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.
ADVERTISEMENTS.
_ELEVENTH YEAR OF ISSUE._
_The Largest Circulation in the World of any paper amongst Violinists._
THE STRAD
_A Monthly Journal for Professionals and Amateurs of all Stringed Instruments played with the Bow._
Published on the First of every Month. Price 2d., Annual Subscription, Post Free, 2s. 6d.
=THE STRAD= is the only recognised organ of the string family and has subscribers in every country of the civilised world. Our circulation has increased to so great an extent that we are enabled to engage as contributors
=THE LEADING WRITERS in the VIOLIN WORLD=.
_The following eminent Authors, Critics and Players are writing for the paper_: BASIL ALTHAUS, ESQ., ARTHUR BROADLEY, ESQ., LANCASTRIAN, ANDRE LA TARCHE, ESQ., ROBIN H. LEGGE, ESQ., J. MATTHEWS, ESQ., WALTER H. MAYSON, ESQ., REV. MEREDITH MORRIS, HORACE PETHERICK, ESQ., DR. T. L. PHIPSON, E. VAN DER STRAETEN, ESQ., &c., &c.
=THE STRAD= contains technical articles by the leading artists.
=THE STRAD=, in the Answers to Correspondents column, gives minute information on every detail connected with the Violin by Experts.
=THE STRAD= gives all the important doings of Violinists at home and abroad all the year round.
=THE STRAD= gives early critical notices of all important New Music for Stringed Instruments, with numbers to show the grade of difficulty of every piece.
=THE STRAD= gives every month a beautifully executed portrait on fine art paper, of some leading celebrity in the violin world, together with a biographical sketch.
Now appearing,
=VIOLIN MAKING.= BY WALTER H. MAYSON.
_Copiously Illustrated._
This important work goes minutely into every detail of the Luthier's Art, and is the only work on Violin Making that has ever been actually written by a Violin Maker.
This series of articles commenced in the January issue, 1900.
All Subscriptions, Advertisements, etc., to be addressed to the Manager, HARRY LAVENDER, 3. Green Terrace, Rosebery Avenue, London, E.C.
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD" LIBRARY, No. I._
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
Technics of Violin Playing ON JOACHIM'S METHOD
BY CARL COURVOISIER.
With Folding Plates, Containing Fifteen Illustrations.
LETTER FROM DR. JOACHIM [COPY].
MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have sent me, and have to congratulate you sincerely on the manner in which you have performed a most difficult task, _i.e._, to describe the best way of arriving at a correct manner of playing the violin.
It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students.
Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
JOSEPH JOACHIM.
Berlin, November 3rd, 1894.
The New and Revised Edition of "Technics of Violin Playing" issued by THE STRAD is the only authorised edition of my work. The several English editions which have all appeared without my knowledge are _incomplete_ and _faulty_.
CARL COURVOISIER.
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD" LIBRARY, No. II._
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
HOW TO STUDY THE VIOLIN
By J. T. CARRODUS
CONTENTS.
Strings and Tuning. The Bow and Bowing. Faults and their Correction. Scales and their Importance. Course of Study. Advice on Elementary Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr. Spohr's testimonial to Carrodus.
"An interesting series of articles 'How to Study the Violin,' which Carrodus contributed to THE STRAD, and completed only a week or two before his death, have now been collected in cheap book form. The technical hints to violin students, which are practical, plainly worded, and from such a pen most valuable."--_Daily News._
"But a few weeks before his sudden death the most distinguished of native violinists completed in THE STRAD a series of chats to students of the instrument associated with his name. These chats are now re-issued, with a sympathetic preface and instructive annotations. All who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by Carrodus to render every detail as clear to the novice as to the advanced pupil. Pleasant gossip concerning provincial festivals at which Carrodus was for many years 'leader,' of the orchestra, ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed."--_Daily Chronicle._
"It is surely, hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late Mr. Carrodus, so that it only remains to state that the 'Recollections' make delightful reading, and that the book, as a whole, is as entertaining as it is instructive. The value of the _brochure_ is enhanced by an excellent portrait of Mr. Carrodus, as well as of a number of other violin worthies, and the printing, paper, and get up generally are good as could possibly be."--_Musical Answers._
LONDON: "STRAD" OFFICE, 3, GREEN TERRACE, ROSEBERY AVENUE, E.C.
_"THE STRAD" LIBRARY, No. III._
_Crown 8vo., Cloth 2/6, Post Free 2/9._
THE BOW
Its History, Manufacture and Use
BY HENRY SAINT-GEORGE.
With Full Page Illustrations (exact size) by Photo Process.
MONS. EMILE SAURET writes--"I have read it with great interest, and think that it supplies a real want in giving musicians such an excellent description of all matters referring to this important instrument."
SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and interesting book. You are quite successful and all the artists and amateurs are indebted to you for a so exact and correct '_Texte_' on the subject."
ADOLF BRODSKY writes--"I am delighted with the book and find it very instructive, even for those who think to know everything about the bow. It is very original and at times very amusing. No violinist should miss the opportunity to buy it."
THE TIMES.--"A useful treatise on the Bow, in which the history, manufacture and use of the bow are discussed with considerable technical knowledge."
DAILY TELEGRAPH.--"To the student there is much of interest in the work, which has the advantage of being copiously illustrated."
DAILY NEWS.--"This book seems practically to exhaust its subject."
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD" LIBRARY, No. IV._
_Crown 8vo., Cloth 5/-, Post Free 5/4._
CELEBRATED VIOLINISTS, PAST AND PRESENT
_Translated from the German of_ A. EHRLICH.
_And Edited with Notes and Additions by_ ROBIN H. LEGGE.
_WITH EIGHTY-NINE PORTRAITS._
PRESS NOTICES.
"Those who love their fiddles better than their fellows, and who treasure up every detail that can be found and recorded about their favourite and cherished players will not fail to provide themselves with a copy of this book."--_Musical Opinion._
"This book of 280 pages is a most interesting and valuable addition to the violinist's library. It contains 89 biographical sketches of well-known artists, ancient and modern, of all nations. This is not intended to be a perfect dictionary of violinists; the aim of the Editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players, and we must concede that no name of the first importance has been omitted. Germany is represented by 21 names, Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known ladies, such as Teresina Tua, Therese and Marie Milanollo, Lady Halle, Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most agreeable reading to the numerous army of violinists, both professionals and amateurs, and after careful examination we can find nothing but praise for this translation into English of a book well-known on the Continent."--_The Piano, Organ and Music Trades Journal._
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD" LIBRARY, No. V._
_Crown 8vo., Cloth 2/6, Post Free 2/9._
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 work, tutors and studies not excepted, which presents so much valuable material, so much that is absolutely to the point, avoiding--I might say, on principle--all that is superfluous and dispensable. Every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master.
I congratulate you and ourselves most heartily on the new violoncello book. With kind regards,
Yours most sincerely, DAVID POPPER.
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD LIBRARY," No. VI._
_Crown 8vo., Cloth, 2/6, Post Free 2/9._
VIOLIN PLAYING
BY JOHN DUNN
CONTENTS
INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on the Choice of a Teacher--Some Tricks of pretending professors 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 to produce a good tone--Style and Expression.
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
_"THE STRAD" LIBRARY, No. VII._
_Crown 8vo, Cloth, 2/6, Post Free 2/9._
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.
LONDON: "STRAD" OFFICE, 3. Green Terrace, Rosebery Avenue, E.C.
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