Chapter IX

EVIDENCES IN STRADIVARI'S WORK OF OLD AGE--HIS DEATH AND
BURIAL--WORK LEFT BY HIM--THE ADVANCE IN VALUE OF HIS WORK SINCE HIS
DECEASE.

Returning to the analysis of the individuality of the mechanical work on the violins of the latest epoch of Stradivari, one or two further details are worth consideration. The size, style and tool work of the scroll have always been admitted to take up a large share in the estimation of evidence present for identification of authorship. In some of the late specimens of Stradivari we can see at once that the hand has become less firm, the bold turns seem to have lost much of their former vigorous expression, and although thick enough in edge are closer, and impress the connoisseur of the inability of the artificer to spend more time and attention than was absolutely necessary. The groove down the back to the shell is less refined than previously, besides being more heavily gouged at the termination. Almost in contrast with these parts there are seen on other "very late Strads" a neatly cut shell widening out a trifle and minus the thick edging; an examination of the turns of the scroll will reveal the fact of its having been gouged in quite a different manner, the declevity being more concave, the result of running the gouge along the course instead of towards the centre which was the manner of the Amatis. This hollowing out of the turns was so frequently done by Carlo Bergonzi that it might be called his most natural mode of treatment; we can here see what evidence there is of this maker's probable help in the work of his master. If we admit the possibility of these being entirely Antonio Stradivari's handiwork, then there were more phenomenal aspects of the master's working powers left for our consideration than he had hitherto given the slightest hint of during his extraordinarily long career.

Taking therefore all the facts at our command in connection with the circumstances of the time, and the artist himself with his extended life, sifting these carefully we find the residue left is,--that his working powers gradually lessened in a perfectly natural way and that such entire work as left his hands during the last few, say six or seven years was, taken at the best, small in quantity; they came forth as from the last flickering embers of a decaying power whose influence, bequeathed to the world at large, was destined to increase indefinitely and whose secrets were left unrevealed, to be sought for earnestly, but in vain, by generation after generation.

Time, he with his hour glass, passing by the home of Antonio Stradivari in Cremona, found him full of years and honour among his own little world of friends and acquaintances, for beyond the borders of his country his name could have been known to few, and those only recognising him as a clever and successful practitioner in perhaps their own craft; his world wide fame had as yet received but a slight impetus when it became known that no more of the unapproachable gems of art were to issue from the unassuming house in the square of S. Domenico, Cremona.

Antonio Stradivari died in his 94th year at Cremona on the 18th of December, 1737, and was buried in the chapel of the Rosary in the Church of San Domenico. This church was situated exactly opposite his house, where, standing at his door--as he must have done many a time--the tomb which was to be his final resting-place came directly on the line of vision in front of him, but within the third recess or chapel past the intervening wall. So far as our scanty knowledge goes, there were no circumstances connected with his death that called for any special notice at the time. Possibly little more was remarked by the neighbours than that the aged musical instrument maker of the Piazza di San Domenico had died, and his two sons were to carry on the business. Perhaps none of them gave a thought to the immensely enhanced value of each of his works of art--or as they may have described them--the goods that he sold--that might be remaining two centuries forward.

He had lived to an almost patriarchal age, over ninety-three years. It is rare to find in the world's history a leading light among professors of science or art completing such a career of almost incessant labour both mental and physical. It is still more so to find the work of such a genius, large as was the quantity, increasing in value by "leaps and bounds" as time progressed after his decease. Most probably at the present day--supposing there to be extant as much as one-eighth of what he put forth--and that may be very much over the mark, the market value of what is recognised as his handiwork would still be a very long way above that of the whole of the work put forth throughout his life. It is on record that when he died there were ninety violins remaining unsold. There may be several good reasons for this; among them the fact that Carlo Bergonzi and Joseph Guarneri were working in rivalry at the time, and bidding for public favour less on account of fine workmanship than force and magnificence of style and general aspect, and that public attention was to some extent diverted in their direction; further, and perhaps more cogent, the recognition of the great brilliancy and largeness of Joseph Guarneri's tone, that must have seemed to the musical cognoscenti of Cremona remarkably fresh and vigorous.

But when the master had departed it was not long before the loss was seen to be irreparable. His work was sought for, there being none other of the kind to supply its place; further and further as time advanced it was becoming more and more evident that his like was not to be hoped for, notwithstanding the favour with which the public viewed the two rivals who were destined to work for a comparatively short period. When these two at last disappeared, it was a signal for another rise in the monetary value of Stradivari's work, and which was to continue progressing indefinitely until such time when there may be signs of an approaching renaissance.

FOOTNOTE:

[A] Our illustration of this house is from a photo. It will be noticed that it has not an imposing exterior and not much indication of the more spacious premises in the rear where the great master worked.

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TECHNICS OF
VIOLONCELLO PLAYING

BY
E. VAN DER STRAETEN.

COPIOUSLY ILLUSTRATED.

_Copy of Letter received by the Author from the great 'cellist,
SIGNOR ALFRED PIATTI._

Cadenabbia, Lake of Como, March 9th, 1898.

DEAR SIR,--I received the book you kindly sent me on "The Technics
of Violoncello Playing," which I found excellent, particularly for
beginners, which naturally was your scope. With many thanks for
kindly remembering an old ex-violoncello player.

Believe me, yours sincerely,
ALFRED PIATTI.

_Copy of Letter received by the Author from the eminent 'cellist,
HERR DAVID POPPER._

Budapest, February 22nd, 1898.

DEAR SIR,--In sending me your book on "The Technics of Violoncello
Playing" you have given me a real and true pleasure. I know of no
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Yours most sincerely,
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VIOLIN PLAYING

BY
JOHN DUNN

CONTENTS

INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints
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exposed.

ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general
adjustment and repairs.

ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the
Pegs in Order.

ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as
accepted by the leading artists of the day.

ON FINGERING GENERALLY--The various positions--Scales
recommended--The Modern Orchestral "Principal" or (so-called)
Leader.

ON GLIDING--Special Characteristics of some of the most Eminent
Players.

DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain
independence of Finger.

BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed
Bowings.

TONE PRODUCTION--Character of Tone--Rules and Conditions necessary
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CHATS TO 'CELLO STUDENTS

BY
ARTHUR BROADLEY.

CONTENTS.

Preliminary remarks--'Cello Difficult to Master--Choice of a
Teacher--Choice of an Instrument and Bow. How to Hold the
Instrument--Attitude of the Player--Use of a Sliding Pin
Recommended--Correct Way of Holding the Bow--Some Incorrect Sketches
of Same. General Knowledge--Eccentricity not Necessarily a Mark of
Genius--Musical Notation--Common Errors with Respect to the Actual
Position of the Various Clefs--Tenor Clef Indispensable to the
'Cellist. Early Attempts at 'Cello Playing--Firmness in
Fingering--The Left Hand--Correct Method of Placing the Left Hand
Fingers. General Remarks on Bowing--Useful Method of Combining
Scale Practice with Study of Various Bowings--Smooth
Bowings--Crescendo--Diminuendo--The Slur. Bowing
Continued--Martele--Detached Stroke--Mixed Bowings--The Various
Divisions of the Bow. On "Staccato" Bowing-Spiccato--Slurred
Springing-Bow--Varieties of Phrasing Occasioned by the Portion of
Bow Used--Sautille--Dotted Notes. On the Positions--The Individual
Requirements of the Orchestral Player and Soloist--The Necessity of
"Stretching" for the Intervals--Locality of the Neck Positions--The
Enharmonic Difference of Sharp and Flat Keys--Absolute Pitch--How to
Leap any Awkward Interval--The Positions not Determined by
Mathematical Rules, but by the "Ear"--Shifting--"Economy of Motion"
_v._ "Effect"--Choice of Positions. Portamento--The Various Uses of
Gilding--Some Exaggerations Exposed--How to Leap Great Intervals
without "Howling"--Combination of Glissando and Sforzando.
Double-Stopping--Useful in Developing the Hand--How to Determine the
Fingering of Various Intervals--Gliding in Double Stops--Chords--A
Correct Manner of Playing Chords. Arpeggios--Their Evolution from
Various Chords--The Bowing of Arpeggios. Graces and
Embellishments--The Use of the Thumb--Extensions--Octaves.
Scientific Basis of Harmonics--Some Peculiar Laws which Govern a
Vibrating String--"Natural" and "Artificial" Harmonics--Manner of
Bowing Harmonics--Special Effects--"Trick Staccato"--Various Methods
of Producing Chromatic Scale Passages--"Sul Ponticello" Bowing and
"Bowed" Harmonics--Flautando--Pizzicato Glide and Grace Notes!
Delivery--Style--"Form" _v._ "Feeling"--Conception--Essentials of a
"Fine" Delivery--Orchestral Playing.

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TRANSCRIBER'S NOTES:

Passages in italics are indicated by _italics_.

Passages in bold are indicated by =bold=.

Inconsistencies in spelling and hypenation have been retained from the
original.

Obvious typographical errors have been corrected as follows:
Page 3: "occured" changed to "occurred"
Page 22: "be" changed to "he"
Page 31: "connoissiers" changed to "connoisseurs"
Page 39: "ignominous" changed to "ignominious"
Page 60: "Guadaguini" changed to "Guadagnini"

Page numbers in the "List of Plates" for the ILLUSTRATIONS OF SCROLLS
have been retained, but illustrations have been moved to be next to
the paragraph in which they are referred.

End of Project Gutenberg's Antonio Stradivari, by Horace William Petherick

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