Chapter XXI: Act II (2)

‘It may not be unreasonable to attribute the superiority of old instruments to _time_, which, by its slow but sure and powerful agency, mellows and softens down the asperities of many musical instruments, and in particular organs and violins. That the mechanical construction of the old instruments is in any degree superior to the present day can scarcely, upon mature reflection, be admitted, as in the present age, when every art or science is analysed and sought into with the most unsparing avidity, it is certain that many enthusiastic and scientific admirers of the violin have destroyed some of the very best instruments of the old makers, for the sole purpose of forming a correct opinion of the minutest proportions of their interior construction.... I feel rather reluctant in expressing my opinion, that were it possible to produce an old instrument, possessing precisely the same quality of tone as when _first finished_, no very great superiority, if any, would be discerned over the modern-made instruments, constructed with the care which would be bestowed upon a violin intended to be a pattern of the excellence of modern workmanship and science. I am, however, compelled to state that, as far as I can collect from many professional individuals, there is _one_ reason why many of the modern-made instruments are so inferior to the old ones. It is this: many makers of late date in England, Italy, Germany, who had succeeded in producing excellent instruments, and in consequence established their reputation, as they imagined, in a short time after their fame had gone forward to the world, relaxed in their application, and became negligent, under the impression that their name having been once established, their instruments, no matter how indifferent they might be, would be well received. It is but justice to the Italian and the German makers, to state that they entertain a very favourable opinion of the violins manufactured in England. It may also not be uninteresting to learn that the generally received opinion, collected from various sources upon which reliance can be placed, is, that there exists at the present day, in England, a greater number of the genuine instruments of the old makers than, _proportionally_, in any other country.’

The following facts, stated by the translator, are very worthy of notice, and, we will venture to say, are new, not only to musicians in general, but even to many violin-players in particular:--

‘It is an authenticated fact, that the shallower or flatter the model of a violin is, the fuller is the tone. Many amateurs conceive the very reverse. On comparison, however, between a genuine Straduarius and an Amati, this will be immediately perceived. A Guarnerius or a Straduarius is of the _flat_ model and powerful in tone. An Amati, on the other hand, has a very beautiful high _model_, very fine wood and highly-finished workmanship, and in the genuine instruments the purfling is inlaid very close to the edge, much more so than in any other genuine Italian instruments. The Amatis possess a _brilliant silvery_ tone, but from the cause above-mentioned they are not so sonorous as the flatter-modelled instruments, particularly the Guarnerius or Straduarius.’

* * * * *

‘It is a prevalent opinion, as well with professors as amateurs, that the old Italian instruments have attained their zenith, and some even aver that they have been deteriorating.... Is it not probable that the improvements, introduced within late years, added to the patterns afforded by the old instruments themselves, which have been studied with the most intense anxiety by the most skilful artists of Europe, and of England in particular, have tended to detract from the value of the old instruments?... The Amatis, from their sweetness of tone, are preferred for accompaniments to the voice. In performances strictly instrumental, a Guarnerius or a Straduarius is more valued in consequence of possessing a greater body of tone.’

There are cheats in all trades, and in all quarters of the world, it seems; even the rude mountaineers, the simple Tyrolese, we now learn, are not guiltless of a fraud which it may be well to guard the amateur against--‘The Tyrolese makers,’ says M. Otto, ‘have carried on an extensive business, and put forth a great quantity of violins, tenors, and basses; the greater part of which have been surreptitiously palmed upon the uninitiated as genuine Cremonese or Steiners.’

The author then points out the forms and mode of construction of the violins of the most celebrated Italian makers. He says, ‘I have had under my hands about thirty Cremonese instruments, of the following makers. The oldest were made by ~Hieronymus Amati~, at the beginning of the seventeenth century. After him came ~Antonius Amati~, about the middle of the same century. Then followed ~Nicolas Amati~, towards the end of the same. To these must be added ~Antonius Straduarius~, of Cremona, who flourished during the same epoch as the above, and after them ~Joseph Guarnerius~, at the commencement of the eighteenth century. All their instruments were constructed after the simplest rules of mathematics,[74] and the six which came into my possession _unspoilt_, were made after the following proportions. The belly was the strongest in thickness where the bridge rests, then it diminished about a third at that part where the _f_ holes are cut, and, where the belly rests on the sides, it was half as thick as in the middle. The same proportion is observed in the length. The thickness is equally maintained all along that part on which the bass bar was fixed; from thence to the upper and under end blocks the thickness decreases to one-half, so that the cheeks were three-fourths of the thickness of the breast, and the edges all round only one-half. These proportions are the best adapted for imparting a full, powerful, and sonorous tone.

* * * * *

‘The back is worked out much in the same proportion as the belly, and is generally rather stronger in wood.’

* * * * *

‘~Hieronymus Amati~, of Cremona, whose violins are the oldest, used the most beautiful maple, which has a very strong full figure, and, as far as I can learn, the greater part of his backs are made in one piece only. The figure runs from the left to the right side, somewhat sloping. The form of his violin is large, and the model decreases in a very beautiful manner towards each edge.’

* * * * *

‘The instruments of ~Antonius Amati~ differ but little from his father’s, though he was not so nice in the choice of his figured wood; yet in beauty of tone they are in no way inferior, if not spoilt in _repairing_.’

* * * * *

‘Those of ~Nicholas Amati~ are conspicuous for having a somewhat smaller form and a peculiar model; the swell rises gently near the purfling, and afterwards springs up more abruptly, so as to form a difference of an inch in height between the highest part at the centre and that at the edges. They swell more abruptly than those of either Hieronymus or Antonius, and in the centre form a sharp ridge. For the rest, his instruments are not constructed with the same care as those of Hieronymus.’

* * * * *

‘Those of ~Straduarius~ are remarkable for their flat construction. The model or swell on the back and the belly does not rise more than half an inch; they are therefore the flattest of all the Cremonese makers’ instruments. Those that are uninjured possess a very beautiful deep full tone. They are the most esteemed by concert violinists; for every virtuoso will obtain one, if he has an opportunity, at no matter what price.

‘Their shape is invariably very fine, but their corners are not quite so obtuse as those of Hieronymus Amati. The _f_ holes are beautifully cut out and lie near together, as in all genuine Italian instruments; the back, the sides, and the neck are made of beautifully figured maple, and coloured with dark brown amber varnish.

‘The violins of Joseph Guarnerius are beautifully constructed. They are extremely similar in shape, model, and the cutting of the _f_ holes, to those of Nicholas Amati, and are coloured with the same deep yellow amber varnish.

‘The instruments made by Jacob Steiner, of Apsam, differ from the Cremonese both in outward shape and in tone. They are higher modelled, and their proportions of strength are calculated quite differently. The nearest comparison which can be drawn between a Cremonese and a Steiner is this: a Cremonese has a strong reedy, sonorous tone, something similar to that of a clarionet, whilst a Steiner approaches to that of a flute. The belly is modelled higher than the back. In length they are somewhat shorter than the Cremonese. The sides and the back are made of the finest figured maple, and covered with a deep yellow amber varnish.’

The author now digresses, for the purpose of letting us know that for sixteen years he became a guitar maker, but that he has now given that trade up to his sons, for reasons which, as a matter of profit, are obvious enough. We may just remark, _en passant_, that guitars are now to be had in all parts of Europe, at less than half the price they used to be sold at. But M. Otto shall be heard--‘I must in this place observe that the guitar had originally five strings only. The late Herr Naumann, _Maître de Chapelle_ at Dresden, gave me the order for the first guitar with the sixth or low ~E~ string, which I added according to his instructions. Since then the guitar has always had six strings, for which improvement amateurs have to thank Herr Naumann. As, however, for the last ten years a great number of instrument makers, as well as cabinet makers, have taken up this business, I have since then entirely given it up. When I receive any orders I turn them over to my sons at Jena and Halle, who are doing considerably in that branch. The substitution of covered strings for the ~D~ and ~G~ is a small improvement of my own.’

But we must return to the violin, and hasten to the close of this article; not, however, till we have communicated to our readers some useful instructions given by the author for the preservation of instruments.

‘I shall now,’ he says, ‘lay down some brief hints for the treatment and preservation of the instrument. A good old violin should be kept in a wooden case, lined with cloth or flannel, as the too great heat in summer, as well as the sudden transitions from cold to warmth in winter, are injurious. Too great a heat renders the wood brittle, which gives the instrument a harshness of tone, besides drying and parching the strings. In winter the too great warmth of a room produces the same effects.... Much greater damage is done to the instrument in summer by the flies when it is left out of its case. They get in at the _f_ holes, and in a few years the inside of the back and the belly gets so much spotted with dirt as to feel like shagreen to the touch.

‘The instrument should be kept particularly clean, and the dust carefully wiped off the rosin with a linen rag. The insides should be cleaned out once every six months, with a handful of barley made warm, and poured into the _f_ holes, and well shaken. The dust or dirt inside adheres to the barley, and is brought out again through the _f_ holes. In order to preserve the strings a length of time in good condition and sonorous, it will be advisable to keep in the spare bag, (which should be lined with a piece of bladder moistened with oil of almonds,) a small piece of silk taffeta, slightly damped with the same oil. The strings should be rubbed with this piece of silk from the bridge to the neck, before putting the instrument away in the case, and when again wanted for use, the oil should be wiped off dry with a piece of fine linen, and particularly in that part where the bow is used.’

The best strings, called Roman, come from Milan, and the purest rosin from Prague, in the opinion of the author. He then remarks that much playing in fourths and in fifths on a violin improves its tone, as ‘tending to extract the resinous particles from the wood’! If this be a fact, he assigns _a_ reason; but afterwards declines divulging the cause of ‘this singular effect,’ from a sense of ‘duty to his family.’ This smacks rather of what is commonly called quackery; but we must make due allowance for the worthy man’s paternal care.

The present translation--which, on the whole, is well executed--will be found very useful to all violinists, especially amateurs who are not acquainted with the German language. In fact no violin-player ought to be without it, for the cost is trifling, the time it will occupy in reading cannot exceed a couple of hours, and the information it contains is of a very valuable kind.

OXFORD CONCERTS.

During the last week but one in June, the annual ~Commemoration~ of the Founders and Benefactors of the University was celebrated in the usual academical manner, and by several musical performances.

On Monday evening, June 17th, a concert was given by the members of the _Amateur Musical Society_, in the New Assembly Room at the New Inn; at which there were upwards of 500 visiters, who were all, and with good reason, much gratified by the performances they were invited to hear.

On Tuesday morning, June 18th, the vice-chancellor, heads of houses, proctors, &c. assembled in the Radcliffe Library, and thence proceeded to St. Mary’s Church, to hear a sermon preached for the benefit of the Radcliffe Infirmary. Full service was performed by the members of the different choirs in Oxford, under the direction of Mr. Vicary, who took the organ.

On Wednesday, the 18th, the heads of the University, the young noblemen, &c. attended at the Sheldonian Theatre, to hear the Crewian Oration, in commemoration of the founders and benefactors, &c., and also the several literary compositions to which the prizes for the present year had been adjudged. They entered and retired to solemn peals of the organ.

The Stewards of the Music Room, with that zeal which always marks their management, made ample preparations for two concerts to be given in the Town Hall, on the evenings of Tuesday and Wednesday, for which they engaged Madame Malibran, Sig. Tamburini, M. de Beriot, Mr. Willman, the clarinet, and many excellent orchestral performers, in addition to the force resident in Oxford: but the illness of Madame Malibran frustrated all their intentions, and the absence of an individual rendered unavailing, it seems, the talents of all the rest. Upon such occasions, why not engage a _double_; one who is able, if required, to take the pieces intended to be sung by the principal? Thus the accidents to which female singers are occasionally liable, and the caprices in which they more frequently are suffered to indulge, would be provided against, and the public be saved from that complete disappointment which the absence of the only female performer must necessarily produce.

When it was found that Mad. Malibran could not perform, the Stewards immediately issued a bill, announcing the fact. Nevertheless, about 300 persons were present. “At the commencement of the concert,” says the _Oxford Journal_, “Mad. Malibran was handed to the front of the orchestra by Mr. Nicks, and an apology made.... The lady certainly appeared ill; but it may be asked, if Mad. Malibran had been ill for three or four days, as stated, why did she venture to come to Oxford? But we learn that she played exceedingly well (at Covent Garden) on Saturday night. Be it as it may, Mad. Malibran has lost the esteem of the Oxford audience; many of whom were not sparing of exclamations against her when they left the hall.... The other performers exerted themselves to the utmost, to supply the vacancy; but the absence of the _only female singer_ left a chasm that could not be supplied. Sig. Tamburini sang an extra song; and the powerful efforts of M. de Beriot and Mr. Willman, who generously played an extra concerto each, failed to restore _harmony_ to the company.”

Now we cannot help thinking that the Oxford critic is a little hard on Mad. Malibran. That she was ill he seems to admit, and that she did all in her power to convince the company of the fact is proved by her having been a _second_ time led into the orchestra, and, as she could not sing, sitting down to the piano-forte, and accompanying Sig. Tamburini in the air “_Largo al Factotum_.” Of course the lady did not receive, or expect to be paid, the 200 guineas for the two concerts.

An express was sent to London the same evening, which brought down Mrs. Bishop on the following afternoon; who, at the second concert, sang “Gratias agimus tibi,” and “Should he upbraid?” with much applause. But the principal feature of both concerts was M. de Beriot on the violin; who produced as much effect on a University audience as he had before done on the best judges in the metropolis.

Sig. Tamburini sang with great ability some _arie_ of Rossini--(everlasting Rossini!) which were well received: but many wished that he, as well as other singers, would a little enlarge their _repertoire_, and endeavour to learn that there are other composers besides those of the last dozen years whose works are worth studying, and would be infinitely more acceptable to real judges of music than pieces which, whatever their merits, are worn threadbare, and become almost nauseous from frequent repetition.

Mr. Marshall (of Oxford) led the band at these concerts, and Mr. Vicary (a Mus. Bac. of this University) sat at the piano-forte.

OXFORD COMMEMORATION CONCERTS.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Oxford, July 8th, 1833_.

It is very well known that many persons are annually induced to visit Oxford at the time of The Commemoration. The town is always unusually gay at this season. The friends and relatives of the students go thither to gratify the proud satisfaction they feel in hearing a brother or cousin recite his prize poem in the theatre; strangers, of all ranks and degrees, to hear speeches in Latin and Greek, of which they do not understand a syllable, and to see--the lions! Hence it follows that throughout both the University and city there is visibly a greater air of gaiety, more stir and bustle in the streets, and in each “lane and alley green,” you hear more sounds arising from the “busy hum of men” (and women too) at this particular time than at any other part of the year. To, stroll in Christ Church meadow, and hear the “mighty Tom” beat the hour, or to loiter at sunset in “Addison’s Walk,” is, with many of those annual visitants, a _classical_ event, much talked of, and never to be forgotten. You may not, perhaps, be aware that, at the Commemoration, it is usual for the stewards of the music-room to get up some musical performances, and which, for the reasons before stated, have generally been well attended. According, therefore, to their usual custom, two concerts were announced for the evenings of Tuesday and Wednesday, the 18th and 19th of June last, upon which occasion they (the stewards), with a spirit of liberality that has indeed marked all their former proceedings, engaged (and it is said at a very large sum) Madame Malibran and Signor Tamburini. Nor did they stop here; for in order to make the attraction still greater, and at the same time to render the performances as perfect as possible, to those eminent and celebrated vocalists was added M. de Beriot, who, I understand, is confessedly the finest and most finished performer on the violin either in this or any other country.

That the performers were few in number will not be disputed; but, to borrow a theatrical phrase, they were all “stars,” and of the first magnitude. With a view to accommodate the public in general, and that “the listening crowd” might meet with no impediment, the Town Hall (being larger than the music room, where the concerts are usually given) was, by permission of the mayor, fitted up, at a considerable expense, for the occasion.

The programmes were printed and circulated; and I beg leave to send you a copy of each, to enable both you and your readers to form an opinion for yourselves of what I shall venture to call the musical treat that was prepared to gratify the excited expectations, and realize the anticipated pleasures of, what was naturally enough conjectured would prove, a crowded audience: for, be it remembered, the aforesaid three eminent performers were new at Oxford.

FIRST CONCERT, Tuesday, June 18, 1833.

~Act I.~

Overture. (_Semiramide._) ~Rossini.~

Aria, Signor Tamburini, “Come un ape.” ~Rossini.~
(_Cenerentola._)

Aria, Madame Malibran, “Voi che sapete.” ~Mozart.~
(_Figaro._)

Concerto, Violin, M. de Beriot. ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~
“Di Caprici.” (_Corradino._)

Concerto, Clarinet, Mr. Willman. ~Weber &
Spohr.~

Aria, Madame Malibran, “Il soave e bel contento.” ~Pacini.~
(_Didone Abbandonata._)

~Act II.~

Overture. (_Agnese._) ~Paer.~

Song, Madame Malibran, “Holy, holy.” ~Handel.~

Aria, Signor Tamburini, “O colpo impensato.” (_La ~Rossini.~
Gazza Ladra._)

Fantasia, Violin, M. de Beriot. ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~
“Bella immago.” (_Semiramide._)

Overture. (_Il Barbiere._) ~Rossini.~

Provençal Airs, Madame Malibran, (in which she
will accompany herself on the Pianoforte.)

Finale, Overture to Lodoiska ~Cherubini.~

SECOND CONCERT, Wednesday, June 19, 1833.

~Act I.~

Overture. (_Anacreon._) ~Cherubini.~

Aria, Signor Tamburini, “Una voce m’ha colpito.” ~Rossini.~
(_Inganno felice._)

Recit. ed Aria, Madame Malibran, “Alma invitta.” ~Rossini.~
(_Il Sigismondo._)

Concerto, Violin, M. de Beriot ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Rossini.~
“Dunque io son.” (_Il Barbiere._)

Fantasia, Clarinet, Mr. Willman ~Crusell.~

Aria, Signor Tamburini. “Non speranza di grandezza.” ~Coccia.~
(_Edoardo in Iscosia._)

~Act II.~

Symphony, No. 1. ~Mozart.~

Aria, Madame Malibran, “Non più di fiori.” (_La ~Mozart.~
Clemenza di Tito._) (Corno Bassetto, Mr. Willman)

Aria, Signor Tamburini, “Sorgete.” (_Maometto ~Rossini.~
II._)

Adagio and Rondo Russe, Violin, M. de Beriot ~De Beriot.~

Duo, Madame Malibran and Signor Tamburini, ~Mozart.~
“La ci darem la mano.” (_Don Giovanni._)

Symphony ~Haydn.~

Ballad, Madame Malibran, “The deep, deep sea.” ~Horn.~
(Accompanying herself on the Pianoforte.)

Finale--“God save the King.”

So far all was well; and I think it will be allowed that the authorities here had left nothing undone that they ought to have done, in order to make the concerts literally as good and as attractive as possible. Well, sir, Tuesday, the day for the first concert, arrived; and about one o’clock the Worcester coach arrived. By the coach came Signor Tamburini and M. de Beriot, accompanied by Madame Malibran--and (most unfortunately) Madame Malibran came, accompanied with--what an Irishman would call--a great big cold! This was an ill omen to commence with. “Thus bad begins, but worse remains behind;” for just as the doors were about to be opened, the lady informed the stewards that it would be impossible for her to sing that evening! This proved a sore annoyance to the Committee, and a very great disappointment to the public, who were flocking in crowds to hear this far-famed prima donna; but on being informed that Madame Malibran could not sing, hundreds turned away without entering the Hall.

But how was the concert to be got through with only one singer? All parties were placed in a most unpleasant situation. An apology was made, explaining to the thin audience the cause of their disappointment. Signor Tamburini sang two extra Italian arias. M. de Beriot performed a third piece for the violin, which helped to put the audience in good humour. Mr. Willman played a second fantasia on the clarinet, and--and--and so the concert ended.

But while all this was going on, the stewards, it appears, were anxious to make some preparation for the next evening’s performance; and, not thinking it prudent to depend on any assistance from Madame Malibran, despatched a special messenger (who travelled all night) to London, with a carte-blanche to Mrs. Bishop, desiring her, if possible, to come down. Luckily the letter found Mrs. Bishop at home, and, at almost a minute’s notice, she very good-naturedly started, and arrived in time to sing at the second concert. It was fortunate this precaution was taken; for Madame Malibran’s cold and hoarseness continuing, she left Oxford at mid-day on the Wednesday, and returned to London. Mrs. Bishop was warmly greeted on her entering the orchestra. She sang three songs, and an Italian duet with Signor Tamburini, in all of which she acquitted herself admirably. She was (and most deservedly) much applauded. Still, however, the public disappointment was great in not hearing, Madame Malibran; and the concerts, which promised so fairly, and which every one expected would prove most successful, turned out to be a very losing concern. But you know very well, Mr. Editor, that “’tis not in mortals to command success,” and so, sir, I shall bid you adieu, for the present, by signing myself,

Your obliged and obedient servant,
~An Oxonian~.

P.S. Since writing the foregoing, I have been told that the very day before Madame Malibran went to Oxford, she was prevented singing at M. Begrez’ Morning Concert, by a severe cold and hoarseness; and that on the evening of the same day, she literally walked through the part of an opera at Covent Garden Theatre, without speaking one word of the dialogue, or attempting to sing any one of the songs. If it really were so, it may be asked, why did Madame Malibran set out for Oxford? Or, if she would persevere in going, why did she not select some female singer from among her acquaintance to accompany her, and who might, in case of an emergency, be brought forward as her substitute? Should these questions be ever put to Madame Malibran, I hope she will be able to answer them satisfactorily.

CAMBRIDGE COMMENCEMENT.

Cambridge was more full this commencement than it has been for many years past. The meeting of the ~British Association for the Advancement of Science~ brought at least 1200 visiters to the University during the last week in June, and the concerts, which followed, tempted many of those to remain, drew several county families into the town, and induced the heads of houses, as well as numerous fellows, to continue in college longer than they would have done under ordinary circumstances.

The Committee for managing the musical performances made their preparations on an extensive and remarkably liberal scale. Among the vocal performers were Mad. Malibran, Mrs. W. Knyvett, Mr. Braham, Mr. Phillips, Mr. W. Knyvett, Mr. Horncastle, and Sig. Tamburini. The instrumentalists included Messrs. De Beriot, Lindley, Dragonetti, Venua, Nicholson, Willman, G. Cooke, Mackintosh, Harper, and several others of the Philharmonic band. Mr. F. Cramer was leader; Sir G. Smart conductor; and the whole was announced as under the direction of Dr. Clarke Whitfield, the Professor of Music; but whether he took any active share in the business, except to receive one hundred guineas for the advantage of his name, we cannot say.

The first concert was given on Friday evening. The fine symphony in ~D~, by Beethoven, was executed with spirit. The air “Lo! here the gentle lark,” as sung by Mrs. W. Knyvett, was received with loud plaudits. Mr. Braham in “Oh! ’tis a glorious sight,” of Weber, and Rossini’s duet, “All idea,” with Sig. Tamburini, was extremely successful. Mad. Malibran sang the lovely aria “Non più di fiori,” from Mozart’s _Tito_, admirably; and her accompanyist, Mr. Willman, on the clarionet, was not less perfect. But in “Il soave e bel contento” she gave more pleasure to her audience--no very great proof of their judgment. Neükomm’s “Fantasia Concertante,” written for the Philharmonic Concerts, and there produced in 1832, was played by nearly, if not exactly, the same persons who originally performed it, and was heard with great attention, though, perhaps, not with that enthusiasm which it excited in an audience of London connoisseurs. M. de Beriot exerted himself to gain the same character in an English University that he has acquired in the British capital, and succeeded in convincing the Cantabs that he has no equal on the violin. Mr. Phillips, in the “Midnight Review,” the joint product of Barry Cornwall and M. Neükomm (for the poet is entitled to his share of praise in this), did not hit the taste of the company. Perhaps the mere name of Napoleon, in a colony of clergy, raises alarming associations. But Martini’s “Vadasi via di quà” was encored; an honour to which its distinct, beautiful melody and cheerfulness really entitle it. The room was not half filled, we regret to add.

The sacred concert on Saturday was miserably attended; so that Mr. Braham’s triumph, “Deeper and deeper still;” the “Benedictus” of Mozart; the “Deh! parlate” of Cimarosa, sung by Mad. Malibran, with “What though I trace,” and “Ye sacred priests,” by Mrs. W. Knyvett, were, we had almost said, thrown away. The concert in the evening was even more thin in company; and parts of the selection were not well calculated for the place. But Mad. Malibran’s “Una voce poco fà,” from Rossini’s “Barbiere;” Braham’s “Alexis;” the terzetto, from _Il Matrimonio Segreto_, “Lei faccio un’ inchino,” pleased much. “Largo al factotum,” and Horn’s song, “The deep, deep Sea,” were encored.

On Sunday, an anthem, “Let God arise,” with full orchestral accompaniments, composed as an exercise for a bachelor’s degree in music, by Mr. T. Attwood Walmisley, who has very recently been appointed organist of Trinity and St. John’s Colleges, was performed before the University, at Great St. Mary’s Church, and proved highly creditable to so young a composer, one who has not yet completed his twentieth year; and who, if he proceeds as he has begun, will, at no great distance of time, reflect great honour on his instructor, (his father,) and assist in raising the character of the English school of music.

On Monday the Messiah was performed in an excellent manner by the principal singers, at St. Mary’s, though the choruses certainly wanted strength. The church was completely filled, at very high-priced tickets, too. Indeed the terms of admission to all the performances were rather extravagant, and produced a smaller total than if they had been forty, or even fifty, per cent lower. The concert in the evening, at the Senate House, was also well attended, and went off with proportionate spirit and effect. Mad. Malibran’s national airs, sung to her own accompaniment, excited a very lively interest: one of them was loudly encored. Braham, in Attwood’s beautiful cantata, “The Soldier’s Dream,” Phillips in Neükomm’s splendid song, “The Sea,” and Tamburini with Phillips, in “Se fiato in corpo avete,” Cimarosa’s favourite but hacknied duet, seemed to delight every person present. The inimitable Lindley, on his violoncello, and the equally unrivalled De Beriot, on his violin, made the audience fully sensible of their powers. Indeed, everything was good, and received in a manner that proved the cultivated taste of the company.

However, the affair has been a losing one: the guarantee committee have had to pay a balance of 400_l._ out of their own pockets. The fact is, that the festival was ill-timed. It came when all were exhausted by the breakfasts, dinners, and fêtes, given to the _ambulant philosophers_; and the prices of tickets were too high. London is now brought so near Cambridge by improved travelling, that the public performances in the metropolis are quite accessible to both gownsmen and townsmen, who will not very willingly pay twelve and fifteen shillings for what, by means of a short, easy journey, may be heard, in certainly a more completely perfect manner, for little more than half the money. Nevertheless, we give every credit to the gentlemen who have sustained the loss, for their boldness and liberality.

LIVERPOOL AMATEUR SOCIETY.

_To the_ ~Editor~ _of the_ ~Harmonicon~.

~Sir~, _Liverpool, July, 1833_.

As I observe that you take an interest in whatever relates to the cultivation of music, in the country as well as in London, I beg to offer you an account of a Society which has lately been formed, on a small scale, in this town, leaving it to your judgment to accept or reject it as you may deem expedient. I have ventured to send it, because I think the Harmonicon is a valuable record of musical proceedings, and ought to be supported by amateurs, not only for their own sakes, but to assist in the promotion of the science; I shall, therefore, be rejoiced if I can, in the smallest degree, contribute to so desirable an object.

The society which I wish to introduce to your notice is called the _Apollo Vocal Concert_, and consists of a soprano and contralto, (ladies,) a tenor and two bases, with the able and esteemed conductor of the Liverpool Festival Choral Society as conductor and pianist. Their object in associating is for the purpose of practising the higher kinds of music, with a view to their mutual improvement; for which purpose they meet regularly once a fortnight all the year round; and to ensure a punctual attendance they have bound themselves, by heavy fines, to observe the rules laid down for the government of the society. So far its existence would not have been a subject of public interest, and unworthy of your notice; but the parties concerned, urged by several amateurs, and desirous of laying the foundation, if possible, of some sort of permanent musical institution in the town, determined on giving a set of four public vocal concerts; and the first of these took place on Thursday, June 27th. In order to defray the unavoidable expenses, and to secure the respectability of the meeting, none were admitted but subscribers for the set--each subscriber having a transferable ticket besides his own--the subscription being one guinea for the four concerts. The number of subscribers is limited to one hundred, which number is nearly filled, and includes the names of some of our leading gentry.

You will be surprised, Mr. Editor, to learn, that Liverpool, the second town in the empire, and distinguished, in other respects, by its liberality and splendor, cannot boast a single musical establishment of any description!--a most unaccountable, and, I had almost said, disgraceful, fact--only to be explained, even by those well acquainted with the place, on the supposition that no one likes to commit himself by being one of the first to give his name to a project which may not become fashionable.

It is hoped, however--seeing that most important undertakings have had small beginnings--that some musical institution, creditable to so opulent and important a town, may arise from the _Apollo Vocal Concert_. Unpretending though it be in itself,--it will at least show that a pleasant and unobjectionable recreation may be obtained at a very trifling individual expense. But a good band might be collected in the town, which by regular practice together would soon become efficient; and there is every encouragement to take such a step, from the example of Manchester, where the best orchestra in this country, out of London, is found at the _Gentlemen’s Concert_ in that town.

I subjoin the programme of the public concert on the 27th of June already mentioned. The company, consisting of nearly two hundred persons, appeared to be not only satisfied, but extremely pleased with the performance; indeed, the execution of some of the pieces would have done no discredit to performers of much longer standing; and the members of the society have expressed themselves highly flattered by the manner in which their endeavours were received.

I fear I have taken up an unreasonable portion of your space: if so, you must either curtail this letter, or excuse

Your obedient servant,
~Un altro Dilettante~.

* * * * *

~Part I.~

Symphony (_in_ ~E~ _flat_) Mr. G. ~Mozart.~
Holden and Mr. W. Comber

Trio, “Tremate! Empi, tremate,” Miss Johnson, ~Beethoven.~
Mr. Caird, and Mr. Pemberton

Cavatina, “Una voce poco fà,” Miss Potts ~Rossini.~

Duo Buffo, “Mentre Francesco,” Mr. Pemberton ~Coccia.~
and Mr. Aubrey

Scena, “Cœur de Lion,” Mr. Caird ~G. Hargreaves~[75]

Glee, “Blest pair of Sirens,” Miss Johnson, ~J. S. Smith.~
Miss Potts, Mr. Entwistle, Mr. Caird, Mr.
Pemberton, and Mr. Aubrey (encored)

Aria, “Miei rampolli femminini,” Mr. Aubrey ~Rossini.~

Finale, “Venite pur avanti,” (_Don Giovanni._) ~Mozart.~
Miss Johnson, Miss Potts, Mr. Entwistle, Mr.
Caird, Mr. Pemberton, and Mr. Aubrey

~Part II.~

Overture. (_Zaira._) Mr. G. Holden and Mr. W. ~Winter.~
Comber

Duetto, “D’ un bell’ uso di Turchia,” Mr. ~Rossini.~
Caird and Mr. Aubrey

Song, “Batti, batti,” Miss Johnson ~Mozart.~

Terzetto, “Dolce tranquillita,” Miss Johnson, ~Pucitta.~
Miss Potts, and Mr. Caird (encored)

Scena, “The battle of Hohenlinden,” Mr. ~C. Smith.~[76]
Pemberton

Glee, “Hark the curfew,” Miss Johnson, Miss ~Attwood.~
Potts, and Mr. Aubrey

Terzetto, “Pappataci!” Mr. Caird, Mr. ~Rossini.~
Pemberton, and Mr. Aubrey (encored)

Finale. (_Guy Mannering._) “The Fox jump’d ~H. R. Bishop.~
over the Parson’s gate,” Miss Johnson, Miss
Potts, Mr. Caird, Mr. Pemberton, and Mr.
Aubrey (encored)

[We wish all possible success to the _Apollo Concert_, and to every society of the kind, but cannot congratulate the founders of it on their choice of a name.]

HISTORICAL NOTICES RELATIVE TO THE VIOLIN. ~By~ G. E. ANDERS, _of Paris_.

(From the German ~Cæcilia~.)

Whoever may hereafter wish to write a history of the violin, a desideratum in musical literature, will scarcely seek for historical notices in a book which, according to its title, treats only of old edifices, monuments, tombs, and the like. I allude to Millin’s _Antiquités Nationales, ou Recueil de Monumens pour servir à l’Histoire de l’Empire François_. In the fourth volume of that work, the author describes, among other churches, abbeys, castles, &c., the chapel of _Saint-Julien-des-Ménestriers_, in Paris; and a statue in the porch of this edifice, representing a man with a violin, affords to the author an opportunity of inquiring into the age of this instrument. It may be sufficient to observe, that this chapel was founded in 1330, by two members of the company, or guild, of musicians, which in the fourteenth century was very numerous. It received the name of St. Julian because adjoining an hospital which was so called, and existed up to the time of the French revolution, when, together with other churches and monuments, it was demolished. Millin’s work, therefore, is of additional value, because it preserves from total oblivion buildings of which there is no vestige left. The following are the author’s own words:--

The front of the chapel of St. Julian was very picturesque. The porch, executed in a neat Gothic style, consisted of a great arch with four niches. The frieze was decorated with little angels, delicately carved in stone, playing on various instruments, such as the organ, a triangular harp, with perpendicular (not horizontal) strings, the violin, (a three-string rebeck,) the lyre, mandoline psalterium, bagpipes, horn, oboe, flutes, kettle-drums, lutes, and dulcimer. In the niche to the left of the porch stood the image of St. Julian, and in the right-hand niche was placed, as is stated, that of Colin Moset; but it is more natural to suppose this to be the statue of St. Genest, the patron of musicians, and of their church.

The statue of St. Julian has a singular head-dress, is decorated with a wide mantle, and in the hand holds a violin. It has frequently been appealed to by antiquaries. The violin has four strings, and is quite similar to that of the present day. Unfortunately the statue is mutilated, and the right arm, with the bow, broken off. The antiquity of the violin has been the subject of much inquiry. Laborde, in his investigation, refers to the paintings of Philostratus, and maintains, that on a fountain represented in one of these a violin is introduced, which, with the exception of its shorter finger-board, resembles our present violin. He would not have committed so great a mistake, had he considered that we have only the _descriptions_ of these paintings, not the _realities_. He further maintains that the fountain, with the violin represented by Philostratus, occurs again on the medals of Scribonius Libo; but these pretended violins are lyres, decorating a kind of altar, which the ancients called _puteal_, an appellation which Laborde very improperly translates by the word _fountain_. Terrasson has written a dissertation on the lyre (vielle), wherein he endeavours to prove that this instrument is of greater antiquity than the violin. He has found some passages in which the word occurs, and makes them subservient to his theory. But the words _vielle_ and _viole_ manifestly signify the same thing as _violon_; and _vieller_, _violonner_, the same as _jouer du violon_. The word _archet_ and _arçon_ (bow) which is always mentioned in conjunction with the lyre (vielle), leaves no doubt on this matter.

J’allai à li et praclet,
O la vielle et l’archet.[77]

But the defenders of the lyre (vielle) maintain, against all reason, that the words _archet_ and _arçon_ signify the winch or the keys of the instrument.

Maffei’s reference to a painting, representing Orpheus playing upon a violin, is as little to the purpose: every thing bespeaks its later origin.

It is indeed certain that the violin is an instrument of great antiquity, and may be traced to the earliest periods of the French monarchy. This fact is incontestably proved by the evidence of monuments, the most important of which is the statue of a French king, on the lower and right-hand side of the porch of the church of _Notre-Dame_ in Paris.

Montfaucon, who has also given an engraving of this figure--though by no means a correct one--conceives it to be a representation of King _Chilperic_, because that monarch was the author of some hymns, and of two books of songs for the church service. _La Ravallière_ has furnished a better delineation of this statue. Without stopping to inquire whether, according to the highly probable opinion of Montfaucon, that statue be a representation of King Chilperic, it is evident that the crown and the royal mantle are intended to represent royalty. The violin in the left hand has four openings or sounding-holes, the bow in the left is broken. La Ravallière has instanced another remarkable monument, a small basin, which the Abbé Le Bœuf; who transmitted it to him, conceived to be a production of the earliest times of the French monarchy. This was found where a royal palace is supposed to have stood formerly. It is gilt, and embellished with enamelled embossed work, and in all probability was used for washing the hands in. The design of the embossed work is divided into several compartments. In that of the centre is a harp-player sitting on a chair; on his right is a singer, judging by the roll of paper in his hand; and on his left is a violin player. In one of the lateral compartments we observe a violin with a double bridge.

The vignette of a manuscript of the beginning of the fourteenth century, which was in the possession of _Gayon de Sardiere_, exhibits the figure of a _jongleur_ sitting on a high bench and playing the violin. As the manuscript contains the songs of the King of Navarre, the intention of the artist was to represent the jongleur in the act of singing the songs of the king, who is present with his consort, the queen. Both are sitting, and seem to be listening to the performer. The courtiers appear to pay him no less attention. These various monuments prove that the violin had been long in use among the jongleurs. The most celebrated people of this calling were the best violin players of their time; and the lyre was at all times but a very subordinate instrument.

The Antiquities of Struth contain many interesting figures. One represents an English fiddler, whose violin has only two strings, while others have four. One has but three. This was during a long period the usual number, and the instrument was called a rebec. It is not exactly known when the fourth string was permanently added. Laborde thinks in the sixteenth century, and rests his opinion on the fact, that the best violins which we possess are still those which Charles IX. of France caused to be constructed by the celebrated _Amati_ of Cremona. These are also the best models. But there is a drawing of the instrument by Matthew Paris, which proves its antiquity to be great. Perhaps it was only in the sixteenth century that its use became general, about which time the form of the violin, as well as the art of playing on it, reached a high degree of perfection. The violin of St. Genestus is no rebec; it has four strings, and is formed like ours.

It remains for us to speak of a singular dignity or office, which owed its origin to this instrument. Every company, or guild, had formerly a head or leader, who bore the title of king. The grocers, surveyors, barbers, &c., nay, even the poets, had their king: but the usurpations and arbitrary sway of these singular monarchs brought about their dethronement, and nothing remained of such royalty except the _king at arms_ and the _king of the fiddlers_.

The history of the first kings of the fiddlers is not known, and it would be impossible to enumerate them in the order of their succession. The earliest on record is _Jean Charmillon_, who, under Philip le Bel, was chosen king of the jongleurs in the city of Troyes, ~A.D.~ 1295. Constantine, a celebrated violin player at the court of Lewis XIII., obtained the dignity of _king of the fiddlers_ and _master of the musicians_ (_roi des violons et maître des ménestriers_). He died in 1657, and was succeeded by Dumanoir, known by the name of William I. After the death of the latter, the crown descended to his son, William II., who abdicated, and thereby caused a state of anarchy. Lewis XIV. looked with indifference on the extinction of a royalty of this kind, and declared that he had no inclination to revive it.

The musical kingdom had long been troubled by internal and external feuds: the dancing-masters, supported by their leader, had for more than half a century carried on a warfare against their rivals, the common fiddlers, who, to the disgrace of their art, used to play in the taverns and beer-houses. They prosecuted the town-dancers, until, in 1666, they obtained a formal decree. No company was so rich in strife and turmoil; their contests produced a number of judicial sentences. The momentous object of these contests was the suppression of one string in the fiddles of their adversaries, whom they wished to bring back and limit to the ancient and legitimate form of their instrument, the rebec.

This interregnum lasted from 1685 to 1741, when _Gaignon_, a celebrated violin player, aspired to the rank of fidicinal royalty, and was honoured with it, by Lewis XV., on the 15th of June of the latter year.

But _Gaignon’s_ government was too arbitrary; he wished to revive a number of obsolete privileges; and many musicians, especially the organists, successfully opposed his attempts, and _Gaignon_ in disgust resigned his royal dignity, which was finally abolished in 1773.

The second bridge, above mentioned, is a matter of some surprise; for it is difficult to conceive what could have been the use of the finger-board, or indeed of the neck altogether, if the sounds of the strings were fixed between the two bridges. I have myself met elsewhere with drawings of this kind, the execution of which, however, is so bad and indistinct, that it is not easy to guess the purport of the little cross-stroke which _Millin_ takes for a second bridge. Might it not be possible to explain the matter in a more obvious manner?--The sounding-holes in violins (our present _f_ holes) have in former times often changed their figure and place, until the shape of an _f_ was universally adopted. Sometimes they were in the form of a crescent; sometimes they were contrived in the sides of the instrument, either above or below. In short, their shape and place depended entirely on the fancy of the constructor: I therefore think it probable that the little cross-stroke may have been meant to represent, not a second bridge, but a sounding-hole.

WORCESTER MUSICAL FESTIVAL.

The hundred and tenth meeting of the choirs of Gloucester, Hereford, and Worcester, for the benefit of the Widows and Orphans of Clergymen of the three dioceses, will be held at Worcester on Tuesday, Wednesday, Thursday, and Friday, the 24th, 25th, 26th, and 27th of September next. There will be, in all, seven performances--four in the Cathedral, on the mornings of the days before mentioned, and three Grand Miscellaneous Concerts at the College Hall, on the evenings of Tuesday, Wednesday, and Thursday.

We feel happy in being able to make this announcement, because, from the great loss with which several of the late triennial meetings have been attended--(the receipts not having been equal to the expenditure, and consequently leaving a large sum to be advanced by the stewards, to make good the deficiency)--it was for some time very doubtful whether these musical performances, which have been so long established, and from which, we believe, all other of our provincial musical festivals have emanated, would, or would not, be continued. To prevent, however, the abandonment of these most respectable and useful meetings--(we say _useful_, because although, as we have before stated, a heavy loss has sometimes fallen on the stewards, yet the ends of the establishment have not been defeated, for the total amount of donations, and the collection made each day of the performance at the doors of the cathedral, amounting, on the average, annually to between 700_l._ and 800_l._, is invariably, and without the least deduction towards the expenses, distributed amongst the several claimants--we say, then, in order to keep up these respectable and useful meetings)--and that the objects of the charity may not suffer from their being discontinued, the following distinguished personages have most willingly consented to take upon themselves the office of steward for the ensuing meeting: Lord Foley, Lord Southwell, Sir Offley Wakeman, Bart., Colonel Russell, M.P., Osman Ricardo, Esq., Joseph John Martin, Esq., Elias Isaac, Esq., John Taylor, Esq., the Bishop of Worcester, the Venerable Archdeacon Onslow, Hon. and Rev. James Somers Cocks, Rev. John Davison, Rev. John Peel, and the Rev. Thomas Pearson.

To the foregoing list we have no doubt that other names will yet be added.

The music to be performed in the cathedral will be chosen from the works of Handel, Mozart, Beethoven, Cherubini, and other masters of the greatest celebrity, including selections from the following Oratorios, which may justly be ranked amongst the most highly classical productions, viz.: The _Creation_ (Haydn); _Mount Sinai_ (the Chevalier Neukomm); _The Last Judgment_ (Spohr); the _Deluge_, a new work, held in the highest estimation in Germany, no part of which has hitherto been performed in this country (Schneider); and, though last not least, _Palestine_, the masterly production of our countryman Dr. Crotch. This augurs well for the undertaking; and that the music so judiciously selected may lose none of its charms in the performance, the following principal vocalists are engaged: Madame Malibran, Miss Clara Novello, and Mrs. W. Knyvett; Messrs. Braham, Vaughan, W. Knyvett, Ed. Taylor, and Mr. Phillips; with a strong and efficient chorus. Signor Donzelli is also engaged, whose splendid voice will no doubt prove a great acquisition at the evening concerts. Mr. F. Cramer will lead the band, and be supported by Messrs. Moralt, Marshall, Loder, R. Ashley, Lindley, Dragonetti, Nicholson, Cooke, Willman, Mackintosh, Platt, Harper, &c. &c. The repieno performers will be principally selected from the Philharmonic Concert; and to make the arrangements as perfect as possible, M. de Beriot is engaged as concerto player, who, we believe, is allowed, by all good judges, to be the most finished performer on the violin in Europe.

From this brief outline, it appears to no that the conductor (Mr. Clarke) has left nothing undone that is likely to contribute to the success of the meeting; and if novelty, combined with excellence, has lost none of its usual attraction, we predict that the meeting will be fully attended.

THE UTILITY OF MUSIC TO SAILORS.