Books › The story of the violin, 1904 › scan 225
Scan 225
The story of the violin, 1904
8 lines. Read by computer on 3 September 2026. Printed page 181. See the scan on archive.org.
1Violin Art in Italy
3tone produced by sounding double-stops on the violin (providing they are absolutely in tune), and he subsequently tried to explain to himself and others this phenomenon in the above-mentioned treatise published at Padua, 1754. It was left for the great scholar of acoustics, Professor Helmholtz, more than a century later, to shed light on the question which agitated our master in his leisure hours."
5Old Quanz, the well-known historical figure, contemporary of Tartini, violinist, flutist, critic and crank, and teacher of Frederick the Great, in describing the impression of Tartini's playing, when he heard the master in Prague, 1723, says: "He [Tartini] is indeed one of the greatest violinists. He produced a fine tone from his instrument. Finger and bow are equally under his control. He executed the greatest difficulties without apparent effort and in perfect tune. His trills, and even double trills, are done equally well with all fingers. He intersperses many double stops in slow as well as fast movements, and likes to play in the highest positions (tones)."
7The advance of Tartini's executive art on that of his great predecessor Corelli, from a bowing point of view alone, is plainly shown in his compositions. Unless we assume that within a few years (1713-23) that particular part of technique had made such great strides generally, the Paduan master must have been reformatory, nay, epoch-making in this respect as he was in others. It is well known that he improved also
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