Scan 54
Grove's dictionary of music and musicians;, 1904
14 lines. Read by computer on 3 September 2026. Printed page 26. See the scan on archive.org.
1Hic fidibus, scriptus, claris, hic magnus, alumnus
2Cui par nemo fuit, forte nec ullus erit.
4The Abbate Vincenzo Rota of Padua prefaced his poem 'L' Incendio di Tempio di S. Antonio' published in Padua (by Conzatti in 1753) in which every stanza celebrates Tartini's genius, with a portrait of Tartini taken from life, and placed the following lines beneath it:—
6Tartini haud portent veracus exprimi imago.
7Sine lyram tangat seu meditetur, is est.
9This engraving also serves as a frontispiece to Fanzago's Orazione published in 1754. The Bibliotheca of Pirano possesses a portrait in oils of Tartini, and there is a memorial bust of him executed by Rosa in the Concert-hall of the Casino of Pirano. Mr. George Hart of Wardour Street possesses the original painting of Tartini's dream by Charles Joseph Hulmandel, who seems to have brought it out as an engraving. The following characteristic head is reproduced from a drawing formerly in the possession of the late Julian Marshall.
11Fanzago, Orazione del Signor Abate Fanzago, Padua, 1770; Fanzago, Elogi di Giuseppe Tartini; Fayolle, Notice sur Corelli, Tartini, etc., Paris, 1810 (Swedish translation, Stockholm, 1811; Burgh); Anecdotes of Music, London, 1814, German translation (Leipzig, 1820); Hiller, Lebensbeschreibungen, Leipzig, 1784, pp. 267-85; Rubbi, Elogi Italiani, Venice, 1782 (12 vols.), vol. viii.; Ugoni, Della Letteratura Italiana, Brescia, 1820; Ortlepp, Ein Musikalische Antologie, Stuttgart, 1841, vol. ix. pp. 1-33; Dr. Hortis, Archeografo Triestino, Nuova seria, vol. x. pp. 209-229; Hortis, Lettere di G. T. (also printed separately); Stancovitch, Biografia degli uomini distinti dell' Istria; Serre, Analyse critique de l'ouvrage de M. Tartini, 1763; Thurn and Taxis (Count of), Risposta di un Anonimo al Celebre Sig. Rousseau, Venice, 1769; Lalande, Voyage d'Italie, Paris, 1749, vol. viii. p. 292, etc.; Huet, École de violon, Chalons sur Marne, 1880; Burney, The Present State of Music in France; Hogarth, History of Music; Vidal, Les Instruments à Archet; Hart, The Violin and its Music; Inaugurazione del Monumento di G. T., Trieste, 1898; Tebaldini, L'Archivio musicale della cappella Antoniana a Padova, 1895; Vernon Lee, The European Review, vol. xx. f. 11. iv.; Good Words, vol. xxxiv. p. 18; Tagliapietra, G. Tartini (poem), Milan, 1865; Parisini, Carteggio del P. G. B. Martini, Bologna, 1888; Dubourg, The Violin; Phipson, Sketches and Anecdotes; Bull, Ole Bull; Anonymous (Michel Lambert), The Chorister Boy, pp. 33-63; The Little Pilgrim or Giuseppe Tartini; Montrond, Musiciens les plus célèbres, Lille, 1853; Strad, vol. ix. 1898, August; Strad, vol. xvi. June, July, 1905. E. H-A.
13TASKIN, PASCAL, celebrated instrument-maker, and head of a family of musicians, born 1723, at Theux in the province of Liége, migrated early to Paris, and was apprenticed to Etienne Blanchet, the best French clavecin-maker of the period. Succeeding eventually to the business, he improved the tone of his spinets and harpsichords, by substituting slips of leather for the crowquills then in use in the jacks (1768). [This 'peau de buffle' appliance was claimed as Taskin's invention, but was in use in the 16th and 17th centuries. See vol. ii. p. 519b.] In 1772 Louis XV. offered him the post of Keeper of the Musical Instruments and the Chapel Royal, vacant by the death of Chiquelier, but the life at Versailles would not have suited the inventor, who wished to be at liberty to continue his experiments, and he contrived to get his nephew and pupil, Pascal Joseph, appointed in his stead. Having thus succeeded in preserving his independence without forfeiting the royal favour, he was shortly after elected an acting member of the corporation of musical instrument-makers (1775). He was brought more before the public by a piano made for the Princess Victoire in the shape of our present 'grands,' the first of the kind made in France. Other inventions were for using a single string doubled round the pin in his two-stringed pianos, working the pedal by the foot instead of by the knee, and the 'Armandine' (1789) called after Mlle. Armand, a pupil of his niece, who became an excellent singer at the Opéra and the Opéra-Comique. This fine instrument, now in the museum of the Paris Conservatoire, is like a grand piano without a keyboard, and with gut strings, and is therefore a cross between the harp and the psaltery. Other specimens of his manufacture are the harpsichord with two keyboards made for Marie Antoinette and still to be seen in the Petit Trianon, the pretty instrument in the possession of the distinguished pianist Mlle. Joséphine Martin, and those in the Conservatoire, and the Musée des Arts décoratifs in Paris. [He repaired and enlarged the Ruckers harpsichord now in the possession of Sir Edgar Speyer; see Ruckers, vol. iv. p. 186, No. 12.] Pascal Taskin died in Paris, Feb. 9, 1795. His nephew,
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