Читать книгу Great Violinists and Pianists - George T. Ferris - Страница 4

Table of Contents

The Ancestry of the Violin.—The Origin of the Cremona School of Violin-Making.—The Amatis and Stradiuarii.—Extraordinary Art Activity of Italy at this Period.—Antonius Stradiuarius and Joseph Guarnerius.—Something about the Lives of the Two Greatest Violin-Makers of the World.—Corelli, the First Great Violinist.—His Contemporaries and Associates.—Anecdotes of his Career.—Corelli's Pupil, Geminiani.—Philidor, the Composer, Violinist, and Chess-Player.—Giuseppe Tartini.—Becomes an Outcast from his Family on Account of his Love of Music.—Anecdote of the Violinist Vera-cini.—Tartini's Scientific Discoveries in Music.—His Account of the Origin of the "Devil's Trill."—Tartini's Pupils.

VIOTTI.

Viotti, the Connecting Link between the Early and Modern Violin Schools.—His Immense Superiority over his Contemporaries and Predecessors.—Other Violinists of his Time, Giornowick and Boccherini.—Viotti's Early Years.—His Arrival in Paris, and the Sensation he made.—His Reception by the Court.—Viotti's Personal Pride and Dignity.—His Rebuke to Princely Impertinence.—The Musical Circles of Paris.—Viotti's Last Public Concert in Paris.—He suddenly departs for London.—Becomes Director of the King's Theatre.—Is compelled to leave the Country as a Suspected Revolutionist.—His Return to England, and Metamorphosis into a Vintner.—The French Singer, Garat, finds him out in his London Obscurity.—Anecdote of Viotti's Dinner Party.—He quits the Wine Trade for his own Profession.—Is made Director of the Paris Grand Opéra.—Letter from Rossini.—Viotti's Account of the "Ranz des Vaches."—Anecdotes of the Great Violinist.—Dies in London in 1824.—Viotti's Place as a Violinist, and Style of Playing.—The Tourté Bow first invented during his Time.—An Indispensable Factor in Great Playing on the Violin.—Viotti's Pupils, and his Influence on the Musical Art.

LUDWIG SPOHR.

Birth and Early Life of the Violinist Spohr.—He is presented with his First Violin at six.—The French Emigré Dufour uses his Influence with Dr. Spohr, Sr., to have the Boy devoted to a Musical Career.—Goes to Brunswick for fuller Musical Instruction.—Spohr is appointed Kammer-musicus at the Ducal Court.—He enters under the Tuition of and makes a Tour with the Violin Virtuoso Eck.—Incidents of the Russian Journey and his Return.—Concert Tour in Germany.—Loses his Fine Guarnerius Violin.—Is appointed Director of the Orchestra at Gotha.—He marries Dorette Schiedler, the Brilliant Harpist.—Spohr's Stratagem to be present at the Erfurt Musical Celebration given by Napoleon in Honor of the Allied Sovereigns.—Becomes Director of Opera in Vienna.—Incidents of his Life and Production of Various Works.—First Visit to England.—He is made Director of the Cassel Court Oratorios.—He is retired with a Pension.—Closing Years of his Life.—His Place as Composer and Executant.

NICOLO PAGANINI.

The Birth of the Greatest of Violinists.—His Mother's Dream.—Extraordinary Character and Genius.—Heine's Description of his Playing.—Leigh Hunt on Paganini.—Superstitious Rumors current during his Life.—He is believed to be a Demoniac.—His Strange Appearance.—Early Training and Surroundings.—Anecdotes of his Youth.—Paga-nini's Youthful Dissipations.—His Passion for Gambling.—He acquires his Wonderful Guarnerius Violin.—His Reform from the Gaming-table.—Indefatigable Practice and Work as a Young Artist.—Paganini as a Preux Chevalier.—His Powerful Attraction for Women.—Episode with a Lady of Rank.—Anecdotes of his Early Italian Concertizing.—The Imbroglio at Ferrara.—The Frail Health of Paganini.—Wonderful Success at Milan where he first plays One of the Greatest of his Compositions, "Le Streghe."—Duel with Lafont.—Incidents and Anecdotes.—His First Visit to Germany.—Great Enthusiasm of his Audiences.—Experiences at Vienna, Berlin, and other German Cities.—Description of Paganini, in Paris, by Castil-Blaze and Fetis.—His English Reception and the Impression made.—Opinions of the Critics.—Paganini not pleased with England.—Settles in Paris for Two Years, and becomes the Great Musical Lion.—Simplicity and Amiability of Nature.—Magnificent Generosity to Hector Berlioz.—The Great Fortune made by Paganini.—His Beautiful Country Seat near Parma.—An Unfortunate Speculation in Paris.—The Utter Failure of his Health.—His Death at Nice.—Characteristics and Anecdotes.—Interesting Circumstances of his Last Moments.—The Peculiar Genius of Paganini, and his Influence on Art.

DE BÉRIOT.

De Bériot's High Place in the Art of the Violin and Violin Music.—The Scion of an Impoverished Noble Family.—Early Education and Musical Training.—He seeks the Advice of Viotti in Paris.—Becomes a Pupil of Robrechts and Baillot successively.—De Bériot finishes and perfects his Style on his Own Model.—Great Success in England.—Artistic Travels in Europe.—Becomes Soloist to the King of the Netherlands.—He meets Malibran, the Great Cantatrice, in Paris.—Peculiar Circumstances which drew the Couple toward Each Other.—They form a Connection which only ends with Malibran's Life.—Sketch of Malibran and her Family.—The Various Artistic Journeys of Malibran and De Bériot.—Their Marriage and Mme. de Bériot's Death.—De Bériot becomes Professor in the Brussels Conservatoire.—His Later Life in Brussels.—His Son Charles Malibran de Bériot.—The Character of De Bériot as Composer and Player.

OLE BULL.

The Birth and Early Life of Ole Bull at Bergen, Norway.—His Family and Connections.—Surroundings of his Boyhood.—Early Display of his Musical Passion.—Learns the Violin without Aid.—Takes Lessons from an Old Musical Professor, and soon surpasses his Master.—Anecdotes of his Boyhood.—His Father's Opposition to Music as a Profession.—Competes for Admittance to the University at Christiania.—Is consoled for Failure by a Learned Professor.—"Better be a Fiddler than a Preacher."—Becomes Conductor of the Philharmonic Society at Bergen.—His first Musical Journey.—Sees Spohr.—Fights a Duel.—Visit to Paris.—He is reduced to Great Pecuniary Straits.—Strange Adventure with Vidocq, the Great Detective.—First Appearance in Concert in Paris.—Romantic Adventure leading to Acquaintance.—First Appearance in Italy.—Takes the Place of De Bériot by Great Good Luck.—Ole Bull is most enthusiastically received.—Extended Concert Tour in Italy and France.—His Début and Success in England.—One Hundred and Eighty Concerts in Six Months.—Ole Bull's Gaspar di Salo Violin, and the Circumstances under which he acquired it.—His Answer to the King of Sweden.—First Visit and Great Success in America in 1848.—Attempt to establish a National Theatre.—The Norwegian Colony in Pennsylvania.—Latter Years of Ole Bull.—His Personal Appearance.—Art Characteristics.

MUZIO CLEMENTI.

The Genealogy of the Piano-forte.—The Harpsichord its Immediate Predecessor.—Supposed Invention of the Piano-forte.—Silbermann the First Maker.—Anecdote of Frederick the Great.—The Piano-forte only slowly makes its Way as against the Clavichord and Harpsichord.—Emanuel Bach, the First Composer of Sonatas for the Piano-forte.—His Views of playing on the New Instrument.—Haydn and Mozart as Players.—Muzio Clementi, the Earliest Virtuoso, strictly speaking, as a Pianist.—Born in Rome in 1752.—Scion of an Artistic Family.—First Musical Training.—Rapid Development of his Talents.—Composes Contrapuntal Works at the Age of Fourteen.—Early Studies of the Organ and Harpsichord.—Goes to England to complete his Studies.—Creates an Unequaled Furore in London.—John Christian Bach's Opinion of Clementi.—Clementi's Musical Tour.—His Duel with Mozart before the Emperor.—Tenor of Clementi's Life in England.—Clementi's Pupils.—Trip to St. Petersburg.—Sphor's Anecdote of Him.—Mercantile and Manufacturing Interest in the Piano as Partner of Collard.—The Players and Composers trained under Clementi.—His Composition.—Status as a Player.—Character and Influence as an Artist.—Development of the Technique of the Piano, culminating in Clementi.

MOSCHELES.

Clementi and Mozart as Points of Departure in Piano-forte Playing.—Moscheles the most Brilliant Climax reached by the Viennese School.—His Child-Life at Prague.—Extraordinary Precocity.—Goes to Vienna as the Pupil of Salieri and Albrechtsburger.—Acquaintance with Beethoven.—Moscheles is honored with a Commission to make a Piano Transcription of Beethoven's "Fidelio."—His Intercourse with the Great Man.—Concert Tour.—Arrival in Paris.—The Artistic Circle into which he is received.—Pictures of Art-Life in Paris.—London and its Musical Celebrities.—Career as a Wandering Virtuoso.—Felix Mendelssohn becomes his Pupil.—The Mendelssohn Family.—Moseheles's Marriage to a Hamburg Lady.—Settles in London.—His Life as Teacher, Player, and Composer.—Eminent Place taken by Moscheles among the Musicians of his Age.—His Efforts soothe the Sufferings of Beethoven's Death-bed.—Friendship for Mendelssohn.—Moscheles becomes connected with the Leipzig Conservatorium.—Death in 1870.—Moscheles as Pianist and Composer.—Sympathy with the Old as against the New School of the Piano.—His Powerful Influence on the Musical Culture and Tendencies of his Age.

THE SCHUMANNS AND CHOPIN.

Robert Schumann's Place as a National Composer.—Peculiar Greatness as a Piano-forte Composer.—Born at Zwickau in 1810.—His Father's Aversion to his Musical Studies.—Becomes a Student of Jurisprudence in Leipzig.—Makes the Acquaintance of Clara Wieck.—Tedium of his Law Studies.—Vacation Tour to Italy.—Death of his Father, and Consent of his Mother to Schumann adopting the Profession of Music.—Becomes Wieck's Pupil.—Injury to his Hand which prevents all Possibilities of his becoming a Great Performer.—Devotes himself to Composition.—The Child, Clara Wieck—Remarkable Genius as a Player.—Her Early Training.—Paganini's Delight in her Genius.—Clara Wieck's Concert Tours.—Schumann falls deeply in Love with her, and Wieck's Opposition.—His Allusions to Clara in the "Neue Zeit-schrift."—Schumann at Vienna.—His Compositions at first Unpopular, though played by Clara Wieck and Liszt.—Schumann's Labors as a Critic.—He marries Clara in 1840.—His Song Period inspired by his Wife.—Tour to Russia, and Brilliant Reception given to the Artist Pair.—The "Neue Zeitschrift" and its Mission.—The Davidsbund.—Peculiar Style of Schumann's Writing.—He moves to Dresden.—Active Production in Orchestral Composition.—Artistic Tour in Holland.—He is seized with Brain Disease.—Characteristics as a Man, as an Artist, and as a Philosopher.—Mme. Schumann as her Husband's Interpreter.—Chopin a Colaborer with Schumann.—Schumann on Chopin again.—Chopin's Nativity.—Exclusively a Piano-forte Composer.—His Genre as Pianist and Composer.—Aversion to Concert-giving.—Parisian Associations.—New Style of Technique demanded by his Works.—Unique Treatment of the Instrument.—Characteristics of Chopin's Compositions.

THALBERG AND GOTTSCHALK.

Thalberg one of the Greatest of Executants.—Rather a Man of Remarkable Talents than of Genius.—Moseheles's Description of him.—The Illegitimate Son of an Austrian Prince.—Early Introduction to Musical Society in London and Vienna.—Beginning of his Career as a Virtuoso.—The Brilliancy of his Career.—Is appointed Court Pianist to the Emperor of Austria.—His Marriage.—Visits to America.—Thalberg's Artistic Idiosyncrasy.—Robert Schumann on his Playing.—His Appearance and Manner.—Characterization by George William Curtis.—Thalberg's Style and Worth as an Artist.—His Piano-forte Method, and Place as a Composer for the Piano.—Gottschalk's Birth and Early Years.—He is sent to Paris for Instruction.—Successful Début and Publie Concerts in Paris and Tour through the French Cities.—Friendship with Berlioz.—Concert Tour to Spain.—Romantic Experiences.—Berlioz on Gottschalk.—Reception of Gottschalk in America.—Criticism of his Style.—Remarkable Success of his Concerts.—His Visit to the West Indies, Mexico, and Central America.—Protracted Absence.—Gottschalk on Life in the Tropics.—Return to the United States.—Three Brilliant Musical Years.—Departure for South America.—Triumphant Procession through the Spanish-American Cities.—Death at Rio Janeiro.—Notes on Gottschalk as Man and Artist.

FRANZ LISZT.

The Spoiled Favorite of Fortune.—His Inherited Genius.—Birth and Early Training.—First Appearance in Concert.—Adam Liszt and his Son in Paris.—Sensation made by the Boy's Playing.—His Morbid Religious Sufferings.—Franz Liszt thrown on his own Resources.—The Artistic Circle in Paris.—Liszt in the Ranks of Romanticism.—His Friends and Associates.—Mme. D'Agoult and her Connection with Franz Liszt.—He retires to Geneva.—Is recalled to Paris by the Thalberg Furore.—Rivalry between the Artists and their Factions.—He commences his Career as Traveling Virtuoso.—The Blaze of Enthusiasm throughout Europe.—Schumann on Liszt as Man and Artist.—He ranks the Hungarian Virtuoso as the Superior of Thalberg.—Liszt's Generosity to his own Countrymen.—The Honors paid to him in Pesth.—Incidents of his Musical Wanderings.—He loses the Proceeds of Three Hundred Concerts.—Contributes to the Completion of the Cologne Cathedral.—His Connection with the Beethoven Statue at Bonn, and the Celebration of the Unveiling.—Chorley on Liszt.—Berlioz and Liszt.—Character of the Enthusiasm called out by Liszt as an Artist.—Remarkable Personality as a Man.—Berlioz characterizes the Great Virtuoso in a Letter.—Liszt ceases his Life as a Virtuoso, and becomes Chapel-Master and Court Conductor at Weimar.—Avowed Belief in the New School of Music, and Production of Works of this School.—Wagner's Testimony to Liszt's Assistance.—Liszt's Resignation of his Weimar Post after Ten Years.—His Subsequent Life.—He takes Holy Orders.—Liszt as a Virtuoso and Composer.—Entitled to be placed among the most Remarkable Men of his Age.