Scan 6
Musical Courier 1909-06-02: Vol 58 Iss 22, 1909
44 lines. Read by computer on 26 September 2026. Printed page 7. See the scan on archive.org.
1nerius being in existence. The tone is quite Italian in character and is very powerful.
315. Nicholas Lupot, Paris, 1810. This masterpiece was found in Paris in an old case on which was engraved simply the date, 1848. It is a perfect Strad. copy, flat model, of very fine workmanship and entirely covered with a bright red, transparent varnish. The scroll is as finely cut as on Strad.'s own violins. Dealers and artists who have examined this violin have all declared it to be one of the finest and most beautiful specimens of Lupot's work. Lupot's best period was from 1800 to 1818. He was born in Orleans in 1780 and died in Paris in 1824; his name has gone into history as the king of all violin makers since the time of the master workmen of Cremona. It is claimed that the formula for his beautiful varnish was, upon his request, destroyed at his death. This is a great pity, for the Lupot varnish is a joy to the eye.
516. J. B. Ruggerio, Cremona, 1667. This violin was one of the Royal Edinburgh collection. Mr. Partello does not know where the Duke of Edinburgh obtained it nor how long it was in the possession of the royal family. It is a perfectly intact specimen of this maker's work of the early period; in style and workmanship it reminds one of the brothers Amati. It has a characteristic scroll and a beautiful Italian tone. Ruggerio was a pupil of Nicholas Amati.
717. Geoffredo Cappa, 1620. This remarkable violin has often been taken, even by connoisseurs, for an Amati. Cappa was a pupil of the brothers Antonius and Hieronymus Amati, and he worked together with Nicholas Amati at Cremona for some time; but he later removed to Saluzzo and Piedmont, probably as it was difficult for him to obtain custom at Cremona, where there were so many famous makers. This violin is a work of art of the first rank. It has a powerful, sonorous tone, and is a high class solo violin. The workmanship is exquisite and the varnish is of a bright golden color. In early days Cappa's violins frequently passed for Amatis.
918. Francesco Gobetti, 1718. This violin is almost like new, and is a beautiful specimen of the maker's work. The influence of Amati can be seen in the style and workmanship. The varnish is of a bright orange color, and the back is cut on the slab; the work throughout is of a very superior order. The tone is excellent.
11In the third row standing on the floor comes first a Pressenda cello of beautiful tone and workmanship, a viola by the same maker and three Gagliano violins, representing three prominent members of the Gagliano family, namely, Niccolo, Gennaro and Ferdinando. The second one in the group, by Gennaro Gagliano, is a unique instrument of its kind, being absolutely new in appearance; it has escaped the ravages of time and use and repair, and is precisely as it was the day it left the workshop. The varnish, which is of a light orange color, is wholly intact, not the slightest bit of it being rubbed off, even on the side where the hand rests against the violin when playing in the higher positions; aside from its wonderful preservation, this fact alone proves that the violin has never been played. The other two Gaglianos are also in a remarkable state of preservation. Next comes a viola by the brothers Amati and a Techler cello, of the Edinburgh collection, each perfect specimens of these makers' handicraft.
13On the floor in the large group, front row, are seen thirty-two bows, of which seventeen were made by the greatest bow maker of all times, Francois Tourte, of Paris. Among these seventeen bows are ten gold mounted ones, and some of them have tortoise shell in the frogs. Many of these bows have a pedigree to be proud of, for instance, one of them was owned and played with by Paganini for many years, and the stick has been very much worn where his fingers pressed it. Curiously enough, it has been worn away on the wrong side, and it is a mystery how Paganini held the bow so as to cause this. On this bow is engraved "T. 1824." Then there are the Tourte bows that formerly belonged to Vieuxtemps and Hubert Leonard, with his initials, "H. L." One of the Tourtes still contains the original wrapping. Every particle of each one of these seventeen bows is original. Mr. Partello would not have in his collection a bow that had a screw, mother-of-pearl or any other detail, however minute, that was not strictly original. These Tourte bows are worth from $400 to $500 apiece, each being a perfect specimen. Of course the Paganini, Vieuxtemps and Leonard bows, owing to their associations, would bring much higher prices. The other bows are by Vuillaume, Henri, Vorin, of Paris; Peccati, the elder Tubbs and others. One, by the last named maker, was a wedding present from Gladstone to the Duke of Edinburgh in 1874, and it was in his collection up to the time of his death.
15A beautiful Amati, dated 1675, a Guarnerius, a Granino, a Lupot—a beautiful specimen, dated 1805—a Serafino, an Albani and other violins belonging to Mr. Partello, all perfect specimens of the luthier's art, were packed away and were not available for the purpose of photography at the time these pictures were taken.
17Many readers of THE MUSICAL COURIER would, of course, like to know the value of these remarkable instruments. This is a difficult question to settle. For Mr. Partello himself they have far more than a monetary value, and as they are not for sale, anyhow, no money could buy the violins. However, everything after all has a market value, and the present writer, being tolerably well acquainted with the market value of violins today, would say that, as prices now go, four such wonderful and perfectly preserved specimens of Stradivarius' handicraft would bring $15,000 apiece; the Joseph Guarnerius del Jesu would bring $12,000; the grand Amati is worth at least $20,000, and the Bergonzi, owing to its magnificent, unrivalled tone, would sell for $25,000—this is a unique violin, and stands absolutely alone for tonal qualities.
19I will not attempt to enumerate the commercial value of each of the instruments, but I should estimate that the entire collection is worth at least $250,000. The bows are worth from $10,000 to $12,000. But these marvelous instruments have a value that cannot be computed in dollars and cents. They are heavily insured, but if they should be destroyed, millions could not replace them, because their duplicates do not exist. They are like Raphaels and Michael Angelos, and their loss would be irreparable.
21Helen Gauntlett Williams in Connecticut.
23Helen Gauntlett Williams distinguished herself last month playing the musical setting for a "Jeanne d'Arc" reading at the home of Mrs. Frank Wallace, in Wallingford, Conn., under the auspices of the Woman's Club of that place. Syrena Scott Parmelee was the reader. Reports in the Meriden and New Haven papers follow:
25Miss Williams played the incidental music with a true understanding of the author's intent and during the climaxes the real description was left to the musical part of the composition. It proved one of the most satisfying and generally liked entertainments ever given under the club's auspices.—Meriden, Conn., Record, April 27, 1909.
27The music used was an arrangement made by Miss Williams for Percy MacKay's play and derived from various sources, largely from a work on "The Maid of Orleans," by Tchaikowsky. The pianist received a very generous amount of applause and at the close many congratulations.—New Haven Register.
29The descriptive portion was beautifully given by the pianist, Miss Williams. It is seldom that Wallingford people have the opportunity of hearing such capable artists as Miss Parmelee and Miss Williams.—Meriden Daily Journal, April 27, 1909.
31Miss Williams is a musician of rare ability and her rendition of the Russian composer's musical setting to the story was faultless. The real descriptive part of the story was left in the hands of the musician and the music told the story most eloquently. In the battle scene Miss Williams rendered realistic music. The members of the club were all highly pleased with the entertainment and were loud in their praise at the conclusion.—Meriden Record.
33Albert Rosenthal in West Virginia.
35Albert Rosenthal, the young cellist, distinguished himself at one of the recitals in Wheeling, W. Va., directed by Theresa Phillips. Mr. Rosenthal appeared jointly with Marie Zeckwer, the young soprano. Some critical opinions read:
37Mr. Rosenthal is one of the most gifted cello performers in the country, his touch and tones being rendered in a most skillful manner, and which have never been surpassed in Wheeling. The rendition of four numbers by him were beautiful in the extreme, and at the close of each number he was called back, as the audience insisted upon a repetition of his skillful and almost soul-inspiring playing.—Wheeling Register, May 18, 1909.
39Mr. Rosenthal is an artist in every particular. He has excellent technic, a fine tone, good bowing and real musicianship. It is difficult when all the numbers were so well given to speak of especial excellence, but the andante from Dvorak concerto revealed all his power. The "Hungarian Rhapsodie" was given with great abandon and change of mood so necessary in this style. Mr. Rosenthal should be watched as one of the leading cellists of his day.—Wheeling Telegraph.
41Jeannette Durno to Teach in Paris This Summer.
43In a letter received from Vienna last week, it was stated that the pianist, Jeannette Durno, now in the Austrian capital, will teach in Paris during the months of August and September. Madame Durno has had a very interesting and successful year in Vienna, and the remainder of her stay abroad seems to be planned along lines of thorough and delightful artistic progress.
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