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Scan 152
The Hawley Collection of violins, 1904
7 lines. Read by computer on 28 September 2026. Printed page 78. See the scan on archive.org.
1Chapter XI
3An Analysis of the Work of the Followers of Great Masters
4The Schools of Cremona, Florence, Milan, Turin, Venice, Mantua, and Others
6AFTER the advent of the violin in Brescia, which, as we have seen, occurred about the year 1540, and its wonderful development under the favorable conditions prevailing in Cremona, its fame spread quickly to all parts of Italy and Europe. It would not be correct to credit either Cremona or Brescia with having been the raison d'être of the expansion of the art over such a wide field in so short a time, as it only reached a higher development in these communities than elsewhere. As has been stated, the violin was not an invention, as that term is understood, but was rather the result of evolution from the earlier forms of bow instruments, brought about by natural causes. Once the proper form and proportions of the violin had become known among the makers of bow instruments, they dropped the lute and other medieval forms for the violin. Almost immediately the vast improvement in its tone, due to the substitution of the curved back for the flat back of the lute, as well as other features of its improved construction, were recognized by all. That it gave a new lease of life to the art and opened up a new field in the musical world is demonstrated by the large number of prominent violinists that shortly arose in Italy and in other countries of Europe, and in the rapid development of violin music. Before the dawn of the eighteenth century, or the birth of that great master-builder of violins, Joseph Guarneri del Gesù, in Cremona in 1683, the foundation of the future greatness of the violin was firmly laid. It developed in the genial atmosphere of the Renaissance, that epoch of mental activity which was productive of so many benefits to mankind. That period enjoyed the presence of men whose names even to-day are synonymous with that which in music is considered correct classic form. No other epoch in music is so noteworthy for its influence on the future of the art. It is emblazoned with the names of Jean Baptiste Lulli, of Florence, who, being a favorite of Louis XIV., is to be credited with having established violin music on a high plane in France; Andrea and Giovanni Gabrielli; Carlo Fari- na, of Mantua, termed founder of violin virtuosity; Tarquinio Merula; Paolo Ucellini; and Giovanni Battista Vitalli, one of the world's greatest violin-maestros. Josefo Torelli of Verona was the originator of the violin-concerto, which today is one of the most enjoyable forms of violin music. Then followed Arcangelo Corelli, one of the greatest figures in musical history, Vivaldi, Veracini, Locatelli, Geminiani, and others. During this period Germany produced Thomas Baltzar, of Lübeck, who was the first great violinist heard in England. He appeared in Oxford, which was then the great rendezvous for all music lovers in London, owing to the ban of Cromwell against artists. With regard to Baltzar's appearance it is interesting to quote from a chronicler of 1658, Anthony Wood, who says he "did then and there to
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