-r;thj*lt;- Voice and Violin Uniform with the Present Volume Crown 8vo, art canvas, gilt top, 5s. Famous Violinists and Fine Violins By Dr. T. L. Phipson "In the prettily got up volume before us, Dr. Phipson, himself an amateur violinist of considerable note, has collected manj' anecdotes of great violinists, to wliich are added some valuable criticisms of their plaj'iiig, and has told what he has to say in an extremely entertaining manner. There is scarcely a dry page in the volume. We can cordially recommend Dr. Phipson's book to amateurs of the violin, for they :)re certain to fuid much in it to instruct them."—Musical Standard. "Dr. T. L. Phipson's notes and anecdotes of 'Famous Violinists and Fine Violins' contain a good many things that will amuse violinists, and many that may instruct them. A chapter on the early violinists of England is perhaps the most valuable part of the book."— Times. " In this nent volume we have one of the brightest and most enjoyably chatty books yet published on this subject. Something of the kind has been attempted before, but nothing that has shown so much pains and research, and nothing that bears such an impress that its compilation was a laliour of love."— Tablet. "The volume contains chapters on the violinists of the Italian school, on Ole Bull and Vieuxtemps, cliattily written, and including some anecdotes which are derived from the author's personal reminiscences. He describes the chief models of violms, and their respective peculiarities, with the care born of long and affection- ate study."—Manchester Guardian. " In a pleasant anecdotical and factful maimer Dr. Phipson gives his readers the fruit of his extensive reading; and also of his own personal knowledge of famous performers and instruments. The chapters on 'Secrets of the Cremona Violin Trade,' and on the qualities wiiich a good violin should possess, will in particular be found valuable by those who do not know a good fiddle from a bad one."—Newcastle Chronicle. "The chapters contain much curious and out-of-the-way information, and of some remarkable peri^onages he has a good deal that is interesting to say ... in matter enough to entertain and instruct."—Bookman. "Dr. Phipson, an experienced and elficient violinist himself, has given us in a handy volume an interesting and fairly detailed account of the old Italian masters and their instruments."—Literary IVorld. London : Chatto ^ Windus, 11 1 St. Martin's Lane Philadelphia: J. B. Lippincott Company Voice and Violin Sketches, Anecdotes, ana ^ Reminiscences A •, J ?' '','' H -M i/A By Dr. T. L. Phipson Formerly President and Violin Solo to the Bohemian Orchestral Society Author of "Scenes from the Reign of Louis XVI." "Famous Violinists and Fine Violins," etc. London Chatto &^ Windus Philadelphia: J. B. Lippincott Company 1898 IN MEMORIAM ^ \ ^ Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press DeDfcation TO SENORA ISIDORA MARTINEZ the Italian Berlin Formerly of Operas, London, ^ New York, ^c. Professor of Singing at Los Angeles, U.S. THIS LITTLE VOLUME IS INSCRIBED IN REMEMBRANCE OF MANY HAPPY DAYS AND BRILLIANT CONCERT EVENINGS, BY HER AFFECTIONATE FRIEND AND ADMIRER THE AUTHOR PREFACE The chief objects of the present Httle work are to amuse and instruct. It is a collection of episodes and personal reminiscences for which I had not " space in my Famous Violinists and Fine VioHns." In addition to what has been given in that work, I have recorded here a few details connected with my own career as a violinist, because I believe that it will tend to facilitate the labours of those whose livelihood depends upon their music, and of all amateurs who desire to rise to the rank of artists. In the present day, for the sake of novelty, there are many vain attempts to wander from the ro- mantic and poetic sides of the musical art, and to sacrifice this art to what is termed the science of music—to write what pleases the eye and con- forms to theory, rather than what pleases the ear and touches the feelings. In other words, there is considerable negligence of melody and cantabile (with its fine phrasing and graceful ornaments), and the production of much noise and cacophonia, which can never prove practically acceptable to vu viii PREFACE the world at large, however much it may be con- genial to individuals of pedantic dispositions. The little sketches, anecdotes, and reminiscences in this volume, may, I trust, counteract to some extent this undesirable state of things, and bring to the minds of my young fellow-artists many thoughts which will carry them in the right direction and help them on the road to success. Casa Mia, Putney, S.W. November 1898. CONTENTS CHAP. PAGE I. ANTOINETTE CLAVEL .... I " " II. THE MUSIC OF THE MARSEILLAISE lO " III. BRIGITTA BANTI, THE "QUEEN OF SONG 17 " IV. BELLINI AND HIS OPERA LA SONNAM bula" ..... 29 V. THE VIOLINIST OF THE BOULEVARDS 44 VL GIORGI 51 VII. MADEMOISELLE FRERY 57 VIII. A LESSON IN COMPOSITION 66 IX. TOMARISSEN AND THE BEY OF TUNIS 73 X. NEW FEATURES IN THE LIFE OF PAGANINI 82 " " XI. FRA DIAVOLO AT BRUSSELS . 90 Xn. THE VOICE AND THE STRINGS . 96 XIII. A VIOLIN BY BERTOLINI . lOI XIV. GIOVANNI BOTTESINI AND HIS LAST CONCERT 108 XV. THE ART OF PLAYING IN TUNE 121 XVI. A RIVAL OF STRADIVARIUS 128 XVII. MARIETTA ALBONI .... 135 IX CONTENTS CHAP. PAGE '* " XVIII. ST. LEON AND THE VIOLON DU DIABLE I42 XIX. "sunrise on the righi" XX. VOICE AND VIOLIN .... 167 XXI. SPAGNOLETTl'S VIOLIN XXII. SUCCESS BY AN AMATEUR . XXIII. THE VIOLIN-MAKER TO THE EMPEROR XXIV. TAMBURINI'S COW .... XXV. THE BOHEMIAN ORCHESTRAL SOCIETY INTRODUCTION The great German poet, Wolfgang von Goethe, ^^ has told us that where men sing, there you may enter without fear." This is very true. Even the drunken brawlers in the streets at night are much less dangerous when they sing than the surly, silent, quarrelsome brutes who have no music in them. You have only to join in their song to be made one of them at once—if such should be your desire. It is needless to repeat here what I have so often said before about the refining influence of music upon men's thoughts and doings. Some people think we have music in the world already enough ; " " others too much but I have say, Perhaps ; long been of opinion that its influence for good is so great, the more we have, the better for every one. It is, no doubt, a mistake to let the study of music interfere with the labour demanded by other pro- fessions on which the livelihood and welfare of a family depend; but a great amount of pleasure may be obtained from a moderate proficiency in the art, without allowing it to impinge too much upon the XI xii INTRODUCTION daily routine of business. There are two mistakes often made in this respect. The first is the endeavour to force one's children to become musicians, because music and singing happen to be looked upon as fashionable accomplishments, when they have not the slightest gift or disposition in that direction. The other is the labour undertaken by many ama- teurs in order to vie with professional musicians, whose entire lives are devoted to the cultivation of their art. It is well for an amateur to be ambitious, and strive to excel either in or music it painting ; and should never be forgotten that an amateur possesses advantages which the hard-worked professional can never hope to realise : to the latter music is often a drudge, whilst to the former it is a pleasure. An artist must play, or teach, often when he would rather do else whereas the amateur anything ; only plays when he or she feels inclined to do so, and never knows the drudgery of teaching. Between these two conditions there is all the difference which exists between pleasure and pain. In my yoimger days, with the exception of a few simple ballads for the voice, and some elementary pieces for the piano or violin, there were no effec- tive compositions, save such as could only be per- formed by artists. Now things have entirely changed in this respect, and musical composition has attained such a degree of perfection that pieces of every INTRODUCTION xiii grade of difficulty^ most of them good enough for performance in the concert-room, are to be obtained everywhere. There is no longer any reason for the amateur to sacrifice his time upon the most elaborate compositions, which he can rarely or ever conquer, when we find artists themselves performing in public certain pieces which the composer intended chiefly for the amateur. Good music is one of the greatest blessings which the has at our it will Almighty placed disposal ; charm if delivered in but with always proper style ; bad music the finest style can do nothing. This question of style is at the root of everything in it not to music ; applies only composition, but still more, perhaps, to the performance. Style is almost everything, and in many cases it is the most difficult thing to acquire. Let us take an example. Listen to the same song as heard in the street and in the or to an air as drawing-room ; operatic sung by a prima donna before the footlights, and in the school-room by a young lady just finishing her education. I remember one evening in Brussels when my mother had asked a few friends for a little music, and among them was a young girl who had just arrived from London, where Verdi's opera // Tro- vatore was being given for the first time.