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Scan 161
Grove's dictionary of music and musicians;, 1904
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1TOURNEMIRE
3thousands of pupils, filling honourable positions as teachers, pianists, organists, and vocalists, and proving themselves able musicians. He died in 1890.
5TOURNEMIRE, CHARLES ARNOULD, born at Bordeaux, Jan. 22, 1870, studied at the Paris Conservatoire, where he gained first organ prize in 1891; he afterwards studied with Vincent d'Indy. He succeeded César Franck as organist of Sainte-Clotilde soon after completing his education. He has written chamber music, a symphony, songs, and pieces for piano and organ. 'Le Sang de la Sirène' for chorus, soli, and orchestra, gained the prize given by the city of Paris, and was performed at the Théâtre Municipal de la Gaîté on Nov. 17, 1904. The work was also given at Toulouse, Leyden, and The Hague. A lyric tragedy in seven scenes, 'Nittetis,' has not yet been performed. Tournemire has given many organ recitals, in Berlin, Amsterdam, The Hague, Marseilles, Turin, Liége, etc.
7TOURS, BERTHOLD, born Dec. 17, 1838, at Rotterdam. His early instruction was derived from his father, Barthélemy Tours (1797–1864) who was organist of the St. Laurence church, and from Verhulst. He afterwards studied at the Conservatoires of Brussels and Leipzig and then accompanied Prince George Galitzin to Russia, and remained there for two years. From 1861 he resided in London, writing, teaching, and playing the violin in the band of the Royal Italian Opera, and other good orchestras. In 1878 he became musical adviser and editor to Messrs. Novello & Co., and in that capacity arranged several important works from the orchestral scores, such as Beethoven's Mass in C, four of Schubert's Masses, 'Elijah,' Gounod's 'Redemption,' etc. etc., besides writing the 'Primer of the Violin' in the series of that firm. His compositions are numerous. He wrote for the piano and other instruments, and a large number of songs, some of which were very popular. But his best work is to be found in his Hymn-tunes, Anthems, and Services, for the Anglican Church, particularly a Service in F and an Easter Anthem, 'God hath appointed a day,' which were formerly in great demand. He died in London, March 11, 1897.
9TOURTE, FRANÇOIS, the most famous of violin-bow-makers, born in Paris 1747, died there 1835. His father and elder brother were bow-makers also; and the reputation which attaches to the family name is not due to François alone. [To François Tourte's father is generally attributed the substitution of the screw for the crémaillère.] Xavier Tourte, the elder brother, known in France as 'Tourte l'afné,' was also an excellent workman: tradition says that the brothers commenced business in partnership, François making the sticks, and Xavier the nuts and fittings. They quarrelled and dissolved partnership, and each then set up for himself, Xavier reproducing as well as he could the improvements in the stick which had been introduced by François. The latter has been called the Stradivari of the bow: and there is some truth in this; for as Stradivari finally settled the model and fittings of the violin, so Tourte finally settled the model and fittings of the bow. But he had more to do for the bow than Stradivari for the fiddle. The Cremona makers before Stradivari had nearly perfected the model of the violin: it only remained for him to give it certain finishing touches. But Tourte, properly speaking, had no predecessors. He found bow-making in a state of chaos, and he reduced it to a science; and he may be said to have invented the modern bow. Perhaps, the best idea of the bows which were in use in Tourte's youth may be gained from the accompanying illustration, which is copied from the first edition of Leopold Mozart's Violin Schule, 1756 (Fig. 1). For this fearful implement Tourte substituted the bow now in use (Fig. 2). The service which he thus rendered to music appears greater the more we think of it: for the Tourte bow greatly facilitated the new development of violin music which began with Viotti, Rode, and Kreutzer. Before his time all the modern forms of staccato must have been impossible, and the nuances of piano and forte extremely limited; a rawness especially on the treble strings, and a monotony which to our ears would be intolerable, must have deformed the performances of the best of violinists. The violin, under Tourte's bow, became a different instrument: and subsequent bow-makers have exclusively copied him, the value of their productions depending on the success with which they have applied his principles.
11Setting aside for the moment the actual modelling of the Tourte stick, an examination
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