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Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.
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The Violin Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.

The Violin Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.

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The Project Gutenberg eBook, The Violin, by George Dubourg

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Title: The Violin

Some Account of That Leading Instrument and Its Most Eminent Professors, from Its Earliest Date to the Present Time; with Hints to Amateurs, Anecdotes, etc.

Author: George Dubourg

Release Date: July 21, 2012 [eBook #40289]

Language: English

Character set encoding: ISO-8859-1

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

 

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THE VIOLIN:
SOME ACCOUNT OF THAT
LEADING INSTRUMENT,
AND ITS
MOST EMINENT PROFESSORS,
FROM ITS EARLIEST DATE TO THE PRESENT TIME;
WITH
HINTS TO AMATEURS, ANECDOTES, ETC.

BY
GEORGE DUBOURG.

FOURTH EDITION,
REVISED AND CONSIDERABLY ENLARGED.

 

LONDON:
ROBERT COCKS AND CO.
PUBLISHERS TO THE QUEEN,
NEW BURLINGTON STREET;
SIMPKIN, MARSHALL AND CO. STATIONERS’-HALL COURT.

MDCCCLII.

LONDON:
PRINTED BY J. MALLETT,
WARDOUR STREET.

PREFACE

TO THE PRESENT EDITION.

After a lapse of nearly sixteen years since this little work first appeared in print, I have been called upon to prepare it anew for the press, incorporating with it the additional matter necessary for the extension of the subject to the present time.

My new readers may like to know, at the outset, what is the intended scope of the following pages. This is soon explained. My object has been to present to the cultivators of the Violin, whether students or proficients, such a sketch (however slight) of the rise and progress of that instrument, accompanied with particulars concerning its more prominent professors, and with incidental anecdotes, as might help to enliven their interest in it, and a little to enlarge what may be called their circumstantial acquaintance with it. This humble object has not been altogether, I trust, without its accomplishment;—and here, while commending my renovated manual to the indulgent notice of the now happily increasing community of violin votaries, I would not forget to acknowledge, gratefully, the liberal and generous appreciation with which, when it first ventured forth, it was met by the public press, and introduced into musical society.

G. D.

Brighton, August, 1852.

CONTENTS.

CHAPTER I.

ORIGIN AND EARLY HISTORY OF THE VIOLIN.
The Fiddle Family—the Epigonion—the Semicon—the Plectrum—the Magadis and Sambuce—Orpheus and the lyre—the Plectrum an implement of percussion, not a bow—the Egyptian Chelys—Orpheus at Versailles—the fidicula of the Latin Dictionary—Welch claims—Crowd and Crowder—Instrument of the Saxon Glee-men—Strutt’s sports and pastimes—Italy—Successive stages of the invention—the Sounding-board—the neck—the bow—the Rebec—the viol—conversion of the viol into the violin—the tenor viol, &c.—chest of viols—Cremona fiddles—Hieronymus Amati—Galilei’s dialogues—claim of the Neapolitans—violins and organs in Verona in 1580—Corelli’s Violin, and Annibale Caracci—Piccoli Violini alla Francese—Monteverdi’s Orfeo—Mersennus—the Barbiton—the Kit—the Musurgia of Luscinius—the Rebec and Viol-di-Gamba—Violars accompanying the troubadours—Saxon word Fidle, German Videl, Icelandic Fidla, &c.—Fythelers of the old English romances—passage from the Life of St. Christopher—Chaucer and the Canterbury Tales—Absolon, the parish clerk—the ribible—the violin in low esteem before the Restoration—minstrels included among rogues, vagabonds, and sturdy beggars—Percy’s reliques—King of the minstrels—Butler’s Hudibras—Crowdero—France—sculptures on the portal of Notre Dame, in Paris—the Decameron—Michele Todini—the first to introduce the Double Bass—Arms of the Town of Alzei—Inhabitants called Fiddlers—Cushion Dance described—Hone’s table book—Miss Hutton’s Oakwood Hall—Punch and the fiddler—‘a regularly educated Zany’—Purcell’s catches—Epigram upon Young, father and son—Anthony à Wood’s Autobiography—the Restoration favourable to music—the Violin introduced at Court—Matthew Lock, master to the Court band—Cambert, Lulli’s predecessor—the music of the drama: act tunes—arrival of Nicolo Matteis—first music-engraving in England—‘Musick’s Monument,’ and Thomas Mace.—pp. 1, et seq.

CHAPTER II.

THE ITALIAN SCHOOL.
The Italians the first to develope the powers of the violin—the old and modern schools—Baltazarini the early violin player—Giuseppe Guami—Agostino Aggazzari introduced instrumental concertos into churches—Carlo Farina—Michael-angelo Rossi—Giambattista Bassani—violin master of Corelli—Torelli—Valentini—Arcangelo Corelli—Lulli’s jealousy of him—publishes his first twelve sonatas—his solos—becomes acquainted with Handel—visits Naples—anecdotes—sickens and dies—anniversary performance in the Pantheon—his private character—anecdotes—his will—contemporary performers—Don Antonio Vivaldi—Francesco Geminiani—visits Naples—comes to England—visits Ireland—his death in Dublin—his character—anecdotes—lorenzo Somis—his Suonate printed at Rome in 1722—stephano Carbonelli—resides with the Duke of Rutland—leads the opera-band, &c.—becomes a wine-importer—dies in 1772—epigram—Pietro Locatelli—Arte di nuova modulazione—dies in 1764—Giuseppe Tartini—marries, and is discarded by his

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