Chapter IV: Part III

ON THE DEVELOPMENT OF CLASSICAL MUSIC FOR THE VIOLIN AND OTHER STRINGED
INSTRUMENTS.

The term “classical” as applied to music is a composition against which the destroying hand of time has proved powerless (Riemann), in other words, works which have been handed down to us by the old composers, and which at the present day are recognised as models of purity in musical art, are now considered as classical compositions.

Coeval with that remarkable epoch when the violin assumed its present admirable and unalterable form, which culminated with the closing year of the sixteenth century, is the dawn of musical composition for the instrument, and the musicians of the time vied with each other in producing works calculated to raise the violin from its hitherto subordinate rank as a mere accompanist to its proper position as a solo instrument, thereby ensuring prominence and with it rapid popularity.

It is to Italy that we have to turn for any certain knowledge of the earliest classics, and the first to claim our attention is Arcangelo Corelli (1655-1713). He was not only the founder of the Roman school, the earliest known, but probably the first to definitely fix the form of the sonata. In those times two kinds of sonatas were recognised, called respectively, _sonate da camera_, i.e., chamber sonata, and _sonata da chiesa_, or church sonata. The first-named consisted of a series of dance measures (allemande, courante, saraband, gigues, etc.), systematically arranged, whilst the latter was a subject treated in fugal and other learned styles, and otherwise rendered more in keeping with the dignity of the place in which such compositions were performed. In the time of Corelli, the sonata usually commenced with an _adagio_, and after two or three other movements finished with an _allegro_ or _presto_.

Corelli as a composer showed a great partiality for this class of music, and his compositions rapidly spread throughout the length and breadth of Europe. Tartini caused all his pupils to study the works of Corelli. There is not, it is true, evidence of a great amount of musical erudition, but what has conferred a remarkable longevity on his works is his melodic simplicity and pure harmony. His works are forty-eight sonatas for two violins and bass (Op. 1-4), produced 1683-94; twelve sonatas for violin and bass (Op. 5), 1700; twelve “concerti-grossi,” for two violins and ’cello as principal instruments, and two violins, viola and bass as accompanying instruments.

Such a gifted musician as Corelli was not likely to quit this life without leaving the impress of his artistic feelings upon those who sought his instruction, and we have ample proof of the great influence he exerted in the names of G. B. Somis (1676-1763) F. Geminiani (1680-1762), and Locatelli (1693-1764). Somis was a close follower of his master, and it is quite easy to believe this on a comparison of their respective sonatas. Geminiani asserted more of his individuality, and this, coupled with the fact of his having received theoretical instruction from Alessandro Scarlatti, one of the most learned musicians of the day, no doubt contributed to his making a decided advance on the violin music of the time. Notwithstanding his increased knowledge as a theorist, and his greater ability as an executant, Geminiani laboured long to bring into prominence and popularity the artistic conceptions of his renowned violin master. His first effort in this direction was made in 1726 (Geminiani being then in London), when he formed Corelli’s first six solos into concertos, a style of composition then recently called into existence, shortly afterwards treating another six in a similar manner. Others underwent the same process, but to these were added additional parts. Geminiani was one of the first in the field of musical expression, even sacrificing strict time to obtain it.

Locatelli furnishes us with another example, not only of the advance of technique, but of the progress of musical culture. His works called “The Labyrinth,” “The New Art of Modulation” and “Harmonic Contrasts” are alone sufficient to establish him as a great reformer in the musical world of his time. As we have elsewhere observed, Torelli is credited with having fixed the form of the concerto, and a few lesser lights, such as the two Veracinis and Alberti, live to this day by their works. The next master whose influence marked another step in the development of classical music for the violin was Guiseppe Tartini (1692-1770). Here we have a man destined for all time to stand out as one of the most indefatigable pioneers of the violin. In his quadruple capacity as a performer, composer, theorist and teacher, his influence was far-reaching, and, what is more, it has been transmitted down to the present time. As a composer, his style of modulation was a new thing, and his performance came as a revelation to those who heard him for the first time. His “Devil’s Sonata” is well-known to all violinists.

We now arrive at a name which brings us in touch with other members of the fiddle family. Luigi Boccherini (1740-1806), who is justly considered the father of chamber music for stringed instruments. It was he who, in 1768, gave definition to the form of the trio, the quartet and the quintet; forms which have served for the models of all subsequent composers. In the trio he was followed by Fiorillo, Cramer, Giardini, Pugnani and Viotti, and in the quartet by Mozart. His other styles were elaborated by Haydn and Beethoven. Boccherini was a prolific composer.

Three names should here be mentioned in connection with the concerto, in whose hands it underwent great improvement. They are Pugnani (1728-1798), Jarnowick (1745-1804), and Mestrino (1750-1790).

The next and last great representative of the Italian school, and one who largely influenced the French school, was Giovanni Battista Viotti (1755-1824), a pupil of Pugnani. The name of Viotti stands out with peculiar lustre, in that with him the concerto arrived at a degree of perfection hardly capable of being exceeded. The same may be said of his trios and duos, both of which should be studied and cultivated by every young violin aspirant. In Viotti the Italians have certainly produced a fitting tailpiece to a long line of brilliant composers for the violin, a line in which no artistic hiatus appears from the time of Corelli.

* * * * * * * *

The first to establish a French school was Jean Marie Leclair (1679-1764). Although he received his instructions from Somis, the Italian, and became thoroughly imbued with Italian tastes and ideas, he laboured incessantly, on his return to France, with the object of establishing a distinct school for his country, and in many respects he was successful. In 1723 he published a series of solos, and soon afterwards six sonatas for two violins and bass; also duos, trios and concertos.

The next to claim attention among the French classical composers is Pierre Gavinies (1728-1800). He was the first professor at the Paris Conservatoire, then but recently formed, and the compositions he contributed testify to considerable musical culture: they are of great difficulty, and are, for the most parts, sonatas and concertos.

We now introduce three names who greatly elaborated the forms fixed by the Italians, Rode (1774-1830), Kreutzer (1766-1831) and Baillot (1771-1842). This almost inseparable trio are so well known to the student, that a lengthy comment would be superfluous. They were all in turn professors at the Paris Conservatoire, and the joint production of their great method for the violin, coupled with their other educational works, place them as prominent classical writers. Rode is known by his concertos, caprices and airs with variations. Kreutzer’s forty studies are a household word with the earnest student, not to mention his concertos, duets, trios and quartets; and the same may be said with regard to Baillot’s concertos, variations, and a host of other pieces.

* * * * * * * *

We now pass on to consider shortly what the Germans have handed down. Like other countries, they have been largely indebted to the Italians; and, in this connection, it is curious to note that with the rise of music in Germany we find a gradual decadence of the art in Italy.

In Germany we have to look to the great composers rather than the great violinists for the most important classical works for the violin.

It is unnecessary to notice anything anterior to the time of the great J. S. Bach (1685-1750); in fact, very little took place in the nature of published works.

That Bach possessed a sound perception of the capabilities and resources of the violin is amply demonstrated in all his writings for that instrument. His acquaintance with the finger-board is only excelled by his knowledge of the keyboard. Amongst the almost innumerable works of this greatest musical classic that has ever lived, I would mention his three partitas and three sonatas for violin (without accompaniment). The Chaconne in the D minor Partita is a remarkable instance of Bach’s immense powers of perception.

The first real founder of a German school was Leopold Mozart (1719-1787), father of the great W. A. Mozart. He is not known by his instrumental compositions, but his claim to notice exists in the production of his “Method” for the violin, a work which not only survived several editions, but assumed the garb of several languages.

The next to call for notice is Joseph Haydn (1732-1809), a most prolific composer, especially for the string family. Attached to the service of Prince Esterhazy, a patron immensely rich and passionately fond of music, Haydn enjoyed a combination of circumstances all concurring to give opportunity for the display of his genius. It has been vouchsafed to few musicians to pursue their art under such favourable conditions as Haydn. He did not compose to please either publisher or the public. So long as his patron was satisfied with his productions, things went on merrily with him.

Let us see what Haydn did for the instrument he loved so much. Here they are—eighty-three quartets, three concertos, twenty-one trios for two violins and bass, six violin solos.

No review, however short, could lay claim to completeness without mention of the following—viz., Mozart, Weber and Beethoven. To this noble trio violinists owe much. It is, of course, quite beyond the province of this work to even enumerate the many compositions from the pens of these immortal musicians in which the violin took part, but I would call attention to Beethoven’s glorious Concerto in D, Op. 61, and his two lovely Romances in G and F respectively.

Another great German musician who exercised considerable influence on compositions of classic mould was Louis Spohr (1784-1859). His great fame as a composer, combined with his reputation as a violin virtuoso of the highest order, places him in a conspicuous position in the history of music. The works of Spohr are probably so well known that no useful purpose can be served in recounting their great merits. Suffice it to say they are of the highest possible pitch of excellence, and require more than ordinary technical ability to do them justice. Considered only as a composer, he has been indefatigable in the production of every style of music, and he was especially happy in that for the strings. His beautiful D minor Concerto is one of the finest examples of this class of music to be met with, and its first introduction by the great master himself made a great sensation. As one of Spohr’s commentators truly said, “Mozart had written solid and simple concertos, in which the performer was expected to embroider and finish the composer’s sketch, and Beethoven’s concertos were so written as to make the solo player merely one of the orchestra. But, as Mozart raised opera to a higher standard, so Beethoven uplifted the ideal of the orchestra, so Spohr’s creative force as a violinist and writer for the violin has established the grandest school for this instrument, to which all the foremost contemporary artists acknowledge their obligations.”

Before taking leave of the German school I would mention two other names—Joseph Mayseder and Kalliwoda, both of whom contributed much that is good, and their works consequently attained wide popularity.

Let us now turn to our own country. We have not, it must be admitted, occupied a front rank as composers of violin music, hence the scarcity of classical works handed down to us; but let us hasten to add, we have produced the finest critics in the world, and, what is more, we are thoroughly well posted up in all the best pieces that have emanated from the thoughts of the greatest composers.

One of the earliest who wrote for the violin was one Rogers, who, in the year 1653, wrote airs in four parts for violins. He was followed by John Jenkins, who wrote twelve sonatas for two violins and a bass, printed in 1664, which were the first sonatas written by an Englishman.

James Sherard also composed several sonatas in the beginning of the last century, and they are said to bear such a resemblance to Corelli’s that they might have been taken for that composer’s.

The compositions of Handel materially advanced the violin in this country, and the establishment by him of Italian opera was the means of bringing us in touch with the great Italian performers and writers.

FOOTNOTES

[1]That Cremona instruments were held in high estimation during the
reign of Charles II, is proved by the following entry in the
Enrolments of the Audit Office, 1662, vol. vi: “These are to require
you to pay, or cause to be paid to John Bannister, one of his
Majesties musicians in ordinary, the some of fourty poundes for two
cremona violins, by him bought and delivered for his Majesties
service as may appear by the bill annexed, and also tenn pounds for
strings for two years, ending 24th June, 1662. And this shall be your
warrant, etc.”

[2]In early English times the word “crowd” was often used instead of
fiddle.

[3]This Act was repealed by 12 Ann Stat. 2, C. 23.

[4]James Sherard, an Englishman, also composed several sonatas, so
nearly equal to Corelli’s, and resembling them so perfectly in style,
that they might have been taken for that composer’s.

[5]Michael Corette was an organist in Paris in 1738. He wrote several
treatises on music.

INDEX.

Addison, William, 90.
Aireton, Edmund, 91.
Albani, Matthias, 45.
——, Matthias (son), 45.
Albioni, 31.
Aldred, 11.
Amati, Andreas, 32, 46.
——, Anthony, 32, 46.
——, Hieronymus, 32, 46.
——, Nicolas, 32, 47.

Bach, 113.
Bachmann, Carl Ludwig, 72.
Baillot, 39, 112.
Baltazarini, 36, 39.
Baltzar, Tho., 23, 42.
Banks, Benjamin, 92.
——, Benjamin (son), 94.
——, James and Henry, 94.
Bannister, John, 13.
Barrett, John, 95.
Beethoven, 110, 115.
Benda, Francis, 43.
Bente, 32, 72.
Bergonzi, Carlo, 48.
——, Michael Angelo, 49.
Betts, John, 95.
Boccherini, Luigi, 109.
Bolles, 11.
Boquay, Jacques, 83.
Buchstetter, Gabriel David, 72.
——, Josephus, 73.
Buddiani, 32.

Cappa, Giofredo, 49.
Cervette, 100.
Chanot, François, 87.
Chaucer, 15.
Choron, 37.
Cole, Thomas, 90.
Corelli, A., 28, 31, 106.
Corette, Michael, 37.
Cramer, William, 43, 110.
Cross, Nathaniel, 101.
Crossdill, 100.

De Beriot, 39.
Dodd, Thomas, 97.
Dubourg, 42.
Duke, Richard, 97.

Eberle, Ulric, 73.

Feltham, Owen, 16.
Fendt, Bernhard, 97.
Fétis, 2.
Forster, William, 97.
——, William (son), 100.

Gagliano, Allessandro, 50.
——, Antonio, 51.
——, Ferdinando, 51.
——, Genaro, 50.
——, Giovanni, 51.
——, Guiseppe, 51.
——, Nicolas, 51.
——, Raffael, 51.
Gavinies, Pierre, 39, 111.
Geminiani, F., 28, 34, 107-8.
Giardini, 35, 110.
Grancino, Giovanni Battista, 52.
——, Paolo, 52.
Guadagnini, Giovanni Battista, 53.
——, Guiseppe, 53.
——, Lorenzo, 52.
Guarnerius, Andreas, 54.
——, Guiseppe, 53.
——, Joseph, 32, 55.
——, Pietro, 58.
Guhr, 43.

Habeneck, 39.
Handel, 117.
Haydn, 110, 114.
Helmer, Charles, 73.
Hoffmann, Martin, 73.

Jarnowick, 34, 110.
Jauch (Jaug), 74.
Jay, 10.
Jenkins, John, 117.

Kennedy, Alexander, 100.
——, John, 100.
——, Thomas, 101.
Kiesewetter, 43.
Klotz, Egidius, 74.
—— family, 44, 74.
——, Mathias, 75.
——, Sebastian, 75.
Kreutzer, 39, 112.

Lafont, 39.
Lahousaye, 39.
Landolphus, Carlo, 59.
Leclair, Jean Marie, 39, 111.
Lindley, Robert, 100.
Locatelli, 107-8.
Lott, John Frederick, 97.
Lully, J. B., 36.
Lupot, François, 87.
——, Nicholas, 40, 85.

Mace, Thomas, 10.
Maggini, Giovanni Paolo, 32, 59.
——, Pietro Sancto, 32.
Marietto, 31.
Mariani, 32.
Mayseder, 43.
Mell, Davis, 25.
Mestrino, 34, 110.
Molique, 43.
Montagnani, Dominic, 61.
Mozart, Leopold, 43.
——, W. A., 110.

Norman, Barak, 101.

Otto, 80.

Paganini, 58.
Pamphilon, Edward, 90.
Peacham, 17.
Pemberton, 90.
Pepys, 26.
Playford, John, 7.
Pugnani, 35, 110.

Rauch, Thomas, 76.
Rayman, Jacob, 91.
Reade, Charles, 33.
Rode, 39, 112.
Rogers, 117.
Ross, 11.
Rugeri, Francesco, 62.
——, Giambatista, 62.
Ruppert, 76.

Salo, Gasparo da, 13, 32, 63.
Scheinlein, Matthias Frederick, 77.
Seraphin, Sanctus, 64.
Sherard, James, 31.
Smith, 11.
Solomon, J., 43.
Somis, G. B., 107.
Spohr, Louis, 43, 115.
Stainer, Jacobus, 43, 77.
Stamitz, John, 43.
Storioni, Lorenzo, 65.
Stradivarius, Antonius, 28, 32, 65.
——, Francesco, 69.
——, Omobono, 69.
Strutt, 14.

Tartini, Guiseppe, 31, 34, 109.
Techler, David, 70.
Testore, Carlo Antonio, 71.
——, Carlo Guiseppe, 71.
——, Paolo Antonio, 71.
Torelli, 31.
Tywersus, 40.

Urquhart, 90.

Valentini, 31.
Veracini, 28.
Viotti, 34, 110.
Vuillaume, John Baptiste, 40, 87.

Wamsley, Peter, 102.
Weber, 115.
Wise, Christopher, 90.
Wood, Anthony, 18.

_Printed by The New Temple Press, Norbury Crescent, London, S.W.16._

Transcriber’s Notes

--Copyright notice provided as in the original—this e-text is public
domain in the country of publication.

--Provided an original cover image, for free and unrestricted use with
this Distributed Proofreaders eBook.

--Silently corrected palpable typos; left non-standard spellings and
dialect unchanged.