Books › The violin: its famous makers and their imitators (1884)
The violin: its famous makers and their imitators
Hart, George, 1839-1891. London, Dulau and co. [etc.], 1884.
On archive.org as violinitsfamousm84hart.
507 pages read (scans 35 to 595)522 names found174 makers on this site cite it
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| Scan | Page | Starts | |
|---|---|---|---|
| 35 | and a thorough artist; his model origina… | Read | |
| 36 | CONTENTS. | Read | |
| 37 | FENDT, BERNARD; a born Fiddle-maker; a f… | Read | |
| 38 | Jaye, Henry, Viol-maker—Jay, Thomas—Jay,… | Read | |
| 41 | CONTENTS. | Read | |
| 42 | CONTENTS. | Read | |
| 43 | Society of Musicians"—Handel legacy to t… | Read | |
| 44 | —The King and the Player—Sir Walter Scot… | Read | |
| 45 | List of Illustrations. | Read | |
| 46 | ILLUSTRATIONS. | Read | |
| 47 | THE VIOLIN. | Read | |
| 48 | doubtful than the identity of the "Man i… | Read | |
| 49 | 3 | Violist named Jean Rousseau. The author,… | Read |
| 50 | 4 | view, it need scarcely be said, is the m… | Read |
| 51 | 5 | nearly two thousand years. If this infor… | Read |
| 52 | 6 | many centuries later than that we are no… | Read |
| 53 | 7 | Rebab was taken to Spain by the Moors "f… | Read |
| 54 | 8 | to three. Dr. Shaw, who had seen it, cal… | Read |
| 55 | 9 | worthy of notice in relation to the opin… | Read |
| 56 | 10 | That such dances should have been accomp… | Read |
| 57 | 11 | with the European Violin—may have been,… | Read |
| 58 | 12 | little else than a rude historical outli… | Read |
| 59 | 13 | it perfectly Gothic." "I suppose that at… | Read |
| 60 | 14 | Fiddle kind, and which may be accepted a… | Read |
| 61 | 15 | He quotes writers of different epochs re… | Read |
| 62 | representation of a Saxon Fiddle contain… | Read | |
| 65 | that in the hands of the Saxon Gleeman i… | Read | |
| 66 | is important as furnishing evidence of h… | Read | |
| 67 | done to the sound of the voice, next to… | Read | |
| 68 | customs of peoples have also to be consi… | Read | |
| 69 | 21 | the courts of her princes, about the mid… | Read |
| 70 | 22 | construction of the oldest Italian Viols… | Read |
| 71 | 23 | since Brensius worked. We see from a rep… | Read |
| 72 | 24 | changed in the upper portion of the body… | Read |
| 73 | 25 | as to three-stringed Violins, of the for… | Read |
| 74 | 26 | SECTION II. | Read |
| 75 | 27 | Violin has thus hitherto baffled all att… | Read |
| 76 | 28 | us of the windings of a gentle stream or… | Read |
| 77 | 29 | diapason being higher than in former tim… | Read |
| 78 | 30 | woods were used. It is possible that the… | Read |
| 79 | 31 | technically known as a "whole back;" sec… | Read |
| 80 | acoustic properties of the wood, to whic… | Read | |
| 83 | 33 | pine used by the Amati, Stradivari, and… | Read |
| 84 | 34 | We may now pass to the consideration of… | Read |
| 85 | 35 | esting; it may indeed be called the nerv… | Read |
| 86 | 36 | may be said to perform the functions of… | Read |
| 87 | 37 | having the various adjustments tested by… | Read |
| 88 | 38 | which was of the plainest description. I… | Read |
| 89 | 39 | is that small piece of wood against whic… | Read |
| 90 | 40 | cessary to pursue the details any furthe… | Read |
| 91 | 41 | SECTION III. | Read |
| 92 | 42 | being more gross and ugly. Upon turning… | Read |
| 93 | 43 | the manner set forth in the figures here… | Read |
| 94 | 44 | are made when the north, and the worst w… | Read |
| 95 | 45 | Paduan, and deeper in colour. The variat… | Read |
| 96 | 46 | Italy the seat of manufacture, the more… | Read |
| 97 | 47 | the year is carried on in the month of S… | Read |
| 98 | rely on this test, as the number of thre… | Read | |
| 101 | 49 | Violoncello upon which he played was by… | Read |
| 102 | 50 | without plating, which have a powerful s… | Read |
| 103 | 51 | THE STRINGS. | Read |
| 104 | 52 | three pounds was required to overcome th… | Read |
| 105 | 53 | THE STRINGS. | Read |
| 106 | 54 | SECTION IV. | Read |
| 107 | 55 | fail to be interesting to the lovers of… | Read |
| 108 | 56 | If we turn to the days of Gasparo da Sal… | Read |
| 109 | 57 | and Boccherini laying the foundation of… | Read |
| 110 | 58 | music, in which stringed instruments wer… | Read |
| 111 | 59 | patronage the makers were enabled to cen… | Read |
| 112 | 60 | The hand of the great master is stamped… | Read |
| 113 | 61 | Judging from the large number of bow-ins… | Read |
| 114 | 62 | Guarneri the son of Andrea, Antonio Stra… | Read |
| 115 | 63 | received extensive foreign patronage, th… | Read |
| 116 | these two makers is very slight, and in… | Read | |
| 119 | 65 | which is not to be met with in anything… | Read |
| 120 | 66 | relative to the makers of Cremona. He sa… | Read |
| 121 | 67 | SECTION V. | Read |
| 122 | 68 | At last despair has succeeded to all tha… | Read |
| 123 | 69 | in vogue after the Cremonese was lost, w… | Read |
| 124 | 70 | varnish is known as spirit varnish; it i… | Read |
| 125 | 71 | forgeries. Labels used as the trade mark… | Read |
| 126 | 72 | SECTION VI. | Read |
| 127 | 73 | ITALIAN MAKERS. | Read |
| 128 | 74 | having founded the school of Cremona. Th… | Read |
| 129 | 75 | manner, the wood used being both sycamor… | Read |
| 130 | 76 | AMATI, Niccolò, Cremona, brother of Andr… | Read |
| 131 | 77 | the Brescian form, and the model which t… | Read |
| 132 | 78 | Amati certainly improved even upon Girol… | Read |
| 135 | 81 | Niccolò Amati was the greatest maker in… | Read |
| 136 | 82 | gained his great reputation from these f… | Read |
| 137 | 83 | The sides are a shade deeper than those… | Read |
| 138 | 84 | combines extreme elegance with utility;… | Read |
| 139 | 85 | mistaken for the original by those who a… | Read |
| 140 | 86 | Piatti played when he first appeared at… | Read |
| 141 | 87 | ITALIAN MAKERS. | Read |
| 142 | 88 | AMBROSI, Pietro, Rome and Brescia, about… | Read |
| 143 | 89 | ITALIAN MAKERS. | Read |
| 144 | 90 | these instruments are more valued in Ita… | Read |
| 145 | 91 | gonzi, in his work, and in the way in wh… | Read |
| 146 | 92 | instruments of the first order. The mode… | Read |
| 147 | 93 | monese makers pursued their art, and a r… | Read |
| 148 | 94 | originality about it which is quite refr… | Read |
| 149 | 95 | Carlo Bergonzi lived next door to Stradi… | Read |
| 150 | BERGONZI, Niccolò, Cremona. Son of the a… | Read | |
| 153 | Stradivari and his contemporaries from B… | Read | |
| 154 | CALCAGNI, Bernardo, Genoa about 1740. Ne… | Read | |
| 155 | 99 | relative to the name of Cappa in connexi… | Read |
| 156 | 100 | line and character of the varnish and th… | Read |
| 157 | 101 | of manufacture would—associating mighty… | Read |
| 158 | 102 | CERIN, Marco Antonio, Venice, end of the… | Read |
| 159 | 103 | Bergonzi to Storioni and Ceruti. He was… | Read |
| 160 | 104 | sound-holes are like those of the early… | Read |
| 161 | 105 | Italianised name of the German Magnus Ti… | Read |
| 162 | 106 | to the art of wood-inlaying, rather than… | Read |
| 163 | 107 | too rounded. When this is not the case,… | Read |
| 164 | 108 | Neapolitan School. Although in its produ… | Read |
| 165 | 109 | nality. They are not after the pattern o… | Read |
| 166 | 1847, he is mentioned as a maker who riv… | Read | |
| 167 | genius upon them, and reflecting much cr… | Read | |
| 168 | varnish is equal to any belonging to the… | Read | |
| 169 | STRADIVARI. | Read | |
| 171 | true artist. His early works bear the st… | Read | |
| 172 | slightly flatter. The tone is powerful.… | Read | |
| 173 | 115 | name with that of Antonio Stradivari, a… | Read |
| 174 | 116 | —1786. Son of Lorenzo Guadagnini. He was… | Read |
| 175 | 117 | This last-named date is in conformity wi… | Read |
| 176 | 118 | The English possess some of the finest s… | Read |
| 177 | 119 | attention chiefly to the restoration of… | Read |
| 178 | 120 | even anecdote, of those golden days in t… | Read |
| 179 | 121 | struct instruments entirely distinct fro… | Read |
| 180 | 122 | seems to have adopted some isolated feat… | Read |
| 181 | 123 | individuality of design. The ear is brou… | Read |
| 182 | 124 | among Italian tradesmen, who banded them… | Read |
| 183 | 125 | all sides that Giuseppe Guarneri del Ges… | Read |
| 184 | 126 | tioned? Bergonzi, Guadagnini, Gagliano,… | Read |
| 185 | 127 | and cousin of Guarneri del Gesù, is the… | Read |
| 186 | particularly in the middle bouts. Lastly… | Read | |
| 189 | 29 | another, shortened and slanting, and som… | Read |
| 191 | 131 | hole loses the pointed form so much asso… | Read |
| 192 | 132 | as an encounter with some person in whic… | Read |
| 193 | 133 | more that he used was varied both in app… | Read |
| 194 | 134 | genius is constantly showing some last r… | Read |
| 195 | 135 | The subtle copyist takes advantage of th… | Read |
| 196 | 136 | Guarnerius." He returns it to its case,… | Read |
| 197 | 137 | steeped in strong acids until it becomes… | Read |
| 198 | 138 | arisen as to there being two makers of t… | Read |
| 199 | 139 | beyond the similarity of form to be trac… | Read |
| 200 | 140 | reducing the height of the sides in prop… | Read |
| 201 | 141 | regard a Mirecourt or Bavarian copy with… | Read |
| 202 | 142 | last century, and doubtless Viotti was t… | Read |
| 203 | 143 | both distinctive and effective. The Viol… | Read |
| 204 | long since have held in the estimation o… | Read | |
| 211 | ITALIAN MAKERS. | Read | |
| 212 | degree, be made in the case of Carlo Ber… | Read | |
| 213 | (no line here) | Read | |
| 214 | died 1813. This maker was one of the mos… | Read | |
| 215 | been sufficient in the case of most men… | Read | |
| 216 | found time to exercise his skilful power… | Read | |
| 217 | 151 | with the following reference to Pressend… | Read |
| 218 | account published by Signor Rinaldi, of… | Read | |
| 219 | 53 | the model of Stradivari. The sound-holes… | Read |
| 220 | 54 | gives evidence of exceptional artistic f… | Read |
| 221 | 55 | also possessed one made in the same year… | Read |
| 222 | 56 | wood of which is often plain. The varnis… | Read |
| 223 | 57 | born in the town of Salò, on the lake of… | Read |
| 224 | 58 | sider that Ganassi was doubtless writing… | Read |
| 225 | 59 | excellent materials, and choice varnish.… | Read |
| 226 | 60 | We find that at times his Violins and Vi… | Read |
| 227 | 61 | used for the larger instruments is mostl… | Read |
| 228 | 62 | with which I am acquainted. The Violin o… | Read |
| 229 | 63 | There are instances, particularly in the… | Read |
| 230 | 64 | many of the Violins by Girolamo Amati, s… | Read |
| 231 | 65 | may be expected, is not graceful. M. Vie… | Read |
| 232 | 66 | The renown of this remarkable maker of V… | Read |
| 233 | 67 | might be found particulars that would li… | Read |
| 234 | 68 | by information of his own discovery, nam… | Read |
| 235 | 69 | GENEALOGICAL TABLE OF THE FAMILY OF STRA… | Read |
| 236 | 70 | unsatisfactory—and having noticed the ag… | Read |
| 237 | 71 | ninety-three years, which decides the co… | Read |
| 238 | 72 | which Stradivari made a new belly many y… | Read |
| 239 | 73 | the arching is identical, the corners ar… | Read |
| 240 | 74 | to, Niccolò Amati had been gradually les… | Read |
| 241 | 75 | ITALIAN MAKERS. | Read |
| 242 | 76 | portant statements, which I have arrange… | Read |
| 243 | 77 | of the latter all the remaining Violins,… | Read |
| 244 | 78 | The contents of the letters of Paolo and… | Read |
| 245 | 79 | than in this maker's later instruments.… | Read |
| 246 | a Violoncello and two Violins, which wer… | Read | |
| 247 | On the 22nd of August, 1686, Marquis Mic… | Read | |
| 248 | chased in Madrid about thirty years sinc… | Read | |
| 249 | nobleman—"The other day I made a present… | Read | |
| 250 | the great master, in the possession of t… | Read | |
| 251 | the instruments above referred to. It is… | Read | |
| 252 | beauty and utility. At this period he be… | Read | |
| 253 | George Eliot's fancy well contrasts the… | Read | |
| 254 | self to making instruments as near as po… | Read | |
| 255 | should be made from the same piece; and… | Read | |
| 256 | passed in any Violin, ancient or modern,… | Read | |
| 257 | be attended with important results in co… | Read | |
| 258 | M. Fétis, in his notice of Stradivari,*… | Read | |
| 263 | other martial sounds, would be music not… | Read | |
| 264 | 20th of July for the seat of war near Ma… | Read | |
| 265 | of instruments, which he intended to pre… | Read | |
| 266 | Violins, which had been ordered of Strad… | Read | |
| 267 | and beautiful. Veracini, it may be assum… | Read | |
| 268 | Some have gone to the extent of denying… | Read | |
| 269 | his artistic labours after passing his n… | Read | |
| 270 | periods makes the reader more acquainted… | Read | |
| 271 | name of "The Rosary" was the third on th… | Read | |
| 272 | of San Domenico (its subsidiary church)… | Read | |
| 273 | 203 | him. He was, he said, tall and thin, hab… | Read |
| 274 | 204 | thusiasm among them from the fact of his… | Read |
| 275 | 205 | ment of the passer by, whose unmusical s… | Read |
| 276 | 206 | vari—"After the death of his father, he… | Read |
| 277 | 207 | family of Stradivari as Violin-makers fo… | Read |
| 278 | 208 | li ferri che mi ritrovo glieli feci vede… | Read |
| 279 | 209 | difficoltà accomodarlo nella stessa cass… | Read |
| 280 | 210 | dare prova che sia stato fatto il contra… | Read |
| 281 | 211 | ITALIAN MAKERS. | Read |
| 282 | 212 | tinct as the work of the same man. They… | Read |
| 283 | 213 | formances in Rome. I have mentioned in S… | Read |
| 284 | 214 | VIMERCATI, Paolo, Venice, about 1700. Si… | Read |
| 285 | 215 | SECTION VII. | Read |
| 286 | 216 | middle of the 18th century. It is remark… | Read |
| 287 | 217 | of ideas, which, had they been well dire… | Read |
| 288 | 218 | makers, and led to its being chiefly fol… | Read |
| 289 | 219 | earliest account I have met with of Fidd… | Read |
| 290 | 220 | England, by several workmen, each taking… | Read |
| 291 | 221 | eye. It is blackened and charred in the… | Read |
| 292 | 222 | SECTION VIII. | Read |
| 293 | 223 | BERTRAND, Nicolas, Paris, about 1700 to… | Read |
| 294 | maker of stringed instruments (mentioned… | Read | |
| 297 | place instruments. Large pattern, usuall… | Read | |
| 298 | instruments of this maker will at no dis… | Read | |
| 299 | 227 | CLAUDOT, Charles, possibly dated from Mi… | Read |
| 300 | 228 | of large pattern, flat model, and having… | Read |
| 301 | 229 | Mention of these early makers of Lutes i… | Read |
| 302 | 230 | married the daughter of Lupot, and succe… | Read |
| 303 | 231 | GAND, Eugène, Paris, brother of Adolphe… | Read |
| 304 | 232 | GUERSAN, Louis, succeeded Claude Pierray… | Read |
| 305 | 233 | is of whalebone, like that of most of th… | Read |
| 306 | 234 | LUPOT, Jean. Mirecourt. | Read |
| 307 | 235 | which is the making of a Violin annually… | Read |
| 308 | 236 | there are a few beautiful examples met w… | Read |
| 309 | 237 | nomer is accounted for by the story that… | Read |
| 310 | 238 | MÉDARD, François, was established in Par… | Read |
| 311 | 239 | diamond into a brilliant or a rose, are… | Read |
| 312 | very powerful, and admirably adapted for… | Read | |
| 315 | catalogue as "a very beautiful Violin, a… | Read | |
| 316 | masters. He was at one time in the works… | Read | |
| 317 | 243 | FRENCH MAKERS. | Read |
| 318 | 244 | Socquet, Louis, Paris, about 1760—1800. | Read |
| 319 | 245 | nurses of fortune, skill and perseveranc… | Read |
| 320 | 246 | SECTION IX. | Read |
| 321 | 247 | after all Stainer's changes, the German… | Read |
| 322 | 248 | of the Italian masters were Ruppert, Bac… | Read |
| 323 | 249 | SECTION X. | Read |
| 324 | 250 | maker is often credited with the work of… | Read |
| 325 | 251 | GERMAN MAKERS. | Read |
| 326 | 252 | THE VIOLIN. | Read |
| 327 | 253 | interest in Violin-making, and made seve… | Read |
| 328 | 254 | THE VIOLIN. | Read |
| 329 | 255 | GERMAN MAKERS. | Read |
| 330 | KLOZ, Sebastian, Mittenwald, son of Matt… | Read | |
| 333 | 257 | pattern, excellent workmanship. Thin yel… | Read |
| 334 | 258 | THE VIOLIN. | Read |
| 335 | 259 | GERMAN MAKERS. | Read |
| 336 | 260 | Scheinlein, Johann Michael, Langenfeld,… | Read |
| 337 | 261 | in Germany and England were, at one time… | Read |
| 338 | 262 | have been content with it. To arrive at… | Read |
| 339 | 263 | cellent an artist visited Italy in his y… | Read |
| 340 | 264 | stated with certainty, but I am inclined… | Read |
| 341 | 265 | all the ascertainable facts with regard… | Read |
| 342 | 266 | the novel of Dr. Schuler the basis of th… | Read |
| 343 | 267 | the cloud of Stainer fiction, published… | Read |
| 344 | 268 | Court." About this period he is said to… | Read |
| 345 | 269 | he presented them, or where he made them… | Read |
| 346 | 270 | Nicholas Diel, to whom he gave instructi… | Read |
| 347 | 271 | Guitar of this maker, signed, and dated… | Read |
| 348 | instruments signed Tielke cover a period… | Read | |
| 353 | 273 | GERMAN MAKERS. | Read |
| 354 | 274 | SECTION XI. | Read |
| 355 | 275 | the time and skill required in the produ… | Read |
| 356 | 276 | Violins, while Violoncellos and Tenors c… | Read |
| 357 | 277 | ence of this age for cheapness at the ex… | Read |
| 358 | 278 | ordinary workman. When Italy shone brigh… | Read |
| 359 | 279 | from it, until the blowing of glass, tog… | Read |
| 360 | 280 | the Italian character is very striking.… | Read |
| 361 | 281 | settled in London as an assistant to Ray… | Read |
| 362 | 282 | with the English school. The mention of… | Read |
| 363 | 283 | SECTION XII. | Read |
| 364 | 284 | foremost place in the English school. He… | Read |
| 365 | 285 | early shown a preference for the model o… | Read |
| 366 | 286 | can be considered as wanting in merit is… | Read |
| 367 | 287 | ENGLISH MAKERS. | Read |
| 368 | The sound-holes of Betts' instruments ar… | Read | |
| 373 | 289 | at the sign of the Black Lion, Cornhill.… | Read |
| 374 | 290 | Viols and Violins. Many of the latter ha… | Read |
| 375 | 291 | DICKESON, John, 1750—1780, a native of S… | Read |
| 376 | 292 | sumption, and is certainly wide of the t… | Read |
| 377 | 293 | will be valued according to their true m… | Read |
| 378 | 294 | turns again to "Duke," with whom he is t… | Read |
| 379 | 295 | gree upon all his works. To Thomas Dodd… | Read |
| 380 | 296 | Although Fendt was German by birth, his… | Read |
| 381 | 297 | Guarneri are most numerous, numbering so… | Read |
| 382 | 298 | has ever been done before or since, and… | Read |
| 383 | 299 | maker, occupying his spare time in the m… | Read |
| 384 | 300 | highest satisfaction. He ultimately comm… | Read |
| 385 | 301 | tended, they are rapidly rising again to… | Read |
| 386 | 302 | struments are excellent, and should unqu… | Read |
| 387 | 303 | instruments bearing his name were made.… | Read |
| 388 | HARRIS, Charles, London, 1800. This make… | Read | |
| 393 | 305 | HART, John Thomas, born December 17th, 1… | Read |
| 394 | 306 | again passed into Mr. Hart's possession… | Read |
| 395 | 307 | a Violin and Tenor, thus showing that Vi… | Read |
| 396 | 308 | a capital music-shop in Cheapside.* I so… | Read |
| 397 | 309 | KENNEDY, Alexander, London, 1700—1786. W… | Read |
| 398 | 310 | German by birth. He was engaged in the c… | Read |
| 399 | 311 | Reade, to make it the subject of "Jack o… | Read |
| 400 | 312 | opinion is strengthened upon examining h… | Read |
| 401 | 313 | German in character; the varnish is very… | Read |
| 402 | 314 | PANORMO, George Lewis, London. Brother o… | Read |
| 403 | 315 | ENGLISH MAKERS. | Read |
| 404 | 316 | exterior, but full of character. The for… | Read |
| 405 | 317 | ENGLISH MAKERS. | Read |
| 406 | 318 | WITHERS, Edward. Son of the above. Wardo… | Read |
| 407 | 319 | SECTION XIII. | Read |
| 408 | 320 | affords to the eye. Sometimes it is happ… | Read |
| 411 | phonies of royal orchestras, beneath the… | Read | |
| 412 | food for the curious. Beauties, hitherto… | Read | |
| 413 | 323 | French makers were Médard, Bocquay, Pier… | Read |
| 414 | 324 | on the German model of the school of Jac… | Read |
| 415 | 325 | and the year 1800 or thereabouts, may be… | Read |
| 416 | 326 | which the Italians themselves could affo… | Read |
| 417 | 327 | who spread their fame far and wide. Thei… | Read |
| 418 | 328 | which your fingers have touched; that in… | Read |
| 419 | 329 | marked difference between these epochs o… | Read |
| 420 | 330 | nised the presence of vast power, togeth… | Read |
| 421 | 331 | is unnecessary to give, passed from Ital… | Read |
| 422 | 332 | their dancing. His first Violin was a ve… | Read |
| 423 | 333 | member of the Fiddle family, his object… | Read |
| 424 | 334 | his capital wherewith to form the basis… | Read |
| 425 | 335 | the shop of M. Aldric, Tarisio hesitated… | Read |
| 426 | was asked to name his price for the six.… | Read | |
| 429 | was in Fiddles. He was a great dealer, b… | Read | |
| 430 | Chanot till the latter sold it him for a… | Read | |
| 431 | 339 | the back and sides to the belly, and the… | Read |
| 432 | 340 | new varnish. His heart sank within him;… | Read |
| 433 | 341 | Ole Bull's Guarneri—the Santo Serafino '… | Read |
| 434 | 342 | reliable source. Tarisio had been seen b… | Read |
| 435 | 343 | their search for something more marketab… | Read |
| 436 | 344 | of Brussels. In London, among others, we… | Read |
| 437 | 345 | unlettered bindings, answered, "How does… | Read |
| 438 | 346 | The virtuosity of Count Cozio was of thi… | Read |
| 439 | 347 | you will recollect that I have shown you… | Read |
| 440 | 348 | will send you all the things above-menti… | Read |
| 441 | 349 | visiting Cremona, and thus they appear t… | Read |
| 442 | 350 | the care and charge of a barge-master na… | Read |
| 443 | 351 | seal as on the Violins already sent to y… | Read |
| 444 | 352 | L'egiabissimo Sig. Lancetti | Read |
| 445 | 353 | to the authorities of Gresham College, w… | Read |
| 446 | 354 | another of the same size by Stradivari,… | Read |
| 447 | 355 | pottery, or pictures, have sometimes had… | Read |
| 448 | 356 | was about the year 1848 he conceived the… | Read |
| 449 | 357 | more complete disarrangement could not h… | Read |
| 450 | 358 | rapidly passed from one to the other wit… | Read |
| 451 | 359 | might they have furnished of the part th… | Read |
| 452 | 360 | taken possession of my mind, that I had… | Read |
| 453 | 361 | I have attempted to describe. It only re… | Read |
| 454 | 362 | SECTION XIV. | Read |
| 455 | 363 | playing on the Double-Bass, Paolo Verone… | Read |
| 456 | 364 | in the hands of the painter of the pictu… | Read |
| 457 | 365 | musicians in his service. At this period… | Read |
| 458 | 366 | of the power of the bow in varying the e… | Read |
| 459 | 367 | We must now retrace our steps somewhat,… | Read |
| 460 | raise the standard of musical taste in F… | Read | |
| 463 | 369 | belonging to St. Peter's Church, in West… | Read |
| 464 | 370 | with an age of dedications, thus address… | Read |
| 465 | 371 | Clerkenwell Green to St. John Street. Fr… | Read |
| 466 | 372 | of itinerant musicians may be described… | Read |
| 467 | 373 | and ninth solos of Corelli, and two song… | Read |
| 468 | 374 | mental music at this period was composed… | Read |
| 469 | 375 | Burney's remarks are better understood a… | Read |
| 470 | 376 | Boccherini probably did more towards fur… | Read |
| 471 | 377 | the favourites, and to this day highly e… | Read |
| 472 | 378 | of this remarkable man. M. Fétis and oth… | Read |
| 473 | 379 | It is now necessary to refer to the cour… | Read |
| 474 | 380 | school, for Corelli was the master of So… | Read |
| 475 | 381 | settled in London in 1845. Shortly after… | Read |
| 476 | 382 | style of playing and compositions, it is… | Read |
| 477 | 383 | at a concert degrades his own dignity. I… | Read |
| 478 | remains to notice the great boon which F… | Read | |
| 479 | insufficient to permit the full amount o… | Read | |
| 480 | remains to notice the great boon which F… | Read | |
| 481 | 385 | insufficient to permit the committee to… | Read |
| 482 | 386 | deeply indebted to this musician for the… | Read |
| 483 | 387 | the principal instructor on the Violin a… | Read |
| 484 | 388 | Henry C. Cooper was a Violinist who rank… | Read |
| 485 | 389 | the clearest and most euphonious that ca… | Read |
| 486 | 390 | pool of seeming impossibilities, and is… | Read |
| 487 | 391 | Quartetts of Giardini and Pugnani were l… | Read |
| 488 | 392 | enjoyment derivable from listening to a… | Read |
| 489 | 393 | With Fesca we again come amongst the Vio… | Read |
| 490 | 394 | tions are especially brilliant compositi… | Read |
| 491 | 395 | SECTION XV. | Read |
| 492 | 396 | THE VIOLIN. | Read |
| 493 | 397 | Ralpho rode on, with no less speed | Read |
| 494 | 398 | THE VIOLIN. | Read |
| 495 | 399 | ANECDOTES. | Read |
| 496 | 400 | THE VIOLIN. | Read |
| 497 | 401 | ANECDOTES. | Read |
| 499 | 403 | ANECDOTES. | Read |
| 500 | 404 | THE VIOLIN. | Read |
| 501 | 405 | Yet b'ing a stranger, he's enlarged, | Read |
| 502 | 406 | anthems, which he set and sung to his Lu… | Read |
| 503 | 407 | day, yet let me tell you, I would not wi… | Read |
| 504 | 408 | And having tuned it, he played and sung— | Read |
| 505 | 409 | associates by whom his mind might be aga… | Read |
| 506 | 410 | panions are crotchets and quavers. Time… | Read |
| 507 | 411 | the difference is—one is driven by the w… | Read |
| 508 | 412 | wish was anticipated by this my new dome… | Read |
| 509 | 413 | Nardini whether the anecdote relative to… | Read |
| 510 | 414 | DR. JOHNSON ON THE DIFFICULTY OF PLAYING… | Read |
| 511 | 415 | DR. JOHNSON'S EPITAPH ON PHILLIPS, THE W… | Read |
| 512 | 416 | been ascribed to Garrick, from its appea… | Read |
| 513 | 417 | his friend's History. Dr. Burney, in the… | Read |
| 514 | 418 | poser could be inexhaustible, I should s… | Read |
| 515 | 419 | manner of playing his own music. If you… | Read |
| 516 | 420 | a thorough musician, painted with abilit… | Read |
| 517 | 421 | and, therefore, ought to have produced A… | Read |
| 518 | 422 | cello. All his passion for the Bass was… | Read |
| 519 | 423 | favourite subjects were music and painti… | Read |
| 520 | 424 | and he retired with applause, such as wa… | Read |
| 521 | 425 | THE KING AND THE PLAYER. | Read |
| 522 | 426 | could not presume to wake His Majesty—to… | Read |
| 523 | 427 | SIR WALTER SCOTT ON MUSIC AND FIDDLES. | Read |
| 524 | 428 | with the Duke, who had but two subjects… | Read |
| 525 | 429 | knowledge of stringed instruments. Who c… | Read |
| 526 | 430 | arm. The itinerant trio having become a… | Read |
| 527 | 431 | was numbered with the Plowden collection… | Read |
| 528 | 432 | kept it secured in a chest. The next day… | Read |
| 529 | 433 | means the removal of the old neck, and t… | Read |
| 530 | 434 | come with sorrow and vexation, he knew n… | Read |
| 531 | 435 | he was allowed to complete his work—a co… | Read |
| 532 | 436 | formed, and the Stradivari received its… | Read |
| 533 | 437 | corresponding chink in the belly, both a… | Read |
| 534 | 438 | spurious and spurious original, by this… | Read |
| 535 | 439 | places the recognition of the educated e… | Read |
| 536 | 440 | cally known as "splitting the difference… | Read |
| 537 | 441 | from whom he purchased the imagined Amat… | Read |
| 538 | 442 | manner seen in the well-known picture of… | Read |
| 539 | 443 | monastery of San Marco, Venice, in his e… | Read |
| 540 | 444 | "having been offered in two places," and… | Read |
| 541 | 445 | (or churchwardens) for the time being, o… | Read |
| 542 | 446 | to tell of bygone bargains, which are bu… | Read |
| 543 | 447 | interesting particulars from the pen of… | Read |
| 544 | 448 | of the back a very little, just enough t… | Read |
| 545 | 449 | and the laughter of his audience, and (a… | Read |
| 546 | 450 | just going to commence, and looking exac… | Read |
| 547 | 451 | as musicians. First, you should hear the… | Read |
| 548 | 452 | drop, like his: for the woods—they sob l… | Read |
| 549 | 453 | from behind carriages. As the carriage h… | Read |
| 550 | 454 | jurisdiction outside the gate belonged t… | Read |
| 551 | 455 | named I am engaged, and cannot come.' Th… | Read |
| 552 | 456 | slipped a five-pound note into my hand.… | Read |
| 553 | 457 | tune we took a glass, and still our enth… | Read |
| 554 | 458 | his profession. But Borax never does bus… | Read |
| 555 | 459 | of the instrument for which you are to p… | Read |
| 556 | 460 | with a silk handkerchief. This process s… | Read |
| 557 | 461 | identical autograph of the immortal make… | Read |
| 558 | 462 | designation of toys, most of which are t… | Read |
| 559 | 463 | sall sell you de pest—dat ish, de pest f… | Read |
| 560 | 464 | "Where does it lie, then, Mr. Schnapps?" | Read |
| 561 | 465 | meet us everywhere; they cumber the toy-… | Read |
| 562 | 466 | THE VIOLIN. | Read |
| 563 | 467 | Malta to be leading Mozart's charming Qu… | Read |
| 564 | 468 | a Raleigh turned to the Prince and said,… | Read |
| 565 | 469 | the present time. The sale conducted by… | Read |
| 566 | 470 | than for the Fiddle—arose from the thron… | Read |
| 567 | 471 | great masters were dwelt upon, their res… | Read |
| 568 | 472 | the Italian broke forth into one of thos… | Read |
| 569 | 473 | madam, he is truly wonderful; but allow… | Read |
| 570 | 474 | powerful favourite of Francis the First… | Read |
| 571 | 475 | SINGULAR MUSICAL ILLUSTRATION OF THE DOC… | Read |
| 572 | 476 | There was a great deal of fashionable co… | Read |
| 573 | 477 | ANECDOTES. | Read |
| 574 | 478 | first contact, and on gently pressing it… | Read |
| 575 | 479 | easy and certain; and you will be able t… | Read |
| 576 | 480 | mistress of this part of the bow, that y… | Read |
| 577 | 481 | unless A on the fourth string be wanted,… | Read |
| 578 | 482 | trouble, begin with an open string, eith… | Read |
| 579 | 483 | practise in a particular manner, as more… | Read |
| 581 | 485 | INDEX. | Read |
| 582 | 486 | Barnes, Robert … … … 286 | Read |
| 583 | 487 | Ceruti, Enrico, exhibitioner in London a… | Read |
| 584 | 488 | INDEX. | Read |
| 585 | 489 | (no line here) | Read |
| 586 | 490 | INDEX. | Read |
| 587 | 491 | Harris, Charles, an excellent copyist, I… | Read |
| 588 | 492 | INDEX. | Read |
| 589 | 493 | INDEX. | Read |
| 590 | 494 | INDEX. | Read |
| 591 | 495 | INDEX. | Read |
| 592 | 496 | Salò, Gasparo da, and the four-stringed… | Read |
| 593 | 497 | Stainers," 264; his personal history, by… | Read |
| 594 | 498 | Testore, Carlo Antonio, excellent work .… | Read |
| 595 | 499 | INDEX. | Read |
Makers from this book
174, A to Z. The first few: