قراءة كتاب The Violin Its Famous Makers and Their Imitators
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اللغة: English
الصفحة رقم: 2
id="pgepubid00006">CONTENTS
| SECTION I.—THE EARLY HISTORY OF THE VIOLIN. | ||
| PAGE | ||
| 1.— | General observations—Early History involved in obscurity and vague conjecture—Jubal, Orpheus, and Apollo—Views of Early Historians of Music, as to Asiatic and Scandinavian origin respectively—Ravanon, King of Ceylon, and the "Ravanastron"—Researches of Sanscrit Scholars—Suggested Arabian origin of the Ribeca, or Rebec, and the Rehab of the Moors—Early Egyptian instruments—Moorish musical influence in Spain—The Troubadours and Trouvères in Northern France, and the Gigeours of Germany | 1-11 |
| 2.— | Early evidence of Bowed Instruments in the north of Europe—Presumed Scandinavian origin of the German Geige—The Hon. Roger North's "Memoirs of Music"—Martinus Gerbertus, his "De Cantu et Musicâ Sacrâ"—Paul Lacroix' "Arts of the Middle Ages"—Earliest known representations of Bowed Instruments, sixth to ninth century—The Manuscript of St. Blasius—The Cheli or Chelys—Saxon Fiddle in the Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"—The early Saxons' love of Music—The Saxon Fithele in the time of the Norman Conquest—The Geige in France, and the Jongleurs, "dancers, jugglers, and buffoons"—Domestic Music in Germany and the Low Countries in the sixteenth century—The Viol and the Madrigal—Music in Italy—Adrian Willaert, "The Father of the Madrigal"—Northern Musicians attracted to Italian Courts—Development of the Madrigal in Italy—High standard of early Italian work, but under German teaching—The Viols of Brensius of Bologna—Silvestro Ganassi, his work on the Viol—Duiffoprugcar and Gasparo da Salò and the development of the Violin—The Fretted Finger-board—The Violono or Bass Viol—Five-stringed Viols—The three-stringed Fiddle, or Geige, attributed to Andrea Amati, altered by the Brothers Mantegazza to a four-stringed Violin—Advent of the four-stringed Violin ascribed to Gasparo da Salò | 12-26 |
| SECTION II.—THE CONSTRUCTION OF THE VIOLIN. | ||
| The present form of the Violin the result of much research and experiment, but perfected by the great Cremonese makers—Hogarth's "Line of Beauty" exemplified in the Violin—The requisites necessary to the due appreciation of the grace and properties of the Violin, and its exquisite power of expression—Its acoustical properties—Varieties of woods used in its construction—Methods adopted, and choice of material, by the great Brescian and Cremonese makers—The "whole-back" and "slab-back"—The constituent parts of the Violin—System of placing the sound-bar—Properties and position of the sound-post, and of the bridge; the neck; the finger-board; purfling, &c., &c.—The sound-holes of different makers—Needed cautions as to repairing good instruments | 27-42 | |
| SECTION III.—ITALIAN AND OTHER STRINGS. | ||
| Importance of the Strings in the economy of the Violin—Adrien Le Roy's instructions "How to know Strings"—Thomas Mace and "Venetian Catlins"—Character of the different manufactures of Strings—Superiority of the Italian—The raw material not supplied by the feline race—Rules to be observed in choosing Strings—Modern improvements in Stringing—The Strings of Lindley and Dragonetti—Covered Strings—Experiments on the strain and pressure of Strings | 43-56 | |
| SECTION IV.—THE ITALIAN SCHOOL. | ||
| A glance at the rise, culmination, and decadence of Art in Italy, and the Violin as connected therewith—The Italians far in advance of other nations in the manufacture—The five Schools of Italian makers—Roger North on the demand for Italian Violins—Brescia the cradle of the manufacture | 57-69 | |
| SECTION V.—THE ITALIAN VARNISH. | ||
| The formation of the Italian Varnish a secret lost to the world—Lustrous character of that of Cremona—Characteristics of the four classes of Italian Varnish—Conjecture as to the loss of the secret—Influence of the different Varnishes on the tone of the Violin | 70-76 | |
| SECTION VI.—ITALIAN MAKERS. | ||
| Acevo—Albanesi—Albani—Aletzie—Alvani—AMATI, ANDREA; evidence as to date of birth; his Violins small; founded the School of Cremona; probably a pupil of Gasparo da Salò; his model high, and sound-hole inelegant; his varnish deep golden; his "Charles IX. Set" of twenty-four Violins, six Tenors and eight Basses—Amati, Niccolò—AMATI, the Brothers ANTONIO and GIROLAMO; probable date of birth; comparison of the respective work, material, and tone of the two brothers—AMATI, NICCOLÒ, son of Girolamo; date of birth and death; the greatest of his illustrious family; gradual change in style; the "Grand Amati," followed by his great pupil, Stradivari; its exquisite proportions and character; singular beauty of his material, and elegance of design; differences between Niccolò Amati and his several copyists, Italian, German, and English—AMATI, GIROLAMO; date of birth; his work ascribed to other makers; character of his instruments and his varnish; the last of the Amatis—Ambrosi, Pietro—Anselmo, Pietro—Antoniazzi, Gaetano—Antonio of Bologna—Antonio, Ciciliano—Assalone, Gasparo | 77-94 | |
| Bagatella, Antonio—Bagatella, Pietro—BALESTRIERI, TOMMASO; probably a pupil of Stradivari; his work rough, but | ||