the completeness of their success asperformerson the violin. They have, as it were, impressed their own stamp and character upon it—that is to say, they have attained an honest solidity of execution, of high value in orchestral playing; but, with a few prominent exceptions, such as Kiesewetter and Mayseder, they seem to have neglected, as uncongenial to them, the lighter graces and refinements which have been so readily caught up by the more imitative Frenchman. As violinists ofdisplay, therefore, they must be content to rank below the French. They are below them in that which their dignity has not thought proper to make the subject of competition—the “manual exercise” of the instrument. They are inferior inexecution, and therefore less effective as solo-players; for though the German violinists have, in recent times, enjoyed some repute for their skill in fingering difficult passages with the left hand, they have frequently been deficient with the right; that is to say, indifferently versed in the dexterities of the bow.
The ingenious author of “A Ramble among the Musicians of Germany” has considered the Violin School of that country, at present, to be inferior, not only to the French—which there is no contesting—but also to that of England. In this latter notion I cannot help thinking him mistaken—and I would appeal to his own declaration, that although in Germany “one may find no band equal to that of the Philharmonic Society, fifty may be found,onlyinferior to it.” This fact supposes of necessity a very large body of good sound violin-players, whose united merits render it scarcely possible to regard the state of the art in their country asinferiorto what it is in ours.
The Germans have, after all admitted drawbacks, a high renown in connection with that leading instrument which it is the business of these pages to celebrate. They have the renown that justly attaches to the production ofthe greatestwritersof all for theViolin Family. Their compositions for the instrument, in itssinglestate, are perhaps over-laboured, over-full of chromatic passages, and wanting in the broad, simple, vocal character of the Italian music of the same class;—they have been content, individually, totalkwith the violin, whilst the Italians havesungwith it;—but—they have tasked their own genius to find scope for its powers in the aggregate—to develop its resourcesin combinationwith those instruments that are its immediate relatives; and, in this collective character, they have given new triumphs to it. The names of Haydn, Mozart and Beethoven, at once suggest themselves, and assert for their country, under this view, a superiority which the world does not seek to dispute. In thequartetts, and other instrumental pieces, up tosymphoniesinclusive, which have been produced by these great men, all the higher capabilities of bowed instruments are consulted and brought forward, with a nicety of discernment, and a richness, variety, and grandeur of effect, which excite equally our surprise and gratification.—Let us now consider, in their order, the principal German masters whose eminence relates particularly to the violin.
It is hardly necessary to enumerate all the early performers mentioned with commendation by Walther in his Dictionary, since their fame and influence do not appear to have travelled beyond their own country. We will therefore commence withDavid Funk, originally a singer at Reichenbach, where he was born in the early part of the seventeenth century. He was an excellent musician, and a capital performer on the violin and the viol-da-gamba, besides displaying talent on the harpsichord and the guitar. He was, moreover, a general scholar, and one of the most elegant versifiers inGermany. Independently of his excellence as a practical musician, he obtained credit as a composer, in a variety of styles; and his compositions for the church and the chamber were much admired. His talents, brilliant and diversified as they were, suffered some tarnish from his immoral conduct. It was in 1670 that he began to shine as a composer, by the publication of a collection of pieces for the viol-da-gamba. He was under the patronage of the Princess of Ostfrise, during seven years. That Princess, however, dying in 1689, Funk, then more than sixty years old, returning to the place of his nativity, succeeded in obtaining several appointments; but these he had scarcely retained for a year, when the extreme irregularity of his life deprived him of them, and reduced him to the necessity of quitting the town as hastily as possible. It was in the depth of winter; and in his flight, through frost and snow, he arrived at the gate of the castle of Schleitz. The sordid state of his habiliments made so repulsive an impression on the porter, that he refused him admittance; but his good fortune, prevailing, brought to the spot the chapel-master, Liebich, who, acquainted with his merit, though previously a stranger to his person, expressed his desire for the honor of his friendship, and, in the name of the lord of the castle, whose favour and protection he himself enjoyed, invited the fugitive to his patron’s table. The Count was so delighted with his musical talents and various knowledge, that he retained him as his friend and companion, till letters arrived from Wohnsiedel, claiming him as a moral delinquent, to answer for some part of his past conduct. The Count, disposed to favour him as much as the nature of the case would admit, advised him to depart secretly, and afforded him every assistance for his journey. Funk, once more a wanderer, without knowing whither to go, was, a few days afterwards, found dead, behind a hedge, in a field near Arnstadt!
It is doubtful whether any of the violin compositions of this master are extant; but, among his sacred instrumental pieces, there is one which has received the encomium of all real judges of music: it is adrama passionale, the words of which, as well as the music, were his own.
Thomas Baltzar, born at Lubeck about 1630, was esteemed the finest performer on the violin of his time. He came to England in 1658, at which time the instrument had not yet been enabled to manifest its real powers among us, nor to emerge (as it shortly afterwards did) from the low estimation in which it was held. Baltzar may be considered as having helped in no small degree to prepare the way for its rescue from humility in this country. He lived, for about two years after his arrival here, in the house of Sir Anthony Cope, of Hanwell, in Oxfordshire. He is said to have first taught the English the practice of shifting (that is to say, of what is termed thewhole-shift), and the use of the upper part of the finger-board—in like manner as Geminiani is believed to have been our first instructor in thehalf-shift.51It is certain that the power of execution and command of the instrument, exhibited by Baltzar, were matter of novelty among us, although we had a native performer, of no mean abilities at that period, in the person of Davis Mell, who, in delicacy of tone and manner, seemseven to have exceeded the more potent and renowned German. Baltzar was of a Bacchanalian turn in his habits, and was believed to have brought his end somewhat the nearer thereby. His remains obtained the honor of a place in Westminster Abbey, in the year 1663. Dr. Burney has characterized his compositions as discovering “genius and a strong hand.”
Henry John Francis Biber, vice-chapel-master to the Bishop of Salzburg, seems to have been one of the best violin-players of his time; and hissolos, which he published in 1681 (with a bass), are stated by Dr. Burney to comprise more of fancy, as well as of difficulty, than any music of the same period. One of the pieces is written on three staves, as a score for two violins and bass, but is designed to be played (as regards the violin) indouble stops. Others are played in different tunings of fourths and fifths, as for a treble viol.
Godfrey Finger, a Silesian, was a voluminous composer for the violin; in a style of less power than that of Baltzar, but of more polish, and approaching somewhat to the Italians, Bassani and Torelli. He was some years resident in England, having received, in 1685, the appointment of chapel-master to King James II. On returning to Germany, he became chamber-musician to the Queen of Prussia in 1702, and, in 1717, chapel-master to the Court of Gotha.
John Gottlieb Graun, brother of the celebrated chapel-master of that name, and born about the year 1700, was an excellent performer on the violin, and a respectable composer, of the old school. He was concert-master to the King of Prussia, and there are extant of his writings, several overtures, symphonies, concertos, a “Salve Regina,” and some masses. Hetransmitted, through several good pupils, the serviceable solidity of his talent.
Francis Benda, usually commemorated as the originator of a distinct style of violin-performance in Germany, was a native of Bohemia, and born in the year 1709. At the age of seven, he commenced vocal studies, and, two years afterwards, became a sopranist in the choir of St. Nicholas, at Prague. He soon afterwards went to Dresden, where he was immediately received among theélèvesof theChapelle Royale, in which situation he continued eighteen months. About this period he began to practise the violin, and had no other resource than that of engaging himself with a company of itinerant musicians, who attended fêtes and fairs. While thus situated, he formed an acquaintance with a blind Jew, of the name of Loebel, a virtuoso of no mean order, who became his master and his model. At length, tired of this wandering life, he returned to Prague, and took lessons of Kouyezek, an excellent violinist of that town. He was now eighteen; and, eager in the pursuit of professional excellence, resolved to visit Vienna, where he soon found an opportunity of profiting by the example of the then celebrated Franciscello. After a residence of two years in that city, he went to Warsaw, where he was nominated Chapel-Master. In 1732, at the recommendation of Quantz, the Prince Royal of Prussia (afterwards Frederic II) received him into his band. Anxious for further improvement in his art, he became the pupil of Graun, for the violin; then studied harmony under his brother; and afterwards learned composition of Quantz himself. In 1732, he replaced Graun as the King’s Concert-Master, which situation he held till his death, at Potsdam, 1786.
Of the peculiar qualities of Benda, as a violinist, Dr. Burney, in his Travels, thus speaks:—“His manner was neither that of Tartini, nor of Veracini, nor that of any other leader; it was purely his own, though founded on the several models of the greatest masters:”—and Hillar, in his Biography, tells us “that his tones were of the finest description, the clearest and most euphonious that can be imagined. The rapidity of his execution, and the mellow sweetness of his altissimo notes, were unequalled. With him, the violin had no difficulties. He was master of all its powers, and knew when to use them.”
John Stamitz, Concert-Master and Chamber-Musician at Mannheim, and regarded, like the preceding artist, as the founder of a distinct class of German violinists, was born in 1719, at a small town in Bohemia, where his father was a school-master. Besides the high repute he enjoyed as regards the formation of pupils, Stamitz has attained a just celebrity by his written works. These (which include a curiosity in art—aduettforone violin) consist principally of symphonies or overtures, concertos, quartetts and trios. Though exhibiting a masterly character, they convey the impression, at this period, of belonging too peculiarly to the old school, and have been considered, by some critics, to savour too much of the Church style.
The successors of Benda and Stamitz, still adding some improvements to the precepts or the practice inculcated by those eminent directors, may be said to have created a school of their own, at the head of which we should place Leopold Mozart (author of “Der Violinschule”), Fraenzl, and Cramer, who made some approach to Tartini, his contemporary, and flourished long in England, as a concerto-performer and leader.Of the first and the last of these three professors, some account shall here be subjoined.
Leopold Mozart, father of him who, in the fullest sense permitted to sublunary credit, may be called, “The Undying One,” was born at Augsburg in 1719. After having completed his studies, and particularly a course of jurisprudence, at Salzburg, young Leopold entered the family of the Count of Thurn, in the somewhat odd quality ofValet-de-Chambre Musicien. The situation of a violinist having become vacant in the chapel of the Prince Bishop of Salzburg, he obtained it in 1743. His compositions made him favourably known in Germany but his reputation was extended principally by theMethodfor the Violin, which he published in 1756, and which, for half a century, was considered as the best work of the kind.
In 1762, Leopold Mozart obtained the post of Second Chapel-Master at the Court of Salzburg. Of seven children whom he had by his marriage, there remained to him only the son, afterwards so famous, and a daughter, whose success in childhood promised a talent which was never realized. The musical education of the children occupied all the time which his duties and his works left to the father. A little while after his nomination as Second Chapel-master, he commenced long tours with his son and daughter, visiting the principal courts of Germany, Holland, England and France, and passed many years in Italy. Returning to Salzburg, rich in the hopes that centered on his son,—but with an exchequer nearly exhausted by the charges attendant on so much itinerancy—he did not again quit the residence of his Prince till 1775. Anxiously careful about ameliorating the condition of his family, he failed to secure that object, and becamemore and more impoverished. The forms and practices of a scrupulous devotion furnished him, however, with some consolation in his griefs, and alleviated his sense of suffering from the gout. He died at Salzburg, in 1787.
Of the Symphonies composed by Leopold Mozart, it suffices for their commendation to say, that some of them have been attributed to his son. HisMethodfor the violin is entitled “Versuch einer Gründlichen Violinschule,” Augsburg, 1756, 4to., with a portrait of the author, and four plates representing the different positions for holding the bow and the violin. This work, composed according to the doctrine of Tartini, contains (says M. Fétis) some excellent things, and will always be read with profit by such violinists as are disposed to reflection on the subject of their art. The second edition, completed, appeared, under the title “Gründliche Violinschule,” in 1770. A third edition was published in 1785. It has since been frequently reprinted, and translated into several languages.
William Cramerwas a native of Mannheim, and born in the year 1730. Influenced by an early passion for music, and aided by the bounty of Prince Maximilian, he soon acquired excellence on his favourite instrument, and, at the age of twenty, obtained a situation in the chapel of the Elector Palatine. Not, however, receiving on the Continent encouragement commensurate with his continual and rapid improvement, he, in 1770, came to England, where he soon obtained the situations of Leader of the Opera-House band, and of the King’s Concerts. In 1787, under John Bates, the Conductor, he led the performances given at Westminster Abbey in commemoration of Handel, and led them in a style that proved his thorough comprehension of the music of that great master. Though Cramer failed to obtainin Germany sufficient patronage to induce his remaining in that country, his claims were admitted there by all real judges of executive talent; and in England he was esteemed the first violinist of his time. It used to be asserted of him that he joined the emphatical expression of Benda with the brilliancy of Lolli. The decision and spirit which characterized his playing, gave him great advantage as a leader.—The latter days of Cramer were somewhat clouded. The emoluments arising to him from the Opera House, and from his employment as a private teacher of the violin, had been considerable during many years; but talent is too frequently a bad economist, and his was one of the cases in which it proved so. The embarrassment he sustained in his affairs, and the transfer of the post of leader of the Opera-band to the greater Viotti, combined to exercise an injurious effect on his health and spirits. His death occurred in October 1799. Cramer was twice married, and had two sons by his first wife—John-Baptist the greatPianiste, and François, of whom presently.52
John Peter Salomonwas born at Bonn, in 1745. Director, purveyor, composer and performer, he was one of those whom the musical historian must delight to honour. He was educated for the law; but the voice of music was too powerful within him to be restrained. While very young, he became a performer in the Electoral Chapel at Bonn. In 1781 he went to Paris, witha result of more fame than profit. His enterprising spirit, regulated by discretion, found a happier field in London, where his cheerful disposition, polished manners, good sense, and general attainments, soon obtained for him the friendship of all who at first patronized him for his professional talents. His concerts in 1791 form an epoch in musical history—for, to them we are indebted for the production of Haydn’s twelve Grand Symphonies, known everywhere as “composed for Salomon’s Concerts.” Salomon had formed his project, and digested its details, in the previous year. In order to give every possible effect, as well aséclat, to his concerts, he determined to engage that “par nobile,” Haydn and Mozart, not only to write exclusively for them, but to conduct their compositions in person. For this purpose he went to Vienna, where, after several interviews with both these great musicians, it was mutually agreed that Haydn should go to London the first season, and Mozart the next. They all dined together on the day fixed for the departure of the two travellers. Mozart attended them to the door of their carriage, wishing them every success, and repeating, as they drove off, his promise to complete his part of the agreement the following year. This, however, was an abortive hope.L’homme propose, Dieu dispose:—Mozart, who had filled a short life with durable deeds, was carried, within that stipulated interval, to the grave!—The terms on which Haydn undertook so long a journey and so responsible a duty, were, £300 for composing six grand Symphonies, £200 for the copyright of them, and a benefit, the profits guaranteed at £200. Salomon re-engaged Haydn for the season 1792, on the same terms, except that, for the copyright of the last six Symphonies, the increased sum of £300 was paid. In the first concert of thisyear, Yaniewicz played a Violin Concerto. At the first of the series in 1793, Viotti made his début in London, inhisfavourite Violin Concerto. In 1794 and 95, Haydn, having visited London a second time, was again at the same post of pianoforte president. In 1796, Salomon’s discriminating judgment brought out of obscurity, and placed in their proper sphere, the extraordinary vocal powers of Braham. Of Salomon’s subsequent subscription concerts, engagements at private music parties, attendances at the Prince of Wales’s Carlton-House Concerts, compositions of canzonets, songs, glees, &c. it is not requisite here to treat. His public career extended to the period of the formation of the Philharmonic Society, in 1813, of which he was one of the original and most zealous promoters and assistants. He died Nov. 28th, 1815. His remains, followed to the grave by a long train of professional and other friends, were interred in the great Cloister of Westminster Abbey.
Salomon was one of the few whose right to contend for the honour of being considered the greatest performer in Europe on the violin, was manifest. His taste, refinement, and enthusiasm, as Dr Burney has observed, were universally admitted. His profound knowledge of the musical art served to add solidity to his fame. His judgment and vigour, as a leader, are traditionally well known. Among his pupils, Pinto proved the extent of his master’s skill, and his ability in communicating it. Unfortunately, this extraordinary young man, whose musical progress reflected so much honour on his teacher, possessed qualities that are but too frequently the regretted concomitants of genius, and he perished just as he was ripening into finished excellence. Salomon, besides other works, published twoViolin Concertos, arranged for the pianoforte, with full accompaniments; and six Solos for the violin, printed first in Paris, afterwards in London. Among his unpublished compositions, are some Violin Quartetts, Trios, and Concertos.
Charles Stamitz, eldest son of Stamitz the famous, was born at Mannheim, in 1746. He was made a violinist by his father, and his father’s pupil, Cannabich; and was afterwards engaged in the chapel of a German Prince, till the year 1770, when he went to Paris, and made a durable impression there, both as a concerto-player on the violoncello and tenor, and as an instrumental composer. His writings had all the fire and spirit of those of his father, as well as an admixture of later improvements, without servility of imitation, as relating toanystyle. Many of them were published at Paris, Berlin, and Amsterdam. This artist died at Jena, on his journey to Russia, in 1801.
John Frederick Eck, born at Mannheim, in 1766, became Concert Director to the Court of Munich. Noted as an artist in his day, he is further noted as having assisted to develop the great faculty of Louis Spohr.
AndreasandBernard Romberg, cousins to each other, and scions of a family of some note in the annals of music, were for several years joint participants in labours connected, immediately or incidentally, with the violin. About the year 1790, the two cousins held situations in the court-chapel of the Elector of Cologne, at Bonn, where Andreas was already distinguished by his excellent performance on the violin, and his compositions, both vocal and instrumental; and Bernard no less for his violoncello-playing, and the pieces he had written, either for his own instrument, or the full orchestra53.
When the French armies entered Bonn, at the commencement of the revolutionary war, the Elector’s musical establishment was broken up, and the two cousins proceeded to Hamburgh, where they readily obtained engagements in the orchestra of the German Theatre. In 1795, they left Hamburgh, and, continuing their mutually beneficial compact, made journeyings together through several cities of Germany and Italy, establishing everywhere the reputation of being among the best violin and violoncello players of the day. Their duetts and concertante performances, in particular, had that perfect harmony of finish which the constant habit of studying and playingtogethercould perhaps alone bestow. The familiar interchange of ideas was likewise of advantage to them in the compositions which they produced, whether conjointly or separately. They may be styled, by no very forced parallel, the “Beaumont and Fletcher” of the musical world.
In 1797, they returned to Hamburgh, where Andreas remained; while Bernard, two years afterwards, made a separate excursion through England and Spain, to Lisbon, and, returning to Hamburgh about 1803, obtained subsequently a situation in the Royal Chapel at Berlin. Andreas had, in the mean time, turned his attention moreextensively towards composition, and produced works involving larger combinations, and full orchestral agency, such as it is not requisite here to specify. Both the cousins, moreover, arebestknown as voluminous, and at one time highly popular, composers for theirownparticular instruments. Their chief instrumental works, as an English critic has remarked, will always be heard with pleasure, although without the excitement which attends Beethoven, or the deep admiration which waits upon Mozart. Of these works it may suffice here to enumerate:—