Nicolo Amati's influence was felt in his famous pupils. Foremost among these was Antonio Stradivarius (1644-1737), whose praises have been sung by poets, and whose life was one of unwavering service. His first attempts were mere copies, but after he was equipped with his master's splendid legacy of tools and wood, his originality a.s.serted itself. His "Golden" period was from 1700 to 1725, but he accomplished good work until death overtook him. From his bench were sent out some seven thousand instruments, including tenors and violoncellos. Of these perhaps two thousand were violins.

A romance encircling this master of Cremona tells that in youth he loved his master's daughter, but that failing to win her heart and hand, he gave himself wholly to his work. He married, finally, a wealthy widow whose means enabled him to pursue his avocation undisturbed by monetary anxieties. His labors steadily increased the family property until "as rich as Stradivarius" became a common saying in Cremona. Because of his achievements and his personal worth, he was held in high esteem. Members of royal families, prelates of the church, men of wealth and culture throughout Europe, were his personal friends as well as his clients. His handsome home, with his workshop and the roofshed where he stored his wood, was, until recently, exhibited to visitors. To-day not a vestige of it remains. Weary of the importunities of relic-seekers, the Cremonese have torn it down, and have banished violins and every reminder of them from the town.

The tone of a Stradivarius, in good condition, is round, full and exceedingly brilliant, and displays remarkable equality as the player pa.s.ses from string to string. Dr. Joseph Joachim, owner of the famous Buda-Pesth Strad, writes of the maker that he "seems to have given his violins a soul that speaks and a heart that beats." The Tuscan Strad, one of a set ordered by Marquis Ariberti for the Prince of Tuscany, in 1690, was sold two hundred years later to Mr. Brandt by a London firm for 2,000. Lady Halle, court violinist to Queen Alexandra, owns the concert Strad of Ernst (1814-1865), composer of the celebrated Elegie, and values it at $10,000. A magnificent Stradivarius violin, with an exceedingly romantic history, belongs to Carl Gaertner, the veteran violinist and musician of Philadelphia, and could not be purchased at any price.

Another violin-builder from Nicolo Amati's workshop was Andrea Guarnerius (1630-1695), whose sons, Giuseppe and Pietro, followed in his footsteps. The family name reached its highest distinction in his nephew, Giuseppe (Joseph) Guarnerius (1683-1745), called del Gesu, because on his labels the initials I. H. S., surmounted by a Roman cross, were placed after his name, indicating that he belonged to a Jesuit society.

This Joseph of Cremona figures in story as a man of fascinating, restless personality, who for weeks would squander time and talents and then set to work with a zeal equalling that of Master Stradivarius.

Tradition has it that he was once imprisoned for some bit of lawlessness, and was saved from despair by the jailor's daughter who brought him the tools and materials required for violin-building. What he esteemed the masterpiece of his lonely cell he presented as a souvenir to his gentle friend.

The violin about which this legend is woven, dated 1742, was bought by Ole Bull from the famous Tarisio collection, and is now the property of his son, Mr. Alexander Bull. It has an unusually rich, sonorous tone and splendid carrying powers. Similar qualities are attributed to the Paganini Guarnerius del Gesu, 1743, known as the "Canon" and kept under gla.s.s at the Genoa Museum. Mr. Hart, a violin authority, places highest in this make the "King Joseph," 1737, long in the private collections of Mr. Hawley, Hartford, Connecticut, and of Mr. Ralph Granger, Paradise Valley, California, and recently put on the market by Lyon & Healy, of Chicago.

An interesting Nicolo Amati pupil was Jacob Steiner (1621-1683), a Tyrolese, who, although bearing a glittering t.i.tle, "violin maker to the Austrian Emperor," was hara.s.sed with financial perplexities and died insane. His most noted violins were the sixteen "Elector Steiners," one sent to each of the Electors and four to the Emperor. During his life the average price of his violins was six florins. A century after his death the Duke of Orleans, Louis Philippe's grandfather, paid 3,500 florins for one of them. It is also recorded that an American gentleman on La Fayette's staff, in the Revolutionary War, exchanged for a Steiner 1,500 acres of the tract where Pittsburg now stands. Mozart's violin, in the Mozarteum at Salzburg, is a Steiner.

Many violin-makers did good work in the past, many are achieving success to-day. It has been confidently a.s.serted that the violin reached its highest possibilities in the old Brescian and Cremona days. Why should this be the case? The same well-defined principles, based on acoustics and other modern sciences, that have led to the steady improvement of other musical instruments ought surely to be of some advantage to the violin. Indeed, who knows but the day may come when the present will be considered its golden age.

While the men of Cremona were still fashioning their models the want of good strings was felt. This was met by Angelo Angelucci, known as the string-maker of Naples, a man who loved music and pa.s.sed much time with violinists. Through his painstaking efforts such perfection was reached that Tartini, who was born the same year as he, 1692, could play his most difficult compositions two hundred times on the Angelucci strings, whereas he was continually interrupted by the snapping of others.

Improvements in the bow, often called the tongue of the violin, are due to the house of Tourte, in Paris, in the eighteenth century, lightness, elasticity and spring coming to it from Francis Tourte, Jr.

Three eminent virtuosi, Corelli, Tartini and Viotti, whose united careers spanned a period of 150 years, prepared the way for modern methods of violin-playing. Arcangelo Corelli (1653-1713) left his home in Fusignano, near Bologna, a young violinist, for an extended concert tour. His gentle, sensitive disposition proving unfitted to cope with the jealousy of Lully, chief violinist in France, and with sundry annoyances in other lands, he returned to Italy and entered the service of Cardinal Ottoboni in Rome. In the private apartments of the prelate there gathered a choice company of music lovers every Monday afternoon to hear his latest compositions. Besides his solos these comprised groups of idealized dance tunes with harmony of mood for their bond of union, and played by two violins, a viola, violoncello and harpsichord.

They were the parents of modern Chamber Music, the place of a.s.semblage furnishing the name.

Refined taste and purity of tone, we are told, distinguished the playing of Corelli, and to him are attributed the systematization of bowing and the introduction of chord-playing. He heads the list of musicians who protest against talking where there is music. On one occasion when his patron was addressing some remarks to another person, he laid down his violin, and on being asked the reason said "he feared the music was disturbing the conversation." This did not prevent him from being held in the highest esteem. After his death Cardinal Ottoboni had a costly monument erected over his grave in the Pantheon, and for many years a solemn service, consisting of selections from his works, was performed there on the anniversary of his funeral.

It was during a period of retirement in the monastery of a.s.sisi that Giuseppi Tartini (1692-1770) resolved to quit the law course in the University of Padua and seek a career with his violin. He became a great master of this, a composer of works still regarded as cla.s.sics, and a scientific writer on musical physics. His letter to his pupil, Signora Maddelena Lombardini, contains invaluable advice on violin practice and study, especially on the use of the bow, and his treatise on the acoustic phenomenon known as "the third sound," together with his work on musical embellishments, may at any time be read with profit.

It was after hearing the eccentric violinist Veracini that His Satanic Majesty appeared to Tartini in a dream and played for him a violin solo surpa.s.sing in marvelous character anything that he had ever heard or imagined. Trying to write it down in the morning he produced his famous "Devil's Sonata," with its double shakes and sinister laugh, a favorite of the violinist, but to the composer ever inferior to the music of his dreams. It is rather curious that anything of a diabolic nature should be a.s.sociated with this man of amiable and gentle disposition, whose care of his scholars, according to Dr. Burney, was constantly paternal.

Nardini, his favorite and most famous pupil, came from Leghorn to Padua to attend him, with filial devotion, in his last illness.

The talents of Corelli and Tartini seem to have been combined in the Piedmontese, Giovanni Battiste Viotti (1753-1824), a man of poetic, philanthropic mind, whose sensitive, retiring disposition unfitted him for public life. Wherever he appeared he outshone all other performers, yet there was constantly something occurring to wound him. At the Court of Versailles he left the platform in disgust because the noisy entrance of a distinguished guest interrupted his concerto. In London, after his means had been crippled by the French Revolution, he was accused of political intrigue.

While living in seclusion near Hamburg he composed some of his finest works, among them six violin duets, which he prefaced with the words: "This work is the fruit of leisure afforded me by misfortune. Some of the pieces were dictated by trouble, others by hope." At one time he embarked in a mercantile enterprise, in London, his transactions being regulated by the strictest integrity, but, as was inevitable, he soon returned to Paris and his art. After he had abandoned the concert room one of his greatest pleasures was in improvising violin parts to the piano performances of his friend, Madame Montegerault, to the delight of all present. He never had more than seven or eight pupils, but his influence has been widely felt. Many anecdotes are told of his kindness and generosity, and it is an interesting fact that among those who sought his advice and patronage was no less a personage than Rossini.

It must be because genius is little understood that its manifestations have so often been attributed to evil influences. The popular mind could only explain the achievements of the Genoese wizard of the bow, Nicolo Paganini (1784-1840) by the belief that he had sold himself body and soul to the devil who stood ever at his elbow when he played. When, after a taxing concert season, the weary violinist retired to a Swiss monastery for rest and practice amid peaceful surroundings, rumor had it that he was imprisoned for some dark deed. To crown the delusion, his spectre was long supposed to stalk abroad, giving fantastic performances on the violin. It is his apparition Gilbert Parker conjures up in "The Tall Master."

Paganini is described as a man of tall, gaunt figure, melancholy countenance and highly wrought nervous temperament. His successors have all profited by his development of the violin's resources, the result of combined genius and labor. He was practically a pioneer in the effective use of chords, arpeggio pa.s.sages, octaves and tenths, double and triple harmonics and succession of harmonics in thirds and in sixths. His long fingers were of invaluable service to him in unusual stretches, and his fondness for pizzicato pa.s.sages may be traced to his familiarity with the tw.a.n.g of his father's mandolin. He shone chiefly in his own compositions, which were written in keys best suited to the violin.

Students will find all that he knew of his instrument and everything he did in his Le Stregghe (The Witches), the Rondo de la Clochette, and the Carnaval de Venise, which have been handed down precisely as he left them in ma.n.u.script.

Signora Calcagno, who at one time dazzled Italy by the boldness and brilliancy of her violin playing, was his pupil when she was seven years old. The only other person who could boast having direct instructions from him was his young fellow townsman, Camillo Ernesto Sivori (1815-1894), who was in his day a great celebrity in European musical centres, and who was familiar to concert-goers in this country, especially in Boston, during the late forties and early fifties. He was thought to produce a small but electric tone, and to play invariably in tune. To him his master willed his Stradivarius violin, besides having given him in life the famous Vuillaume copy of his Guarnerius, a set of ma.n.u.script violin studies and a high artistic ideal.

A scholarly teacher and composer for the violin was the German Ludwig Spohr (1784-1859), who was born the same year as the wizard Paganini, and who, although having less scintillant genius than the weird Italian, is believed to have had a more beneficent influence over violin playing in his treatment of the instrument. He set an example of purity of style and roundness of tone, and raised the violin concerto to its present dignity. His violin school is a standard work.

From the beginning of the nineteenth century to the present time the lists of excellent violinists have rapidly increased and heights of technical skill have been reached by many that would have dazzled early violin masters. The special tendencies of gifted leaders have divided players into defined schools. Among noted exponents of the French school may be mentioned Alard and his pupil Sarasate, Dancla and Sauret.

Charles August de Beriot (1802-1870) was the actual founder of the Belgian school whose famous members include the names of Vieuxtemps, Leonard, Wieniawski, Thomson and Ysaye. Ferdinand David (1810-1873), first head of the violin department at the Leipsic Conservatory, gave impulse to the German school. Among his famous pupils are Dr. Joseph Joachim, known as one of the musical giants of the nineteenth century; August Wilhelmj, the favorite of Wagner, and Carl Gaertner, who, with his violin has done so much to cultivate a taste for cla.s.sical music in Philadelphia. Among the many lady violinists who have attained a high degree of excellence are Madame Norman Neruda, now Lady Halle, Teresina Tua, Camilla Urso, Geraldine Morgan, Maud Powell and Leonora Jackson.

The only violinist whose memory was ever honored with public monuments was Ole Bull (1810-1880), who has been called the Paganini of the North.

Two statues of him have been unveiled by his countrymen, one in his native city, Bergen, Norway, and one in Minneapolis, Minnesota. These tributes have been paid not so much to the violinist who swayed the emotions of an audience and who could sing a melody on his instrument into the hearts of his hearers, as to the patriot, the man who turned the eyes of the world to his st.u.r.dy little fatherland, and who gave the strongest impulse for everything it has accomplished in the past half century in art and in literature. Another patriot violinist was the Hungarian Eduard Remenyi (1830-1898), who first introduced Johannes Brahms to Liszt, and should always be remembered as the discoverer of Brahms.

The great demand of the day in the violin field, as in that of other musical instruments, is for dazzling pyrotechnic feats. It has perhaps reached its climax in the young Bohemian Jan Kubelik, whose playing has been p.r.o.nounced technically stupendous. In the mad rush for advanced technique, the soul of music it is meant to convey is, alas, too often forgotten.

[Ill.u.s.tration: JENNY LIND]

IX

Queens of Song

Our first queen of song was Vittoria Archilei, that Florentine lady of n.o.ble birth who labored faithfully with the famous "Academy" to discover the secret of the Greek drama. It was she who furthered the success of the embryo operas of Emilio del Cavalieri, late in the sixteenth century, and roused enthusiasm by her splendid interpretation for Jacopo Peri's "Eurydice," the first opera presented to the public. She was called "Euterpe" by her Italian contemporaries because her superb voice, artistic skill, musical fire and intelligence fitted her to be the muse of music. Her memory has been too little honored.

When Lully was giving opera to France he secured the co-operation of Marthe le Rochois, a gifted student of declamation and song at the Paris Academie Royale de Musique, for whose establishment he had obtained letters patent in 1672. So great was his confidence in her judgment that he consulted her in all that pertained to his work. Her greatest public triumph was in his "Armide." This earliest French queen of song is described as a brunette, with mediocre figure and plain face, who had wonderful magnetism and sparkling black eyes that mirrored the changeful sentiments of an impa.s.sioned soul. Her acting and voice-control were p.r.o.nounced remarkable. Her superior powers, unspoiled simplicity, frankness and generosity are extolled by that quaint historian of the opera, Dury de Noinville. On her retirement from the stage, in 1697, the king awarded her a pension of 1,000 livres in token of appreciation, and to this the Duc de Sully added 500 livres. She died in Paris in the seventieth year of her age, her home having long been the resort of eminent artists and literary people.

Katherine Tofts, who made her debut in Clayton's "Arsinoe, Queen of Cyprus," about 1702, was the first dramatic songstress of English birth, and is described by Colley Cibber as a beautiful woman with a clear, silvery-toned, flexible soprano. Her professional career brought her fortune as well as fame, but was short-lived. In the height of her bloom her reason gave way, and although judicious treatment restored it for a time, she did not return to the stage. As the wife of Mr. Joseph Smith, art connoisseur and collector of rare books and prints, she went to Venice, where her husband was British Consul, and lived in much state until, her malady returning, it became necessary to seclude her.

Wandering through the garden of her home she fancied herself the queen of former days. Steele, in the "Tattler," attributes her disorder to her stage habit of absorbing herself in imaginary great personages.

While Mrs. Tofts reigned in Clayton's opera, Signora Francesca Margarita de l'Epine, a native of Tuscany, sang Italian airs before and after it.

Tall, swarthy, brusque in manner, she had a voice and a style that made her famous. It was she who inaugurated the custom of giving farewell concerts. Meeting with brilliant success at a performance announced as her last appearance, "she continued," says Dr. Burney, "to sing more last and positively last times and never left England at all." There was a rivalry between the two queens of song, which being a novelty, furnished gossip and laughter for all London. Hughes, that "agreeable poet," wrote of it:

_"Music has learned the discords of the State, And concerts jar with Whig and Tory hate."_

Retiring in 1722 with a fortune of ten thousand pounds, Margarita married the learned Dr. Pepusch, who was enabled by her means to pursue with ease his scientific studies. In his library she found Queen Elizabeth's Virginal Book, and being a skilled harpsichordist, she so well mastered its intricacies that people thronged to her home to hear her play.

London was divided by another pair of rival queens of song in 1725-6.

One of these, Francesca Cuzzoni, a native of Parma, had created such a furore on her first appearance, three years earlier, that the opera directors who had engaged her for the season at two thousand guineas were encouraged to charge four guineas for admission, and her costumes were adopted by fashionable youth and beauty. Although ugly and ill-made, she had a sweet, clear dramatic contralto with unrivalled high notes, intonations so fixed it seemed impossible for her to sing out of tune, and a native flexibility that left unimpeded her creative fancy.

Handel, in whose operas she sang, composed airs calculated to display her charms, but she, confident of her supremacy, rewarded him with conduct so capricious that, finding her at last intolerable, he sent to Italy for the n.o.ble Venetian lady, Faustina Bordoni. She was elegant in figure, handsome of face, had an amiable disposition, a ringing mezzo-soprano, with a compa.s.s from B-flat to G in altissimo, and was renowned for her brilliant execution, distinct enunciation, beautiful shake, happy memory for embellishments and fine expression.

However pleased the directors may have been at first to have two popular songstresses, they were soon dismayed at the fierce rivalry that sprang up between them and was fanned to flames by Master Handel himself, who now composed exclusively for Faustina. By increasing the salary of her more tractable rival they finally disposed of Cuzzoni, who thenceforth through her exaggerated demands, managed to disgust her patrons wherever she appeared. Her reckless extravagance left her wholly dest.i.tute after losing her voice and her husband, Signor Sandoni, a harpsichord-maker.

She pa.s.sed her last years in Bologna, subsisting on a miserable pittance earned by covering b.u.t.tons.

Faustina married Adolphe Ha.s.se, the German dramatic composer, and at forty-seven sang before Frederick the Great, who was charmed with the freshness of her voice. The couple lived until 1783, the one eighty-three, the other eighty-four years of age. Dr. Burney visited them when they were advanced in the seventies and found Faustina a sprightly, sensible old lady, with a delightful store of reminiscences, and her husband a communicative, rational old gentleman, quite free from "pedantry, pride and prejudice."

Gertrude Elizabeth Mara, Germany's earliest noted queen of song, began her public career in 1755 as a child violinist of six, traveling with her father, Johann Schmaling, a respectable musician of Hesse-Ca.s.sel. In London her musical gifts proved to include a phenomenal soprano voice, which developed a compa.s.s from G to E altissimo, unrivalled portamento di voce, pure enunciation and precise intonation. She became skilled in harmony, theory, sight-reading and harpsichord playing. When she sang, her glowing countenance, her supreme acting and the lights and shades of her voice made people forget the plainness of her features and the insignificance of her form and stature. Her rendering of Handel's airs, especially "I Know that My Redeemer Liveth," was p.r.o.nounced faultless.

Frederick the Great, who as soon expected pleasure from the neighing of a horse as from a German songstress, vanquished on hearing her, retained her as court singer. While in his service she became the wife of Jean Mara, a handsome, dissipated court violoncellist, whom she loved devotedly, but who led her a sorry life. Returning to London later she taught singing at two guineas a lesson. Upon fear being expressed that her price, double that of other teachers, would limit her cla.s.s, she said her pupils having her voice as a model could learn in half the time required for those who had only the tinkling of a piano to imitate.

Though she believed singing should be taught by a singer, a tenderness for her own experience made her insist that the best way to begin the musical education was by having the pupil learn to play the violin. When she heard a songstress extolled for rapid vocalization she would ask: "Can she sing six plain notes?" This question might afford young singers food for reflection. Madame Mara pa.s.sed her declining years teaching singing near her native place, and died at Reval, in 1833. Two years earlier, on her eighty-third birthday, Goethe offered her a poetic tribute.

At a London farewell concert given by Madame Mara in 1802, she was a.s.sisted by Mrs. Elizabeth Billington, who has been ranked first among English-born queens of song. Her pure soprano had a range of three octaves, from A to A, with flute-like upper tones. She sang with neatness, agility and precision, could detect the least false intonation of instrument or voice, and was attractive in appearance. Haydn eulogized her genius in his diary, and in the studio of Sir Joshua Reynolds, who was painting her portrait as St. Cecilia, exclaimed: "You have represented Mrs. Billington listening to the angels, you should have made them listening to her." It was she who introduced Mozart's operas into England. She only lived to be forty-eight, breaking down in 1818, from the effects of brutal treatment of her second husband, a Frenchman, named Felissent.

Last of the eighteenth century queens of song was Angelica Catalani, born some forty miles from Rome in 1779, destined by her father, a local magistrate, for the cloister, and borne beyond its walls by her magnificent voice, with its compa.s.s of three octaves, from G to G. She is described as a tall, fair woman with a splendid presence, large blue eyes, features of perfect symmetry and a winning smile. So great was her natural facility she could rise with ease from the faintest sound to the most superb crescendo, could send her tones sweeping through the air with the most delicious undulations, imitating the swell and fall of a bell, and could trill like a bird on each note of a chromatic pa.s.sage.

She dazzled her listeners, but left the heart untouched.

Her domestic life was a happy one, and her husband, Captain de Vallebregue, adored her, although he knew so little about music that once when she complained that the piano was too high he had six inches cut off its legs. Surrounded by adulation at home and abroad, her self-conceit became inordinate, tempting her to the most absurd feats of skill. Her excessive love of display and lack of artistic judgment and knowledge finally led her so far astray in pitch that she lost all prestige. After seventeen years of retirement, she died of cholera in 1849, in Paris. A few days before she was stricken with the dire epidemic Jenny Lind sought and received her blessing.

A queen of song who profoundly impressed her age was Giuditta Pasta, born near Milan in 1798, of Hebrew parentage. For her Bellini wrote "La Sonnambula" and "Norma," Donizetti his "Anna Bolena," Pacini his "Niobe," and she was the star of Rossini's leading operas of the time.

Her voice, a mezzo-soprano, at first unequal, weak, of slender range and lacking flexibility, acquired, through her wonderful genius and industry a range of two octaves and a half, reaching D in altissimo, together with a sweetness, a fluency, and a chaste, expressive style. Although below medium height, in impa.s.sioned moments she seemed to rise to queenly stature. Both acting and singing were governed by ripe judgment, profound sensibility and n.o.ble simplicity. She died at Lake Como in 1865.