STRADIVARIUS - Part 1
STRADIVARIUS
Crowest, the English writer on musical subjects, says: “Two hundred years ago, the finest violins that the world will probably ever have were being turned out from the Italian workshops; while at about the same time, and subsequently, there was issuing from the homes of music in Germany, the music for these superb instruments,—music not for any one age, ‘but for all time.’”
“In the chain of this creative skill, however, a link was wanting. Nobody rose up who could marry the music to the instrument. For years and years the violin, and the music for it, marched steadily on, side by side, but not united. Bach was writing far in advance of his time, while Stradivarius and the Amatis were ’rounding’ and ‘varnishing’ for a people yet to come. It was not till the beginning of the present century that executive skill, tone, and culture stepped in, and were brought to bear upon an instrument that is, perhaps, more than any other, amenable to such influences. Consequently, to us has fallen the happy fate to witness the very zenith of violin-playing. A future generation may equal, but can scarcely hope to surpass a Joachim, a Wilhelmj, or a Strauss,—players who combine the skill of Paganini with a purity of taste to which he was a stranger, and, moreover, with a freedom from those startling eccentricities which, more than anything else, have made the reputation of that strange performer.”
The greatest violin-maker that ever lived, Antonio Stradivari, or Stradivarius, was born in Cremona, probably in 1644. No entry of his birth has been found in any church register at Cremona, but among the violins which once belonged to a certain Count Cozio di Salabue was one bearing a ticket in the handwriting of Stradivarius, in which his name, his age, and the date of the violin were given. He was then ninety-two years old, and the date of the violin was 1736. He was the pupil of another famous Cremonese violin-maker, Niccolo Amati, and his first works are said to bear the name of his master, but in 1670 he began to sign instruments with his own name. His early history is quite unknown, but a record exists showing that in 1667, when twenty-three years old, he married Francesca Ferraboschi. For about twenty years after his marriage, Stradivarius appears to have produced but few instruments, and it is supposed that during this time he employed himself chiefly in making those scientific experiments and researches which he carried into practice in his famous works. It was about the year 1700, when he was fifty-six years old, that Stradivarius attained that perfection which distinguishes his finest instruments. The first quarter of the eighteenth century witnessed the production of his best violins,—the quality of those made after 1725 is less satisfactory.
Among the Great Masters of Music
Scenes in the Lives of Famous Musicians
By Walter Rowlands
Published 1906
