Chapter 3

“Est Deus in nobis—agitante calescimus illo!”

About the year 1690, the Opera had arrived at a flourishing state in Rome, and Corelli led the band asprincipal Violin15. It was not till ten years after this date, that he published hisSolos,16the work by which he acquired the greatest reputation during his life-time, and to which, in its established character of a text-book for students, the largest share of attention on the whole has been directed. It was the fifth in the series of his publications, and was issued at Rome under the following title:—“Sonate a Violini e Violone o Cimbalo: OperaQuinta, Parte prima, Parte seconda: Preludii, Allemande, Correnti, Gighe, Sarabande, Gavotte, e Follia.” This work was dedicated to Sophia Charlotte, Electress of Brandenburgh; and it was these Solo Sonatas that the author himself was accustomed to perform on particular occasions.

Corelli’s great patron at Rome was Cardinal Ottoboni, the distinguished encourager of learning and the polite arts, to whom, in 1694, he dedicated his Opera Quarta,17and in whose palace he constantly resided, “col spezioso carrattere d’attuale Servitore” of his Eminence, as he expresses himself in the dedication—with more of the humility of gratitude, by the by, than of the independence of genius. Crescembini, speaking of the splendid and majestic “Academia,” or Concert, held at Cardinal Ottoboni’s every Monday evening, observes that the performance was regulated by Arcangelo Corelli, that most celebrated professor of the violin—“famosissimo professore di violino.” Another title, expressive of the high consideration in which he was held by his contemporaries, is that applied to him by Francesco Gasparini, who calls him “Virtuosissimo di violino, e veroOrfeodi nostro tempo.”

It was at Cardinal Ottoboni’s that Corelli became acquainted with Handel, of whom the following anecdote is related. On one of the musical evenings given there, a Serenata, written by the latter, entitledIl Trionfo del Tempo, was ordered to be performed, out of complimentto this great composer. Whether the style of the overture was new to Corelli, or whether he attempted to modify it according to his taste and fancy, does not appear18; but Handel, giving way to his natural impetuosity of temper, snatched the violin from his hand. Corelli, with that gentleness which always marked his character, simply replied:—“Mio caro Sassone, questa musica è nello stile Francese, di che io non m’intendo.”—“My dear Saxon, this music is in the French style, with which I am not acquainted.”

The biography of Corelli has received the accession of several interesting anecdotes, through one of his most illustrious pupils, Geminiani, who was himself an eye and an ear witness of the matters he has related. These may find a fitting place here.

At the time when Corelli was at the zenith of his reputation, a royal invitation reached him from the Court of Naples, where a great curiosity prevailed to hear his performance. The unobtrusiveMaestro, not a little loth, was at length induced to accept the invitation; but, lest he should not be well accompanied, he took with him his own second violin and violoncello players. At Naples he found Alessandro Scarlatti and several other masters19, who entreated him to play some of his concertos before the king. This he, for a while, declined, on account of his whole band not being with him, and there was no time, he said, for a rehearsal. At length,however, he consented, and, in great fear, performed the first of them. His astonishment was very great to find that the Neapolitan band executed his concertos almost as accurately at sight as his own band after repeated rehearsals, and when they had almost got them by heart. “Si suona(said he to Matteo, his second violin)a Napoli!”—“Theyplay, at Naples!”

After this, he being again admitted into his Majesty’s presence, and desired to perform one of his sonatas, the king found the adagio so long and dry, that, being tired of it, hequitted the room, to the great mortification of Corelli. Afterwards, he was desired to lead, in the performance of a masque composed by Scarlatti, which was to be executed before the king. This he undertook, but, owing to Scarlatti’s very limited acquaintance with the violin, Corelli’s part was somewhat awkward and difficult; in one place it went up to F, and when they came to that passage, Corelli failed, and could not execute it; but he was astonished, beyond measure, to hear Petrillo, the Neopolitan leader, and the other violins, perform with ease that which had baffled his utmost skill. A song succeeded this, in C minor, which Corelli led off in C major. “Ricomminciamo” (let us begin again), said Scarlatti, good-naturedly. Still, Corelli persisted in the major key, till Scarlatti was obliged to call out to him, and set him right. So mortified was poor Corelli with this disgrace, and the deplorable figure which he imagined he had made at Naples, that he stole back to Rome, in silence. Soon after this, a hautboy-player (whose name Geminiani could not recollect) acquired such applause at Rome, that Corelli, disgusted, would never again play in public. All these mortifications, superadded to the success of Valentini, whose Concertos and performance, though infinitely inferior to those ofCorelli, were become fashionable, threw him into such a state of melancholy and chagrin, as was thought to have hastened his death.

The account thus furnished by Geminiani, of Corelli’s journey to Naples, is something beyond mere personal anecdote; for, as Dr. Burney fitly observes, it throws light upon the comparative state of music at Naples and at Rome in Corelli’s time, and exhibits a curious contrast, between the fiery genius of the Neapolitans, and the meek, timid and gentle character of Corelli, so analogous to the style of his music. To this reflection it might have been added, that the latter part of the narrative forms a painful contribution to the catalogue of instances in which public caprice has done the work of ingratitude, and consigned the man of genius to a neglect which his sensitive nature must render the worst of cruelties.

In 1712, theConcertosof Corelli were beautifully engraved, at Amsterdam, by Etienne Roger, and Michael Charles La Cène, and dedicated to John William, Prince Palatine of the Rhine. The author survived the publication of this admirable work but six weeks; the Dedication bearing date at Rome, the 3rd of December, 1712, and he dying on the 18th of January, 1713.

Corelli was interred in the church of the Rotunda, otherwise called the Pantheon, in the first chapel on the left hand of the entrance of that beautiful temple. Over the place of his interment, there is a sepulchral monument with a marble bust, erected to his memory, at the expense of Philip William, Count Palatine of the Rhine, under the direction of Cardinal Ottoboni. The monument bears an inscription in tributary Latin, and the bust represents him with a music-paper in his hand, on which are engraved a few bars of that celebrated air, theGiga, in his 5th Sonata. It is worthy of remark, thatthis monument is contiguous to that of the greatest of painters, Raffaelle20.

During many years after Corelli’s decease, a solemn service, consisting of selections from his own works, was performed in the Pantheon by a numerous band, on the anniversary of his funeral. This custom was not discontinued, until there were no longer any of his immediate scholars surviving to conduct the performance. Sir John Hawkins and Dr. Burney, who have both cited testimony as to this practice, concur in representing, that the works of the great master used to be performed, on this occasion, in a slow, firm and distinct manner, just as they were written, without changing the passages in the way of embellishment: and this, it is probable, was the manner in which he himself was wont to play them.

Of the private life and moral character of this celebrated musician, no new information is now likely to be obtained; but the most favorable impression on this head is derived from analogy, in addition to what we possess of fact. If we may judge of his natural disposition and equanimity by the mildness, sweetness and even tenor of his musical ideas, the conclusion must be that his temper and his talents had pretty equal share in the office of endearing him to all his acquaintance. It appears, moreover, that his facile habit did not alwaysrender him insensible of that respect which was due to his character as well as to his skill. It is said that, when he was once playing a solo at Cardinal Ottoboni’s house, he observed the Cardinal and another person in discourse, on which he laid down his instrument; and, being asked the reason, answered that he “feared the music interrupted the conversation”—a reply in which modesty and dignity were nicely blended. He is related, also, to have been a man of humour and pleasantry. Some who were acquainted with him have censured him for parsimonious habits, but on no better ground than his accustomed plainness of dress, and his disinclination to the use of a carriage.

His taste, which was not limited to the circle of his own art, evinced itself enthusiastically in favor of pictures; and he lived in habits of intimacy with Carlo Cignani and Carlo Maratti. It seems that he had accumulated a sum equal to £6000. The account that is given of his having bequeathed the whole of this amount, besides a valuable collection of pictures, to his patron, Cardinal Ottoboni, has been observed to savour more of vanity than of true generosity; and, indeed, the Cardinal evinced the most considerate appreciation of the bequest, by reserving only the pictures, and distributing the remainder of Corelli’s effects among his indigent relations.

In regard to the peculiar merits of Corelli’s productions, it may be briefly said, that his Solos (orOpera Quinta), as a classical book for forming the hand of a young practitioner on the violin, has ever been regarded, by the most eminent masters of the instrument, as a truly valuable work; and it is said, of this elaborate work (on which all good systems for the instrument have since been founded), that it cost him three yearsto revise and correct it. Indeed, all his compositions are said to have been written with great deliberation, to have been corrected by him at many different times, and to have been submitted to the inspection of the most skilful musicians of his day. Of his Solos, the second, third, fifth, and sixth are admirable; as are the ninth, tenth, and, for the elegant sweetness of its second movement, the eleventh. The ninth is probably the most perfect, as a whole; and the Solos, generally, seem to have been drawn from the author’s native resources, more extensively than any of his other productions. The most emphatic evidence of the value of these Solos lies in the fact of their adoption by the highest instructors. Tartini formed all his scholars on them; and it was the declaration of Giardini, that, of any two pupils of equal age and abilities, if the one were to begin his studies by Corelli, and the other by Geminiani, or any other eminent master whatever, the first would become the better performer. Let it be observed, however, that it is not from Corelli, that the niceties and dexterities ofbowing, which characterize the modern state of the art, are derived. The qualities he is capable of imparting are tone and time: or, in other words, he teaches the full extraction of sound, and the utmost steadiness of hand.

TheConcertosof Corelli (the sixth and last of his works) appear to have withstood the attacks of time and fashion with more firmness than any of his other productions. The harmony is so pure; the parts are so clearly, judiciously, and ingeniously disposed; and the effect of the whole, from a large band, is so majestic, solemn and sublime, that they nearly preclude all criticism, and make us forget that there is any other music of the same kind existing. They are still performed,now and then, at the Philharmonic Concerts. Though composed at a time when the faculties of the author might be supposed to have been on the decline, they exhibit the strongest proof of the contrary. To speak more definitely of their merits, nothing can exceed, in dignity and majesty, the opening of the First Concerto, nor, for its plaintive sweetness, the whole of the Third; and that person must have no feeling of the power of harmony, or the effects of modulation, who can listen to the Eighth without rapture.

The following further comments on them are from the pen of a sensible anonymous writer in a periodical work:—“Though they are no longer calculated to show off the bow and fingers of the principal violin-player, yet their effect, as symphonies for a numerous orchestra, is excellent, and never fails to delight the audience. Their melody is flowing and simple, and of a kind which is independent of the changes of fashion: the harmony is pure and rich, and the disposition of the parts judicious and skilful. The Eighth of these Concertos, composed for the purpose of being performed on Christmas Eve, has probably had more celebrity than any piece of music that ever was written. It is exquisitely beautiful, and seems destined to bid defiance to the attacks of time. The whole is full of profound religious feeling; and the pastoral sweetness of the movement descriptive of the ‘Shepherds abiding in the fields,’ has never been surpassed—not even by Handel’s movement of the same kind in the ‘Messiah.’ If ever this music is thrown aside and forgotten, it will be the most unequivocal sign of the corruption of taste, and the decay of music, in England.”

The compositions of Corelli, taken altogether, are celebrated for the harmony resulting from the union ofall the parts; but the fineness of the airs is another distinguishing characteristic of them. The Allemande, in the Tenth Solo, is as remarkable for spirit and force, as that in the Eleventh is for its charming delicacy. Hisjigsare in a style peculiarly his own; and that in the Fifth Solo was, perhaps, never equalled. In the gavot movements, in the Second and Fourth Operas, the melody is distributed, with great judgment, among the several parts. In his Minuets alone, he seems to fail; Bononcini, Handel, Haydn, Martini and others, have excelled him in this kind of air.

The music of Corelli is, generally speaking, the language of nature. It is equally intelligible to the learned and to the unlearned. Amidst the numerous innovations which the love of change had introduced, it still continued to be performed, and was heard with delight in churches, in theatres, and at public solemnities and festivals, in all the cities of Europe, for nearly forty years. Persons remembered and would refer to passages of it, as to a classic author; and, even at this day, the masters of the science do not hesitate to pronounce, of the compositions of Corelli, that, for correct harmony, and for elegant modulation, they are scarcely to be exceeded. Yet there is one deficiency, that should not be passed over in a review of the compositions of this master: and it is one that may suggest itself from what has been already said of him. They want that stirring quality of passion, which ministers so importantly to the life of a production, whether in the world of music, of poetry, or of painting. They lose, through this omission, nearly all the benefits of the principle of contrast, on which effect, in so material a degree, depends. Their beauties, wanting this relief, are scarcely able, sometimes, to escape the charge of insipidity. Theabsence of intensity in the works of Corelli, seems to be partly a consequence of the natural character of the man: but it is doubtless also partly owing to the state of musical taste at that period. There was little or no melody in instrumental music before his time; and although, considering how much slow and solemn movements abound in his works, they display but a slender portion of the true pathetic, yet has he considerably more grace and elegance in hisCantilena, more vocality of expression, than his predecessors. Indeed, when we recollect that some of his productions are more than a hundred and fifty years old, we must regard, with some admiration and astonishment, the healthy longevity of his fame, which can only be accounted for on the principle of the ease and simplicity that belong characteristically to his works.

The following summary of the character of Corelli’s music has been given by Geminiani. Dr. Burney’s remark, that it seems very just, may be very fairly assented to.—“His merit was not depth of learning, like that of his contemporary, Alessandro Scarlatti; nor great fancy, nor a richinventionin melody or harmony; but a nice ear, and most delicate taste, which led him to select the mostpleasingmelodies and harmonies, and to construct the parts so as to produce the most delightful effect upon the ear.”

An extensive and rapidly diffused impression in favor of the Violin, and the larger homogeneous instruments, was produced in Europe by the publication of the works of Corelli, who indeed must be considered as the author of the greatest improvements which music, simply instrumental, underwent at the commencement of the 18th century. As a consequence of the impulse thus communicated, there was scarcely a town in Italy, about thatperiod, where some distinguished performer on the violin did not reside. Dr. Burney enumerates about a dozen of these, in one paragraph; but the apparent similarity of their merits, which does not encourage any circumstantial commemoration, may serve to bring to the mind of the classical reader the “fortemque Gyan fortemque Cloanthum” of Virgil. One of these locally great individuals, Nicola Cosimo, who came to England about 1702, has derived some little accession of fame, from the fact of his portrait having been painted by Kneller, andcopperedby Smith. It is probable, that he is now more known to print-collectors than to musicians, although hisTwelve Solos, published in this country, possess considerable merit, for the time—a merit not free, however, from pretty large obligations to Corelli.

DonAntonio Vivaldi, Chapel-master of theConservatorio della Pietà, at Venice, seems to have enjoyed, in his day, a popularity of the most animated and unhesitating kind, both as composer and performer. Besides a number of dramatic compositions, in the form of Opera, he published eleven instrumental works, exclusively of his pieces calledStravaganze, which, among flashy players, whose chief merit was the novelty of rapid execution, occupied the highest place of favor. To be loud and brisk, appears to have been the chief ambition of this exhibitor; no bad method of ensuring a predominance of applause in all “mixed company.” HisCuckoo Concertowas once the wonder and delight of all frequenters of English country concerts; and Woodcock, one of the HerefordWaits, was sent for, far and near, to perform it. If Vivaldi’s musical fame were to rest on this production, it would figure but poorly; for the thing, though reprinted in London a few years ago, is indeed, when put to the test, “full of sound andfury, signifying nothing.” It is just of the order of stuff that might serve to agitate the orchestral elbows in a pantomime. Doubtless, it found a fitting exponent in “Mr. Woodcock, of the Hereford Waits:” Vivaldi’sownplaying must have been too good for it. Of the pieces styled hisSolos, it has been critically remarked, that they are extremely tame and vapid, while the characteristic of hisConcertosis a singular wildness and irregularity, in which he oftentimes transgresses the bounds both of melody and modulation. Though, in some of his compositions, the harmony and the artful contexture of the parts are their least merit, there is one (the eleventh of his first twelve concertos) which is esteemed a solid and masterly composition, and is an evidence that the writer possessed a greater portion of skill and learning than his works in general discover. To account for the singularity of Vivaldi’s style, it should be observed that he had been witness to the dullimitationsof Corelli that prevailed among the masters of his time; and that, for the sake of variety, he unfortunately adopted a style which had little but novelty to recommend it, and could serve for little else but “to please the itching vein of idle-headed fashionists.”

The title of Don, prefixed to Vivaldi’s name, was derived from theclericalcharacter which belonged to him; and he must, indisputably, have been one of the most lively of priests. Mr. Wright, in his “Travels through Italy, from 1720 to 1722,” has a passage indicative of this union of the clerical and musical functions:—“It is very usual to see priests play in the orchestra. The famous Vivaldi, whom they call thePrete Rosso, very well known among us for his concertos, was a topping man among them at Venice.”

Vivaldi, together with Albinoni, Alberti, and Tessarini, is to be classed among the light and irregular troops. For the more disciplined and efficient forces, we must look to the Roman school, formed by Corelli, in which were produced the greatest composers and performers for the violin that Italy could boast, during the first half of the 18th century.

Francesco Geminiani, the ablest of Corelli’s scholars, and who forms one of the brightest parts in the chain of Violinists

“In linked sweetness long drawn out,”

was born at Lucca, about the year 168021. His first instructions in music were derived from Alessandro Scarlatti; and his study of the violin was commenced under Lunati (surnamed Il Gobbo), and completed under the great archetype, Corelli.

On leaving Rome, where Corelli was then flourishing, Geminiani went to Naples, preceded by a degree of fame which secured his most favorable reception, and placed him at the head of the orchestra. If, however, we are to credit Barbella, the impetuosity of his feelings, and the fire of his genius, too ardent for his judgment, rendered him, at this period, so vague and unsteady atimeist, that, instead of guiding, combining, and giving concinnity to the performers under his direction, he disordered their motions, embarrassed their execution, and, in a word, threw the whole band into confusion.

In the year 1714, he came to England, where his exquisite powers, as a solo performer, commanded universal admiration, and excited, among the nobility and gentry, a contention for the honor of patronising suchrare abilities. The German Baron, Kilmansegge, was then chamberlain to George the First, as Elector of Hanover, and a great favorite of the King. To that nobleman Geminiani particularly attached himself, and, accordingly, dedicated to him his first work—a set of Twelve Sonatas, published in 1716. The style of these pieces was peculiarly elegant; but many of the passages were so florid, elaborate and difficult of execution, that few persons were adequate to their performance; yet all allowed their extraordinary merit, and many pronounced them superior to those of Corelli. They had, indeed, such an effect, that it became a point of eager debate, whether skill in execution, or taste in composition, constituted the predominant excellence of Geminiani; and so high was the esteem he enjoyed, among the lovers of instrumental music, that it is difficult to say, had he duly regarded his interest, to what extent he might not have availed himself of public and private favor. Kilmansegge, anxious to procure him a more effective patronage than his own, represented his merits to the notice of the King, who, looking over his works, became desirous to hear some of the pieces performed by their author; and soon after, accompanied, at his own earnest request, by Handel on the harpsichord, Geminiani so acquitted himself, as at once to delight his royal auditor, and to give new confirmation of the superiority of the violin over all other stringed instruments.

In 1726, he arranged Corelli’s first sixSolos, asConcertos; and, soon after, the last six, but with a success by no means equal to that which attended the first. He also similarly treated six of the same composer’sSonatas, and, in some additionalparts, imitated their style with an exactitude that at once manifested his flexible ingenuity, and his judicious reverence for his originals.Encouraged, however, as he might be considered, by the success of this undertaking, to proceed in the exercise of his powers, six years elapsed before another work appeared—when he produced his own first set ofConcertos; these were soon followed by a second set; and the merits of these two productions established his character as an eminent master in that species of composition. The opening Concerto in the first of these two sets is distinguished for the charming minuet with which it closes; and the last Concerto in the second set is esteemed one of the finest compositions known of its kind.

His second set of Solos (admired more than practised, and practised more than performed) was printed in 1739: and his third set of Concertos (laboured, difficult and fantastic), in the year 1741. Soon after this, he published his long-promised, and once impatiently-expected work, entitled “Lo Dizionario Armonico.” In this work, after giving due commendation to Lully, Corelli and Bononcini, as having been the first improvers of instrumental music, he endeavours to refute the idea, that the vast foundations of universal harmony can be established upon the narrow and confined modulation of these authors; and makes many remarks on the uniformity of modulation apparent in the compositions that had appeared in different parts of Europe for several years previously.

This didactic production possessed many recommendatory qualities; many combinations, modulations and cadences, calculated to create, and to advance the science and taste of atyro; but it appeared too late. Indolence had suffered the influence of his name to diminish, and his style and ideas (new as, in some respects, they were) to be superseded by the more fashionable manner, and more novel conceptions, of fresh candidates for favour and fame.

This work was succeeded by his “Treatise on Good Taste,” and his “Rules for playing in Good Taste;” and, in 1748, he brought forward his “Art of Playing on the Violin;” at that time a highly useful work, and superior to any similar publication extant. It contained the most minute directions for holding the instrument, and for the use of the bow; as well as the graces, the various shifts of the hand, and a great number of applicable examples.

About 1756, Geminiani was struck with a most curious and fantastic idea; that of a piece, the performance of which should represent to the imagination all the events in the episode of the thirteenth book of Tasso’s Jerusalem. It is needless to say, that the chimera was too extravagant, of attempting to narrate and instruct, describe and inform, by the vague medium of instrumental sounds. Musical sounds may possibly, according to a conjecture sometimes entertained, constitute the language of heaven; but as we, on earth, are possessed of nokeyto their meaning in that capacity, we must be content to employ, for our purposes of intercommunion, thearticulate, which alone is, to us, thedefinite.

In 1750, Geminiani went to Paris, where he continued about five years; after which, he returned to England, and published a new edition of his first two sets of Concertos. In 1761, he visited Ireland, in order to spend some time with his favourite and much-attached scholar, Dubourg, master of the King’s band in Dublin. Geminiani had spent many years in compiling an elaborate Treatise on Music, which he designed for publication; but, soon after his arrival in Dublin, by the treachery of a female servant (who, it has been said, was recommended to him for no other purpose than thatshe might steal it), the manuscript was purloined out of his chamber, and could never afterwards be recovered. The magnitude of this loss, and his inability to repair it, made a deep impression on his mind, and seemed to hasten fast his dissolution. He died at Dublin on the 17th of September, 1762, in the eighty-third year of his age.22

Endowed with feeling, a respectable master of the laws of harmony, and acquainted withsomeof the secrets of fine composition, Geminiani can hardly be said to have been unqualified either to move the soul, or to gratify the sense: yet truth, after being just to his real deserts, will affirm that his bass is not uniformly the most select; that his melody is frequently irregular in its phrase and measure; and that, on the whole, he is decidedly inferior to Corelli, with whom, by his admirers, he has been too frequently and too fondly compared.

For what was deficient in his compositions, as well as for what was unfavourable in his fortune, the unsettled habits of his life, and his inherent inclination for rambling, may perhaps partly account. His fondness for pictures (a taste very strongly developed in him) was less discreetly exercised than it had been by his prototype, Corelli. On the contrary, to gratify this propensity, he not only suspended his studies, and neglected his profession, but oftentimes involved himself in pecuniary embarrassments, which a little prudence and foresight would have enabled him to avoid. To gratify his taste, he bought pictures; and, to supply his wants,he sold them. The consequence of this kind of traffic was loss, and its concomitant, necessity. Under such circumstances, the concentration of thought, requisite for giving to his productions the utmost value derivable from the natural powers of his mind, was almost impossible.

A trait creditable to his character, on a graver score, presents itself in the following transaction. The place of Master and Composer of the state-music in Ireland became vacant in the year 1727, and the Earl of Essex obtained from Sir Robert Walpole, the minister, a promise of it. He then told Geminiani that his difficulties were at an end, as he had provided for him a place suited to his profession, which would afford him an ample provision for life. On enquiry into the conditions of the office, Geminiani found that it was not tenable by a member of the Romish communion. He therefore declined accepting, assigning this as a reason, and at the same time observing that, although he had never made any great pretensions to religion, yet to renounce that faith in which he had been first baptized, for thesakeof temporal advantages, was what he could in no way answer for to his conscience. The post was given to Matthew Dubourg, who had formerly been the pupil of Geminiani, and whose merits were not excluded by similar grounds for rejection.

Lorenzo Somis, chapel-master to the King of Sardinia, was recorded in Italy as an imitator of Corelli, but in a style somewhat modernized, after the model of Vivaldi.

He printed, at Rome, in 1722, his “Opera Prima di Sonate à Violino e Violoncello, o Cembalo,” the pieces contained in which are much in Corelli’s manner; some of them with double-stopped fugues, like those of hismodel, and some without. Somis was one of the greatest masters of the violin of his time; but his chief professional honour,—“the pith and marrow of his attribute,”—is the having formed, among his scholars, such a performer as Giardini.

Stefano Carbonelli, who had studied the violin under Corelli, was one of the Italian Artists who contributed to diffuse the celebrity of the instrument in this country. About the year 1720, he was induced by the Duke of Rutland to come to England, and was received into the house of that nobleman. During his residence there, he publishedTwelve Solos for a Violin and Bass, which he frequently played in public with great applause. In each of the first six of these, there is a double-stopped fugue; and the rest, it has been observed, have pleasing melodies, with correct and judicious counterpoint. In the progress of his success in England, Carbonelli was placed at the head of the opera band, and soon became celebrated for his excellent performance.

About the year 1725, he quitted the opera orchestra for an employment in Drury Lane Theatre, where he also led, and frequently played select concert pieces between the acts. After continuing there some time, he engaged himself with Handel, as a performer in his oratorios. For several years, he played at the rehearsal and performance at St. Paul’s, for the benefit of the Sons of the Clergy.

In the latter part of his life, he in a great measure neglected the profession of music, having become a merchant, and an importer of wine from France and Germany. He obtained the place of one of the purveyors of wine to the King; and died in that employment in the year 1772.

At the time of Carbonelli’s relaxing in his homage to Apollo, for the sake of becoming a minister of Bacchus, the following lines (which have been admirably set, for two voices, by Dr. Cooke) were made up for the occasion:—

Let Rubinelli charm the ear,And sing, as erst, with voice divine,—To Carbonelli I adhere;Instead of music, give me wine!But yet, perhaps, with wine combin’d,Soft music may our joys improve;Let both together, then, be join’d,And feast we like the gods above!23

Pietro Locatelli, another of Corelli’s pupils, but one who made the boldest innovations upon the manner of that great master, and deviated, exploringly, into remarkable paths of his own, was born at Bergamo, about 1693. Being still a youth, at the time of Corelli’s decease, and full of ardent impulses in relation to the art he had embraced, Locatelli gave way to these, and soon became conspicuous for a boldness and originality which, even in our own days, would not pass unacknowledged. He developed new combinations, and made free use of arpeggios and harmonic sounds. The compositions of this master, as well as those of Mestrino, who flourished somewhat later, and was the more graceful of the two in his style of playing, are supposed to have furnished hints of no small profit to the penetrating genius of Paganini.

Locatelli died in Holland, in 1764. The crabbed passages in which he delighted to display his force, are to be found in his work entitled “Arte di nuova Modulazione,” or, as it is termed in the French editions, “Caprices Énigmatiques.”

We now approach one of those names on which the biographer may fairly delight to dwell, for its association not only with the great and beautiful in art, but with the interesting in personal character, and the romantic in incident.

Giuseppe Tartini, of Padua, the last great improver (save Viotti) of the practice of the violin, was born in April, 1692, at Pirano, a sea-port town in Istria. His father had been ennobled, in recompense of certain substantial benefactions, exercised towards the Cathedral Church at Parenza. Giuseppe was originally intended for the law; but, mixing the more seductive study of music with the other objects of his education, it soon gained the ascendant over the whole circle of the sister sciences. This is not so surprising as another strong propensity, which, during his youth, much fascinated him. This was the love of fencing—an art not likely to become necessary to the safety or honor of one possessed of the pious and pacific disposition that belonged to him, and one engaged, too, in a civil employment: yet he is said, even in this art, to have equalled the master from whom he received instructions. In 1710, he was sent to the University of Padua, to pursue his studies as a civilian; but, before he was twenty, having committed the sin of sacrificing prudence to love, in a match which he entered into without the parentalfiat, he was forsaken, in return, and reduced to wander about in search of an asylum. This, after many hardships, he found in a convent at Assisi, where he was received by a monk, his relative,who, commiserating his misfortunes, let him remain there till something better might be done for him. While thus secluded and sorrowful, he took up the violin, to “manage it against despairing thoughts”—an expedient which the devotion of his soul to music must have lent some efficacy to. Not only his solace, but, by a singular turn of fortune, his rescue also, was connected with his violin. On a certain great festival, when he was in the orchestra of the convent, he was discovered, through the accident of a remarkably high wind, which, forcing open the doors of the church, blew aside the orchestral curtain, and exposed all the performers to the sight of the congregation. His recognition, under these circumstances, by a Paduan acquaintance, led to the accommodation of differences; and he then settled with his wife, for some time, at Venice24. This lady proved to be of that particular race which has never been wholly extinct since the time of Xantippe; but as, fortunately, poor Tartini was more than commonly Socratic in wisdom, virtue and patience, her reign was unmolested by any domestic war, or useless opposition to her supremacy.

His residence at Venice was rendered memorable to him, by the arrival of the celebrated Veracini (theyounger) in that city. The performance of this “homme marquant” awakened a vivid emulation in Tartini, who, though he was acknowledged to have a powerful hand, had never heard a great player before, nor conceived it possible for thebowto possess such varied capabilities for energy and expression. Under this feeling, he quitted Venice with prompt decision, and proceeded to Ancona, in order to study the use of the bow in greater tranquillity and with more convenience than at Venice, as he had a place assigned him in the operatic orchestra, of that city. In the same year (1714), his studious application enabled him to make a discovery—that of the phenomenon of thethird sound—which created a great sensation in the musical world, both in his own time and long afterwards, though it has led to no important practical results. This phenomenon of the third sound is the sympathetic resonance of a third note, when the two upper notes of a chord are sounded. Thus, if two parts are sung in thirds, a sensitive ear will feel the simultaneous impression of a bass or lower part. This effect may be more distinctly heard, if a series of consecutive thirds be played on the violin perfectly in tune. “If you do not hear the bass,” said Tartini to his pupils, “the thirds or sixths which you are playing are not perfect in the intonation25.” This mysterious sympathy, by which sound is enabled to call up a fellowship of sound, may be fancifully expressed in a line from the old poet, Drayton:—

“One echo makes another to rejoice!”

His diligence and exemplary devotion to his art, while at Ancona, led also to another prominent occurrence in his career—the appointment, in 1721, to the distinguished place of first violin, and master of the band, to the church of St. Anthony, of Padua. To St. Anthony, as his patron saint, he consecrated himself and his instrument, with a species and a constancy of attachment, that may find not only their excuse, but their credit, in the nature and sentiment of the times he lived in. His extending fame brought him repeated offers from Paris and London, to visit those capitals; but, holding to his conscientious allegiance, he uniformly declined entering into any other service, and was, like St. Anthony himself, a pattern of resistance to temptation.

By the year 1728, he had made many excellent scholars, and established a system of practice, for students on the violin, that was celebrated all over Europe, and increased in reputation to the end of his life. Great numbers of young men resorted to Padua from different countries, in order to receive instruction from him in music, but chiefly in the practice of the violin.

In the early part of his life, he published “Sonate a Violino e Violoncello, o Cembalo, Opera Prima.” This, and his Opera Seconda, ofSix SonatasorSolosfor the same instrument, and another work entitled “XVIII Concerti a cinque Stromenti,” were all published by Le Cène, of Amsterdam, and prove him to have been a truly excellent composer. Such, however, was the ascendancy of Corelli’s name, and so ambitious was Tartini of being thought a follower of the precepts and principles of that master, that, during the zenith of his own reputation, he refused to teach any other music to his pupils, till they had studied theOpera Quinta,orSolos, of Corelli; and the excellence of this foundation was made manifest by the result. His favorite pupils were Bini and Nardini. These, as well as others of Tartini’sélèves, formed, in their turn, scholars of great abilities, who contributed to spread his reputation and manner of playing all over Europe.

Tartini’s own first master was an obscure musician, of the name of Giulio di Terni, who afterwards made a fitting change of position, and descended into the pupil of his own scholar—a circumstance related by Tartini himself, who used to say that he had studied very little till after he was thirty years of age26. At the age of fifty-two, Tartini made a marked alteration in his style of playing, from extreme difficulty (or what wasthenso considered) to grace and expression. His method of executing an adagio has been represented by his contemporaries as inimitable, and was almost, in their idea, supernatural—an impression to which the idea of the patron saint must have not a little conduced.

The particulars that have been preserved respecting his scholar, Pasquale Bini, are not without interest. Recommended to him at the age of fifteen, by Cardinal Olivieri, Tartini found him a youth after his own heart, possessing excellent moral dispositions, as well as musical; and he accordingly cherished a very marked regard for him. This young musician practised with such assiduity, that, in three or four years, he vanquished the most difficult of Tartini’s compositions, and executed them with greater force than the author himself. When he had finished his studies, his patron, Cardinal Olivieri, took him to Rome, where he astonished all the Professorsby his performance,—particularly Montagnari, at that time the principal violinist there; and it is generally believed, that Montagnari was so mortified by the superiority, as to have died of grief! When informed that Tartini had changed his style and taste in playing, Bini returned to Padua,

“Nil actum reputans, si quid superesset agendum,”—

and placed himself for another year under that excellent and worthy master; at the end of which period, so intense had been his application, that he played with a degree of certainty and expression truly wonderful.

On a certain occasion, in recommending a scholar to him, after his return to Rome, Tartini expressed his sense of Bini’s powers and character, and gave evidence of his own modest and ingenuous disposition, in the following words:—“Io lo mando a un mio scolare chi suona più di me; e me ne glorio, per essere un angelo di costume, e religioso.”—“I recommend him (the applicant) to a scholar of mine, who plays better than myself; and I am proud of it, as he is an angel in religion and morals.” Such praise has its value enhanced by the source whence it proceeds; for it was truly “laudari a laudato viro.”

The death of Tartini occurred at Padua, on the 26th of February, 1770, to the general regret of the people of that city, where he had resided nearly fifty years, and not only was regarded as its most attractive ornament, but, owing to the serious and contemplative turn of his mind, had attained the estimation of being a saint and a philosopher.

Of the general character of Tartini’s compositions, Dr. Burney, who appears to have studied them closely, has given the following judgment:—“Though he made Corelli his model in the purity of his harmony and simplicityof his modulation, he greatly surpassed that composer in the fertility and originality of his invention; not only in the subjects of his melodies, but in the trulycantabilemanner of treating them. Many of his adagios want nothing butwords, to be excellent pathetic opera-songs. His allegros are sometimes difficult; but the passages fairly belong to the instrument for which they were composed, and were suggested by his consummate knowledge of the finger-board, and the powers of the bow. As a harmonist, he was perhaps more truly scientific than any other composer of his time, in the clearness, character and precision of his bases, which were never casual, or the effect of habit or auricular prejudice and expectation, but learned, judicious and certain. And yet I must, in justice to others, own that, though the adagio and solo playing, in general, of his scholars are exquisitely polished and expressive, yet it seems as if that energy, fire, and freedom of bow, which modern symphonies and orchestra-playing require, were wanting.”

The applicability of the latter remark is, of course, considerably greater in these days than in the Doctor’s time. Another and more recent critical opinion is subjoined:—

“Tartini’s compositions, with all the correctness and polish of Corelli’s, are bolder and more impassioned. His slow movements, in particular, are remarkably vocal and expressive; and his music shows a knowledge of the violin, both in regard to the bow and the finger-board, which Corelli had not been able to attain. His works, therefore, though no longer heard in public, are still prized by the best musicians; a proof of which is, that some of them have been recently reprinted for the use of theConservatoireof Paris. He has frequentlyinjured their effect, to modern ears, by the introduction of trills and other ornaments, which, like the flounces and furbelows of the female dress of his day, have become old-fashioned; but, at the same time, his compositions are full of beauties, which, belonging to the musical language of nature and feeling, are independent of the influence of time.”

Few of my readers have failed, probably, to hear or read of “The Devil’s Sonata,” that forms so singular a “passage” in the experience of this remarkable man, and is to be met with in Records, Musical, Literary, and Pictorial. Monsieur De Lalande informs us that he had, from Tartini’s own mouth, the following singular anecdote, which conveys an account of it, and shows to what a degree his imagination was inflamed by the genius of composition. “He dreamed, one night, in the year 1713, that he had made a compact with the Devil, who promised to be at his service on all occasions; and, during this vision, every thing succeeded according to his mind; his wishes were anticipated, and his desires always surpassed, by the assistance of his new servant. At length, he imagined that he presented to the Devil his violin, in order to discover what kind of a musician he was; when, to his great astonishment, he heard him play asolo, so singularly beautiful, and executed with such superior taste and precision, that it surpassed all the music he had ever heard or conceived in his life! So great was his surprise, and so exquisite his delight, upon this occasion, as to deprive him of the power of breathing. He awoke with the violence of his sensations, and instantly seized his instrument, in hopes of expressing what he had just heard; but in vain. He, however, then composed a piece, which is, perhaps, the best of all his works, and called it theDevil’s Sonata; but it was so inferior to what his sleep had produced,that he declared he would have broken his instrument, and abandoned music for ever, if he could have subsisted by any other means.”

This remarkable legend, under its obvious associations with the fearful and the grotesque, is so inviting for poetic treatment, that I have ventured on the following attempt:—

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