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Other documents randomly have
different content
The Project Gutenberg eBook of The Violin and
Old Violin Makers
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
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ebook or online at www.gutenberg.org. If you are not located in the
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you are located before using this eBook.

Title: The Violin and Old Violin Makers

Author: A. Mason Clarke

Release date: December 21, 2016 [eBook #53785]

Most recently updated: October 23, 2024

Language: English

Credits: Produced by Tor Martin Kristiansen, Joseph Cooper, Stephen

Hutcheson and the Online Distributed Proofreading Team at
http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE VIOLIN AND

OLD VIOLIN MAKERS ***
 A Copy Gasparo da Salo Violin used by Ole Bull, the Famous
of the
Scandinavian Violinist, made by Mr. Gillingham, of Chiswick. (The front
view of this violin will be found on the cover.)

THE VIOLIN
AND

OLD VIOLIN MAKERS

BEING A
HISTORICAL & BIOGRAPHICAL
ACCOUNT OF THE VIOLIN
With Facsimiles of Labels
of the Old Makers

BY
A. MASON CLARKE
[Author of “Biographical Dictionary of Fiddlers.”]

London:
WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.
Publisher of Books on Music.

Printed by The New Temple Press, Norbury Crescent, London, S.W.16.

A Copy of the Gasparo da Salo Violin used by Ole Bull, the famous
Scandinavian violinist. Made by Mr. Gillingham, of Chiswick.
 iii

PREFACE.

This little work is the outcome of some little thought, born of

hesitation. To be clear, I should mention that some years ago I
completed a somewhat exhaustive work on the violin, the first
portion of which reached the stereotype stage, but unfortunately
owing to a fire the plates were destroyed. Other business pressing,
the work was laid aside. In the meantime other books on the violin
have been published, a fact which might be taken as rendering any
further work on the subject superfluous. However, it has been
suggested to me by some musical friends that if I could produce a
popular work which could be issued at a low price it would be well
received. Buoyed up with this hope, I set to work with the object of
presenting in a concise form such information as I have thought
necessary or at least of interest to every one who elects to take iv
up the violin, either as an object of recreation or serious study.
Time alone will prove whether or not the appearance of this addition
to the literature of the violin is justified.

In order to facilitate my labours I have consulted the leading British

and foreign authorities on the violin and kindred instruments. I have
also during many years devoted much time to the inspection and
study of genuine old instruments.

A. M. C.
Forest Hill, London.

v
 CONTENTS.

PART I.

HISTORICAL.
PAGES
I.—Introductory and Early English 1-29
II.—Italy 30-35
III.—France 36-40
IV.—Germany 41-44
PART II.

BIOGRAPHICAL.

Violin Makers of the Old Schools.

I.—Italian, with Labels 45-71
II.—German and Tyrolese, with Labels 72-82
III.—French, with Labels 83-89
IV.—British, with Label 90-103
PART III.

On the Development of Classical Music for the Violin and other

Stringed Instruments
105-117
 1

PART I.
HISTORICAL.

I.—INTRODUCTORY AND EARLY ENGLISH.

The origin of the violin is always a very interesting subject for study.
It is one upon which many great writers have devoted much time
and thought, but as they arrive at varying conclusions, and in some
cases opposite opinions, the result is to leave the mind of the
student in a state of conjecture and speculation.

In tracing the development of certain species of stringed instruments

the arguments of some authorities often appear pretty conclusive,
but generally we are confronted with such a mass of contradictory
assertions, that we can only treat the theories put forward as 2
approximate. The professor, teacher and matured student
approaching this subject, of course do so with great profit, as they
are better able to accept or reject whatever may be said concerning
the ancestry of the violin family, than is the young beginner.

For those who desire a more extended knowledge of the rise and
progress of the violin family a large field of literature is open. As a
preparatory the author recommends Otto’s “Treatise on the Structure
and Preservation of the Violin” (W. Reeves, London), which contains
much valuable and interesting information on the subject.
Now, there can be little doubt but that the simplest form of stringed
instrument (played with a bow) was conceived from the idea of a
stretched string fixed at two points, vibration being excited by
means of a jagged stick. The earliest known instrument of this
species, according to M. Fétis (a great historical writer on the
subject) is the ravanastron, stated to have been invented by an
ancient King of Ceylon, called Ravana, some five or six thousand
years ago. It consisted of a cylinder of sycamore wood, 3
hollowed out from one end to the other. “This cylinder is about
4⅜ inches long, and has a diameter of 2 inches. Over one end is
stretched a piece of boa skin, with large scales, which forms the
belly or sound-board. The cylinder is crossed from side to side—at
one-third of its length, next the sound-board—by a rod or shank of
deal, which serves as a neck, of the length of 22 inches, rounded on
its under part, but flat on the top, and slightly inclined backwards.
The head of this neck is pierced with two holes for the pegs, half an
inch in diameter; not in the side, but in the plane of the sound-
board. Two large pegs, 4 inches in length, shaped hexagonally at the
top, and rounded at the ends which go into the holes, serve to
tighten two strings made of the intestines of the gazelle, which are
fixed to a strap of serpent skin attached to the lower extremity of
the rod or shank. A little bridge ¾ of an inch long, cut sloping on the
top, but flat on the part which rests on the sound-board, and worked
out rectangularly in this part, so as to form two separate feet,
supports the strings. As to the bow, it is formed of a small bamboo,
of which the upper portion is slightly curved, and the lower 4
(nearly) straight. A hole is made in the head of the bow, at the
first knot, for fixing a hank of hair, which is strained and fixed at the
other end, by binding a very flexible rush string twenty times round
it.”

Such is this most primitive bow instrument, slight modifications of

which still exist in Eastern countries. The Chinese and Japanese
fiddles one often sees now in music-shops are not at all unlike the
ancient ravanastron. That India appears to have given birth to bow
instruments, and to have made them known to other parts of Asia,
Egypt and afterwards to Europe, no conjecture is needed, for the
instruments themselves exist, and still preserve the characteristics of
their native originality.

We will now pass over a few thousand years during which time
stringed instruments of great variety and of every conceivable shape
had been invented and improved upon in different countries of the
world, their gradual development (brought about, no doubt, more by
circumstances existing at various periods than by any real aim
towards artistic achievement) giving birth to the various families 5
of stringed instruments in use at the present day, e.g., the violin
family, the harp, guitar, mandoline and pianoforte.

* * * * * * * *

In tracing the progress of the violin (which the author will endeavour
to do in connection with its music and performers) it is necessary to
content ourselves with a more definite standpoint, therefore, we will
commence with a period when the viol or fiddle family came upon
the scene, the immediate precursor of the violin; the viol, in fact, is
not inaptly termed the grandfather of the violin.

The great distinctive feature between a viol and the present violin
family, is that instead of F sound-holes, viols had C holes. Some had
sound-holes in the shape of what are known as “flaming sword”
holes. They carried five or six strings, sometimes more, and the
finger-board was mounted with frets, for (as was then thought) the
more certain means of stopping the notes in perfect tune, an idea
which, to modern violinists, involves an absurdity.

Viols are known to have been in use as early as the fifteenth 6

century (some writers go back to the thirteenth, but these early
ones partook more of the nature and shape of the guitar than of the
subsequent viol). The viol continued in use up to the beginning of
the reign of Charles I, and was one of the most popular instruments
in its time. There were generally four in use, viz., treble, alto, tenor
and bass, and occupied in some respects the position now held by
our violin, tenor, ’cello and double bass. To an ordinary observer
there is little difference in appearance between the shape of a treble
viol and the earliest violin, so that a considerable latitude of doubt
may be allowed to exist as to the finality of the former and the
adoption of the latter; but certain it is that the violin of the time
became to be appreciated to such an extraordinary degree, that the
principal viol and lute makers towards the end of the sixteenth
century set about making violins in the place of viols. Whether the
idea of this change was dictated by the caprice of novelty, or
whether any special demand arose for an instrument of more
extended compass by reason of the advancement made in the
musical compositions of the time, it is difficult to determine with 7
certainty. It is significant, however, that at this period of the
advancement of the violin, the musical influence of Tallis (the
founder of English church music), and of Bird, his illustrious pupil,
was manifesting itself throughout this country, and in Italy the music
of Palestrina exercised a similar influence.

In the year 1662 appeared the first work printed in England

containing any reference to the violin. It was written by one John
Playford, and is entitled “A Brief Introduction to the Skill of Musick,”
wherein is the following relating to the violin:

“The treble violin is a cheerful and sprightly instrument, and much

practised of late, some by book, and some without; which of these
two is the best way, may easily be resolved. First, to learn to play by
rote or ear, without book, is the way never to play more than what
he can guess by seeing and hearing another play, which may soon
be forgotten, but, on the contrary, he which learns and practices by
book, according to the rules of musick, fails not after he comes to be
perfect under these rules, which guide him to play more than ever
he was taught or heard, and also to play his part in concert, the 8
which the other will never be capable of, unless he hath this
usual guide.
“These rules of music are in a plain method, as it shows in the first
six chapters of this book, the which being perfectly understood, viz.,
the notes of the scale or gamut, which directs the places of all
notes, flat and sharp, by which are pricked all lessons and tunes on
the five lines, thus distinguishing of the several parts by their cliffs,
as the treble, tenor, and basse. Lastly, the names of the notes, their
quantities, proportions, and rests, according to the rule of keeping
time, etc. There then remains two things to be instructed in, how
the violin is strung and tuned, and secondly, to give you directions
for the stopping the several notes, both flat and sharp, in their right
places. Then, first observe that this cannot be expressed in words
unless on the neck or finger-board of the violin there be set five or
six frets, as is on the viol. This, though it be not usual, yet it is the
best and easiest way for a beginner, for by it he has a certain rule to
direct him to stop all his notes in exact tune, which those that 9
do learn without seldom attain so good an ear to stop all notes
in perfect tune. Therefore, for the better understanding of these
following examples, I shall assign to those six frets on the finger-
board of your violin six letters of the alphabet in their order” (here
follow examples), after which he says:

“These few rules (and the help of an able master to instruct thee in
the true fingering, and the several graces and flourishes that are
necessary to be learnt by such as desire to be exquisite hereon), will
in a short time make thee an able proficient.”

These quaint instructions would hardly suffice to meet the

requirements of modern violin playing, but it is interesting to
observe the rules and precepts laid down for the student’s guidance
over two hundred years ago. Observe also the recommendation of
frets for accuracy in stopping the notes.

The viol, however, was not destined to die a sudden death, at any
rate, in this country. The soft wailing tone of the viol still found many
admirers, principally amongst amateurs, who regarded the violin in
the nature of an interloper. Their cause too was vindicated by one
Thomas Mace, who, curious to relate, was born in the same 10
year as John Playford (1613). This worthy lived in Cambridge,
and in 1676 published a work entitled “Musick’s Monument, or a
Remembrancer of the best practical music both Divine and Civil that
has ever been known to be in the world,” certainly a most ambitious
title and one that does not in the least suffer on its comparison with
the precepts contained in the book. He was one of the clerks of
Trinity College, Cambridge, and seemed to have acquired
considerable knowledge of matters musical. Under whom he was
educated, or by what means he became possessed of so much skill
as to be able to furnish matter for the above work, he has nowhere
informed us. We may collect from it that he was enthusiastically fond
of music, and of a devout and serious disposition, though cheerful
and good humoured.

His knowledge of music seems to have been confined to the practice

of the lute (his favourite instrument) and the viol. The third part of
this work is devoted chiefly to the viol, and in this he censures the
abuse of music in the number of bass and treble instruments 11
in the concerts of his time, in which he says, it was not
unusual to have but one small weak-sounding bass viol to two or
three “scoulding violins.” This disproportion he seeks to remedy by
the observance of the following instructions. He says:

“Your best provision (and most compleat) will be a good chest of

viols six in number, viz., 2 basses, 2 tenors, and 2 trebles. All truly
and proportionably suited. Of such, there are no better in the world
than those of Aldred, Jay, Smith (yet the highest in esteem are),
Bolles and Ross (one bass of Bolles I have known valued at £100).

“These were old, but we have now very excellent good workmen
who (no doubt) can work as well as those if they be so well paid for
their work as they were, yet we chiefly value old instruments before
new, for by experience they are found to be far the best. The reason
for which I can no further dive into than to say, I apprehend that by
extream age the wood (and those other adjuncts) glew, parchment,
paper, lynings of cloath (as some use), but above all the vernish.
These are all so very much (by time) dryed. Linefied, made 12
gentle, rarified, or (to say better even) agefied, so that that
stiffness, stubbornness, or clunginess, which is natural to such
bodies are so debilitated and made plyable, that the pores of the
wood have a more and free liberty to move, stir, or secretly vibrate,
by which means the air (which is the life of all things both animate
and inanimate), has a more free and easy recourse to pass and
repass, and whether I have hit upon the right cause I know not, but
sure I am that age adds goodness to instruments, therefore they
have the advantage of all our late workmen.

“Now suppose you cannot procure an entire chest of viols suitable,

etc. Then thus. Endeavour to pick up (here or there) so many
excellent good odd ones as near suiting as you can (every way), viz.,
both for shape, wood, colour, etc., but especially for size. And to be
exact in that take this certain rule, viz., let your bass be larger, then
your trebles must be just as short again in the string, viz., from
bridge to nut, as are your basses, because they should stand 8 notes
higher than the basses. Therefore, as short again (for the middle of
every string is an 8th) the tenors (in the string) just so long as 13
from the bridge to F fret because they stand a 4th higher.

“Let this suffice to put you into a complete order for viols.”

We have given the above quotation in extenso without breaking in

with any comment, in order that the student may better understand
the peculiar phraseology used by this ancient authority. The student
will observe that old instruments were equally valued in those days
as in these, and this too was at a period anterior to the fame of the
great Stradivarius, whose grand period commenced with the opening
[1]
of the eighteenth century.

There appears to be a general consensus of opinion favouring the

theory that Gaspar da Salo, the founder of the Brescian school 14
of violin makers, who probably worked from 1560 to 1610,
was the first to make violins in their present shape. Be this as it may,
no mention is made of any of his instruments having found their way
into this country at this period, nor is he mentioned in any way in
connection with the adoption of the violin in this country, the
probability is that our own viol and lute makers commenced a school
of their own, although nothing definite seems to be known as to
who they were. One thing, however, seems certain, the early English
violin makers were far behind the Italians in point of workmanship.
The English model was large and clumsy, while that of Italy left
hardly any room for improvement.

* * * * * * * *
[2]
The derivation of the word fiddle appears to be wrapt in obscurity,
and must in no way be taken as coeval with the term violin.
According to Strutt, the antiquary (who wrote a very interesting
work last century on the sports and pastimes of the early English),
the name of fiddler was applied to the minstrels or itinerant 15
musicians of the fourteenth century. Chaucer, in his
“Canterbury Tales,” mentions the term in connection with “The
Clerke of Oxenforde.”

For him was lever han at his beddes head

A Twenty Bokys clothyd in blacke or rede
Of Aristotel and hys philosophie
Than robys riche or fidel or sautrie.

In the “Vision of Pierce the Ploughman,” we read “not to fare as a

Fydeler or a Frier to seke Feastes.”

It would appear that as time went on, these wandering minstrels or

fiddlers sunk very much in popular estimation, and were held in very
low esteem, so much so, that in the reign of Elizabeth was passed
an Act entitled “An Act for the punishment of rogues, vagabonds,
[3]
and sturdy beggars,” and amongst the malefactors amenable
under this Act were included “‘Wandering Minstrels’ (other than
players of interludes belonging to any Barron of the realm, or any
other honourable personage of greater degree if authorised to play
under the hand and seal of arms of such Baron, or personage”) the
penalty being “such pain and punishment as by this Act is in 16
that behalf appointed.”

We hear of the itinerant musician again in an ordinance from Oliver

Cromwell dated 1656, during his protectorship, which prohibited “all
persons commonly called fidlers or minstrels” from “playing, fidling
and making music in any inn, alehouse or tavern,” and also from
“proffering themselves, or desiring or intreating any one to hear
them play or make music in the places aforesaid.”

The great moralist, Owen Feltham, in his “Resolves,” 1631, also

touches upon the subject. Under his remarks on music we read: “It
is a kind of disparagement to bee a cunning fiddler. It argues his
neglect of better employment and that he hath spent much time
upon a thing unnecessarie. Hence it hath been counted ill for great
ones to sing and play like an arted musician, Philip asked Alexander
if hee was not ashamed that he ‘sang so artfully.’” In the
“Westminster Magazine” for February, 1775, is an article entitled
“Fiddling Defended,” as follows:

“Some people are unreasonably severe against Fiddlers, but surely

there is no absurdity in attracting the eyes of the fair in 17
displaying a white hand, a ring, a ruffle, or sleeve to
advantage. Who can blame the performer who is successful enough
to fiddle himself into a good fortune? Whatever the rigid and austere
may think, the approbation of the ladies is no small spur to a
proficiency in music as well as in many other sciences. It is highly
probable that Achilles (though the blind bard is silent upon this
head) would not have strummed his harp with so much glee if the
ears of Deidamia and Brifeis had not been tickled by it.—A
FIDDLER.”
Peacham, in his description of a “Compleat Gentleman,” published
1634, addresses his readers thus: “I desire no more in you than to
sing your part sure and at first sight, and withall to play the same
upon your violl or the exercise of the lute privately to yourselfe”—
and in another place he observes: “King Henry the eighth could not
onely sing his part sure but of himselfe compose a service of foure
five and sixe parts”—and we are told that Queen Elizabeth was a
tolerable performer on the virginals (the precursor of the pianoforte)
and also the violin.

The next source from which any historic information 18

concerning the fiddle is obtained is from the writings of one
Anthony Wood, of Oxford, who, although not a professional player,
was an enthusiastic amateur whose opinion was not to be despised.

This worthy in his life written by himself in the year 1654 gives an
amusing account of a musical escapade which it may not be out of
place here to repeat, as the work is rather scarce and difficult of
access. It throws an interesting light on the state of music at that
period. He says:

“Having by this time got some musical acquaintance, a frolick by all

meanes must be taken by us; and what should it be, but to disguise
ourselves in poore habits, and like contry fidlers scrape for our
livings? Faringdon Fair this yeare was the place designed to go to:
And all of us (five in number) lodging in a house in the Middle Rew
in Magd. parish,—belonging to one Gregory a Chandler, wee sate out
very early the next morning, and calling first on Mr. Th. Latton’s
house at Kingston Baképuze, wee bid him good morrow by 2 or 3
tunes. He came in the hall among us, listened to our musick, 19
gave us money, and ordered drink to (be) carried to us. After
wee had done with him, wee retired to the In standing on the road
going to Farringdon, dined there, and after dinner wee were
entertain’d by some of the neighbours, who danc’d (as I remember)
on the Green, gave us some money and victualls, and I think wee
returned very late that evening to Oxon. The names of those in this
exploit were, myself and Will Bull before mentioned, who played on
the Violins, Edm. Gregorie, B.A., and gent. com. of Mert. Coll. who
play’d on the bass viol, John Nap of Trinity on the citerne, and
George Mason, of the said Coll. on another wyer instrument, but
could do nothing. Soon after we took a voyage northward, called at
Hampton Poyle, played at Mr. Wests’ house, had some money, but
more drink. Afterwards we went (I think) to Kidlington, got
something there, returned in the evening, and certain soldiers
overtaking us, they by force, made us play in the open field, and
then left us without giving a penny.

“Most of my companions would afterwards glory in this, but I was

ashamed, and could never endure to hear of it.”

He goes on to relate that by 1656 he “had a genuine skill in 20

musick, and frequented the weekly meetings of musitians in
the house of Will Ellis, late Organist of St. Johns Coll., situated and
being in a house, opposite to that place whereon the Theatre was
built.” Here he gives a list of the company who met and performed
their parts on lutes and viols. The music masters were: “Will Ellis,
Batchelor of Musick, and owner of the house, who always played his
part either on the organ or virginal:—Dr. John Wilson, the public
professor, the best at the lute in all England. He sometimes play’d on
the lute, but mostly presided (directed) the consort.—Curteys, a
lutenist, lately ejected from some choire or cathedral church.
Thomas Jackson, a bass violist.... Ed. Low, Organist lately of Christ
Church. He play’d only on the organ; so when he played on that
instrument Mr. Ellis would take up the counter-tenor viol, if any
person were wanting to perform that part. Gervace Littleton ... a
violist; he was afterwards a singing man of St. Johns Coll. Will
Glexney, who had belonged to a choire before the warr ... he played
well upon the bass-viol, and sometimes sung his part.... 21
Proctor, a young man and a new comer. John Parker, one of
the university musitians. But Mr. Low, a proud man, could not
endure any common musitians to come to the meeting, much less to
play among them. Of this kind I must rank John Haselwood, an
apothecary, a starch’d formal clister-pipe, who usually played on the
bass-viol, and sometimes on the counter-tenor. He was very
conceited of his skill (though he had but little of it) and therefore
would be ever and anon ready to take up a viol before his betters,
which being observed by all, they usually called him ‘Handlewood.’
The rest were but beginners.

“Proctor died soon after this time, he had been bred up for Mr. John
Jenkyns, the mirrour and wonder of his age for musick, was
excellent for the lyra-viol, and division-viol, good at the treble-viol,
and treble-violin, and all comprehended in a man of three or four
and twenty years of age. He was much admired at the meetings,
and exceedingly pitied by all the facultie for his loss.”

“A. W. was now advised to entertain one Will James, a dancing 22

master, to instruct him on the violin, who by some was
accounted excellent on that instrument, and the rather, because it
was said that he had obtained his knowledge in dancing and musick
in France. He spent, in all, half a yeare with him, and gained some
improvement from him; yet at length he found him not a compleat
master of his facultie, as Griffith and Parker were not; and, to say
the truth, there was no complete master in Oxon for that
instrument, because it had not hitherto been used in consort among
gentlemen, only by common musitians, who played but two parts.
The gentlemen in private meetings, which A. W. frequented, played
three, four, and five parts with viols, as treble-viol, tenor, counter
tenor, and bass, with an Organ, virginal or harpsicon joyn’d with
them; and they esteemed a violin to be an instrument only
belonging to a common fiddler, and could not endure that it should
come among them, for feare of making their meetings to be vaine
and fiddling. But before the restoration of King Charles II, and
especially after, viols began to be out of fashion, and only violins
used, as treble-violin, tenor, and bass violin; and the King, 23
according to the French mode, would have 24 violins playing
before him while he was at meales, as being more airie and brisk
than viols.”
Under the year 1658 he informs us that: “Tho. Baltzar, a Lubecker
borne, and the most famous artist for the violin that the world had
yet produced, was now in Oxon. And this day (July 24th), A. W. was
with him and Mr. Ed. Low at the Meeting house of Will Ellis. A. W. did
then and there, to his very great astonishment, heare him play on
the violin. He then saw him run up his fingers to the end of the
finger-board of the violin, and run them back insensibly, and all in
alacrity and in very good tune, which he nor any in England saw the
like before. A. W. entertained him and Mr. Low with what the house
could then afford, and afterwards he invited them to the tavern; but
they being engag’d to goe to other company, he could no more
heare him play or see him play at that time. Afterwards he came to
one of the weekly meetings, at Mr. Ellis’s House, and he played to
the wonder of all the auditory; and exercising his fingers and
instrument several wayes to the utmost of his power. Wilson, 24
thereupon, the public professor (the greatest judge of musick
that ever was) did, after his humoursome way stoope downe to
Baltzar’s feet to see whether he had a huff (hoof) on, that is to say,
to see whether he was a devil or not, because he acted beyond the
parts of man.”

“About this time it was, that Dr. John Wilkins, warden of Wadham
Coll., the greatest curioso of his time, invited him and some of the
musitians to his lodgings in that Coll. purposely to have a consort,
and to see and heare him play. The instruments and books were
carried thither, but none could be persuaded there to play against
him in consort on the violin.

“At length the company perceiving A. W. standing behind in a corner,

neare the dore, they haled him in among them, and play, forsooth
he must, against him. Whereupon he being not able to avoid it, took
up a violin and behaved himself as poor Troylus did against Achilles.
He was abashed at it, yet honour he got by playing with and against
such a grand master as Baltzar was.”
“Mr. Davis Mell was accounted hitherto the best for the violin 25
in England, as I have before told you, but after Baltzar came
into England, and showed his most wonderful parts on that
instrument, Mell was not so admired, yet he played sweeter, was a
well bred gentleman, and not given to excessive drinking as Baltzar
was.”

* * * * * * * *

Baltzar occupies a twofold prominence, he was one of the earliest

German performers, and the first to give any real impetus towards
the popularity of the violin in this country. He is also stated to have
been the first to introduce the practice of “shifting.”

* * * * * * * *

During the reign of Charles I, and also during the Cromwellian

usurpation, music was practically at a standstill. Instrumental music
in churches was prohibited, and the theatres were soon after shut
up. Indeed, as a previous historian of the art has observed, “nothing
but syllabic and unisonous psalmody was authorised or even
permitted in the Church. Organs were taken down; organists and
choirmen reduced to beggary, and the art of music, and 26
indeed all arts but those of killing, canting, and hypocracy,
discountenanced, if not prescribed. The only demand made for the
fiddle was in the performance of low class music as an
accompaniment to the bacchanalian orgies, in favour during this
profligate period.”

However, with the restoration of Charles II, came the restoration of

music in this country. The musical taste of this monarch having been
formed in France during his sojourn there, he was naturally anxious
to introduce the French style into this country, and as we have seen
from the writings of A. Wood, he emulated the French King, Louis
XIV, by employing a band of twenty-four violins. From this period,
and with this impetus, the epoch of violin playing in England may be
said to date.

The leader of this band of twenty-four violins was Baltzar; he was

succeeded by John Banister, who was really the first English violinist
of any note.

Pepys, in his Diary, under date February 20, 1667, says: “They talk
how the King’s violin Banister is made. That a Frenchman (Louis
Grabu) is come to be chief of some part of the King’s music.”

It is worthy of notice that Banister was sent abroad by Charles 27

II in order to study music and acquire the French taste, and so
fit himself for the leadership of the King’s band, which post,
however, he soon lost for asserting in the King’s hearing that the
English violinists were superior to those of France, which probably
accounts for the note made by Pepys in his Diary.

Banister must have been a very enthusiastic musician, for he was

the first who publicly advertised concerts in this country.

The following advertisement is extracted from the “London Gazette,”

under date Monday, December 30, 1672.

“These are to give notice, that at Mr. John Bannister’s House (now
called the Music School) over against the George Tavern in White
Fryers, this present Monday, will be musick performed by excellent
Masters, beginning precisely at 4 of the Clock in the afternoon, and
every afternoon, for the future precisely at the same hour.”

* * * * * * * *

We have now arrived at the close of the seventeenth century, 28

by which time the supremacy of the violin was established not
only in England, but in all countries where culture and the fine arts
march hand in hand.
 * * * * * * * *

Before bringing this notice to a close, let us glance briefly at the

artistic activity prevailing during the early part of the eighteenth
century.

In his workshop at Cremona would be found the great violin maker,

Antonius Stradivarius, producing those inimitable instruments which
have rendered him so famous. We find Corelli at the head of the first
school of violinists at Rome (of which he was the founder), turning
out pupils destined to shed lustre into whatever country they carried
their art, and writing those immortal sonatas, that will ever retain
their high character as examples of tonal purity, and with Boccherini,
laying the foundation of chamber music.

In 1714 the arrival in England of Geminiani and Veracini, the great

Italian violinists, contributed to make the violin more popular as well
as to advance the practice of execution. They also supplied the 29
performers on that instrument with compositions far superior
to any they had possessed prior to their arrival.

The establishment of Italian opera in England served to raise up a

host of violinists, who were not slow in availing themselves of the
facilities afforded them for studying under the great Italian masters
continually visiting this country. The result has been, that England at
the present day is able to point with pride to some of the most
notable performers on the violin, as belonging to her ranks.

30

II.—ITALY.
In musical execution, the early schools of Italy showed a marked
superiority over the rest of Europe, particularly with regard to the
violin.
Corelli, who was born in 1653, was the first to establish a new
school in instrumental composition, distinguished from that which
preceded it by a graceful, rhythmical and natural manner of writing.
He was the first composer who brought the violin into repute; and
his originality, facility and delicacy of style, greatly contributed to the
popularity of the violin. He was founder of the Roman, or what may
now be called the ancient school of violinists, and obtained the
proud title of “Princeps Musicorum.” After the publication of Corelli’s
works, there was scarcely a town in Italy where the violin was 31
not cultivated and in which some distinguished performer on
that instrument did not reside. Most of his contemporaries formed
themselves on his model—as Albioni, of Venice, Torelli, of Verona,
Valentini (whose works were published in Holland), and Marietto,
who was a Neapolitan violinist attached to the household of the
Duke of Orleans.

Tartini, born 1692, the most celebrated performer on the violin of his
[4]
day, formed all his scholars on the solos of Corelli. He was the first
who observed the phenomenon of the third sound, which he did in
the year 1714, at Venice. This is the resonance of a third note when
the two upper notes of a chord are sounded; and may be distinctly
heard if a series of consecutive thirds are played on the violin, they
being perfectly in tune.

* * * * * * * *

Let us now briefly notice the two great Italian schools of violin 32
makers, which, up to the end of the seventeenth century, had
been called into existence.

The first was the Brescian school, the founder of which was Gasparo
da Salo. This maker, as we have mentioned elsewhere, was the first
to introduce the violin in its present size and shape. The next
representative of this school was John Paul Maggini, who worked
from 1600 to 1640. Other makers there were, viz., Mariani, Buddiani,
Ambrosi, Bente, Pietro Sancto Maggini (son of J. P. Maggini), but
they call for no special comment.

The next great school was the Cremonese, founded by Andreas

Amati, who was succeeded by his sons, Antony and Hieronymus
Amati, and they worked together for some time. The most noted of
this family was Nicolas Amati (born 1596, died 1684). The
Cremonese renown for violin making, however, attained its climax in
the productions of Antony Stradivarius (1644-1737) and Joseph
Guarnerius (1683-1745). The various lesser lights who worked in
these two schools will be duly noticed in the biographical portion of
this work.

* * * * * * * *

The music of this period falls next to be noticed. Mr. Charles 33

Reade, in his able articles on Cremona fiddles, which appeared
in the August numbers of the “Pall Mall Gazette” for 1872, states,
“Man invents only to supply a want.” This observation is peculiarly
applicable to the violin; for we find that with the advancement of
musical composition came the desire to attain greater perfection in
the art of violin making. This is illustrated by the fact that the
performance of modern music would be next to impossible on one of
the old violins, by reason of the then shortness of the neck; hence
arises the necessity for refitting old violins with longer necks, thus
giving the performer greater command over the high notes, and
adding largely to the strength of the instrument.

The use of the violin in the orchestra began to receive recognition

with the dawn of the seventeenth century. Monteverde, in his opera
of “Orfeo,” printed in 1615, scores for “two little French violins”
(piccoli violini alla Francese).

Without referring to the periods anterior to the seventeenth century,

concerning which we have little or no information, we know 34
that during the first two generations of that century, music in
Italy was mostly in the madrigal style. The capabilities of
instrumental music, apart from the voice, however, were soon
discovered, and composers entered gladly upon a new and wide field
of musical effort. The compositions were usually comprehended
under the names of studies, fantasias, capricci, sonatas, concertos
and other pieces in various styles.

Corelli has been accredited with fixing the form of the sonata, and
Torelli, his contemporary, with inventing the concerto.

When dramatic music began to prevail under Corelli, it was scientific

and rather dry, Geminiani first enriched it by expression; but it was
under Tartini that it attained the highest degree of expression, both
as to composition and execution. Soon after this period the concerto
was greatly improved in the hands of Jarnowick and Mestrino, both
of whom were still surpassed by Viotti, who gave to this style the
character which seems so peculiarly its own and brought it to a
degree of perfection which it seems incapable of exceeding.

These remarks apply equally to solo as to concerted music: by 35

which term we understand music for several voices or
instruments, the parts of which do not stand in the relation of solo
and accompaniments, but are of nearly equal importance; equally
obbligato, either because each of them has its appropriate part, or
because each takes up the strain successively, the others alternately
becoming accompaniments. This method is practically alike in the
duet, the trio, the quartet, the quintet, and other pieces where each
instrument has its separate part.

Boccherini was the first who, in 1768, gave to these forms a fixed
character. After him came Fiorillo, Giardini, Pugnani, and lastly, Viotti.

Such was the style of music, so far as the violin is concerned, from
the time of Corelli to the commencement of this century.

Although Italy has since had to yield the palm for instrumental music
to other countries, we must not overlook the fact that for