The Violin. Dubourg George. Читать онлайн. Newlib. NEWLIB.NET

Автор: Dubourg George
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himself under the same character to the King of Naples. He died, after a lingering illness, at Naples, in 1802. His excellence in practice was chiefly evinced in quick movements: he was rarely inclined to exhibit in an adagio.31 An anecdote in proof of his professional assiduity is recorded by Gerber. When he entered on his engagement at Stuttgard, in 1762, he found a superior there, in the person of Nardini. This circumstance roused all his energies, which speedily took a settled purpose. He requested the Duke to allow him a year’s leave of absence, to travel; instead of which, he retired, diligent, but disingenuous, to a secluded village, and applied himself indefatigably to his instrument. At the end of the accorded absence, he returned from his pretended journey, “clarior è tenebris,” and shone forth with such effect, that Nardini gave up the contest, and returned to Italy.

      With regard to the compositions of Lolli, it is known that he never wrote more than the theme, and obtained from other hands the bass, or the parts for the several instruments: yet it is curious to note that he gives difficult passages, of considerable compass, to be executed on the fourth string only. There are extant various sets of his Solos, a Preceptive Treatise on the Violin, &c.

      Gaetano Pugnani, first violinist to the King of Sardinia, was born at Turin, in the year 1728. At a very early age, he began to practise the instrument on which he was destined to excel. His first tutor was Somis, his countryman, already named as one of the most distinguished scholars of Corelli. After displaying his extraordinary abilities at the Sardinian Court, Pugnani went to Paris, and received the highest applause at the Concert Spirituel, as an admitted rival of J. Stamitz, Gavinies, and Pagin.

      Pugnani afterwards visited many parts of Europe, and remained a considerable time in England. It was here that he composed a great portion of his violin music. In 1770, he returned to Italy; and, at Turin, founded a school for violinists, as Corelli had at Rome, and Tartini at Padua. From this practical academy issued the first performers of the latter part of the eighteenth century; among whom were Viotti, Bruni and Oliveri. Pugnani’s style of execution is recorded to have been broad and noble, and characterized by that commanding sweep of the bow which afterwards formed so grand a feature in the performance of Viotti; the germs of whose high qualities are clearly traceable to his master. It has been remarked, that all the pupils of Pugnani proved excellent leaders. To lead well, was his most distinguishing excellence; and he possessed the art of transmitting it to others. In the orchestra, says Rangoni, he commanded like a general in the midst of his soldiers. His bow was the baton of authority, which every performer obeyed with the most scrupulous exactitude. With a single stroke of this bow, he could correct the erroneous, or animate the lethargic. He even indicated to the actors the tone and sentiment in which they ought to deliver, their respective melodies, and brought every thing to that harmony of expression, without which the operatic scene fails of its most powerful charm. His strong and acute mind possessed with the great object to which every leader ought to attend, he promptly and powerfully seized all the grand points, the character, the style and taste of the composition, and impressed it upon the feelings of the performers, both vocal and instrumental.

      Pugnani, in addition to the display of brilliant and powerful abilities as a performer, gave, in his compositions, evidence of a free and elegant imagination. His several instrumental pieces, which consist of solos, trios, quartetts, quintetts and overtures, were published variously, in London, Amsterdam and Paris. On the Continent, they are still in some request, but are become very scarce. They display an eloquence of melody, and an animated and nervous manner. The ideas are natural, both in themselves and in their succession; and, however pointed and striking, never desert the style of the motivo. The operas of this distinguished master, seven or eight in number, were all highly successful; and there is scarcely a theatre in Italy, at which some of them have not been performed.

      Amongst the anecdotes that have been related of Pugnani, are the following. In his early youth, but when already much advanced on the violin, feeling far from satisfied with the degree of excellence he had attained, he resolved to quit Paris for Padua, in order to see Tartini, to consult him on his playing, and to improve himself under his instruction. Desired by that great master to give him a specimen of his performance, he requested of him, beforehand, to express frankly his opinion of his style and manner. Before he had played many bars, Tartini suddenly seized his arm, saying, “Too loud, my good friend; too loud!” Pugnani began afresh; when, arriving at the same passage, his auditor again stopped him short, exclaiming, “Too soft, my good friend; too soft!” He immediately laid down his instrument, and solicited Tartini to admit him among his scholars. His request was granted; and, excellent violinist as he really already was, he began his practice de novo, and, under the guidance of his new instructor, soon became one of the first performers of his time. Not long after this, at the house of Madame Denis, Pugnani heard Voltaire recite a poetical composition, in a style that enchanted him; and he, in his turn, at the lady’s request, began to perform on his violin; when, vexed at the interruption and ill-breeding of Voltaire’s loud conversation,32 he suddenly stopped, and put his violin into the case, saying, “M. Voltaire fait très-bien les vers, mais, quant à la musique, il n’y entend pas le diable.” Once, in performing a concerto before a numerous company, he became so excited, on arriving at an ad libitum passage, and so lost in attention to his playing, that, thinking himself alone, he walked about the room, “turbine raptus ingenii,” till he had finished his very beautiful cadence.

      Pugnani died at the city of his birth, in 1798. The violinist, Cartier, has written his eulogium in few words, but of strong import: – “He was the master of Viotti.”

      Giovanni Mane Giornovichi (or Giarnovick, or Jarnowick, as he has been variously called) was born at Palermo, in 1745, and had Antonio Lolli for his preceptor. Resorting to Paris for his first public display, he appeared at the Concert Spirituel, with indifferent success, but, by perseverance, soon turned the scale of opinion in his favour so effectually, that, during a space of ten years, the style of Giornovichi was in fashion in the French capital. His sway there was terminated by the superior power of Viotti, and he quitted France about the year 1780, proceeding to Prussia, where, in 1782, he was engaged as first violin in the Royal Chapel of Potsdam. He was, subsequently, for some time in Russia.33 Between the years 1792 and 1796, he was in high vogue in various parts of England, but lost his popularity through a dispute with an eminent professor, in which the sense of the public went against him. A residence of some years in Hamburgh, a shorter stay at Berlin, and then a change to St. Petersburgh, brought him to the end of his career. He died of apoplexy, in 1804.

      The eccentricity which marked the character of this artist, is shown in various anecdotes that have been current respecting him. On one occasion, at Lyons, he announced a concert, at six francs a ticket, but failed to collect an audience. Finding the Lyonnese so retentive of their money, he postponed his performance to the following evening, with the temptation of tickets at half the price. A crowded company was the result; but their expectations were suddenly let down by the discovery that “the advertiser” had quitted the town sans cérémonie. At another time, being in the music-shop of Bailleux, he accidentally broke a pane of glass.

      “Those who break windows must pay for them,” said Bailleux. “Right,” replied the other; “how much is it?” “Thirty sous.” “Well, there’s a three-franc piece.” “But I have no small change.” “Never mind that,” Giornovichi replied; “we are now quits!” and immediately dashed his cane through a second square – thus taking double panes to make himself disagreeable.

      The authoress of the “Memoirs of the Empress Josephine” has furnished an anecdote connected with his sojourn in London. He gave a concert, which was very fully attended. On the commencement of a concerto which he had to perform, the company continued conversing together, while their whispering was intermingled with the clattering of tea-cups and saucers – for it was then customary to serve the company with tea throughout the evening, during the performance as well as in the intervening pauses. Giornovichi turned to the orchestra, and desired the performers to stop. “These people,” said he, “know nothing about music. I will give them something better suited to their taste. Any thing is good enough for drinkers of warm water.” So saying, he immediately struck


<p>Footnote_31</p>

It was remarked, while he was in England, that his execution was astonishing, but that he dealt occasionally in such tricks as tended to excite the risible faculty, rather than the admiration, of his auditors.

<p>Footnote_32</p>

Voltaire’s contempt for bad playing seems to have equalled his indifference towards good, as may be evidenced in the following lines from his caustic pen: —

toi, dont le violon Sous un archêt maudit par Apollon D’un ton si dur a ráclé, &c.

<p>Footnote_33</p>

Michael Kelly, who heard this artist at Vienna, on his return from Russia, makes the following mention of him: —