Footnote_6
“It is a kinde of disparagement to be a cunning fiddler.” —
Footnote_7
The lute, of which hardly the shape, and still less the sound, are now known, was, during the 16th and 17th centuries, the favourite chamber instrument of every nation in Europe.
Footnote_8
According to Strutt, the name of
They had menstrelles of moche honours, Fydelers, sytolyrs, and trompoters.
“I remember also (says Strutt) a story recorded in a manuscript, written about the reign of Edward III, of a young man of family, who came to a feast, where many of the nobility were present, in a vesture called a coat bardy, cut short in the German fashion, and resembling the dress of a minstrel. The oddity of his habit attracted the notice of the company, and especially of an elderly knight, to whom he was well known, who thus addressed him: “Where, my friend, is your fiddle, your ribible, or suchlike instrument belonging to a minstrel?” “Sir,” replied the young man, “I have no crafte nor science in using such instruments.” “Then,” returned the knight, “you are much to blame; for, if you choose to debase yourself and your family by appearing in the garb of a minstrel, it is fitting you should be able to perform his duty.”
Footnote_9
The miserable state of itinerant fiddlers, and other musicians, is described by Putenham, in his
Footnote_10
The learned Wilhelm Grimm, who quotes this curious record from
Footnote_11
The readiness of an apothecary to
Footnote_12
The viol, less powerful and penetrating than its supplanter, the violin, was not without its recommendatory qualities. Hawkins speaks of “the sweet and delicate tone which distinguishes the viol species.” Old Thomas Mace, who wrote when the viol was declining in fashion, was emphatic in its praise. “Your best provision,” says he, “and most compleat, will be a good
Footnote_13
According to this loose diction of honest Anthony’s, it would appear as if Troylus and Achilles had exhibited a rivalry on the violin, like Lafont and Paganini!
Footnote_14
That the Italians (says M. Choron) have perfected every sort of vocal composition, is generally agreed; but a fact which is apt to be overlooked, is that they have been the instructors of all Europe in instrumental composition, and that to them we are indebted for the first and most esteemed models in that department of the art. It is the Italians who invented all the various kinds of instrumental music which we have called single pieces or solos, from the sonata to the concerto. In violin music, Corelli, Tartini, and their pupils, preceded the composers of all the other nations of Europe, to whom they have served as models. The same may be said with regard to the harpsichord, from Frescobaldi to Clementi. All other single pieces have been constructed on the model of the compositions for the two instruments just named.
Footnote_15
At the time of Corelli’s greatest reputation, Geminiani asked Scarlatti what he thought of him. The man of hard learning replied that “he found nothing greatly to admire in his composition, but was extremely struck with the manner in which he played his concertos, and his nice management of his band, the uncommon accuracy of whose performance gave the concertos an amazing effect, even to the
We may smile a little at Scarlatti’s criticism; but the smile may extend at the same time to the quaint precision of the Corellian custom it notices: – a custom which suggests the idea of military mechanism, as well as military time; or rather, which reminds us, in a still more lively manner, of the old nursery pæan.
Here we go up, up, up, And here we go down, down, downy!
Scarlatti (it may be here observed) was the first who introduced into his airs, accompaniments for the violin, as well as bits of symphony; – thus both enriching the melody, and giving relief to the singer.
Footnote_16
The only English editions of the above-named works are those published by Messrs. Robert Cocks and Co.; one of which editions is printed from the original plates of copper, which formed part of the stock of Walsh, who printed for Handel.
Footnote_17
Burney has made the mistake of stating that the work dedicated to the Cardinal was the
Footnote_18
The overture is inserted in the printed collections of Handel’s Overtures; and it is conjectured that it was the
Footnote_19
This must have happened about the year 1708; as it appears that Scarlatti was settled at Rome from 1709 to the time of his decease. Corelli’s Concertos therefore must have been composed many years before they were published.
Footnote_20
The coincidences suggested by this juxta-position are so inviting for an epigrammatic twist, that the indulgent reader will, perhaps, pardon the following attempt:
Each heading, in his art, the school of Rome, Painter and Fiddler here have found their tomb. Though dead in body, both in fame are quick – Fame wrought with
Footnote_21
Dr. Burney dates his birth 1666; but Sir John Hawkins, who assigns the date above given, is the more likely to be correct, as he was personally acquainted with Geminiani.
Footnote_22
According to Dr. Burney’s reckoning, his term of years would have been 96: the reason for supposing that authority erroneous has been already stated.
Footnote_23
It is a somewhat curious circumstance that the descendant of Carbonelli, with an
Footnote_24
There is another account of this love episode in Tartini’s life, which does not conduct it so far as matrimony, but represents that, when all the arguments of his friends against the match were found to be without effect, his father was compelled to confine him to his room; and that, in order to engage his attention, he furnished him with books and musical instruments, by means of which he