Scan 733
A dictionary of music and musicians (A.D. 1450-1880), 1879
55 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1a review of the work, by Mr. Prout, see 'Monthly Musical Record,' Dec. 1, 1871.
3Burney (iv. 105) gives an analysis of his Oratorio di S. Gio. Battista, and mentions a MS. of his opera 'La Forza dell' Amor paterno,' dated Genoa, 1578.
5There are 148 of Stradella's compositions at Modena: amongst them 6 oratorios and 11 dramas. The library of S. Marco in Venice possesses a collection of 'Canti a voce sola dell' insigne A. Stradella, legate alla Biblioteca S. Marco di Venezia dalla nobile famiglia Contarini.' Some of his compositions are also at the Conservatorio at Naples, and some in that at Paris. The Christchurch Library, Oxford, contains 1 motet for 2 voices, and 8 cantatas for 1 and 2 voices.
7The following are in the British Museum.
9PRINTED. one of two readings
10Printed. one of two readings
11Cosi amor mi fai languir. Canzonetta.
12Medea. Cantata.
13Il Nerone. Cantata.
14O del mio dolce ardor. Aria.1
15Se i miei sospiri. Aria di chiesa.
16Anco in cielo. Aria.
17Se nel ben sempre. Arietta.
19MANUSCRIPT. one of two readings
20Manuscript. one of two readings
211. In the Harleian Library.
22Se nel ben sempre. Arietta.2
23Steile non mi tradite. Cantata.
24La ragion ni assicura. Duetto.
25Se t'ama, Filili, o cor. Arietta.
27Chi dira' che nel veleno. Cantata.
282. Add. MSS.
29Tropo grave. Duetto.
30Ah! che in sentirlo. Duetto.
31La povera mia fe. Duetto.
32Pupillate amorose. Madrigal à 5.
33Clori son fido amante. Do.
34Piangete occhi dolenti. Do.
35E' pur giunta. Madrigal à 3.
36Tirsi un giorno piangea. Do. à 5.
37Feritemi, feritemi. Do. à 4.
38Colpa de' bei vostr' occhi. Do.
39Aure fresche. Do. for 2 voices.
40A Sonata for two violins and basso.
42[G.M.]
44STRADELLA. 1. French lyric drama, music by Flotow. Produced at the Palais Royal theatre, Paris, Feb. 1837. Then recomposed, as a Grand Opera, and produced at Hamburg, Dec. 30, 1844, as 'Alessandro Stradella.' In English (altered by Bunn), as 'Stradella,' at Drury Lane, June 6, 1846. 2. Opera in 5 acts, by Niedermeyer; produced at the Académie, March 3, 1837. [G.] one of two readings
45STRADELLA. 1. French lyric drama, music by Flotow. Produced at the Palais Royal theatre, Paris, Feb. 1837. Then recomposed, as a Grand Opera, and produced at Hamburg, Dec. 30, 1844, as 'Alessandro Stradella.' In English (altered by Bunn), as 'Stradella,' at Drury Lane, June 6, 1846. 2. Opera in 5 acts, by Niedermeier; produced at the Académie, March 3, 1837. [G.] one of two readings
47STRADIVARI, ANTONIO (ANTONIUS STRADIVARIUS3), a celebrated violin-maker of Cremona, born in 1649 or 1650,4 died December 1737. The name carries us back to the middle ages. It is the plural form of Stradivare, a Lombard variety of Stradiere (Stratiarius), a toll-man or douanier, a feudal official who was posted on the strada or high-road for the purpose of exacting dues from passengers. The name is erroneously stated by Fétis to occur in the municipal archives of Cremona as far back as the year 1127. The earliest mention of it is in fact in the Matricola of the Collegio Dei Notai for 1213, after which date it frequently recurs during three centuries. Arisi, in his 'Cremona Litterata,' mentions Galerio Stradivari as a learned orientalist in 1230, Alessandro as another orientalist in 1400, about which time Costanzo Stradivari, a monk of the order of Umiliati, wrote a treatise on the natural philosophy of Aristotle. Other notables of the name occur in the middle ages. It is clear that it was a common name in Cremona: but there is no evidence to connect the fiddle-maker with these eminent persons. His pedigree, so far as we know it, goes back only to his father, one Alessandro Stradivari, who married Anna Moroni. The famous fiddle-maker was the child of his father's mature years, for he had at least one elder brother, Giuseppe Giulio Cesare, who was born March 20, 1623, and was thus not less than 26 years older than Antonio. Whether Stradivari was a native of Cremona is doubtful; probably not, for the registers of the 37 parishes of Cremona have been searched in vain for evidence of his birth and baptism by Signore Lombardini, who has taken great pains to elucidate the genealogy of the Stradivaris. He may possibly have been a native of some neighbouring village.
49At the age of 17 or 18, Stradivari seems to have engaged the affections of a widow 9 or 10 years his senior. This was Francesca, the daughter of Francesco Ferraboschi, and widow of Giovanni Giacomo Capra, who was assassinated by an arquebus ball on the Piazza Santa Agata of Cremona (now the Piazza Garibaldi), April 28, 1664. The widow Capra, who had been less than two years a wife, returned with her infant child to her father's house, and after three years was married to Antonio Stradivari. The marriage was solemnised in the church of St. Agatha on July 4, 1667; and their first child was born a few months afterwards. There can be little doubt that Stradivari married, and began to make stringed instruments as a trade, in the same year. From 1667 to 1679 he remained in comparative obscurity. A few violins dated in the seventies, with genuine labels bearing his name, are said to exist, but the writer has seen none of them. On the other hand, it is certain that Stradivari's hand is traceable in many violins of this date which bear the name of Nicholas Amati. In some of these we trace the hand of Stradivari in the scroll only: in others it has left its mark on the whole violin. From 1667 to 1679 it is therefore probable that Stradivari worked in the workshop of the veteran Nicholas Amati, then the acknowledged head of violin-making in Cremona. In 1679, when Nicholas seems to have retired from business, five years before his death in 1684,5 Stradivari probably set up for himself. His wife Francesca had by this time borne him six children, of whom five were living: Giulia, born Dec. 23, 1667, afterwards married to the notary Giovanni Farina; Francesco, who died in infancy; Francesco the second, born 1670, who followed his father's trade, and died a bachelor in 1743; Cattarina, born
511 Attributed to Stradella, but written by Gluck. 2 Doubtful.
523 Until his latest years (1730—1736) the name is spelt on the labels with a cursive v (u), 'Stradivarius,' whence the vulgar English pronunciation 'Stradivarius.' On the labels of the latest years the name is spelt with a Roman v. Francesco, the son, used the Roman v.
534 In the books anterior to Fétis, the date of birth is given as 1664. Fétis altered the date to 1644, on the authority of a MS. inventory of property belonging to Count Corio de Salabue, which had been deposited with Carli, a banker at Milan. One item in this inventory is stated to be a violin of Stradivari, having an autograph ticket, giving the maker's name, his age (92 years), and the date (1736). Fétis had never seen this instrument: and it is evident there had been some error in reading or copying the figures. Mr. Wiener has a genuine dated violin, and the ticket has the following inscription: 'Antonius Stradivarius Cremonensis Faciebat Anno 1732.' Below, in the maker's autograph, is plainly written 'de Anni 82.' It clearly follows from this that Stradivari was born in 1649 or 1650. Mr. W. E. Hill, to whom the writer owes the suggestion of the true date of birth, states that in the course of business he has seen other dated violins which confirm the above conclusion.
545 He was then aged 88: about the same age as that attained by Stradivari.
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