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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 
 
 Formerly of the Italian Operas, London, Berlin ^ 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. 
 
 I. ANTOINETTE CLAVEL .... 
 
 II. THE MUSIC OF THE " MARSEILLAISE " 
 
 III. BRIGITTA BANTI, THE "QUEEN OF SONG " 
 
 IV. BELLINI AND HIS OPERA " LA SONNAM 
 
 bula" ..... 
 V. THE VIOLINIST OF THE BOULEVARDS 
 
 VL GIORGI 
 
 VII. MADEMOISELLE FRERY 
 VIII. A LESSON IN COMPOSITION 
 IX. TOMARISSEN AND THE BEY OF TUNIS 
 X. NEW FEATURES IN THE LIFE OF PAGANINI 
 XI. " FRA DIAVOLO " AT BRUSSELS . 
 Xn. THE VOICE AND THE STRINGS . 
 
 XIII. A VIOLIN BY BERTOLINI . 
 
 XIV. GIOVANNI BOTTESINI AND HIS LAST CONCERT 
 XV. THE ART OF PLAYING IN TUNE 
 
 XVI. A RIVAL OF STRADIVARIUS 
 XVII. MARIETTA ALBONI .... 
 
 PAGE 
 I 
 
 lO 
 
 17 
 29 
 
 44 
 
 51 
 
 57 
 66 
 
 73 
 82 
 
 90 
 
 96 
 
 lOI 
 
 108 
 121 
 128 
 
 135 
 
 IX 
 
CONTENTS 
 
 CHAP. 
 
 PAGE 
 
 XVIII. ST. LEON AND THE '* VIOLON DU DIABLE " I42 
 
 XIX. "sunrise on the righi" 
 
 XX. VOICE AND VIOLIN .... 
 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 
 
 . 167 
 
 • 175 
 
 . 181 
 
 . 186 
 
 • 195 
 
 202 
 
 XXVI. BIBLIOGRAPHIC GOSSIP 
 
 212 
 
 INDEX 
 
 221 
 
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 already enough music in the world ; 
 others say, " Perhaps too much " ; but I have 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 painting or music ; and it 
 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 anything else ; whereas the amateur 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 Almighty has placed at our disposal ; it will 
 always charm if delivered in proper style ; but with 
 bad music the finest style can do nothing. 
 
 This question of style is at the root of everything 
 in music ; it applies not only to 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 drawing-room ; or to an operatic air as 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. In due 
 course the young lady sat down to the piano and 
 sang a song. When it was concluded, my good 
 
xiv INTRODUCTION 
 
 mother went forward to thank her, saying, ^' I sup- 
 pose that is the last new EngHsh ballad ? " " Oh ! 
 dear no," replied the girl, '^that is Or che la mortey 
 from the new opera, // Trovatorey now playing in 
 London." 
 
 An operatic tenor song sung by a girl — and taken 
 for a new English ballad ! Could anything have 
 been more ridiculous ? 
 
 The best way for young people to acquire a good 
 style is, perhaps, to attend performances of Itahan 
 Opera as often as possible, those of Mozart, Rossini, 
 Bellini, Donizetti, Verdi, &c.; and if such be not 
 possible, to frequent concerts where good artists 
 are engaged. 
 
 As a youth I owed a great deal to Marietta Alboni 
 (she was my great model), also to Camillo Sivori 
 and Arthur St. Leon, for the violin. They supplied 
 what my music master and my books of studies 
 could not supply. 
 
 As a rule, young musicians do not pay sufficient 
 attention to the / and f marks printed upon the 
 music before them. They look only at the notes^ 
 then they endeavour to get the time; but as for 
 accent^ rhythm^ or expression, they rarely or ever give 
 them a thought. Only the other day I stood near 
 a young performer on the piano who never once 
 took the slightest notice of the marks/ and /under 
 the notes, and so the piece was played at one dead- 
 level of mezzo-forte all the way through. The notes 
 
INTRODUCTION xv 
 
 were all there, and the time was pretty well kept, 
 but the piano and forte passages, the staccato^ and 
 slurSf and crescendoy &c., were all played exactly 
 alike ! 
 
 The monotony of such playing can only be com- 
 pared to that of a piano-organ in the street. 
 
 In orchestral playing strict attention to these 
 things is most essential ; and the crescendo in a fine 
 orchestra is one of the grandest of musical effects. 
 
 I remember the conductor of an orchestra with 
 which I w^as connected for a few years losing his 
 temper because the performers neglected the pre- 
 liminary /Z^;?^ passages, so that the crescendo was a 
 complete failure. ^' Now, my friends," he said, when 
 his anger had cooled down a little ; ^* now, my dear 
 friends, if you do not begin piano, how on earth can 
 you ever produce the/^r/^ — unless you can manage 
 to ^\'2iy fifty, which nobody ever could." 
 
 The distinguished French violinist Habeneck was 
 once accused of something of the same kind by 
 Berlioz. 
 
 ^^Now, Habeneck," said the latter, as they were 
 about to separate, '^when will you give us that 
 passage of Beethoven as the composer intended 
 it?" 
 
 ^' Never, as long as I live!" exclaimed the violinist, 
 irritated at the question. 
 
 "Ah, well, then we must wait," rejoined the other, 
 " but don't let it be long." 
 
xvi INTRODUCTION 
 
 A bad-tempered person will rarely be a good 
 musician ; so much depends on the mind of the 
 performer (and the same applies equally well to 
 composers). The greatest artists I have ever known 
 were all persons of considerable mental culture, 
 fond of poetry, history, and often of natural history. 
 They were so good-natured that many have suffered 
 from extravagant generosity. My father used to 
 speak of Malibran as one of the most good-natured 
 young women he ever knew, and though she might 
 well be proud of her accomplishments, she was 
 quite devoid of anything approaching to ostenta- 
 tion. She was one of the few great singers in 
 whom jealousy of the success of others could never 
 be detected. 
 
 However, I have not taken up my pen to write a 
 didactic treatise upon the study of music, but simply 
 to produce a few pages in which I shall endeavour 
 to combine amusement and instruction for musi- 
 cians in particular, and for the public in general. 
 In doing so I have experienced the pleasure of 
 recalling to my mind the events of many happy 
 years, during which musical notes and memoranda 
 have accumulated around me. Some of these I 
 now place before my readers, with the conviction 
 that they also will derive pleasure in perusing 
 them, trusting that the present work may form 
 an acceptable companion-volume to my " Famous 
 Violinists," published a short time ago. 
 

 Voice and Violin 
 
 ANTOINETTE CLAVEL 
 
 I HAVE shown in my '^ Scenes from the Reign of 
 Louis XVI." how marvellously some musicians 
 escaped from the deadly shafts of the French Re- 
 volution. The guillotine that mowed down law- 
 yers, bankers, politicians, men of science, authors, 
 and even harmless poets and women, appears to 
 have respected musicians. 
 
 Though some, like the illustrious Cherubini, 
 suffered both physically and morally during this 
 terrible period, the theatre and the concert-room 
 do not figure much in the bloody annals of the 
 Communists. No doubt, many professional musi- 
 cians perished in the wholesale massacres at Paris, 
 Nantes, Lyons, and Marseilles, yet all the great 
 composers and lyric artists managed to elude the 
 fearful havoc. 
 
 A curious scene occurred when Phillis, the well- 
 known guitar player, father of the fascinating 
 

 ^aidl'le. 'Fliilli's 'who enchanted the audiences of 
 .'. thfe; xDpera * by. her singing of Gretry's music, was 
 brought before the Revolutionary Tribunal as a 
 suspected character, to be tried by these self- 
 appointed judges. 
 
 *' What is your real name ? " he was asked. 
 
 ^' Phillis," replied the musician. 
 
 " What do you do ? " 
 
 *^ I play the guitar." 
 
 ^^ What did you do under the tyrant ? " (this 
 was an allusion to the poor king, who had just 
 been executed). 
 
 " I played the guitar." 
 
 " What are you going to do for the Republic ? " 
 
 " I shall play the guitar." 
 
 The inquiry did not proceed any further. It 
 was absolutely impossible to find this man guilty 
 or dangerous, so he was allowed to go. 
 
 But some four years before the actual Revolu- 
 tion broke out, a truly marvellous occurrence took 
 place at Marseilles, on the 15th August 1785, 
 when Antoinette Clavel, then known as Madame 
 St. Huberty, the celebrated singer, visited that 
 city. Numerous ladies escorted her in a gondola 
 to a pavilion, which was surrounded by at least 
 two hundred little boats crowded with persons 
 of all classes. She was saluted by a salvo of 
 artillery, as if she had been some distinguished 
 general. The Greek ladies of Marseilles presented 
 
ANTOINETTE CLAVEL 3 
 
 her with a magnificent costume, which she wore 
 at this fete. After witnessing a water tournament, 
 she was escorted to the pavihon, which was illumi- 
 nated and decorated for the occasion, where a 
 little allegorical piece, written in her honour, was 
 performed. Then followed a ball, after which 
 there was a display of fireworks and a grand 
 supper. 
 
 Antoinette Clavel was born, of French parents, 
 at the little German town of Toul, in 1756. Her 
 father had been a soldier, but being a good 
 musician, had embraced the musical profession, 
 and had succeeded in becoming superintendent 
 of rehearsals to a French opera company in the 
 service of the Elector Palatine. 
 
 Whilst she was still a mere child, it was ob- 
 served that little Antoinette had a delicious voice. 
 But that was all she possessed. It did not appear 
 that she was likely to become a handsome woman ; 
 though her countenance was full of intellectual 
 warmth, and her manners were refined. 
 
 She was sixteen years of age when she began 
 to sing in public ; and though the German public 
 applauded her efforts, no one would have ima- 
 gined that a brilliant future was in store for 
 her. At Manheim, in 1770, her father, with the 
 troupe to which he belonged, formed an engage- 
 ment for the opera at Warsaw, in which town 
 the leader of the orchestra, M. Lemoyne, gave 
 
4 VOICE AND VIOLIN 
 
 Antoinette Clavel singing lessons during the four 
 years that they stayed there, and afterwards brought 
 her out as 2i prima donna in a Httle opera of his own. 
 She next sang at Berhn, and then for three years 
 at Strasburg. At last she reached Paris, and in 
 September 1777 appeared for the first time on the 
 French stage in the Arfuide of Gluck, but only in a 
 minor character. 
 
 She had now ceased to sing under her own 
 name, and adopted that of '^ Madame St. Huberty." 
 Nevertheless, at Paris she was scarcely noticed. 
 She could obtain only secondary characters, her 
 salary was extremely small, and she lived in a room 
 at the top of a large house in the Rue du Mail, the 
 whole of her furniture consisting of a little bed, and 
 a trunk, which was used as a chair. 
 
 In person Antoinette was very different from her 
 namesake upon the French throne. She was small, 
 delicate-looking, and fair ; her features were not 
 finely formed, she had rather a large mouth, but 
 her countenance was expressive. Her singing was 
 marred by a hard German accent, and she was very 
 nervous, both as a singer and an actress. 
 
 She attended rehearsal every day most punctually, 
 generally attired in an old, shabby black dress, 
 whilst the other singers flaunted around in silks, 
 laces, and jewellery. They looked down upon the 
 unfortunate young woman, made fun of the fine 
 theatrical name she had adopted, and nicknamed 
 
ANTOINETTE CLAVEL 5 
 
 her " Madame la Ressource/' in allusion to a 
 thrifty personage in a play by Regnard. 
 
 Gliick, the great composer and friend of Marie 
 Antoinette, had alone observed the superiority of 
 Antoinette Clavel's style of singing. He alone 
 foresaw that she would outstrip all those dazzling 
 butterflies of mediocre musical talent who never 
 allowed her the chance of a good part. He alone 
 encouraged her arduous endeavours to gain a 
 livelihood by the only means in her power. 
 
 One day, in the presence of Gliick, a pert 
 actress, seeing Antoinette enter the theatre, ex- 
 claimed, '' Oh ! here comes Madame la Ressource." 
 
 This nickname stuck to her for a long time. 
 
 *^Yes," said Gliick, *^you may well call her 
 < Madame la Ressource,' for the day will come 
 when this girl will be the sole resource of the 
 Opera House." 
 
 His words proved prophetic. She made the 
 name of Madame St. Huberty celebrated. 
 
 Her first undoubted success was on the 12th 
 May 1778, when she appeared as Angelique in 
 Piccini's opera of Roland, She gained another 
 triumph in 1880 in one of Gossec's operas ; and 
 again in 1782, when a contemporary declared 
 that '^ never had the expression of tenderness and 
 passion been so exquisitely delineated on the 
 French stage." 
 
 I must not omit to mention here a little anec- 
 
6 VOICE AND VIOLIN 
 
 dote which brings out the true character of the 
 composer Gliick. It will be remembered that at 
 this epoch the war between the *' Gliickists and 
 Piccinists " was at its height — both composers had 
 their ardent partisans and admirers. It is not 
 generally known that the above-mentioned opera 
 of Rolajtd by Piccini was composed at a time 
 when Gliick was setting to music the same subject. 
 But when the latter heard that the poem given to 
 Piccini was much the finest, he destroyed what he 
 had already composed of his new opera. 
 
 His friends accused him of folly. ^' Why should 
 you thus destroy a work which might bring you 
 both fame and fortune ? " they protested. 
 
 ^' It is a matter of no importance/' replied 
 Gliick. 
 
 '^ But what should you say if Piccini's Roland 
 happened to prove a failure ? " 
 
 '' I should feel extremely sorry." 
 
 *' And suppose it obtained a striking success." 
 
 ^' Ah ! then I would take up the subject and 
 treat it in my manner." 
 
 Six years before the outbreak of the Revolution, 
 Antoinette Clavel, now universally known as the 
 celebrated Madame St. Huberty, achieved one of 
 her greatest triumphs as Didon, in the opera of 
 that name by Marmontel and Piccini. During 
 the rehearsals some persons remarked to the 
 composer that they feared for the success of the 
 
ANTOINETTE CLAVEL 7 
 
 work, upon which Piccini replied, " Gentlemen, 
 pray do not judge Didon till she appears ; " and, 
 indeed, when Madame St. Huberty performed that 
 character the success was enormous ; and the 
 worthy Louis XVI., who did not care very much 
 for any opera, had it twice performed at Fontaine- 
 bleau, and awarded to the talented singer a pension 
 of 1500 francs from the State, adding 500 francs 
 more from his private purse. 
 
 Up to the year 1790, when she retired from the 
 stage to marry a diplomatist. Count d' Entraigues, 
 the career of Antoinette Clavel was one continued 
 success. 
 
 Her married life was no less romantic than her 
 artistic career. The Count d' Entraigues had 
 served in the French army, and was formerly 
 a member of the Constituent Assembly. He had 
 known the charming singer for some time, and 
 was married to her on the 29th December 1790. 
 But the marriage was kept a profound secret for 
 seven years afterwards, during which time we 
 completely lose sight of her. No one knows 
 what horrors she may have witnessed, what 
 anxieties and hardships she may have experienced. 
 
 Her lover, or husband, was a diplomatist and 
 a nobleman ; therefore his life was not safe for 
 a moment. In 1790, after their marriage, he 
 emigrated, none too soon. He went to Lausanne, 
 where his wife joined him, and soon afterwards he 
 
8 VOICE AND VIOLIN 
 
 was appointed Secretary to the; French Embassy 
 at Madrid, and later still, to that of St. Petersburg. 
 
 One day, on his way to Vienna, he was arrested 
 at Trieste, by the orders of young Buonaparte ; 
 his papers were seized, and he was forced from 
 his devoted wife, to be thrown into prison in the 
 citadel of Milan, on a charge of connivance in 
 the intrigues of General Pichegru.-^ By means 
 which I have no space to relate here, his wife 
 managed to procure his escape, and he then 
 (1797), for the first time, made public his mar- 
 riage with Antoinette Clavel. 
 
 The end of this talented woman, like that of her 
 illustrious contemporary. Queen Marie Antoinette, 
 was tragical. 
 
 After his escape from Milan the Count entered 
 into the political service of Russia. He w^as en- 
 trusted with secret missions, which brought him 
 in large sums of money, both from the Court 
 of St. Petersburg and from the English Govern- 
 ment, under the ministry of Canning. The Count 
 and Countess d'Entraigues finally came to reside 
 in England at Barn Elms,^ on the Thames, at 
 Putney. They were on very intimate terms with 
 many members of the Government. 
 
 This fact attracted the attention of some of 
 Fouche's agents, and one of the latter bribed 
 
 ^ See Thiers' "History of the French Revolution," ed. Chatto & 
 Windus, p. 729 (ii.). ^ Now the Ranelagh Club. 
 
ANTOINETTE CLAVEL 9 
 
 a Piedmontese valet of the Count to purloin some 
 despatches and forward them to Paris. The theft 
 was discovered almost immediately, and Lorenzo, 
 the valet, who appears to have been half-witted, 
 was so grieved at having betrayed such a kind 
 master that he completely lost his reason. In 
 a fit of insanity he stabbed the Count as he was 
 coming downstairs, on the 22nd July 1812, and 
 on meeting the Countess as he rushed upstairs, 
 he stabbed her also. He then shot himself. All 
 three died. 
 
 Thus ended the days of one of the most delight- 
 ful of operatic singers, and a most praiseworthy 
 character. 
 
II 
 
 THE MUSIC OF THE '^MARSEILLAISE" 
 
 A NOTORIOUSLY eccentric French violinist, Alex- 
 andre Boucher, claimed to be the composer of the 
 music of the national air known as the '' Marseil- 
 laise," and this claim seems to be admitted by 
 several French writers. 
 
 Although I never admired either the words or 
 the music of this great national '* hymn," the cir- 
 cumstances under which it was produced are so 
 exceedingly curious that they appear to me well 
 worth reporting. 
 
 Some authors have stated that Rouget de I'lsle, 
 an officer of the artillery, was the writer, not only 
 of the words, but of the music, of the '^ Marseil- 
 laise." It has now been proved that he did not 
 compose the music, nor did he write the last verse. 
 The seventh and last verse, commonly known as 
 '' le strophe des enfants," was by another hand. For 
 a long time it was attributed to the talented young 
 poet Andre Chenier, who perished on the scaffold, 
 and somewhat later it was supposed to be written 
 by another poet named Louis Francois Dubois. 
 
MUSIC OF THE "MARSEILLAISE" 11 
 
 One day, during the Reign of Terror, the report 
 spread that a priest, who had refused to take the 
 oath to the Republic, had been caught in the act 
 of solemnising a religious marriage, and was to be 
 brought before the Revolutionary Tribunal that 
 same afternoon. 
 
 He was known as the Abbe Pessoneaux, and the 
 fact of his arrest created a great sensation, so that 
 the court was crowded. 
 
 It was a large room, at the upper end of which 
 stood an oblong table covered with a black cloth. 
 Seated around it were seven self-constituted 
 judges. Besides the tricolour scarfs round their 
 waists, they wore, suspended by a ribbon from 
 their necks, a small silver axe. As a rule there 
 was very little speechifying : " la mort sans phrases " 
 — death without any words — had become the 
 fashion since the execution of the innocent but 
 weak Louis XVL 
 
 An eye-witness has told us that on this occasion 
 half-a-dozen prisoners w^ere brought in, and taken 
 away, without arousing the slightest excitement in 
 court. After having listened to a case, the judges 
 either extended their hands on the table or put 
 them to their foreheads. The first movement 
 meant acquittal and liberation ; the second, death 
 — not always by the guillotine, for that instrument 
 did not work quickly enough to satisfy these blood- 
 thirsty rascals. 
 
12 VOICE AND VIOLIN 
 
 Suddenly the priest was brought in, and a 
 death-Hke silence prevailed through the whole 
 building. He was not a very old man, though his 
 hair was quite white. 
 
 ** Who are you ? " asked the President of the 
 Tribunal. 
 
 The prisoner drew himself up to his full height, 
 and replied calmly, ^^ I am the Abbe Pessoneaux, 
 formerly a tutor in the town of Vienne, and the 
 author of the last strophe of the ^ Marseil- 
 laise.' " 
 
 An electric impression was caused by these words, 
 every one seemed stunned, and the silence in the 
 crowded court became so oppressive, it is said, that 
 you could hear the people breathing. The Presi- 
 dent did not say another word ; the reply of the 
 Abbe had apparently stunned him also. Soldiers, 
 gaolers, and armed ruffians, all stood as if petrified ; 
 every eye was directed towards the table, watching 
 for the movement of the judges' hands. 
 
 Slowly and deliberately they stretched their 
 hands forth upon the black table, and at the 
 same moment a deafening cheer rang through the 
 room. 
 
 On the 30th July 1792, the volunteers of Mar- 
 seilles, invited by Barbaroux, at the instance of the 
 celebrated and unfortunate Madame Roland, 
 marched to Paris, singing this song, which so 
 enchanted the Parisians that they called it the 
 
MUSIC OF THE "MARSEILLAISE" 13 
 
 '' Hymne des Marseillais." On their way to Paris, 
 to be present at the taking of the Tuilieries on the 
 loth August, these '' horrid red men" had stopped 
 at the town of Vienne to celebrate the fete of the 
 Federation, and on the eve of their arrival the 
 Abbe Pessoneaux had composed the verse alluded 
 to above. Had he not been arrested, as just re- 
 lated, the authorship of this last verse of the " Mar- 
 seillaise " would have always remained a matter of 
 conjecture, for we are assured that Rouget de I'lsle 
 would never have acknowledged his indebtedness. 
 
 The artillery officer did not write a note of the 
 music. This was composed by the then celebrated 
 violinist Alexandre Boucher, in 1790, in the 
 drawing-room of Madame de Mortaigne, and at 
 the request of a colonel whom the violinist never 
 met before, and never saw^ again. That officer 
 was about to start with his regiment for Marseilles, 
 and pressed Boucher to wTite him a new march. 
 Rouget de I'lsle, during the time that he was im- 
 prisoned in 1 79 1 for having refused to take a 
 second oath to the Constitution, heard this march 
 from his cell, and, at the instance of his goaler, 
 adapted to it the words of a patriotic song he was 
 then writing. 
 
 The violinist Boucher was a short, stout man, 
 and so ridiculously like Napoleon Buonaparte that 
 he was once induced by the Emperor of Russia to 
 dress himself as Napoleon I., in order that the 
 
14 VOICE AND VIOLIN 
 
 Russian sovereign might show his mother what 
 that French Emperor was hke. 
 
 Alexandre Boucher was certainly a clever 
 musician^ and when Paganini, who was very fond 
 of the highest notes of the violin, came to Paris, 
 Boucher accused him of stealing his ^^ little birds." 
 It may be well imagined with what surprise 
 Boucher heard the ^^ Marseillaise " sung every- 
 where, when he recognised it as his own music, 
 though it had been very slightly altered to suit the 
 words. 
 
 A good many years afterwards the violinist met 
 Rouget de I'lsle at a dinner party in Paris. He 
 had never seen him before, and he took this 
 opportunity of complimenting him upon his poem 
 of the '' Marseillaise." 
 
 '' You do not say a word about the musky' 
 remarked the officer, '' and yet, being an eminent 
 violinist, it ought to interest you — do you not like 
 it ? " 
 
 ^' Oh ! very much indeed ! " exclaimed Boucher, 
 smiling. 
 
 ^'Well, I will be frank with you," added the 
 other, '' the music is not mine ; it is that of a 
 military march which came Heaven only knows 
 whence, and which they kept on playing at Mar- 
 seilles during the Reign of Terror whilst I was a 
 prisoner in the fortress St. Jean. I made a few 
 alterations to suit the words, that was all." 
 
MUSIC OF THE "MARSEILLAISE" 15 
 
 Boucher then hummed the march as he had 
 originally written it. 
 
 ^'Tiens, tiens ! how did you come by it?" 
 inquired the astonished author of the words ; and 
 when Boucher told him how it was he himself 
 who had composed the march, Rouget de I'lsle 
 threw his arms round the neck of the violinist and 
 said to him, ^^ Your music and my words go so 
 well together that if I were to proclaim to the 
 world my indebtedness to you I should never be 
 believed." 
 
 ^' Keep it, keep it, by all means," said Boucher, 
 moved by the other's candour; '^without your 
 genius my march would be quite forgotten ere 
 now. It shall be yours for ever ! " 
 
 This scene, although related by Boucher him- 
 self, is believed in France to be a perfectly accu- 
 rate account ; and I am of opinion that we must 
 look upon it as historical. 
 
 The artillery officer, Rouget de I'lsle, must have 
 written his poem with the din of the march con- 
 stantly ringing in his ears, and finally noted down 
 this very music to which his words were afterwards 
 sung. He was evidently somewhat of a musician, 
 and up to the year i860 he was generally credited 
 with the words and the music of the ^^ Marseillaise." 
 
 Anyhow, the words, though rather sanguinary, 
 are perhaps worth more than the music, which is 
 certainly a very mediocre piece of composition. 
 
16 VOICE AND VIOLIN 
 
 much less beautiful and spirited than the '^ Marche 
 aux Flambeaux " of the Rev. Scotson Clark, or the 
 beautiful ''Hope March" of Guido Papini, which 
 are so often performed by modern violinists, and 
 so dear to the members of string orchestras and 
 military bands. 
 
Ill 
 
 BRIGITTA BANTI, THE ^^ QUEEN OF SONG " 
 
 Between Milan and that long branch of the 
 Lago di Como on which is situated the little town 
 of Lecco, lies the smiling district known to Italians 
 as La Brianza, consisting mainly of a series of 
 hills, the subsidence, as it were, of the vast moun- 
 tain waves that rear their rugged crests above the 
 little town just named. In October, when the 
 sun is still hot, but when the heat is no longer 
 oppressive, every cottage of this district displays 
 the splendour of the golden maize, hung out upon 
 the walls between the gnarled black stems, and 
 broad green leaves of the trellised vine, and the 
 mulberry, forming a picturesque foreground to 
 the glorious view which extends over the plain 
 of Lombardy. 
 
 The peasants of La Brianza are no less pictur- 
 esque. They are a fine, handsome, industrious, and 
 thriving race. They are adepts in the cultivation 
 of the mulberry and the rearing of the silk-worm. 
 The women display the type of beauty depicted 
 
 by the great masters of the Lombard school — 
 
 ^^ B 
 
18 VOICE AND VIOLIN 
 
 light brown hair, oval faces, and wide foreheads ; 
 they have an ease and grace of attitude, mingled 
 with simplicity and dignity, which seem to be 
 innate. The head is either shaded by a wide- 
 bordered straw hat, very becoming to the face 
 beneath it, or the hair is gathered into a coil at 
 the back of the head and secured by a number of 
 large-knobbed hairpins arranged in a semicircle. 
 The feet are usually bare, and the short-skirted 
 dress is made of a delicious red colour. 
 
 In the midst of this sunny, smiling, fruit-laden 
 district lies the village of Monticello. It is placed 
 on a high ridge of ground commanding grand 
 panoramic views. At present the road rises to it 
 from the little railway station at Usmate, situated 
 some four or five miles away, down in the plain, 
 where flourish thickets of acacia and chestnut 
 trees, which seem like mere tufts of verdure in 
 the distance. From the broad flat terrace, on 
 which stands the church of Monticello, the view 
 spreads over the vast plain of Lombardy, with its 
 exquisite gradations of colour, its villas and gardens 
 appearing like toy houses on a tray of flowers. 
 Here and there the distant gleam of a small town 
 shows like a handful of white pebbles scattered on 
 that particular spot. On the side of a neighbouring 
 slope, tinged with a delicate purple bloom, a tali 
 campanile, or bell tower, rings out the hours to the 
 sunny land around, chronicling with its changeless 
 
BRIGITTA BANTI 19 
 
 tone the passing day, whilst the Hght breeze wafts 
 with the sound the scent of a thousand flowers. 
 
 The indescribable delicacy of tint bestowed by 
 the Italian atmosphere is as charming to the eye 
 as is an exquisite melody to the ear. Whilst the 
 sun declines and the shadows lengthen, the gaze 
 wanders over the immensity of the distant plain, 
 where everything is softened into a delicious 
 harmony that awakens in our hearts a feeling of 
 infinite sadness and infinite tenderness. As the 
 shadows lengthen, and the lights glow with a 
 mellower golden hue, whilst the great hills in the 
 distance assume the delicate blush of the rose, the 
 vast plain darkens into a deeper blue, and the 
 little white winding roads which intersect the 
 country in all directions grow fainter in the short- 
 lived twilight, and soon disappear. 
 
 Such was the birthplace of Brigitta Banti, one 
 of the greatest singers Europe has ever known. 
 It was also, some years later, that of the celebrated 
 composer Donizetti, whose delicious music has 
 added new charms to our earthly existence. 
 • ••••• 
 
 But we must now change the scene and carry 
 our thoughts to Paris, at a time when the unfor- 
 tunate Louis XVI. had been upon the throne just 
 four years — at a time when literature, music, and 
 the line arts made that city the most brilliant 
 capital of Europe — when the youthful and beautiful 
 
20 VOICE AND VIOLIx\ 
 
 Queen Marie Antoinette was admired by all classes 
 of society, and when the greatest of all social 
 convulsions was preparing in the fair land of 
 France, as a natural consequence of the excessive 
 corruption which had characterised the reigns of 
 the previous three monarchs. 
 
 Ten years before the fatal outbreak, on a fine 
 evening in July 1778, the peaceful citizens stroll- 
 ing along the streets, or seated before the little 
 white marble tables placed in front of a cafe at 
 the corner of the Rue de la Michodi^re which 
 forms an angle with the Boulevard, were astonished 
 by the magnificent voice of an itinerant musician 
 — a handsome Italian girl, who accompanied her- 
 self upon an old guitar. 
 
 The effect she produced upon her miscellaneous 
 audience was most remarkable. People stopped in 
 their evening stroll, and stood in compact masses to 
 listen to the plaintive melody and delicately executed 
 cadenza ; even the carriages of the aristocracy drew 
 up for the same purpose, and children climbed upon 
 the trunks of the trees to see what was going on. 
 
 A tall, dark, elegant girl, apparently not yet 
 twenty years of age, was the cause of all this 
 wonder. She had an old guitar, soiled, battered, 
 and scratched, swung from her well-formed shoul- 
 ders, and she sang to its soft accompaniment, and 
 in exquisite style, the most beautiful and brilliant 
 airs of the operatic repertoire. 
 
BRIGITTA BANTI 21 
 
 Her performance elicited thunders of applause, 
 at which she smiled and bowed gracefully in ac- 
 knowledgment as she held out her hand to receive 
 the proffered coin. Her receipts for that evening 
 alone might have been envied by more than one 
 accomplished artist of the minor theatres. 
 
 The girl's face was bronzed and handsome ; her 
 hair black as jet, as were her large expressive eyes; 
 her hands were soft and delicate as those of a 
 princess. But the greatest wonder of all was her 
 luscious voice. It was of enormous compass, 
 sonorous, flexible, and of exquisite sweetness. 
 
 Bravura airs, love songs, humorous ditties, and 
 rich fioritura flowed forth successively, to the in- 
 expressible delight of the listeners. Never before 
 had the loungers on the Boulevards experienced 
 such an unexpected treat ; and many well-known 
 connoisseurs did not hesitate to assert loudly that 
 they had never heard such singing as this. 
 
 There were several great singers conspicuous 
 in the Parisian world at that time, and, among 
 others, the celebrated Grassini ; w^hilst some who 
 were greater still, such as the charming and ac- 
 complished Gabrielli, yet lived in the recollection 
 of the public. The vocalisation of the tall, dark- 
 eyed Italian girl must therefore have been very 
 extraordinary to have attracted so much attention, 
 and to have eHcited such decided opinions from 
 dilettanti of all classes. 
 
%% VOICE AND VIOLIN 
 
 With equal ease and success this naturally gifted 
 musician gave her audiences the Spanish bolero 
 and the rapid Italian tarantella; but her singing 
 was, if possible, still more effective in the pathetic 
 cavaiina, intermingled with elaborate and graceful 
 fioritura. In the latter the listeners recognised 
 and thoroughly appreciated the true Italian style, 
 the romantic school ])ar excellence^ with its broad, 
 graceful phrasing, and exquisite expression. No 
 music ever reached the heart like this ; and whilst 
 the pure, fresh, silvery tones of the girl's voice rose 
 in the still evening air, the faces of the bystanders 
 were alternately suffused with tears or lit up by 
 smiles as the song proceeded ; not a person 
 moved lest a single note of the sublime melody 
 should be lost, and at the conclusion of the final 
 cadenza long and loud applause echoed through 
 the streets. 
 
 When the young singer had finished her songs 
 in that locality and was about to retire, whilst the 
 carriages began to move on, and the loungers 
 resumed their promenade, a gentleman of about 
 fifty years of age, who, with his arms fixed motion- 
 less upon one of the little marble tables of the 
 cafe, and his eyes riveted upon the girl, had 
 listened with astonishment and delight to her 
 performance, beckoned to her to approach, and 
 slipped a gold piece into her hand. 
 '' What is your name ? " he inquired. 
 
BRIGITTA BANTI 23 
 
 *' Brigitta," replied the girl. 
 
 ^' How old are you ? " 
 
 " Nineteen, Monsieur." 
 
 ^^ Who taught you music ? " 
 
 '' My father." 
 
 ^^ How long did you learn ? " 
 
 ^' Two months." 
 
 '^ But two months could not have enabled you 
 to learn all those songs ! " 
 
 ^' No, but I can sing what I hear sung. I re- 
 peat the airs until I know them myself." 
 
 After some further conversation of the same 
 kind he added — 
 
 ^' But would you not like to become a singer 
 at the Opera ? You seem very fond of music — 
 you feel what you sing — would it not be better 
 to study for the operatic stage than to sing about 
 in the streets as you do ? " 
 
 At these words the girl's eyes filled with tears ; 
 and as they trickled down her finely sculptured 
 features, she replied in bitter tones — 
 
 " How is it possible, Monsieur, that a poor girl 
 like me, without education, without a friend in the 
 whole world, can ever hope for such a thing as 
 you speak of ! No, Monsieur ; my destiny, alas ! 
 is to live and die a poor itinerant musician — 
 a miserable street singer ! " 
 
 The man who had thus entered into conversa- 
 tion with the girl was no other than M. Devismes, 
 
24 VOICE AND VIOLIN 
 
 who had been for many years manager of the 
 French Opera, but had then retired from that 
 position. But he still retained a certain amount 
 of influence in the musical world ; he was re- 
 cognised as a person of tact and of considerable 
 experience; besides being a man of kind disposition 
 and good taste. In this handsome Italian girl he 
 imagined that he had discovered a real treasure 
 for the lyric drama ; and he was profoundly 
 grieved when he found that his remarks had 
 wounded her pride ; for she was evidently am- 
 bitious by nature, and, like many Italians, ex- 
 tremely sensitive. 
 
 He seized her hand as he said, ^' Listen, my 
 young friend, I had no intention whatever of 
 hurting your feelings ; on the contrary, I am so 
 pleased with what I have heard of your singing 
 that I will see whether something cannot be done 
 for you." 
 
 Then taking a card from his pocket-book, he 
 added : ^' This is my address. If you will call 
 at my house to-morrow at mid-day, you shall 
 meet some gentlemen who may feel disposed to 
 take an interest in your affairs, and thus enable 
 you to embrace a better career." 
 
 The girl nodded assent, and withdrew. Her 
 heart was too full to speak. 
 
 Next day Devismes awaited her arrival with no 
 small amount of impatience. She knocked at the 
 
BRIGITTA BANTI 25 
 
 door of his residence at the appointed hour. 
 Several musicians of note were already there. 
 The conversation of the preceding evening was 
 repeated to them, and the young singer added to 
 what she had already said, that her name was 
 Brigitta Banti, that she was born in the little 
 Italian village of Monticello d'Ongina above 
 mentioned, where her father was formerly a 
 minstrel, a violin player, and found it very 
 difficult to support his family by the exercise of 
 his profession. A premature death had carried 
 him off, leaving his widow totally unprovided for. 
 Brigitta, who possessed a fine voice, had w^andered 
 from village to village, from town to town, singing 
 for her daily bread. 
 
 To the gentlemen assembled at M. Devismes' 
 house she sang some of her best songs ; and they 
 could not disguise their admiration. One of them 
 played a cavatina by Sacchini to test her capa- 
 bilities, and after hearing it played twice, she 
 sang it perfectly. An air of Gliick's composition 
 was then tried in the same manner, and she was 
 no less successful in this second attempt. 
 
 It was there and then decided that her edu- 
 cation should be provided for, the services of 
 proper instructors engaged, and that Brigitta 
 Banti should be, with as little delay as possible, 
 transformed into an educated prima donna. 
 
 In a very few months she gave her masters the 
 
26 VOICE AND VIOLIN 
 
 most astonishing promise of future excellence ; 
 and shortly, indeed, she did become, as all musi- 
 cians are aware, one of the finest singers in the 
 world. 
 
 After meeting with unexampled success at the 
 various Opera Houses of Italy, France, Austria, 
 and Germany, she eventually came to London, 
 where she remained a favourite prima donna for no 
 less than ten years (i 792-1 802), giving constant 
 delight to her audiences, and where she was asked 
 to marry the son of a well-known nobleman. 
 But this offer she refused, in a very amiable but 
 firm manner, on the plea of the difference in their 
 social positions. She was forty-six years of age 
 when the son of Lord North offered her marriage. 
 
 At Florence, in 1782, the composer Guglielmi 
 wrote two operas for her, which were performed 
 with the greatest success, and on this occasion the 
 townspeople of Florence surnamed Brigitta Banti, 
 La Regina del Canto — '^ The Queen of Song." 
 
 A touching scene is related of her visit to the 
 little village of Monticello, where she w^as born. 
 In the course of her artistic travels through Italy 
 she decided upon making this visit. She had not 
 been there for many years. When she left the 
 lovely country I have so incompletely described, 
 she was a poor, forlorn girl in rags. At the period 
 of her visit she was rich, celebrated, and univer- 
 sally admired. Her heart, no doubt, throbbed 
 
BRIGITTA BANTI 27 
 
 loudly as she approached the well-known, still- 
 loved hills and valleys of La Brianza. Her 
 desire to see once more her former home was 
 intense. 
 
 In vain, however, did she seek for the familiar 
 form of her poor father's cottage, with its little 
 green slope, and the large trees in front of it. 
 Alas ! they had all disappeared to enlarge the 
 entrance to a lordly park in the neighbourhood, 
 the Palazzo Nava, now in its turn transformed 
 into an hotel and pubHc pleasure grounds. 
 
 Neither did she recognise a single face she met 
 in the street of the little village. 
 
 The renowned songstress was just about to 
 withdraw from this desolate scene, with an aching 
 heart and moistened eyelids, when she perceived, 
 at a little distance along the winding road, a 
 poor beggar in rags, whose countenance was 
 wrinkled with care and suffering, though he was 
 still comparatively young. 
 
 As he approached and begged for alms, there 
 was something in his gait and voice that struck 
 her. 
 
 " Where do you come from ? " she asked. 
 
 ^' From Monticello d'Ongina," said the beggar. 
 
 '' Do you live with your parents ? " inquired 
 the prima dojma, more than ever interested in the 
 appearance of the miserable object before her. 
 
 ** I have no parents," replied the mendicant. 
 
28 VOICE AND VIOLIN 
 
 A sudden shock seemed to convulse the singer 
 as she said — 
 
 ^* How long is it since your father died ?" 
 
 *' It was about eight years ago," he answered. 
 
 '* Have you no sister younger than yourself ? " 
 
 '^ I had one once, but I do not know what has 
 become of her — she left us long ago. All she had 
 with her when she quitted the village was an old 
 guitar that belonged to my poor mother. Ah ! 
 Signora, she was a fine, handsome girl, fit to be a 
 lady, and a voice like what they say you hear at 
 the Opera, only sweeter " 
 
 *' Is not your name Antonio Banti ? " inquired 
 the singer, interrupting him. 
 
 At these words the beggar raised his eyes in 
 astonishment. He approached a step or two, 
 threw back his shabby felt hat, and looked stead- 
 fastly into her face as he exclaimed — 
 
 *' How in the name of Heaven do you know 
 that ? " 
 
 Brigitta could not reply. She threw herself 
 into the arms of her brother, whilst tears of joy 
 streamed down her handsome features. 
 
IV 
 
 BELLINI AND HIS OPERA '* LA SONNAMBULA " 
 
 A YOUNG Englishman, in a letter to his mother, 
 which is dated from Venice, the 19th November 
 1827, says — 
 
 ^' The Grand Opera at Milan is most charming, 
 and indeed the second in Italy, yielding only 
 to Naples. The night before we came away a 
 new opera was produced called the ^ Pirate,' 
 written by a young man of the name of Bellini, 
 a Sicilian, only five-and-twenty, but of most as- 
 tonishing genius. This was his first opera, and 
 met with a most brilliant success. 
 
 *' It was a most interesting thing to be present 
 at, as the composer is obliged to preside in the 
 orchestra the first three nights, and have the satis- 
 faction, or horror, of hearing his opera cheered 
 or damned. On this occasion it must have been 
 most gratifying, as the poor, pale, trembling com- 
 poser was had out and cheered ten or twelve times 
 during the evening." 
 
 This letter was written by Charles Mathews 
 
 (the younger), the well-known actor, and in his 
 
 29 
 
30 VOICE AND VIOLIN 
 
 diary, which has been pubHshed, we find jotted 
 down at this period the following memorandum : — 
 
 ^^ Milauy Oct. 27///. — Went to the opera. II 
 Pirata first night. By a young man of the name 
 of Bellini, who conducted, and had to bow his 
 acknowledgments about a dozen times. Opera 
 very interesting and very successful. Rubini, 
 Tamburini, and Madame Meric Lalande, all ad- 
 mirable." 
 
 The opera of // Pirata was produced at La Scala, 
 Milan, on Saturday the 27th October 1827 ; and, 
 on the 29th, Bellini wrote to his parents — 
 
 '^ Let all my friends rejoice ! We have had the 
 good fortune of obtaining such a success with our 
 opera that we do not know how to express our 
 joy. Neither you nor any of my family, nor 
 myself, could have hoped for such a result . . ." 
 and much more to the same effect ; but the reader 
 may be spared the remainder of this boyish en- 
 thusiasm on the occasion of a first great success, 
 thoroughly well deserved. 
 
 The family of BelUni had been musicians for 
 several generations. In the latter part of the 
 eighteenth century, a young music master, born in 
 the Abruzzo, came and established himself in the 
 little town of Catania, at the foot of Mount Etna, 
 where he married while still very young. He had 
 studied in the Royal College of Music at Naples, 
 then directed by the well-known composer Piccini. 
 
BELLINI AND "LA SONNAMBULA" 31 
 
 His name, like that of the immortal author of La 
 Sonnambtilay his grandson, was Vincenzo Bellini. 
 He had several sons, one of whom, Rosario, also 
 adopted music as his profession. 
 
 Rosario Bellini likewise married, at an early age, 
 an amiable and accomplished girl, Agata Ferlito, 
 by whom he had four sons and three daughters. 
 The eldest son, born at Catania on the ist Nov- 
 ember 1 80 1, was christened Vincenzo, after his 
 distinguished grandfather. 
 
 This lad gave evidence of extraordinary musical 
 gifts almost from birth : he was scarcely twelve 
 months old when he was noticed to beat time 
 to an air that was being played on the piano 
 by his grandfather, and at eighteen months the 
 child hummed a tune of Fioravanti's most accu- 
 rately. 
 
 Some anecdotes of this early manifestation of 
 musical genius have been recorded ; among others, 
 that at the age of seven he composed music to 
 several religious pieces, the text of which had been 
 explained to him, and one of these compositions 
 was actually performed at the Church of St. 
 Michael. His grandfather, more especially, en- 
 couraged him in these early efforts. 
 
 Vincenzo Bellini, at this period of his life, was 
 a fair-haired, rosy-cheeked boy, with light-blue 
 eyes, a rather striking contrast to the ordinary 
 complexions of Southern Italy. He had a slim. 
 
32 VOICE AND VIOLIN 
 
 elegant figure, was highly intelligent, and very 
 affectionate. But there was a slight tinge of 
 melancholy in his character, which increased as 
 he advanced in age. His parents were anxious 
 about his education, and besides his music, he 
 was made to study Italian literature, and follow 
 some classes at the university. 
 
 When it became decided that music was to be 
 his profession, his father began to feel incapable 
 of teaching him the higher branches of the art, 
 and used all his influence to get his talented son 
 sent, at the expense of the Government, to the 
 Naples Conservatorio. He succeeded in obtain- 
 ing this appointment for him on the 5th May 
 1 81 9, when the youth was between seventeen and 
 eighteen years of age. 
 
 It was a sad parting, in spite of the joy evoked 
 by the reception of the good news. Father, 
 mother, brothers, sisters, and grandfather em- 
 braced him over and over again, with mingled 
 tears of joy and grief, as he bade them adieu and 
 started on his journey to Naples. A long adieu, 
 that was to last no less than six years — six years of 
 incessant study, far away from all that was dear to 
 him. 
 
 At Naples, Bellini studied under the veteran 
 professor Zingarelli. He entered the Conservatorio 
 as a student just as Mercadante was leaving it. 
 For some time he applied himself to the study of 
 
BELLINI AND "LA SONNAMBULA" 33 
 
 singing, and to various musical instruments, with- 
 out attracting any particular attention. In course 
 of time he passed his first examination and ac- 
 quired the grade of maestrino or assistant-pro- 
 fessor ; and a little later that of primo maestrino^ 
 when he had to superintend the studies of the 
 other pupils. His affectionate character caused 
 him to make many friends ; and the celebrated 
 composer, Zingarelli himself, though he must have 
 been about seventy years of age, acquired a great 
 fondness for his talented young pupil. After a 
 while he made friends of men already pretty 
 well known in the musical world ; among others, 
 Pacini and Donizetti, and the latter prevailed upon 
 him one day to try his hand at an opera. 
 
 Following this advice, he looked about for a 
 subject, and at length decided upon a little poem 
 called Adelson e Salvmiy which had already been 
 put to music by Fioravanti. Upon this poem 
 Bellini wrote what he termed a pasticcioni — that 
 is, a little work in which all the music was not 
 exactly original — and had it performed with some 
 success on the school stage of the Conservatorio at 
 the beginning of the year 1825. Two of the airs 
 were afterwards incorporated into his / Capulefti 
 C' Oh ! Quante volte ") and La Straniera ('^ Meco 
 tu vieni"). 
 
 This first private success led to the choice fall- 
 ing upon Bellini to write a cantata for the Gala 
 
 c 
 
34 VOICE AND VIOLIN 
 
 performance at the San Carlo Theatre that same 
 year, and it is said that nothing finer had been 
 heard for a long time on such an occasion. The 
 King of Naples was present and applauded the 
 work of the young composer. From that day the 
 career of Bellini was assured in Italy. 
 
 In the midst of these musical triumphs a very 
 beautiful young lady had fallen in love with him, 
 and he was no less affectionately attached to her. 
 Madalena Fumaroli had parents, however, who 
 were inflexible. When Bellini, with her consent, 
 demanded her hand, they resolutely refused to 
 unite their daughter to a young artist who had no 
 position, and was, in fact, only just out of school. 
 Neither supplications on the one side nor tears 
 upon the other could be made to prevail, and 
 Bellini was compelled to retire, almost broken- 
 hearted, without the slightest spark of hope. 
 
 When the youth arrived at Naples to study, he 
 had brought with him several letters of introduc- 
 tion, and among them, one to the Duke Di Noja, 
 Governor of the Conservatorio, and Superintendent 
 of the Royal Theatres. The Duke, like every one 
 else, was pleased with his young protege, and ap- 
 pears to have done all he could to befriend him. 
 At the moment of bitter disappointment just re- 
 ferred to, he used his influence with the noted 
 Barbaja, the impressario of the San Carlo, then the 
 finest opera house in Europe, and induced him 
 
BELLINI AND "LA SONNAMBULA" 35 
 
 to solicit a work from the pen of Bellini — not a 
 simple cantata, but a regular lyric drama or opera. 
 
 This advantageous offer came at a most appro- 
 priate time ; it was eagerly accepted, and in order 
 to stifle the grief caused by his unfortunate love 
 affair, and to work in perfect quiet, Bellini sought 
 refuge in the home of his parents at Catania. 
 This was in August 1825. The poem confided 
 to him was Giraldoni's Bianca e Gernando, The 
 music was ready for the performance at the San 
 Carlo Theatre in May 1826 ; the principal parts 
 being allotted to Signora Tosi (soprano), Lablache 
 (basso), and Rubini (tenor). It was so far success- 
 ful as to draw down a large amount of applause, 
 and attracted public attention to the composer, but 
 not so much as to induce Barbaja to make any 
 further offers. BeUini received about ;£i5o for his 
 work ; and shortly after its appearance at Naples 
 the manager of the Milan Opera engaged his ser- 
 vices for a work to be produced at La Scala. 
 This was, perhaps, the most important period of 
 Bellini's career. 
 
 He started at once for Milan on the 5th April 
 1827, with Rubini as a companion, and taking 
 with him many valuable letters of introduction. 
 On arriving in Milan he got from Ernesto Tosi, 
 the brother of the distinguished prima donna just 
 mentioned, an introduction to the poet Romani, 
 the author of many beautiful works, and hence- 
 
36 VOICE AND VIOLIN 
 
 forth destined by good fortune to write the libretto 
 to most of Bellini's compositions. 
 
 The beautiful words of this distinguished lyric 
 poet no doubt exerted considerable influence upon 
 the young composer, and we are largely indebted 
 to them for the exquisite music which he wrote 
 over them. Both men were born poets ; they 
 understood each other, their poetical thoughts 
 blended together, and their sublime efforts cul- 
 minated in that chef d'ccuvre of poetry and music, 
 La Sonnambu/a, the most beautiful by far of all 
 lyric dramas. 
 
 Only once did Bellini seriously fall out with his 
 poet. Romani was in love this time, and wrote 
 carelessly. It was for the opera of Zaira. Both 
 music and words were poor, and the work was a 
 failure. 
 
 On another occasion the young maestro was not 
 quite contented with the words of a finale in the 
 opera of La Stram'era, 
 
 Romani wrote a fresh verse, but it was no better 
 than the first. At last Bellini sat down to the 
 piano. 
 
 '^ Listen," he said, ^^ this is what I want — I want 
 something like this," and he played for some time 
 a brilliant improvisation. When he had concluded 
 he turned to his companion ; '' There," he said, 
 "that is the style of thing I want words for." 
 
 "And there are your words," interrupted Ro- 
 
BELLINI AND "LA SONNAMBULA" 37 
 
 mani; flinging him a rough copy of verses which 
 he had written whilst BeUini was playing. The 
 result was the well-known air, ^^ Or sei pago o ciel 
 tremendo/' in the Straniera, 
 
 A few months after his arrival in Milan the 
 first joint work of Bellini and Romani, // Piratay 
 was brought out with the success alluded to above. 
 It was soon afterwards performed in many other 
 houses, among them at the Vienna Opera, where 
 it created a great impression, and spread the 
 reputation of the young composer far and wide. 
 
 The success of // Pirata having thoroughly es- 
 tablished his reputation as a dramatic composer, 
 Bellini responded to other engagements ; wrote 
 his La Straiiiera for Milan, his unfortunate Zaira 
 for Parma (which was shortly afterwards more or 
 less incorporated into his not very successful opera 
 / Capuletti ed i Mo^itecchi, played at Venice, with 
 Madame Grisi in the part of Juliet), and then 
 returned to Milan, where he produced La Sonnam- 
 bula and Norma, 
 
 The first of these appeared on the 6th March 
 1 83 1, with Madame Pasta, Rubini, and Mariani, 
 and created, perhaps, the greatest sensation that 
 ever was produced upon the lyric stage. 
 
 When Bellini returned to Milan to write this 
 Sonnambula music he was already poisoned by the 
 same Venetian miasma that had just prostrated 
 Pacini in that silent city of palaces, gondolas, and 
 
38 VOICE AND VIOLIN 
 
 contaminated water. For a short time his Hfe was 
 despaired of by the physicians who attended. 
 But a well-known pianist^ Pollini, took him to his 
 house, and nursed him as if he had been his own 
 child. 
 
 As soon as he had recovered he turned his 
 attention to Romani's poem La Sonnambula, Some 
 of his friends had then retired to a beautiful villa 
 on the Lago di Como, about fifty miles from the 
 city, and he was invited to spend his time with 
 them whilst writing his new opera. Signora 
 Pasta, then at the zenith of her fame, was also a 
 guest there. 
 
 The villa Moltrasio, whither Bellini proceeded 
 to take advantage of the kind hospitality offered to 
 him, is on the left bank of the lake, in a splendid 
 site inundated with sunshine, and remarkable for 
 the extreme purity of its atmosphere. There is a 
 charming valley, bathed and refreshed by the 
 waters of a fine cascade. In the neighbourhood 
 stands the majestic villa of the Count Lucini 
 Passalacqua, with its tall cypress-trees and lovely 
 gardens reaching down to the waters of the lake. 
 
 Here it was that Bellini composed those luscious 
 cavatinas and splendid bravura airs of his Soiinam- 
 bula. 
 
 Too delicate to take long walks, he enjoyed 
 boating trips on the water from one side of the 
 lake to the other, from one villa to another, where 
 
BELLINI AND "LA SONNAMBULA" 39 
 
 he would familiarise himself with the habits and 
 innocent pleasures of the contadini, and listen to 
 their melodious songs as they were rowed across 
 the lake on returning from the labours of the day. 
 Besides Madame Pasta, who was a constant 
 guest at the villa, several distinguished artists came 
 there almost daily, so that the drawing-room was 
 often full of delightful society, and there was 
 splendid music almost every evening. BelHni had 
 ample opportunity of appreciating the great dra- 
 matic and lyric gifts of this celebrated prima donna^ 
 for whom he was writing the part of Amina in his 
 Sonnanibula. He studied with minute attention 
 her handsome person, her tastes, the character of 
 her voice, and the exceptional nature of her talent 
 with all its wonderful resources. She was one of 
 the finest singers in Europe ; her splendid voice 
 extended from the low A below the lines to C or 
 D above, nearly two and a half octaves, and was 
 a brilliant mezzo-soprano in quality. Her dra- 
 matic power was equal to her magnificent singing, 
 and, with the exception of the great basso Lablache, 
 she was probably the finest lyric artist of that day. 
 Well, indeed, may she have inspired Bellini to 
 write some of the most beautiful music ever com- 
 posed. 
 
 The part of Elvino was written for Rubini, 
 another constant guest at the villa, well named the 
 ^' king of tenors" — formerly a choir boy, with a 
 
40 VOICE AND VIOLIN 
 
 luscious voice and economical habits, destined to 
 leave a fortune of ^90,000, which was ^10,000 
 more than the no less celebrated and equally 
 economical Paganini, his contemporary, left in 
 his will. 
 
 One morning that Rubini, whose mind was 
 much given to ^^ embroidery " or ornament, at the 
 expense, sometimes, of the dramatic situation and 
 true expression of the song, came to rehearse with 
 Bellini at the villa. On this occasion the latter 
 was not satisfied with his singing. After making 
 the same observation several times, but without 
 the desired result, he rose disgusted from the 
 piano. 
 
 ^' Well ! you are an idiot ! " he exclaimed. 
 '^ You do not put into that passage one-half the 
 expression of which you are capable; and instead 
 of rendering it in such a manner as would bring 
 down the whole house, you are stupidly cold and 
 languid ! For Heaven's sake throw a little passion 
 into it ! Have you never been in love ? " 
 
 Rubini was thunderstruck. He had never 
 heard such language on the delicate lips of his 
 affectionate companion. Nevertheless, he took 
 the hint in a quiet, good-natured way, and ended 
 by electrifying his audience on the night of the 
 first performance. 
 
 The baritone part was given to Mariani, an 
 excellent singer and actor ; and with these three 
 
BELLINI AND "LA SONNAMBULA'' 41 
 
 superb artists the opera of La Sonnambula was 
 performed at the Carcano Theatre, Milan, on the 
 6th March 1831. Its success, to use the language 
 of the ItaHan newspapers, was '^ colossal." 
 
 What could be more thrilling than the entrance 
 of Amina with the recitative Care compagne e vot 
 tenere amici, followed by the delicious air Come per 
 me serenoj and the brilliant bravura allegro, Sopra 
 il sen la man mi posa ? " ^ This single production 
 would have been sufficient of itself to stamp any 
 composer as one of the greatest musicians the 
 world has ever known. 
 
 Then, what could surpass the exquisite duet 
 Prendi Panel ti dono ; and where can we find greater 
 breadth and charm than in the superb baritone 
 cavatina Vt ravisso Inoghi amentj and the allegro 
 Tu non sat, with which it concludes ? 
 
 Again, how appropriate is the music to the 
 words in the mysterious story told by the chorus, 
 A fosco cieloy a notte hriina ! How beautiful the 
 recitative and duet between Elvino and Amina 
 which follows, and the quintet Uun pensiero e dun 
 accentOy and the celebrated tenor air Tutto e sciolto — 
 the scene and prayer Ah ! non credea by Amina, 
 and her magnificent bravura finale. Ah I non 
 giunge ! 
 
 But why should I stay to examine all these 
 sublime beauties, with which the whole world is, 
 
 ^ Many artists now replace the three first words by Sull mio cor. 
 
42 VOICE AND VIOLIN 
 
 or should be, familiar ? I might as well be ex- 
 pected to eulogise the poems of Dante or the 
 plays of Shakespeare. And as for attempting to 
 give any idea of them to those who have not heard 
 the opera, it is simply impossible. 
 
 The popularity of La Sonnambida is greater than 
 that of any other lyric composition. No Italian 
 opera has been performed so often, or was ever so 
 enthusiastically applauded. Every young songstress 
 who is capable of singing the music (or thinks she 
 is) chooses it for her debtd^ and the greatest singers 
 never fail to make choice of it when they are 
 anxious to produce an extraordinary sensation. 
 
 Bellini once began an opera on the subject of 
 Ernani^ but it was forbidden by the authorities of 
 the day, and some of its music was incorporated 
 into La Sonuambuhy which was entirely written 
 between the nth January and 6th March 1831. 
 In a letter to Ricordi, the well-known publisher, 
 he wrote : '' I did, indeed, write the Sonnambula 
 from the nth January to the 6th March; but 
 that was an accident, as I had the reminiscences of 
 my Ernani, which had been forbidden." 
 
 It has been the fashion of late years to find 
 fault with the meagreness of Bellini's orchestra- 
 tion and the poverty of his accompaniments ; but 
 such criticism has been silenced for ever by the 
 immortal words of the great Cherubini : when 
 such an observation was made to him, he merely 
 
BELLINI AND "LA SONNAMBULA" 43 
 
 shrugged his shoulders, and repHed, ^^ You could 
 place no other accompaniments under his 
 melodies." 
 
 What a fund of truth is contained in those few 
 words ! ^ 
 
 ^ For more details than I can give here concerning the career of this 
 remarkable man, see my little pamphlet "Bellini" (London: Wer- 
 theimer, Lea & Co., Circus Place, E.C, 1880). 
 
V 
 
 THE VIOLINIST OF THE BOULEVARDS 
 
 Some of my readers who have visited Paris in the 
 days of the Emperor Napoleon III. may have 
 noticed, on passing along the Boulevard des Capu- 
 cines, a little woman about forty years of age, 
 with two wooden legs and a violin, sitting in front 
 of the confectioner's shop at the corner of the Rue 
 de la Paix, selling prints and music. 
 
 In 1848, when Prince Louis Napoleon was 
 canvassing for his election as President of the 
 Second Republic, she was a very pretty girl, and 
 dressed rather coquettishly. 
 
 At that period of her history she used to sit a 
 little higher up on the Boulevard, in front of the 
 wall of the Ministry of Foreign Affairs, and behind 
 her, on this wall, were exposed for sale a certain 
 number of cheap engravings, often subjects of 
 rather questionable taste, and some songs, the airs 
 of which she played with much expression on her 
 violin. 
 
 In those days 'Mady violinists" were very rare, 
 
 so rare, indeed, that the mere fact of a girl playing 
 
 44 
 
THE VIOLINIST OF THE BOULEVARDS 45 
 
 upon such an instrument in the streets of Paris was 
 quite enough to attract the attention of passers-by. 
 
 This young person was, then, not only pretty, 
 but she played remarkably well, and upon an 
 instrument that looked clean and well cared for ; 
 and it had a remarkably sw^eet tone. 
 
 I could never discover how it was that, when I 
 knew her under the Second Empire, she happened 
 to have two wooden legs. It was probably the 
 result of some street accident ; for she seems 
 never to have left Paris. Possibly, she may have 
 been injured during the firing in the streets at the 
 time of the coup d'etaty when the soldiers were 
 instructed to fire low, and many innocent persons 
 were shot down by the troops. It was a rascally 
 business, as every one knows. 
 
 The sweet tones of her violin attracted the 
 attention of the public ; people turned to look at 
 her. Her pretty, intelligent face did the rest, and 
 she seems to have made a comfortable living by 
 the sale of her songs and engravings. She was 
 even able to save money, to get married, and to 
 bring up a daughter as quite a fashionable young 
 lady. But I am anticipating. 
 
 Let us go back to the time when the little 
 violinist was a pretty girl of about eighteen years 
 of age, sitting all day long before the Ministry of 
 Foreign Affairs, which has now disappeared, to 
 make room for the large shops of M. Giroux. 
 
46 VOICE AND VIOLIN 
 
 Often a circle of inquisitive people would gather 
 around her, and after listening awhile to her music, 
 some would enter into conversation with her, 
 asking her the name of the song she had just 
 played, when she would at once point with her 
 bow to one of the pieces of music hanging upon 
 the wall, intimating, at the same time, that the 
 price was ten sous. 
 
 Prince Louis Napoleon had then left London, 
 and was living in Paris, where he hoped to be 
 elected President of the new Republic. There 
 were six other candidates : Cavaignac, Lamartine, 
 Ledru Rollin, Raspail, Changarnier, and the Prince 
 de Joinville. 
 
 The first and the last named of these had the 
 best chances, and indeed got a very large number 
 of votes ; but the Napoleonic idea was then per- 
 vading all classes of society. One writer called 
 this ^' a fond remembrance of the glorious past, 
 rather than a hope of its renewal under the rule 
 of the nephew." It was doubted by the greater 
 number of the most ardent admirers of the first 
 Napoleon, whether his nephew was sufficiently 
 popular to obtain an appreciable following ; and 
 those who did not doubt this were mostly very 
 poor men. Money was painfully scarce with 
 the Prince candidate, who was then staying at the 
 , Hotel du Rhin, in the Place Vendome. 
 
 It was known to many that Louis Napoleon and 
 
THE VIOLINIST OF THE BOULEVARDS 47 
 
 his little knot of partisans were then reduced to 
 their own personal resources. Miss Howard, 
 afterwards Princess de Beauregard, and the Prin- 
 cess Mathilde, we are told, had given all they 
 could ; a small loan was obtained from M. Fould, 
 and some scanty supplies had been forthcoming 
 from England. It has been asserted in some 
 quarters that Lord Palmerston and Lord Malms- 
 bury contributed a few thousands of pounds. 
 
 But the printing of millions of handbills and 
 posters, and their distribution, the expenses of 
 canvassers and electioneering agents of all kinds, 
 made such havoc with the funds that a stray 
 remittance of a thousand francs or so, from some 
 unexpected quarter, or from some anonymous 
 sympathiser, was, as they used to say, ^' like a drop 
 of water in a hot frying-pan." 
 
 It will thus be seen that, at the moment of 
 which I am writing, Louis Napoleon was quite as 
 miserably poor as his famous Corsican uncle. Napo- 
 leon Buonaparte, before his turn of fortune came. 
 Often he was reduced to his last five-franc piece, 
 and when nothing was left he promised to pay. 
 
 Nevertheless, whenever he went from, his hotel 
 to the Boulevard des Capucines, which was very 
 frequently the case, he never passed the girl 
 violinist, with her songs and engravings, without 
 giving her something. This was so notorious that 
 in the course of a short time she came to look 
 
48 VOICE AND VIOLIN 
 
 upon these contributions as a regular part of her 
 small income. 
 
 Never was a man more easily attracted by the 
 charms of a pretty face than was Prince Louis ; 
 but music appears to have been almost entirely 
 absent from his soul. At Compiegne, the noted 
 hunting resort, after he had been made Emperor, 
 he once turned a piano-organ — they had no other 
 instrument, it appears, at the chateau for their 
 carpet dances in the evening — but no one could 
 dance to it. 
 
 It was not, therefore, the sweet tones of the 
 girl's violin, nor the songs and engravings she 
 sold, which attracted the attention of the future 
 Emperor of the French, but her pretty face and 
 coquettish manners. 
 
 She knew perfectly well who he was, and seems 
 also to have had a very clear idea of his ambition. 
 But what is more curious, she was evidently well 
 acquainted with the low state of his finances. 
 
 In this respect the following little anecdote may 
 be related here : — 
 
 One evening, after thanking him for his usual 
 gift, she added — 
 
 ^' Prince, I should Hke to say a word to you." 
 
 *' Speak," said Louis Napoleon. 
 
 " They tell me," said the little violinist, " that 
 you are very hard up at the present moment. 
 I have three bank-notes of a thousand francs each 
 
THE VIOLINIST OF THE BOULEVARDS 49 
 
 at home, where they are doing nothing. Will you 
 permit me to offer them to you ? You can return 
 them to me when you are Emperor." 
 
 It is not difficult to imagine the effect that little 
 speech must have made upon Louis Napoleon, 
 who was not yet even President of the Republic ! 
 
 He did not accept the money ; but he was one 
 of those men who never forget a kindness, and 
 when he did become Emperor he offered the 
 '' Violinist of the Boulevards " a small annuity. 
 
 The answer which she returned to him on this 
 occasion is highly characteristic. 
 
 " Tell the Emperor/' she said to the Aide-de- 
 Camp who brought her the information — '' tell 
 the Emperor that it is very good of him to remem- 
 ber me, but that I cannot accept his offer. If he 
 had accepted the money I offered him it might 
 have been different." 
 
 This is almost incredible, though some have 
 
 vouched for the accuracy of the words. I feel 
 
 convinced that she did accept the annuity after 
 
 all ; for I have been informed that the ^' Violinist 
 
 of the Boulevards " was still to be found in the 
 
 old place as late as 1887, selling her prints and 
 
 songs as usual. But my informant also says that 
 
 he has heard more than once that she owns one 
 
 or two houses in the Avenue de I'Gpera — one of 
 
 the most expensive quarters of Paris — and that 
 
 she gave a considerable marriage-portion to her 
 
 D 
 
50 VOICE AND VIOLIN 
 
 daughter, on the condition that she would emigrate 
 to AustraHa. 
 
 From all this, it is evident that some mystery 
 attaches to this interesting personality, which our 
 historians have not yet been able to solve com- 
 pletely. 
 
VI 
 
 GIORGI 
 
 The well-known painter Gallait, one of the 
 greatest representatives of the modern Flemish 
 school, once horrified the public by the exhibi- 
 tion of his terrible historic picture of the Counts 
 d'Egmont and De Homes immediately after their 
 execution at Brussels by orders of the Spanish 
 Duke of Alva. It is one of the frightful episodes 
 of the sixteenth century. But he is more popu- 
 larly admired for his charming composition Art 
 and Liberty : an Alpine shepherd-boy, with slouched 
 felt hat and bright intelligent face, a thick coarse 
 cloak thrown over one shoulder, and a violin, on 
 which he is playing, pressed against the other ; 
 whilst on the white-washed wall which forms the 
 background of the picture is scrawled in bold 
 characters the word '^ Maria." 
 
 Another picture, less widely known, but no less 
 beautiful and of a sadder nature, is called Doiileur 
 oubliee (forgotten grief). It represents an episode in 
 the life of the celebrated Hungarian violinist Giorgi. 
 
 The title of this splendid picture scarcely ex- 
 
 51 
 
52 VOICE AND VIOLIN 
 
 plains the subject. A young itinerant musician, 
 seated upon a bank at the roadside, has just 
 finished a performance on his violin, whilst a 
 lovely girl at his side has sunk down exhausted, 
 with her head upon his shoulders, her tambourine, 
 still held in her delicate hand, touching the ground. 
 The girl, wearied by her labours, has fainted and 
 fallen against him, apparently in a deep sleep, but 
 pale as death, and the sad expression upon the 
 bronzed features of the young violinist as he 
 contemplates the calm, angelic face of his beautiful 
 companion, thus suddenly struck down by fatigue 
 and misery, is very touching. 
 
 To those who know the history of Giorgi it is 
 still more affecting. Anyhow, this picture by 
 Gallait is another chef d'oeuvre. 
 
 Towards the latter end of the last century, or, 
 to be more precise as regards our narrative, in the 
 earliest years of the present one, there stood a 
 small farm in the wild country at a certain un- 
 known distance from Buda-Pesth. 
 
 It consisted of a few thatched wooden sheds, 
 where the cows were sheltered from the rain, and 
 the corn and fodder stored for the winter. One 
 of these structures, rather larger and somewhat 
 less coarse, served as a dwelling for four persons 
 — a father, a mother, and two young children. It 
 was the home of the farmer Giorgi, an honest, 
 hard-working man, who had formerly been a 
 
GIORGI 53 
 
 member of a Hungarian gipsy band, and was 
 the fortunate possessor of a fine violin made by 
 the great Eberle of Prague. 
 
 After his marriage he had settled down in this 
 little farm, which existed since 1740 or thereabouts, 
 and when his young son was about eight years of 
 age he taught him to play the sparkling gipsy 
 dance music with which he himself was so well 
 acquainted. 
 
 The heat of the summer ripened the corn, the 
 rain and the mists from the Danube raised splendid 
 pasturage, the cattle thrived, the cows yielded 
 abundance of milk, and poultry multiplied won- 
 derfully. 
 
 During the dark winter months the sound of 
 the Eberle violin enlivened the small household, 
 and an occasional visitor or two, who had ventured 
 on a stroll of five or six miles from the nearest 
 village for the sake of a little gossip, a pipe of 
 Giorgi's tobacco, and a glass of his beer. 
 
 When he was nine or ten years of age, little 
 Giorgi's playing was commented on by some of 
 these stray visitors, and the young lad gained quite 
 a reputation for his dash and boldness. His little 
 sister was younger by two years, and used often to 
 join in these performances by a kind of extempore 
 accompaniment on the tambourine. 
 
 The girl was eleven, and the boy thirteen, when 
 one night in autumn there arose a storm of wind, 
 
54 VOICE AND VIOLIN 
 
 during which the farm caught fire. Before they 
 could escape, both father and mother perished in 
 the smoke and flames, and in an incredibly short 
 space of time everything was destroyed. 
 
 The two children, by a wonderful miracle, were 
 saved. They rushed from the burning building, 
 instinctively carrying with them the violin and 
 tambourine on which they had been playing that 
 same evening. Of the whole property nothing 
 else escaped destruction — a violin and a tam- 
 bourine, with a few articles of clothing, represented 
 all that was left of that happy little homestead ! 
 
 After a period of intense grief and misery, which 
 I shall not attempt to describe, the two poor chil- 
 dren wandered from village to village, gaining their 
 daily bread, and sometimes a night's lodging, by 
 their music. 
 
 The Hungarian dances and military marches, 
 vigorously performed by the lad, and cleverly 
 accompanied by his pretty sister, who was a 
 very handsome child, though somewhat frail, ap- 
 peared everywhere to give great pleasure to those 
 who heard them. But it was a hard and very 
 precarious livelihood. 
 
 Giorgi, who was powerfully built, and enjoyed 
 robust health, would have been equal to any 
 amount of fatigue and privations ; but his deli- 
 cate sister Liza sufifered much, and misery soon 
 told its unvarnished tale upon those pallid features, 
 
GIORGI 55 
 
 even when they were lit up by a momentary 
 smile. 
 
 Two or three long years thus roll by, the young 
 wandering musicians still earning a scanty living 
 along the banks of the Danube ; and finally, when 
 the charming Liza was fourteen and Giorgi about 
 sixteen or seventeen, they found themselves one 
 day on the outskirts of Vienna, where the sad 
 episode of Gallait's splendid picture occurred. 
 Alas ! the lovely girl had not merely fainted ; she 
 had indeed fallen into a deep sleep — but it was 
 the sleep of death! 
 
 By this severe blow Giorgi was for a time 
 deprived of reason, and had to be taken in 
 charge by the authorities of Vienna. Months of 
 seclusion followed before his ravings ceased and 
 sanity again declared itself. His naturally strong 
 constitution finally overcame this fearful shock, 
 and to earn his bread he again took up his violin 
 — now, alas ! without the accompanying tam- 
 bourine and the bewitching beauty of his beloved 
 sister. 
 
 His lot was harder than before, and misery 
 combined with grief well-nigh destroyed all that 
 remained of his physical and mental powers. 
 
 It happened that one day, during some military 
 manoeuvres, he was delighting a group of Austrian 
 soldiers by his playing, when the firm, round tones 
 of his Eberle violin reached the ears of some 
 
56 VOICE AND VIOLIN 
 
 officers, and of the Archduke Charles, who was 
 present. He ordered the young viohnist to be 
 brought to his tent, where he played several 
 pieces, and among them a national hymn, in such 
 a remarkably fine manner that all the officers pre- 
 sent were struck with astonishment. 
 
 When the Archduke heard his history he was 
 touched by it, and then and there determined 
 upon providing for the proper education of a 
 musician who gave evidence of such innate talent. 
 
 Under these august auspices Giorgi soon rose to 
 the foremost ranks of virtuosi. He travelled through 
 all the principal cities of Europe, and was every- 
 where applauded to the skies. 
 
 It is curious to note that in after life he wan- 
 dered as a distinguished artist through many of 
 the towns where formerly he had strolled as a 
 beggar minstrel, and where he was now received 
 as one of the finest of Hungarian violinists. 
 
VII 
 
 MADEMOISELLE FRERY 
 
 It is interesting to record, from personal notes and 
 reminiscences; facts which have not yet found their 
 way into musical dictionaries, and to make known 
 a few traits, if not the complete life-history, of 
 some of the finest violinists the world has ever 
 known. 
 
 Alas ! it is now more than forty years ago that 
 I made the acquaintance, for a brief moment, of 
 a most beautiful and accomplished lady vioUn- 
 player in the person of Mademoiselle Frery, a 
 favourite pupil of the great De Beriot. 
 
 A short time previously I had known slightly 
 Teresa Milanollo, had attended one or two of her 
 concerts, and once, during the brief interval of a 
 dance, had received from her own lips many inter- 
 esting observations relating to her musical career. 
 After studying in Italy and at Paris, she became a 
 pupil of Leonard, in Brussels, towards the middle 
 of the present century. She was clever and inter- 
 esting rather than beautiful, of somewhat diminutive 
 stature and rather cold manner, bearing, even at the 
 
 57 
 
58 VOICE AND VIOLIN 
 
 early age of twenty-three, conspicuous evidence of 
 severe training. She had also been stricken down 
 by grief after the premature death of her younger 
 and highly gifted sister Maria, with whom she had 
 achieved so many successes in the concert-room. 
 Leonard composed an Elegie in remembrance of 
 this sad event. 
 
 In Mademoiselle FYery we had not only a fine 
 violinist, but one of the most beautiful girls ever 
 seen in Brussels during the middle years of this 
 century. 
 
 At eighteen years of age, when about to com- 
 pete for the first prize in the violin class of the 
 Conservatoire de Musique, she was a very attractive 
 young person indeed : rather above medium height, 
 with a profusion of lustrous dark hair, large 
 expressive eyes, regular and handsome features, 
 and of that modest, retiring disposition which 
 frequently accompanies decided talent. 
 
 Few of the youth of Brussels knew her even by 
 sight, for she devoted herself assiduously to her 
 studies ; but those who did happen to know her, it 
 is needless to say, were all enraptured. 
 
 She resided not very far from the Conservatoire, 
 of which she attended the classes regularly. How 
 long she had been in working her way up to De 
 Beriot's class (the highest class of the Conserva- 
 toire), I cannot say ; but my music master, Henri 
 Standish, was the repctikiir of that class, and, of 
 
MADEMOISELLE FR^RY 59 
 
 course, had Mademoiselle Frery, with others, 
 under his charge. 
 
 Some short time previously Standish had himself 
 taken the first prize in De Beriot's class, and it was 
 now this young lady's turn to compete for the same 
 honour. There were four or five other competi- 
 tors, all men, whose names I have now forgotten, 
 except that of Beumer, who w^as afterwards for 
 many years the first violin in the orchestra of the 
 Brussers Opera. 
 
 A little while before, I had attended the compe- 
 tition of the singing class, in which Mademoiselle 
 Sherrington (afterwards Madame Lemmens-Sher- 
 rington) had obtained a first prize, and now I was 
 about to witness a still greater triumph, when 
 Mademoiselle Frery came out victorious. 
 
 The great concert hall of the Grande Harmonic 
 was crammed ; for these competitions are open 
 to the public. Many students of the University, 
 and pupils of the Ecole Militaire, stood against the 
 wall of the balcony, or gallery round the floor, 
 and the body of the hall was filled with an enthu- 
 siastic audience. De Beriot led the small string 
 orchestra in front of the stage or platform ; and 
 Fetis occupied the chair, with his committee of 
 judges, all seated at a table covered with green 
 baize, placed in a corner of the room, to the left 
 of the orchestra. 
 
 In front of Monsieur Fetis was his glass of water, 
 
60 VOICE AND VIOLIN 
 
 and his little hand-bell, which he rang violently 
 whenever any applause arose among the public. 
 The bell was, however, quite ineffectual to sup- 
 press it. On such occasions he usually displayed 
 a good deal of temper, and when silence at length 
 ensued, the irritable little man would rise to his 
 feet and say — 
 
 '^ Ladies and gentlemen, you are aware that any 
 expression of feeling is strictly forbidden at these 
 public competitions, and if any such occurs again, 
 I solemnly declare to you that / will give orders to 
 the police to clear the room I " 
 
 Generally, this speech, which was repeated from 
 time to time in almost the same words, was re- 
 ceived with a few well-marked groans, and that 
 added so much to the old gentleman's irritability, 
 that more than once I feared we should really 
 have been ushered into the street by the armed 
 police force in attendance. 
 
 The piece chosen for the competition on this 
 occasion was the Andante et Rondo Russe from 
 De Beriot's Second Concerto, perhaps the most 
 beautiful of all his compositions. 
 
 Just before the proceedings began, my worthy 
 professor came into the balcony and asked me if I 
 would like to be introduced to Mademoiselle Frery. 
 
 Of course I should — I was then, also, about 
 eighteen years of age, and was studying the same 
 piece of music. 
 
MADEMOISELLE FRfiRY 61 
 
 He took me to the back of the stage, where the 
 charming young girl and her mother were seated. 
 She had her viohn upon her lap, waiting till her 
 turn should come to be called upon for the trying 
 ordeal. She wore a plain, white, short-skirted 
 dress, which contrasted with her jet-black hair; 
 whilst a pretty pink sash round her delicate waist 
 vied with the crimson flush of excitement upon 
 her cheeks. 
 
 Although she appeared quite calm and collected, 
 she assured me that she felt very nervous and un- 
 easy. I did what I could to tranquillise her ; but 
 my efforts in this respect were evidently unavail- 
 ing, for when afterwards her name was called she 
 did not appear ! 
 
 It was an anxious moment. 
 
 At the last minute her courage had completely 
 failed, and she declared that she would not com- 
 pete. 
 
 This message was communicated to the judges. 
 
 For a few minutes utter consternation reigned, 
 especially among the students, and indeed in the 
 entire audience. Inquiring glances were shot 
 across the room and from face to face. Low 
 murmurs were heard here and there, and a feeling 
 of intense disappointment prevailed, mingled with 
 the alarm that the beautiful girl artist might not 
 be well. 
 
 Four or five young violinists had already played 
 
62 VOICE AND VIOLIN 
 
 the piece above named, with more or less success, 
 and Mademoiselle Frery's turn came last. Why 
 was this ? Probably because the professors knew 
 that she could eclipse them all, and that the others 
 would not be patiently listened to after her playing. 
 And now she refused to appear ! 
 
 After a short interval of suspense and anxiety 
 the celebrated De Beriot was seen to lay dow^n 
 his violin. He rose slowly from his seat in the 
 orchestra, and springing upon the platform, went 
 behind the stage. In the course of a few minutes 
 he reappeared, leading the bashful girl by the 
 hand, and evidently encouraging her by kind 
 words. 
 
 A storm of applause then arose, amidst which 
 the little bell of Monsieur Fetis was not heard 
 at all. We could only see that he was ringing 
 furiously, his face getting red with anger. 
 
 When De Beriot had resumed his seat, and the 
 performance began, all was hushed ; and as the 
 first notes of the exquisite Andante streamed forth 
 you could have heard a pin drop. 
 
 The performance was in all respects equal to 
 the looks of the handsome young violinist who 
 played ; her full and luscious tone, refined ex- 
 pression, and elegant execution, created a sensa- 
 tion that will, probably, never be forgotten by 
 any who were present. At the conclusion there 
 was an outburst of applause such as I have rarely 
 
MADEMOISELLE FR^RY 63 
 
 heard ; and in spite of the strict regulations, the 
 httle speeches with alkisions to the poHce, and the 
 perfectly inaudible bell of Monsieur Fetis, it was 
 long and loud. 
 
 Another ovation, however, was immediately 
 forthcoming. 
 
 After a rather lengthy deliberation on the part 
 of the jury, it was decided that the first prize 
 should be divided between Monsieur Beumer 
 and Mademoiselle Frery ; the second prize and 
 accessits being awarded to some of the other 
 students. 
 
 This decision was, of course, received with great 
 cheering. But the uproar reached its climax when 
 M. Beumer and Mademoiselle Frery, both radiant 
 with smiles, came forward, hand in hand, to the 
 front of the stage to receive the award of the jury. 
 The applause was then quite deafening, and I 
 never witnessed a greater display of enthusiasm. 
 
 The following Sunday, according to custom. 
 Mademoiselle Frery played her prize piece again at 
 the hall of The Augustines, at the usual concert 
 of the pupils of the Conservatoire, when her 
 success was just as great, and she had to repeat 
 the last part of the Rondo. 
 
 My readers will doubtless like to know what 
 became of these two interesting young persons 
 who came forward, hand in hand, to receive their 
 divided prize, amidst the enthusiasm of a distin- 
 
64 VOICE AND VIOLIN 
 
 guished audience. Were their hands to remain 
 clasped together for ever — was such a lovely girl 
 to become an extra prize to the hard-working and 
 highly meritorious Beumer ? No, indeed ; fate 
 had destined that they were to be separated for 
 ever afterwards. 
 
 A year or so later M. Beumer was engaged, 
 not to be married, but among the first violins 
 of the Opera, where he afterwards took the posi- 
 tion of leader and solo violin ; and Mademoiselle 
 Frery was engaged — and married ! — to a pianist, 
 and proceeded to the United States. I never 
 learnt the name of her husband, nor did I ever 
 hear again of this lovely girl, who was certainly 
 one of the very finest violinists of her day. 
 
 Some little time after these occurrences, about 
 1853 or 1854, the two sisters Ferny made their 
 appearance on the stage of the Brussels Opera 
 as solo violinists. They were pupils of Artot, and 
 played his music to perfection. Their name 
 remained popular for some time, and being some- 
 what like that of Frery, caused the latter to be 
 forgotten by many who suffered from short 
 memories. 
 
 It v;as just at this time that, as a result, pro- 
 bably, of the effect that had been produced in 
 their concerts by the sisters MilanoUo, young 
 girls began to take up the violin as a means of 
 livelihood ; and Standish one day mentioned to 
 
MADEMOISELLE FRfiRY 65 
 
 me, as a curiosity, that he had two lady pupils who 
 were adopting music as a profession. 
 
 But, as I have shown in another place/ the 
 musical world had enjoyed the phenomenon of 
 a ^* girl-violinist " long before the time of Paganini. 
 
 1 " Famous Violinists," &c. (London : Chatto & Windus, 1896), 
 pp. 150-169. 
 
 E 
 
VIII 
 
 A LESSON IN COMPOSITION 
 
 Our English composer Balfe, some of whose 
 melodies have always been extremely popular, got 
 his inspiration chiefly from Bellini, and a few 
 other Italian composers of the same school. In 
 like manner Bellini was often inspired by the 
 popular airs of Naples, the city in which he studied. 
 That lovely song Finestra che lucevi (given in 
 Ricordi's collection, Eco di Napoliy vol. i. p. i6) 
 has its ^^ echo " in one of the most telling passages 
 of La Sonnambula, We could fancy Bellini wished 
 to recall to the minds of his hearers the sad words 
 of those verses so familiar to the people in order 
 to emphasise the situation of the disconsolate 
 Elvino. Whether he wished it or not, he has done 
 so, or 1 should not be able to mention the fact. 
 
 In some of the most effective violin music of 
 De Beriot we meet with like reminiscences of 
 Bellini's Norma (First Concerto), of Auber's La 
 Sirene (Ninth Concerto), of Rossini's La Gazza 
 Ladra (Sixteenth Etude mclodiquc), and many 
 other instances. 
 
 66 
 
A LESSON IN COMPOSITION 67 
 
 When I was a very young boy, and was just 
 beginning to play some of these deUghtful ItaHan 
 melodies upon my violin, I used to listen with 
 rapture to the playing of my paternal uncle upon 
 the flute. He was a man whose soul was devoted 
 to melody, and I shall never forget a little speech 
 he made to me when he paid us a visit one 
 summer in Brussels. Alluding to the study of com- 
 position, he remarked, '' My dear nephew, as you 
 advance in life you will find that the most difficult 
 thing in the world is to compose an original air." 
 
 We have, indeed, such a number of beautiful 
 songs in the world that some of the greatest com- 
 posers have not been able to avoid reminiscences 
 of previous compositions, which are often very 
 striking to those w^ho hear them for the first time. 
 It is, however, a thing to be carefully avoided in 
 producing a new work. 
 
 When you have an original melody the harmony 
 will take care of itself ; it is not very difficult to 
 supply the latter, and it should not be so compli- 
 cated or pedantic as to injure the theme — a fault 
 that is rather conspicuous in many modern com- 
 positions. 
 
 After such men as Zingarelli, Mercadante, 
 BeUini, Donizetti, Rossini, and others of the 
 modern ItaUan school (often spoken of as the 
 *' romantic school," in contrast to the ^' classical 
 school " of Bach, Handel, Haydn, &c.), it is 
 
68 VOICE AND VIOLIN 
 
 almost impossible to hit upon a decidedly new air 
 fit for the lyric stage. Of late years the only 
 musician who has thoroughly succeeded in this 
 respect is the veteran composer Verdi ; and some 
 of his melodies in / Lonibardi, II Trovatore, Ernanij 
 and RigolettOy have consequently become extremely 
 popular. 
 
 As I have cultivated this so-called ^^ romantic 
 school " all my life, without in any way despising 
 the other (for, like Rossini, I only recognise two 
 kinds of music : *' that which is good, and that 
 which is bad "), I have convinced myself that 
 young composers whose livelihood depends upon 
 the success of their compositions, cannot do better, 
 after familiarising themselves with Mozart and 
 Cimarosa, for instance, as a preliminary training, 
 than make a very careful study of the three operas 
 LElisire d^AmorCy by Donizetti ; // Barbiere^ by 
 Rossini ; and La Somtambtda, by Bellini ; more 
 especially the first-named. 
 
 If the complete score is not within their reach, 
 let them take the partition for voice and piano of 
 the Elisire d* Amove ; and, first, carefully study the 
 Italian words {^not the translations into French, 
 English, or German, which are often very defec- 
 tive), and then the music, bar by bar, from begin- 
 ning to end. It is one of the best lessons in 
 composition that I can recommend ; and it will 
 be all the more useful if they have been fortunate 
 
A LESSON IN COMPOSITION 69 
 
 enough to have seen the opera performed once or 
 twice before they study it from the composer's 
 point of view. 
 
 To produce an effective opera the greatest care 
 should be given to secure a well-written poem or 
 libretto. A silly plot, or one that is too elaborate, 
 are equally to be discarded. 
 
 Spontini's La Vestak had to be considerably cut 
 down before it could be declared successful, fine as 
 the music was. When Lesueur, the composer 
 whom Napoleon I. patronised, was asked his 
 opinion upon it by the young Italian composer, 
 he did not hesitate to declare that it was a very 
 fine work, indeed — in fact, that it had only one fault. 
 
 '' What is that ? " anxiously inquired the com- 
 poser. 
 
 " It is too long," replied Lesueur. 
 
 The greatest composers have had numerous 
 failures ; young musicians should remember that, 
 and never be disheartened. Out of the forty 
 operas written by Rossini, twelve only were per- 
 formed with great success. Out of the sixty-six 
 composed by Donizetti, nine only have met with 
 popularity ; and out of ten operas composed by 
 Bellini (who died at the early age of thirty-four), 
 five only were received with enthusiasm. 
 
 Tartini, the celebrated Florentine violinist, who, 
 at twenty-four years of age, composed his well- 
 known Sonata del Diavoloj left a remarkable letter 
 
70 VOICE AND VIOLIN 
 
 to his pupil Madame Sirman/ on the study of the 
 vioHn, to which I have referred in a former work. 
 BelHni also has left a letter upon his method of 
 composition, of which I will here give an exact 
 translation for the benefit of my younger readers. 
 He says — 
 
 ^^ Since I have decided upon writing a certain 
 number of operas — never more than one a year — I 
 have also determined upon throwing all my efforts 
 into the task. Being thoroughly persuaded that a 
 great portion of their ultimate success depends 
 upon the choice of an interesting subject, upon the 
 contrast of the passions, the harmony of the 
 verses, and the warmth of expression in their 
 recital, quite as much as upon dramatic situations, 
 it was necessary for me, in the first place, to meet 
 with some writer who had experience in this style 
 of composition, and this I have done in choosing 
 Romani, a powerful genius, evidently born for 
 musical drama. 
 
 ^' As soon as his poem is finished, I study most 
 attentively the characters of the various person- 
 ages, in order to become familiar with the pre- 
 dominant passions of each, and the sentiments 
 which animate them. 
 
 *' Once well penetrated with all this, I put my- 
 self in their places, and I endeavour to feel, and to 
 express my feelings, as they would feel and act if 
 
 ^ Signorina Lombardini. 
 
A LESSON IN COMPOSITION 71 
 
 real living personages. Just as music is the re- 
 sult of a variety of sounds, so men's passions are 
 revealed also, in language, by means of diversely 
 modified tones, and I endeavour, by incessant 
 observation, to accomplish with my art the exact 
 manifestation of these various sentiments. 
 
 '^ Enclosed securely in my room, I begin by re- 
 citing the part of each personage in the drama 
 with all the passionate ardour which I can bring 
 to bear upon it. I note, as much as possible, the 
 rising and falling of my voice as I do this, the 
 accelerated or slackened diction, and, finally, the 
 accent, and tone of expression, which Nature gives 
 to man when a prey to his passions ; and I find 
 thus the airs and musical rhythm which are neces- 
 sary to convey these impressions to an audience 
 by means of harmony. 
 
 ^' I immediately note this down on paper, then 
 I try it over on the piano, and when I feel a corre- 
 sponding emotion to that which I desire to repre- 
 sent, I conclude that I have succeeded. In the 
 contrary case, I recommence, and persevere in my 
 work until I have realised my object." 
 
 The greatest of modern Italian composers, Giu- 
 seppe Verdi (born 1813), who wrote his Falstaff 2X 
 the age of eighty-two, had no special professor : 
 he educated himself by studying the works of his 
 contemporaries, and imitating them. At first his 
 work showed much inexperience ; but his natural 
 
n VOICE AND VIOLIN 
 
 gifts soon raised him to the very highest rank of 
 dramatic composers. 
 
 Rossini's method of study was to take either the 
 bass or the treble of a well-known composer, and 
 fill up the one or the other in his own manner. 
 This method is used in the Paris Conservatoire, 
 and is considered one of the best exercises for 
 students, after they have acquired the technics of 
 modulation, melodic ornamentation, fugue, &c., or 
 what is called the ^' grammar of music." 
 
 For the encouragement of young composers 
 who may have met with disappointments, I will 
 report here the translation of a portion of a letter 
 which Bellini wrote to his friend Florimo — the 
 author of so many sweet Italian melodies, and for 
 many years keeper of the Archives at the Naples 
 Conservatorio — on the occasion of the failure of 
 his opera of Norma at its first representation : — 
 
 " Milan, 26//1 Dccejuher 1831. 
 
 ^' Dearest Florimo, — I write under the im- 
 pression of grief — a deep, bitter grief which I can- 
 not express, but which you will understand. I 
 come this moment from La Scala, where my Norma 
 has just been performed for the first time. Will 
 you believe it ? fiasco! fiasco ! solemn fiasco ! " 
 
 These words will bring a smile to the lips of 
 any one who may have heard Grisi sing the cava- 
 tina Casta diva, &c. 
 
IX 
 
 TOMARISSEN AND THE BEY OF TUNIS 
 
 Towards the latter part of the eighteenth century, 
 when the great quahties of the Amati vioHns were 
 beginning to be highly appreciated, a certain rich 
 Bey of Tunis, named Muftareddin, was well known 
 to be a great amateur of music. He had an 
 orchestra composed of the finest artists he could 
 collect. His agents travelled all over Europe and 
 Asia, and along the coast of Africa, to engage any 
 musician of extraordinary merit whom they might 
 happen to meet. 
 
 The orchestra was required more especially to 
 play the sprightly dance music of that day — horn- 
 pipes, jigs. Oriental ditties, valses, &c. — which were 
 performed every evening in the open air after dinner, 
 when the heat of the sun had subsided, and the Bey, 
 with his counsellors and friends, lounged upon a 
 capacious balcony, smoking their chibooks, and 
 enjoying the soft, cool breezes which set in about 
 that hour from the blue waters of the Mediterranean. 
 
 One morning, shortly after daybreak, an agent of 
 the Bey was ushered into his private apartment, and 
 informed him that in his travels in Sicily he had met 
 
 73 
 
74 VOICE AND VIOLIN 
 
 with a violinist of marvellous talent, compared to 
 whom the best performers in the orchestra of his 
 palace were a mere nothing. The name of this 
 wonderful artist was Tomarissen. He was a young 
 man of Arabian origin, born at Palermo, and a great 
 favourite in his native town. 
 
 The agent said he had used every endeavour to 
 induce this violinist to visit Tunis, in order to 
 delight the Bey by his playing, but that he had 
 completely failed to procure his services. 
 
 The fact was, nothing could induce Tomarissen 
 to travel. Not only was he the first musician in 
 Palermo, and made much of by all the inhabitants 
 of that ancient city, but he was affianced to a beau- 
 tiful girl of nineteen years of age, named Roxelana, 
 whom he intended to marry as soon as he had 
 saved a little money. 
 
 But Tomarissen was very poor. His reputation 
 was great, but his purse was small — and often 
 empty. As he was very generous, his performances 
 were frequently given away in aid of charities, or 
 for other purposes, and he had only a few pupils. 
 Nevertheless, he earned sufficient to live respect- 
 ably, paid his rent and his taxes regularly, and 
 enjoying as he did the fond affection of Roxelana, 
 he lived at Palermo very contentedly. 
 
 When the Bey of Tunis was made acquainted 
 with the news, he determined at any cost to have 
 this wonderful violin-player. He could not sleep 
 
TOMARISSEN AND THE BEY OF TUNIS 75 
 
 at night for thinking of all that his agent had told 
 him, or maybe it was because he slept so much in 
 the daytime. Anyhow, he insisted on despatching 
 his agent in a special boat to Palermo, instructing 
 him to offer the Sicilian virtuoso magnificent pre- 
 sents of money and jewels, which he felt thoroughly 
 convinced no violinist could fail to accept. 
 
 But when Tomarissen received this very liberal 
 offer, he firmly refused to depart with the officer of 
 the Bey, and the latter was obliged to return alone 
 to Tunis. As soon as this functionary had departed, 
 Tomarissen wrote a gracious letter of thanks to 
 the Bey, in which he promised that his Serene High- 
 ness should soon hear him play if he would mean- 
 while send him a small gift of money, some of which 
 he w^ould require for the journey, and the remainder 
 for the support of his family during his absence. 
 
 It should be understood that his music contri- 
 buted rather largely tow^ards the maintenance of his 
 aged parents, not to mention all the little presents 
 that he purchased and bestowed upon the beautiful 
 Roxelana. However much Tomarissen would have 
 liked to play before such a distinguished individual 
 as his Serene Highness the Bey of Tunis, he felt 
 certain that if he ventured to visit him he w^ould be 
 kept a prisoner for an indefinite length of time, 
 perhaps for ever, and such a thing did not at all 
 suit his tastes. 
 
 Meanwhile the Bey, in answer to the letter, sent 
 
76 voicp: and violin 
 
 a handsome sum of money and some valuable pre- 
 sents to the violinist of Palermo, on the strength of 
 his promise to pay him a visit and play to him, 
 which his Highness felt assured would be strictly 
 kept, for he knew by experience that a true artist 
 never breaks his word. 
 
 A short time afterwards, indeed, Tomarrisen pre- 
 pared to start on this little adventure. He packed 
 up his beautiful violin, an Antonio Amati ; bade a 
 fond farewell to Roxelana, promising to return very 
 soon ; hired a stout fishing-boat and five men to sail 
 to Tunis, and to await him there until he was ready 
 to return ; disguised himself thoroughly as a wander- 
 ing minstrel, and arrived at the palace just as the 
 Bey and his attendants were enjoying the usual 
 evening concert. 
 
 He repaired to the great hall, and giving his 
 name as Glutini, a favourite pupil of the renowned 
 Tomarissen, requested, as a favour, that he might 
 be allowed to play before the Bey and his Court. 
 
 The Bey of Tunis was highly pleased at this an- 
 nouncement, and at once dismissing the members 
 of his orchestra, he had the strange violinist sum- 
 moned to his presence. 
 
 The latter soon found himself in a large apart- 
 ment where the Bey and the whole of his com- 
 panions were lounging in a vast circle upon luxurious 
 sofas, sipping their coffee and smoking their fragrant 
 chibooks. 
 
TOMARISSEN AND THE BEY OF TUNIS 77 
 
 After making several low bows and salutations in 
 the Eastern fashion, the foreign artist was requested 
 to step upon a small raised platform, where, after a 
 few kind words from the Bey, he drew forth his 
 beautiful Amati violin and his bow, and at once 
 commenced his performance. 
 
 At the first sounds of the instrument every person 
 in the room was very much delighted. No one in 
 that country had ever heard such music. 
 
 It began by an allegro movement, which attracted 
 keen attention, and decidedly raised the spirits of 
 the audience. Every one was enchanted, and ap- 
 plauded heartily. Presently there came some ipizzi- 
 cato and harmonic passages, which caused the Bey 
 and his companions to smile ; then with these were 
 intermingled some imitations of the crowing of a 
 cock and the braying of an ass, which were at once 
 responded to by some animals belonging to the 
 Bey, the sounds having reached them through the 
 open windows, and this caused great laughter. 
 Finally came the most inimitable mewing of a 
 cat, the bellowing of a bull, and the warbling of 
 little birds, like canaries, so natural as to be easily 
 mistaken for real birds; and the whole concluded 
 in a brilliant and fantastic display of execution of 
 so comical a character that the whole audience was 
 convulsed with laughter ; the Bey held his sides, 
 and the courtiers rolled one against the other in 
 uncontrollable fits of hilarity, mingled with a loud 
 
78 VOICE AND VIOLIN 
 
 clapping of hands whilst the violinist bowed his 
 acknowledgments. 
 
 Then the music changed to a soft, plaintive melody 
 of the most tender and expressive kind, the long, 
 luscious notes of the violin being evidently listened 
 to with rapture. 
 
 Soon the features of the audience betokened 
 emotion, signs of sadness appeared, and tears were 
 actually seen to rise in the usually ferocious eyes of 
 the Bey of Tunis. In a short time, indeed, there 
 was not a dry eye in the whole room. Every one 
 was completely enchanted ; all listened with the 
 most profound attention to this truly marvellous 
 playing. 
 
 When this had lasted for a few minutes, the 
 Sicilian violinist continued his performance with 
 a succession of vigorous chords and arpeggios 
 mingled with brisk staccato passages. The music 
 took such a martial complexion that not only were 
 the tears of the audience soon dried up, but every 
 one felt inclined to rise and march. 
 
 Some beat time with their feet or their hands, 
 their heads swayed to and fro with the rhythm of the 
 music, and a general state of excitement and rest- 
 lessness prevailed. The Bey raised his arms and 
 flourished them above his head, keeping time with 
 the music, and in this he was imitated by numbers 
 of his favourites. Thunders of applause and deafen- 
 ing cheers followed this part of the performance. 
 
TOMARISSEN AND THE BEY OF TUNIS 79 
 
 Once again the character of the music changed ; 
 this time to a lovely berceuse or lullaby, so calm and 
 quiet, and so intensely soothing, that before many 
 minutes elapsed the entire audience was reclining 
 with half-closed eyelids upon the capacious cushions 
 of the sofas ; an uncontrollable drowsiness over- 
 came first one, then another, until the whole 
 assembly, including the ferocious Bey himself, had 
 gone off into a deep slumber, whilst the violinist 
 continuing, piaitOy pianissimo^ and at the same time 
 withdrawing himself gradually from the hall, passed 
 out of the large folding doors, leaving the Bey and 
 his companions fast asleep ! 
 
 When outside the palace the Sicilian made his 
 way quickly towards the coast, where he found his 
 boatmen awaiting him. They set sail and departed 
 without delay. 
 
 On arriving at home Tomarissen wrote another 
 letter to the Bey of Tunis, explaining that he had 
 duly kept his promise of performing in his august 
 presence. He added that the money he had re- 
 ceived had enabled him not only to defray the 
 expenses of the journey, but to marry his charming 
 Roxelana. 
 
 The Bey was wrapped in utter amazement when 
 he received that letter. For many months he could 
 talk of nothing but the wonderful playing of the 
 violinist of Palermo ; and he made the latter profuse 
 offers to come and reside at Tunis. 
 
80 VOICE AND VIOLIN 
 
 But now that he was married, and had made 
 some provision for his parents, Tomarissen decided 
 to travel in another direction; ^'for," he surmised, 
 ^' if my viohn-pkiying proves such an attraction to 
 the Bey, what might he think of Roxelana ? " 
 
 So he made a prolonged tour in Southern Europe, 
 and whilst the Bey of Tunis continued to listen as 
 before to the dance music of his evening orchestra, 
 Tomarissen enraptured still more powerful poten- 
 tates, until one of them created him a nobleman, 
 which pleased Roxelana immensely, but lost to the 
 world both the name and the performances of this 
 truly wonderful violinist. 
 
 In the little cemetery near the fine old cathedral 
 of Montreale, about five miles from Palermo, his 
 native city, is a modest stone upon which are in- 
 scribed the words — 
 
 IL CONTE DI RUBATELLO, 
 
 and the date 1842. That is the last resting-place 
 of this extraordinary man. He lies in ground 
 that has been consecrated for no less than seven 
 hundred years. 
 
 Just as I am writing these lines the sad news 
 reaches me from Genoa that the Italian stage has 
 lost one of its brightest ornaments by the death of 
 the famous tenor, Roberto Stagno, who has just 
 died at the birthplace of Paganini. 
 
TOMARISSEN AND THE BEY OF TUNIS 81 
 
 Stagno was a very handsome man, with a most 
 delicious voice, and still retained the greater part of 
 his manly beauty though sixty years of age. His 
 favourite operas were the Elisire d^Amorej of Doni- 
 zetti, and RigolettOy of Verdi. He was, also, a native 
 of Palermo, but meeting with great success at 
 Madrid, he sang there for seven consecutive seasons. 
 In Italy he once had the honour of singing a duet 
 with her Majesty Queen Margheritta. 
 
X 
 
 NEW FEATURES IN THE LIFE OF PAGANINI 
 
 To the numerous anecdotes related of Paganini, 
 most of which I have given in my two former works/ 
 new facts now and then crop up, which must be 
 added, as they throw hght upon the career of that 
 celebrated violinist. One of the most astounding 
 revelations regarding the life of ^^ the illustrious 
 Genoese/' as he is sometimes called, has been re- 
 cently recorded in the ^^ Life and Letters '" of the 
 late Sir Charles Halle, the celebrated pianist and 
 conductor, which was published in London in 1896. 
 This excellent work may be consulted advantageously 
 for many interesting traits connected with the noted 
 musicians who were Charles Halle's contemporaries; 
 it is a volume which bears the impress of truth and 
 honest conviction on every page, and with the recent 
 works of the same kind by Arditi and Kuhe, forms 
 a valuable addition to the musical literature of this 
 century. 
 
 Like many hard-working and poor artists who 
 have had to cut out their career entirely by them- 
 
 ^ "Biographical Sketches of Celebrated Violinists" (1877), and 
 
 " Famous Violinists and Fine Violins" (1S96). 
 
 82 
 
NEW FEATURES IN PAGANINI'S LIFE 83 
 
 selves, Paganini has been generally looked upon 
 as a man of mean habits. Many have accused 
 him of selfishness, and of driving hard bargains. 
 On the other hand, he has been known to do several 
 generous actions. He is said to have presented to 
 Sivori the fine Vuillaume violin upon which the 
 latter produced such marvellous effects in his con- 
 certs ; he has been known occasionally to give 
 concerts for charitable purposes ; and a few other 
 liberal acts have been attributed to him, such as the 
 way in which he transformed Ciandelli, a violon- 
 cellist, from a second-rate performer into an artist 
 of the first rank, in return for kindness done to 
 himself. 
 
 Nevertheless, Paganini has been generally re- 
 garded by his contemporaries, and by those who 
 have studied his career, as a man who was both 
 taciturn and stingy. 
 
 Suddenly he acquired the reputation of being 
 one of the most generous men that ever lived ! 
 
 At a time when Berlioz was struggling to keep 
 misery from his door, it was reported that his friend 
 and fellow-musician, Paganini, had made him a 
 present of 10,000 francs (;£40o). This trait of gene- 
 rosity was talked about all over Europe at the time, 
 and had the effect of drawing attention to the works 
 of Berlioz. Up to the present time this anecdote 
 has been considered as absolutely correct. 
 
 Alas ! it is not true. It is absolutely incorrect, 
 
84 VOICE AND VIOLIN 
 
 both as regards the sum mentioned and the donor. 
 Thanks to Halle, the true facts have at last come to 
 
 light. 
 
 The money that was presented to Berlioz at the 
 time in question was not 10,000 francs, but 20,000 
 (;^8oo) ; and the actual donor was certainly Paga- 
 nini, but the money was that of another man who 
 induced the great violinist to hand it over to BerHoz 
 as if it were a gift from himself. 
 
 Why all this mystery ? We shall see. 
 
 Berlioz, the well-known composer and conductor, 
 was, about 1834 to 1837, in very poor circumstances ; 
 his compositions did not please the public ; his en- 
 gagements were few and far between. Like many 
 other men of his class, he found it, no doubt, very 
 difficult to keep money in his pocket, when he 
 happened to have any, and he was eking out a 
 precarious living by writing musical articles for 
 the Journal des Debats, 
 
 The proprietor of that influential newspaper was 
 M. Armand Bertin, a very wealthy man, and, it 
 appears, not devoid of generosity. He had a high 
 regard for Berlioz, and knew of all his struggles, 
 which he, Bertin, was anxious to lighten, and he 
 resolved to make him a present of 20,000 francs. 
 In order to enhance the moral effect of this gift, 
 according to Charles Halle, he persuaded Paganini 
 to appear as the donor of the money. 
 
 That Bertin had judged well was proved immedi- 
 
NEW FEATURES IN PAGANINI'S LIFE 85 
 
 ately afterwards. " What would have been a simple 
 gracieusete from a rich and powerful editor towards 
 one of his staff/' says Halle, " became a significant 
 tribute from one genius to another, and had a 
 colossal retejitissement. The secret was well kept, 
 and was never divulged to Berlioz. It was known, 
 I believe, to but two of Bertin's friends besides 
 myself, one of whom is Mottez, the celebrated 
 painter. I learned it about seven years later, when 
 I had become an intimate friend of the house, and 
 Madame Armand Bertin had been for years one of 
 my best pupils." 
 
 This throws a very different light upon the affair 
 than that in which musical writers have hitherto 
 viewed it ; and I believe that it is confirmed by a 
 passage in the ^* Memoirs of Berlioz," a work which 
 I have not yet seen. 
 
 Another matter which has more than once at- 
 tracted attention, and given rise to a large amount 
 of criticism, is the so-called " duel " between Paga- 
 nini and Lafont. 
 
 There can be no doubt that the well-known 
 French violinist Lafont never committed a more 
 rash action than when he challenged Paganini on 
 his own native soil, at Milan, to compete with him 
 as a virtuoso. 
 
 The natural gifts of Paganini as a violinist were 
 so great that, could the most eminent artists of the 
 present day undergo with him the same ordeal, they 
 
86 VOICE AND VIOLIN 
 
 would most assuredly come out ^' second best." 
 Whatever drawbacks may attach to the private 
 character of Paganini, as a professional violinist he 
 was an artist such as this world will probably never 
 see again. 
 
 It has been my good fortune to converse with 
 men who have heard Paganini, and were thus able 
 to compare him with the best of our modern violin- 
 ists, and though some preferred the grander style of 
 De Beriot, as regarded mere execution their verdict 
 was always unanimous, and to the effect that, with 
 the sole exception of Camillo Sivori, no one has 
 ever approached him, and that in Sivori's case it 
 was only an approach. 
 
 Few indeed now remain who have attended the 
 concerts of Nicolo Paganini, and they are mostly 
 well over eighty years of age. But they are all 
 agreed that in his case it was not a matter of 
 vogue or fashion, or unscrupulous pufting for 
 trade purposes (though there was some of that), 
 but he actually realised what no other human being 
 could do. It was the peculiar nervous organisation 
 of the man which was the chief cause of all ; and in 
 this respect no two men are exactly alike. Every 
 artist must be content with his own style. Imitate 
 nobody, as Viotti said to De Beriot, but endeavour 
 to perfect your own talent as far as Nature will 
 allow you to do so. 
 
 Let it also be clearly understood that in music, 
 
NEW FEATURES IN PAGANINFS LIFE 87 
 
 as in painting and poetry, there is no single leader 
 whose style and manner should alone be imitated. 
 As soon as a certain level of excellence has been 
 attained, it becomes a simple matter of taste as to 
 who should be considered the first, and de gustibus 
 non est disputanduiUy said the ancients. 
 
 Some people may prefer one violinist to another, 
 but when it is a question of artists of the first rank 
 it is rather absurd to speak of any individual as 
 the "king of violinists." There is no king, it 
 is a republic now. There never was a king but 
 once, and then only for a few years, and his name 
 was Paganini. 
 
 At the present day, when such an array of talent 
 is before the world as was never previously known, 
 the expressed preference for any great violinist is 
 like declaring that you prefer an apple or a pear to 
 a peach or a plum. They are all perfect in their 
 particular manner. 
 
 Young violinists will do well to remember this, 
 and not to imitate any one in particular, but endea- 
 vour to derive instruction from all, while perfecting 
 their own individual styles. No two contemporaries 
 ever reached the pinnacle of fame by more different 
 routes than Spohr and Paganini ; yet they both 
 rose as high as it is allotted to an artist to rise in 
 this world. 
 
 The celebrated " duel " came about in the follow- 
 ing manner : In March 1816, Paganini, being then 
 
88 VOICE AND VIOLIN 
 
 in his native town, Genoa, heard accidentally that 
 the French violinist Lafont v^as at Milan ; and 
 being very curious to hear him play, he left at once 
 for that city, a much longer journey in those days 
 than it is now. 
 
 " His performance," says the Italian virtuoso^ 
 " pleased me exceedingly." 
 
 A week later Paganini himself announced a con- 
 cert at the opera-house La Scala, on which occa- 
 sion Lafont was present. The day after the concert, 
 Paganini received a letter from the latter, in which 
 it was proposed that they should both play in the 
 same concert. 
 
 " I excused myself," said Paganini, " alleging 
 that such experiments were highly impolitical, as 
 the pubHc invariably looked upon these matters as 
 duels, and that it would be so in this case ; for as he 
 was acknowledged to be the best violinist in France, 
 so the public indulgently considered me the best of 
 Italian violinists. Lafont, not looking at it in this 
 light, I was obliged to accept the challenge. I 
 allowed him to arrange the programme. 
 
 "We each played a concerto of our own com- 
 position ; after which we played together a duet by 
 Kreutzer. In this I did not deviate in the least from 
 the composer's text whilst we played together ; but 
 in the solo parts I yielded freely to my own imagina- 
 tion, and introduced several novelties, which seemed 
 to annoy my adversary. Then followed a Russian 
 
NEW FEATURES IN PAGANINI'S LIFE 89 
 
 air with variations, by Lafont, and I finished the 
 concert with my variations called Le Streghe, 
 
 *^ Lafont probably surpassed me in tone, but 
 the applause which followed my efforts convinced 
 me that I did not suffer by comparison." 
 
 This appears to be the most modest, and at the 
 same time the most truthful account of this affair, 
 many singular versions of which were published in 
 the French and Italian newspapers. 
 
 It is well to note that on this memorable occasion 
 both violinists played upon instruments by the 
 same maker, Joseph Guarnerius, of Cremona. It 
 has been long known that Paganini's violin was by 
 that maker ; indeed, it was his playing that brought 
 forward the name of Guarnerius. It has been re- 
 cently shown by Mr. John Day, the senior member 
 of her Majesty's private band, and a distinguished 
 pupil of De Beriot, that Lafont also played upon a 
 violin by that maker. 
 
 Mr. Day also informs us that the instrument on 
 which Lafont played at Milan in 1816 was, after 
 his death, purchased for the sum of ;^30o by J. B. 
 Vuillaume, of Paris. 
 
XI 
 
 " FRA DIAVOLO " AT BRUSSELS 
 
 As a lad I went to the Opera whenever opportunity 
 occurred. It occurred in various ways. Perhaps 
 my father gave me five francs, and hinted that some 
 of it should be spent in that manner, or he took 
 me himself ; or sometimes my music master had 
 got two tickets, and kindly asked me to accompany 
 him ; or, again, some English friends on a visit to 
 Brussels, to whom French was not very familiar, 
 requested me to accept a seat in their box. 
 
 So, for some five or six years, during which the 
 Italian and French operas were particularly good 
 in the Belgian capital, I suppose I must have gone 
 to the Theatre Italien or the Theatre de la Monnaie 
 about three times a week on the average. 
 
 It sometimes grieves me to think that in England 
 
 we rarely have a chance of hearing the beautiful 
 
 music in which we revelled in those days — that is 
 
 to say, between 1849 and 1859. ^^^ ^^^ ^^^^ place, 
 
 the same operas are never on the bills ; or, when 
 
 some of them do happen to be announced, the 
 
 prices are quite forbidding. We should be ruined, 
 
 90 
 
"FRA DIAVOLO" AT BRUSSELS 91 
 
 unless we only went to the Opera when tickets are 
 given away ; and that kind of present, somehow, 
 always comes at most inconvenient moments, just 
 when it is quite impossible to go to the theatre with- 
 out sacrificing some other important engagement. 
 
 During the period mentioned I was fortunate 
 enough to hear the best productions of the modern 
 Italian and French composers. Rossini's // Bar- 
 biere was the first opera I ever saw, then his Gazza 
 Ladra, Mathilda di Sabran, and William Tell ; 
 Donizetti's Elisire d' Amove, Anna Bolena, La Favo- 
 rita, and Lucia di Lamermoor ; Bellini's Sonnambula 
 and // Pirata ; Herold's Zampa and Pre aux Clercs ; 
 Auber's La Muette de Portici, Dianiants de la Cou- 
 ronney and Fra Diavolo ; Mozart's // Seraglio ; Cima- 
 rosa's // Matrimonio Segreto ; Adolf Adam's La 
 Poupee de Nuremberg ; and, after a little while, 
 Meyerbeer's Robert le Viable, Le Prophete, and 
 L'Etoile du Nord ; Verdi's I Lombardi and // Trova- 
 tore ; Gaveaux' Le Bojiffe et le Tailleur ; Halevy's 
 Mousquetaires de la Reine, and many other pieces. 
 
 The orchestras in the Park, or in the concert hall 
 of La Grande Harmonic, distinguished themselves 
 by their performances of the overtures to Rossini's 
 William Tell and Weber's Oberon, which they played 
 in magnificent style. I have heard a good deal of 
 symphonic music since then, but, candidly, nothing 
 to equal these compositions, or even to approach 
 them. 
 
92 VOICE AND VIOLIN 
 
 One night I went with a fellow-student to see Fra 
 Diavolo for the third time. It was on the occasion 
 of the part of the ^' Englishman " being played by 
 an actor from Paris, and I was fortunate enough to 
 witness the most ludicrous scene that ever occurred 
 on any stage in Europe. 
 
 The house was crammed. The white and gold 
 decorations of the boxes, the handsome chandelier, 
 and the elegant drop-scene were delightful to look 
 upon. The ladies' toilettes in the balcony were 
 most elegant, and among their white dresses, be- 
 decked with flowers and jewels, were seen, here and 
 there, a few military uniforms, and the dark blue 
 coats of the pupils of the Ecole Militaire, which 
 contrasted with the monotonous black evening-dress 
 of the men. 
 
 The orchestra played the brilliant overture with 
 much dash and expression. We could fancy we 
 saw troops of brigands marching mysteriously over 
 the distant mountains depicted on the drop-scene, 
 whilst the opening bars were being played with all 
 the delicacy and charm of which those excellent 
 musicians were capable. 
 
 All went well — exceedingly well — until the scene 
 where the English Milord is informed by the little 
 captain of the gens d'armes that the brigands are in 
 the immediate neighbourhood. 
 
 The scene is on the first floor of an hotel; a window 
 at the back of the stage is wide open (for it is a 
 
"FRA DIAVOLO^' AT BRUSSELS 93 
 
 warm summer night in the South), and through it 
 is seen the top of the spire of the Httle village church. 
 
 Milord, who is excruciatingly comic, is in a dress- 
 ing-gown and red slippers, and when told about the 
 brigands he is terribly frightened ; he is so terrified 
 that he starts backward, alarmed, and throwing out 
 his arms. In the '' business " of the piece. Lord 
 Allcash, in his highly terrified condition, has to re- 
 tire suddenly backwards towards the open window 
 and nearly fall out, saving himself from such an 
 accident by spreading out both his arms, which 
 invariably creates much laughter. 
 
 But in the present case the window on the 
 Brussels stage was rather wider than that on the 
 Paris theatre, where the actor had previously played, 
 and instead of saving himself by striking the backs 
 of his hands on the sides of the window-case, his 
 hands never reached the sides at all, and he fell 
 clean out, backwards, leaving nothing exposed to 
 the audience but his red slippers and the lower 
 parts of his legs poking up at the open window, 
 and having for a background the top of the spire of 
 the village church ! 
 
 An uproar of laughter such as is seldom heard, 
 greeted this singular accident — it was the most 
 ludicrous sight imaginable, though it might have 
 proved serious to the actor. The orchestra stopped 
 playing ; the second tenor (the little captain) rushed 
 to his friend's assistance and pulled him back on to 
 
94 VOICE AND VIOLIN 
 
 the stage by his arms, whilst the whole house was 
 convulsed. The " Englishman " came up looking 
 ghastly pale and evidently half stunned. For some 
 moments it was feared that the opera could not be 
 continued, but after a few signs from the two actors 
 the piece was resumed amidst the continuous un- 
 controllable laughter of the public. 
 
 Every now and then in the course of the evening 
 a recollection of this incident would spring up, here 
 and there, in various parts of the house, and a titter 
 would arise, which soon spread with marvellous 
 rapidity throughout the theatre, the artists on the 
 stage and the members of the orchestra themselves 
 joining in the general hilarity. It was singular to 
 observe the magnetic influence of a slight titter thus 
 begun and at once spreading over the whole house. 
 This occurred three or four times at intervals be- 
 fore the piece was ended. Nextj day, every one I 
 met in the streets complained of sore ribs or painful 
 sides, as an effect of excessive laughing the previous 
 night. One man said he had never in the whole 
 course of his life laughed so much, or suffered such 
 pain in consequence ; he had not had a wink of 
 sleep all night. I am glad to say that, except for a 
 severe contusion at the back of the head, the artist 
 who played the part of Lord Allcash did not suffer, 
 apparently, from any serious after-effects. 
 
 Another rather ludicrous thing occurred at the 
 same theatre some months afterwards. It was at 
 
"FRA DIAVOLO" AT BRUSSELS 95 
 
 the conclusion of Robert le Viable, when Robert and 
 Bertram were singing their final duet. The tenor, 
 wishing to sing his part with exceptional effect, 
 found the bass getting rather too slow for him, so 
 he stamped with his foot to accentuate the time. 
 The men underneath the stage took this for the 
 sign to lower the trap-door on which the duet is 
 sung, and at once began to let down the two singers 
 before they had concluded their parts, which caused 
 them to stagger into each other's arms, and to dis- 
 appear amidst a blaze of blue fire several moments 
 before the song was ended, creating considerable 
 amusement, and the opera ended with roars of 
 laughter. 
 
XII 
 
 THE VOICE AND THE STRINGS 
 
 At the University of Brussels there was once a fine 
 old professor of Comparative Anatomy, Dr. Meisser, 
 who was very fond of seeing foreigners in his class. 
 He himself had studied at Padua as a foreigner, 
 and afterwards he awarded to his own foreign pupils 
 the same kindness and attention which he had for- 
 merly received at the old Italian University. 
 
 It was my good fortune as a young man to study 
 for some years under this worthy old professor, who 
 became in time a valuable friend as well as a master. 
 
 One day, as the examinations were approaching, 
 I met this learned old gentleman in the street. He 
 stopped and spoke. 
 
 '^ I heard this morning," he said, ^^ that you were 
 singing last night at Madame van der Maaren's." 
 
 "Yes, sir," I replied, " I sang one song ; but pray 
 do not think I go out often ; I am working hard for 
 my examination — it was quite by accident that I 
 was at Madame van der Maaren's, and I shall accept 
 no other invitations between this and the examina- 
 tion time " 
 
 96 
 
THE VOICE AND THE STRINGS 97 
 
 " It's not that, it's not that/' he interrupted; "but 
 I thought you were a vioHnist." 
 
 " Yes, sir, I am studying the vioHn." 
 
 ** Well, my dear pupil," said the worthy doctor, 
 " you must drop one or the other ; " and then, after 
 a slight pause, he added, " If you sing, it will take 
 you away from your instrument, and if you play 
 the violin it will destroy your voice; so you must 
 give up one or the other if you wish to excel in 
 either." 
 
 As years rolled by I have often thought of those 
 remarks, and, moreover, I have had ample proof of 
 their truth. 
 
 In time I fancied I had discovered the reason. 
 
 Dr. Meisser assured me that hard practice on the 
 violin or the piano (and probably on any other 
 instrument) would eventually ruin the best of voices. 
 Only exceptionally strong constitutions may, here 
 and there, be found capable of undergoing the 
 double study, after the preliminary period of the 
 solfeggio is passed. 
 
 The reason of this appears to be that in playing 
 an instrument the nerves which govern the vocal 
 chords are incited, so that the person who plays 
 sings inwardly, more or less, the whole time. 
 
 A person in good health, possessing a tolerably 
 fine quality of voice, who attempts to sing a song 
 after playing upon an instrument, will find his voice 
 very much fatigued, his notes will be thin and 
 
98 VOICE AND VIOLIN 
 
 harsh or husky, and less under control ; besides 
 which, there will be a feeling of powerlessness, 
 especially in the lower register. 
 
 It is evident that this results from a strain upon 
 the nerves of the vocal organs during the perform- 
 ance of the instrumental music ; and if such a 
 practice were continued for any length of time, it 
 would end by injuring the quality of the voice. 
 
 Another reason why a would-be violin or piano 
 virtuoso should never attempt to shine as a vocalist 
 at the same time, resides in the fact that the public 
 — the ^' ungrateful public " — will never give any one 
 credit for being proficient in both. We have known 
 more than one lady who has sometimes appeared 
 in concerts both as a solo pianist and as a vocalist 
 on the same evening, and very clever she undoubt- 
 edly may be ; but people say, ^^ Considering how 
 well she plays, she sings wonderfully ;" or, "Con- 
 sidering how well she sings, she plays wonderfully ;" 
 which is, at best, "damning with faint praise," as 
 the saying goes. 
 
 It is a well-known fact that people will never 
 admit that the same person can acquire great 
 eminence in any two branches of virtuosity, and 
 nothing will ever induce the public to change its 
 opinion — vox populi vox Dei ! 
 
 A curious fact occurs to me with regard to sing- 
 ing inwardly whilst playing. I have more than 
 once noticed violinists of eminence who, on coming 
 
THE VOICE AND THE STRINGS 99 
 
 off the platform after performing a concerto, spoke 
 to their friends in quite a husky voice, very different 
 from their usually clear speech. This is not simply 
 due to the excitement and fatigue of the moment, 
 but to the fact that their vocal organs had undergone 
 a severe nervous strain whilst playing. 
 
 It is perhaps more pronounced in the case of 
 violin-playing than with any other instrument, as 
 the tone and expression of the violin more nearly 
 resemble those of the voice, and exert a more intense 
 sympathetic action upon the nervous system of the 
 vocal organs. 
 
 Another curious fact also comes to my recol- 
 lection. I know a lady, the wife of an accomplished 
 violinist. She always had a luscious mezzo-soprano 
 voice, and sang a few ballads with taste and ex- 
 pression. For many years she has played the 
 accompaniments to her husband's brilliant violin 
 pieces, but practised her singing very little indeed 
 since she left school. Occasionally she might be 
 heard humming snatches of the violin music, but 
 that was all. Nevertheless, in the course of a few 
 years she became a very fine singer ; not only her 
 style improved wonderfully, but her powers of exe- 
 cution and expression increased in a very remark- 
 able manner. I can only explain this by admitting 
 that all the time she was engaged in playing the 
 accompaniments to the violin she was singing 
 inwardly ; and a very little practice of the scales 
 
100 VOICE AND VIOLIN 
 
 in her leisure moments has sufficed to make her 
 a most charming vocalist. 
 
 The g\-Q?Li prima dojina Madame I\Iara, who shone 
 before the time of Paganini, began life as a wonder- 
 fully clever child-violinist/ as many another eminent 
 songstress has done, among whom we may mention 
 Sembrich, Singelee, and Isidora Martinez, and she 
 used to recommend a preliminary training on the 
 violin as being of the greatest advantage to a singer. 
 But there is a great difference between a preliminary 
 training and the constant practice of the instrument 
 and the voice at the same time. It may be true that 
 a few years devoted to it in early life, before a course 
 of vocal study is entered upon, would prove in many 
 cases highly advantageous ; but when once the voice 
 has been chosen for cultivation the violin must not 
 be allowed to interfere with it. On the other hand, 
 the student of the violin must likewise go through 
 a course of solfeggio before he begins the violin, if 
 he wishes to become a perfect musician. 
 
 ^ See my ** Famous Violinists," &c. (London, 1896). 
 

 ■> > J > J > > 
 
 XIII 
 
 A VIOLIN BY BERTOLINI 
 
 With regard to violins, it is unfair to '' narrow our 
 minds to three or four makers," as Charles Reade 
 expressed it. Let us frankly admit and honour 
 merit where it really exists. Stradivari himself was 
 not always absolutely the same ; Xicolo Amati varies 
 in quality, and so does every member of the Guar- 
 neri family. 
 
 Sebastian Kloz (pronounced Klotz^ the z of the 
 Tyrol being articulated as in Italian) is, perhaps, the 
 only maker who ever equalled, or even surpassed, 
 the great Stradivarius ; and whilst some of his 
 violins have been sold for hundreds of pounds ster- 
 ling, and occasionally as Stradivari instruments, 
 other members of his family rarely fetch more than 
 f^io to X20. 
 
 The tone of the violins made during the first half 
 of this century by Pressenda, Rocca, and Vuil- 
 laume has caused their prices to rise of late years 
 by leaps and bounds ; and in Great Britain the in- 
 struments of Maucotel, Chanot, and Withers, and 
 other contemporary makers, are rising in esteem 
 more and more. 
 
 lOI 
 
It' 
 
 •'iViH d ta.CT mat age tells upoii a well-made in- 
 strument and improves it, especially when it is 
 in constant use ; but a badly constructed violin, 
 supposing it could have been found in the Egyptian 
 Pyramids, would always remain as bad as it origin- 
 ally was. 
 
 Travelling in Waldeck some years ago, the worthy 
 Burgomaster of Bergfreiheit, near Wildiingen, lent 
 me for a month an old violin which he told me had 
 belonged to his '^ blessed father " (an expression of 
 affection used by the Germans when alluding to 
 lost parents), which instrument, on close inspection, 
 was proved to date back at least one hundred and 
 fifty years. Yet it had nothing in the way of tone 
 or appearance to indicate that it was ever intended 
 to be used otherwise than for the music of the village 
 dances — those exhilarating exhibitions of terpsicho- 
 rean art which break out occasionally about three 
 o'clock in the afternoon, to finish at nine P.M., and 
 do not much interfere with the agricultural or 
 mining labours of the following day. 
 
 It is generally thought that whilst the bow has 
 improved, the violin has deteriorated in manufac- 
 ture ; but I believe in progress, even in violin- 
 making. The utterly bad modern instruments are 
 easily accounted for : they are manufactured whole- 
 sale at ridiculous prices, and are only intended for 
 village orchestras or toys ; and as far as solo-playing 
 is concerned, they might as well be used for lighting 
 
A VIOLIN BY BERTOLINI 103 
 
 the fires on cold winter mornings when faggots 
 happen to be scarce. 
 
 But I am going to write a few lines on a violin by 
 Bertolini. Who was Bertolini ? An Italian, doubt- 
 less, by the name. But when did he live — where 
 did he work — how did I find him out ? 
 
 I will endeavour to explain all this. 
 
 Not very long ago a worthy matron residing in 
 London, having given her companion six months' 
 holiday, advertised for a young French lady to fill 
 the vacant place. In due course there came to 
 reside with her a handsome girl of nineteen years 
 of age, from Paris, who played a little on the violin, 
 and who brought her instrument with her to 
 England. 
 
 I made her acquaintance by mere accident, and 
 shortly afterwards invited the two ladies to a little 
 musical evening at Casa Mia. The young Parisian 
 was kind enough to bring her violin, and played two 
 or three pieces. She also sang one of Gounod's 
 songs, accompanying herself upon the violin. It 
 was a very clever performance, and gave great satis- 
 faction to all present. 
 
 Had I been a sensitive young man — but, alas ! I 
 have arrived at that time of life when, as Byron 
 says, "all passions cease, or mellow into virtues." 
 It was not the handsome young lady, whose elegant 
 figure, dark tresses, and expressive eyes were 
 worthy of the greatest admiration, but the violin, 
 
104 VOICE AND VIOLIN 
 
 which fascinated me ! The tone of that instrument 
 was so beautiful, even in the hands of a very inex- 
 perienced performer, that I at once asked permission 
 to examine it, inquiring at the same time if she 
 knew the name of the maker. 
 
 " Oh yes," she said, '^ it is by BertoHni." 
 
 BertoHni ! That name was quite new to me. 
 Yet the instrument appeared to be a good age. 
 
 " It was not made yesterday," remarked a friend 
 who was standing near. 
 
 Nevertheless, it was in very good preservation. 
 Let me try to describe it. 
 
 The model was flat, and the sound-holes neatly 
 cut, but in no way remarkable ; the wood not par- 
 ticularly handsome — rather plain, on the contrary ; 
 but, like most old instruments, this violin was very 
 light. 
 
 '^As light as a feather," said another lady, who 
 held it for a moment in her hand. This is a common 
 symptom of age in a well-made violin. The back 
 and table were each in two pieces ; the peg-box 
 and scroll good, but not remarkable at all ; there 
 were no cracks visible ; the varnish was very thin, 
 and even (which is one of the characteristics of 
 old Cremona violins) of a pale reddish-brown tint, 
 rather dull. But this dulness may have been 
 due to the fact that the surface of the violin, 
 back and front, was decidedly dirty. I did not 
 mention this to the young lady ; but it was like 
 
A VIOLIN BY BERTOLINI 105 
 
 a child that had not had its face washed for a 
 fortnight. 
 
 Extending in a broad expanse from the bridge to 
 the right shoulder, was a rather thick layer of black 
 rosin — the accumulation of ages — black as coal, 
 which totally hid the varnish, and showed not only 
 that this instrument had been played upon for a 
 great number of years, and that the performer had 
 never wiped away the rosin dust as it accumulated, 
 but that this performer, whoever he may have been, 
 must have been self-taught, or, at least, must have 
 held the violin in some peculiar fashion, to have 
 caused the deposit of rosin to have spread in such 
 an extraordinary manner, all on one side of the 
 instrument. 
 
 Some days later I paid a return visit to these 
 ladies ; we had some music, and perhaps a little 
 innocent flirtation. I played a piece on this Ber- 
 tolini violin. 
 
 Of course, if I were to say that it was equal to a 
 fine Stradivarius, I should not be believed, and I 
 should be accused of being interested in the beauti- 
 ful young lady, as well as in the violin ; but, in point 
 of fact, it was quite as rich in tone as the best 
 Cremona violins I have ever heard, though less 
 powerful. 
 
 The name of the maker of the instrument was 
 only just visible in the inside. It was printed in 
 characters nearly one-eighth of an inch in size, in 
 
106 VOICE AND VIOLIN 
 
 an oval horizontal form, not apparently upon a 
 label, but impressed upon the wood ; it was very 
 faint, and the underpart of the oval, on which would 
 have been the address of the maker and the date, 
 was quite obliterated and invisible. 
 
 Since I had seen this violin for the first time, I 
 had ransacked all my books and catalogues, with 
 the view of discovering who this Bertolini could be. 
 But the labour was in vain. I passed over hundreds 
 of violin-makers and bow-makers, but no such 
 name came up to refresh my weary sight. 
 
 I can only conclude, from the general appearance 
 of this instrument, that it probably dates from the 
 latter part of the eighteenth, or very early years of 
 the present century. 
 
 The next point I endeavoured to elucidate was 
 how my handsome dark-eyed friend became pos- 
 sessed of this precious violin. I gleaned in the 
 course of our conversation that she had a music 
 master in Paris, who had given her a modern instru- 
 ment that had cost sixty francs (about £2^ ids.), 
 which she informed me was ^'horrible," and I 
 believed her. 
 
 One day, as this music master was coming to give 
 his lesson, he heard an itinerant violinist playing 
 near the church of La Madeleine. He was struck 
 by the fine tone of the instrument, and asked the 
 man if he would part with it. The latter replied 
 that any violin was good enough for his outdoor 
 
A VIOLIN BY BERTOLINI 107 
 
 work, and he readily consented to take the young 
 lady's sixty-franc " horrible " violin and two gold 
 pieces in exchange for his. 
 
 That is how my young French friend became 
 possessed of one of the finest-toned violins I ever 
 heard ; and that violin was made by an unknown 
 man, named Bertolini ! 
 
 I may add to this that one evening, whilst on my 
 way to dinner in the Palais Royal, I heard an 
 itinerant violinist playing in a courtyard the air of 
 Ange si pure from La Favorite, and taking a separate 
 bow to each note. The tone of his vioHn struck 
 me as being the finest I ever heard in Paris ; but I 
 did not stop to inquire who may have been the 
 maker of the instrument — I suppose I must have 
 been hungry — perhaps it was this very violin by 
 Bertolini ! 
 
XIV 
 
 GIOVANNI BOTTESINI AND HIS LAST CONCERT 
 
 One of the most interesting and profitable things 
 in musical history is to inquire carefully into the 
 beginnings of the careers of men who have become 
 celebrated, to ascertain how they came to enter 
 into a course of life which has proved so success- 
 ful, and how it happened that they adopted music 
 as a profession. In some cases the latter result is 
 due to quite accidental circumstances, but in most 
 cases it will be found that these specially dis- 
 tinguished men have been born, so to say, to the 
 profession, and have inherited a decided gift in this 
 respect from one or both of their parents. 
 
 Such was evidently the case with the immortal 
 Bottesini, the greatest contra-bassist that ever lived, 
 not excepting the renowned Dragonetti (born 1796, 
 died 1845), who may perhaps have served him to a 
 certain extent as a model ; but we have no proof 
 that he ever heard the sounds of Dragonetti's 
 famous Gasparo instrument. 
 
 I am indebted to that gifted violinist and com- 
 poser, Guido Papini, for a few manuscript notes 
 
 io3 
 
BOTTESINI AND HIS LAST CONCERT 109 
 
 on his celebrated friend Giovanni Bottesini, which 
 I make use of in this chapter. 
 
 The greatest performer on the contra-basso — 
 *'the Paganini of the big violin" — Giovanni Bot- 
 tesini, was born at Crema, in Lombardy^ in the 
 year 1822. 
 
 It can be very cold at Crema in the winter, and 
 it was on a chilly night in December that this 
 marvellous musician came into the world. There 
 is a small theatre in that old town, in the orchestra 
 of which his father played the clarionet. 
 
 Who could ever have dreamt that the son of a 
 clarionetist in the theatre of the modest little town 
 of Crema should become in after years a European 
 celebrity ? 
 
 Yet such was destined to be his lot, and the 
 successful career of this extraordinary genius was 
 certainly due in great measure to his own plod- 
 ding, industrious nature, his naturally amiable, 
 warm-hearted disposition, and his great love of 
 music. 
 
 Bottesini was not what could be called a hand- 
 some man, neither tall nor of a commanding figure; 
 but his features bore the expression of intelligence 
 and generosity, in spite of the hard lines and 
 wrinkles indicative of strenuous labour and deep 
 thought. There is an admirable portrait of him 
 as a young man in Arditi's recently published 
 volume of musical reminiscences. 
 
110 VOICE AND VIOLIN 
 
 How his young days were passed may be best 
 imagined by those who happen to know the sur- 
 roundings of the children of members of an 
 orchestra in any small provincial theatre. Pro- 
 bably he went to some day-school, and in the 
 intervals of his lessons played in the broiling 
 sunshine on the pavement of the Crema streets, 
 or made juvenile excursions among the vines and 
 olive orchards in the neighbourhood, with, no 
 doubt, occasional free visits to the theatre. 
 
 His father, who has the reputation of being a 
 very superior clarionetist, probably taught him the 
 elements of music, and got him into the choir ; 
 employed him to copy his parts of the various 
 scores used at the theatre, or gave him other use- 
 ful occupation in the house. We only know with 
 certainty that, about the age of seventeen, he 
 seems to have made up his mind to follow a 
 musical career, and left his native town for Milan, 
 not so far distant now, but in 1839 a long and 
 tiresome coach journey. 
 
 When he presented himself to the principal of 
 the Conservatorio of that city, with a request to 
 be admitted to a free place in the singing classes, 
 he was informed that the only vacant place in 
 this celebrated Milanese school of music was one 
 in the class of contra-basso ! Rather than return 
 home, and thus sacrifice this opportunity of secur- 
 ing a good musical education, Bottesini determined 
 
BOTTESINI AND HIS LAST CONCERT 111 
 
 to accept this offer — an offer which perhaps not one 
 man in a thousand would have accepted. 
 
 He soon proved such an ardent student that at 
 the end of three years his professor did not know 
 what more he could possibly teach him. 
 
 The distinguished violoncellist, Signor Piatti, was 
 at that time also a pupil at the Conservatorio of 
 Milan, and he once told Papini that Bottesini never 
 played better than he did after these three years' 
 tuition ; but, of course, he had not then developed 
 all the marvellous resources of his instrument. 
 
 The playing of the young contra-bassist soon 
 began to attract attention. He appeared in many 
 concerts between 1840 and 1846 ; and when twenty- 
 three years of age he was offered the directorship 
 of the orchestra at the Opera of Havanah, which he 
 accepted, and during his residence in that city he 
 wrote the music of a little Spanish opera, Christopher 
 Columbus, which was played with success. For 
 Bottesini devoted himself to the science as well as 
 to the art of music. 
 
 He afterwards travelled through the United States 
 and Mexico, and, on his return to Europe, visited 
 Great Britain, being received with enthusiastic 
 applause wherever he appeared. In 1855 he 
 accepted the position of conductor of the orchestra 
 at the Theatre des Italiens, in Paris, which he held 
 for two years, and in 1856 produced there his opera 
 Assedio di Firenze, which was favourably received 
 
112 VOICE AND VIOLIN 
 
 by the French pubHc. During the years 1857 and 
 1858 he gave concerts in Germany, Holland, France, 
 and England, always arousing enthusiasm and 
 astonishment. In 1859 he returned to Italy, and 
 produced there his opera buffa, // Diavolo della 
 Notte. 
 
 He possessed at this time a very valuable instru- 
 ment — a small pattern double-bass by Testore, of 
 Cremona ; and he not only used very thin strings, 
 which enabled him to produce the most surprising 
 harmonic notes, but he usually strung them up a 
 note higher than the pitch of the orchestra, in order 
 to get the requisite brilliancy. 
 
 His reputation as a great musician as well as a 
 virtuoso caused him to figure for eight years as 
 conductor of the Opera at Cairo and Constantine, 
 where several of his own operas were performed 
 with success. It was during his engagement in this 
 capacity that Verdi's opera of Aida was brought out 
 for the first time, Bottesini having studied this fine 
 composition with the celebrated maestro himself, at 
 Santa Agata, the villa residence where Verdi spends 
 most of his time. 
 
 He wrote a number of pieces for his favourite 
 instrument — solos, airs with variations, fantasias, 
 and concertos. He always won great applause with 
 his fantasia on La Sonnambula, and his variations 
 on the Carnaval de Venise. His D minor quartet 
 for strings is spoken of as a very fine work ; his 
 
 \ 
 
BOTTESINI AND HIS LAST CONCERT 113 
 
 Concerto for contra-basso and his Tara7iteUa are 
 among the most remarkable works ever written ; in 
 his hands they invariably produced an immense 
 effect. He published also a Methode Complete de 
 Contre-basse. For Guido Papini he wrote his cele- 
 brated Duo pour Violon et Contre-basse, These two 
 distinguished men were on the point of organising 
 a monster tour together, when death carried off the 
 illustrious Bottesini, at the age of sixty-six years, in 
 1889, not long after he had been appointed Principal 
 of the Academy of Music at Parma. " It was in 
 that ancient city that he died, a city always noted 
 for its love of music, and whose opera-house is 
 capable of holding 1200 people. He left, unfinished, 
 a grand oratorio." 
 
 The last concert he gave in England was one of 
 the finest on record. It was a double concert, where 
 the chief attraction was the double-bass, and took 
 place on the morning and evening of the 17th June 
 1884, at Princes Hall, Piccadilly. On this occasion 
 he announced himself as ^'Signor Bottesini, Com- 
 poser and Solo Contra-basso." Some songs of his 
 were sung at these two concerts ; the programme 
 included the wonderful duet for violin and double- 
 bass, and he played his Tarantella and Carnevale 
 with immense success, besides several other pieces. 
 
 How prophetic is the announcement on the first 
 page of the programme !'*... His only appear- 
 ance this season before his final departure. . . ." 
 
 H 
 
114 VOICE AND VIOLIN 
 
 How little did any one present realise the sad truth 
 of the words I have printed in italics. 
 
 It is interesting to refer here to this last concert 
 given by the illustrious Bottesini in England, for 
 since the time when John Bannister first inaugu- 
 rated public concerts in the reign of Charles II., up 
 to the present time, this is one of the finest that have 
 ever been given in Great Britain. 
 
 The ''morning" concert began at 2.30 in the 
 afternoon, and the evening performance at 8 
 o'clock. The distinguished artists who contrib- 
 uted the results of their talent to the brilliant 
 programmes, comprised some of the most eminent 
 in the world of song and instrumental music ; and 
 there was one amateur. Lord Bennet, whose name 
 was included as an attraction in the evening pro- 
 gramme. No less than sixteen singers were an- 
 nounced ; four solo violinists, three of whom were 
 ladies ; four solo pianists, a 'cello, a harp, and nine 
 conductors. 
 
 The singers included Mdlle. Elly Warnots, Mdlle. 
 Carlotta Leria, Mdlle. Schow- Rosing, Madame 
 Sanderini, Mdlle. Fernande Carini, Mdlle. Del- 
 phine Le Brun, Mdlle. Lydia Vigert, and Madame 
 Rose-Hersee (sopranos) ; Madame Bentham-Fer- 
 nandez and Madame Lablache (contraltos) ; Signor 
 V. de Monaco and Signor Ria (tenors) ; Mr. 
 Barrington Foote, Lord Bennet, Signor Monari 
 Rocca, Signor Zoboli, and Signor Foli (basses and 
 
BOTTESIiNI AND HIS LAST CONCERT 115 
 
 baritones). The pianists were : Tito Mattei, Carlo 
 Albanesi, Carlo Ducci, and Carlo Ducci, junior. 
 
 The solo violinists included Signor Guido Papini, 
 Mdlle. Anna Lang, Mdlle. Isabella Levallois, and 
 Miss AdeHna Dinelli. The violoncello solo was 
 M. ]. Hollman ; and the harp solo, Signor Felice 
 Lebano. The conductors, some of whom accom- 
 panied their own compositions, were : Arditi, 
 Denza, Ducci, Tosti, Rotoli, Gelli, Costa, Emma- 
 nuel Nelson, and Li Calsi; and at the head of the 
 programme figured the name of the immortal 
 Bottesini, the giver of this splendid concert. 
 
 With regard to the prices, the stalls were half- 
 a-guinea ; reserved seats, five shillings ; balcony, 
 half-a-crown ; and admission, one shiUing. 
 
 That the room was crammed at both morning 
 and evening concerts may be taken for granted. 
 The first concert began at 2.30 p.m., with a won- 
 derful quartette for two pianos, entitled Military 
 Fantasia, by the talented Adolfo Fumagalli, the 
 first pianist, I believe, who introduced solos for one 
 hand. This piece of his is dedicated to General 
 Garibaldi. It includes four movements : (a) Night 
 Patrol J {b) A Night i?i Camp (both by Fumagalli), 
 (c) Engagements (by Bellini), and (d) Hymn of 
 Triumph (by Rossini). It was performed most 
 brilliantly by Tito Mattel, Carlo Albanesi, Carlo 
 Ducci, and Carlo Ducci, junior, and this was the 
 first time it was given in London. 
 
116 VOICE AND VIOLIN 
 
 This spirited performance was followed by two 
 beautiful songs, the Alleluja d^ Amove (Faure), and 
 valse, La Farfalla (Gelli), accompanied by Signor 
 Gelli (husband of the talented Sidonia van der 
 Beck, formerly of the Italian Operas at Paris 
 and Madrid), and sung with excellent effect by 
 Madame Julie Schow-Rosing, of the Royal Theatre, 
 Copenhagen. 
 
 The third piece on the programme consisted of 
 two solos for the contra-basso, composed, and 
 executed with his accustomed skill, by Signor 
 Bottesini : (a) Elegia No, i, and (b) Tarantella. 
 It was a most surprising performance. This was 
 followed by Her old's Ah' d'lsabelky from his opera 
 Le Pr^ aux ClercSy sung by Mdlle. Carini with 
 violino obbligato by Mdlle. Levallois. 
 
 Then came a violin solo, {a) Cavatina (Raff), 
 (b) Hungarian Dance (Joachim), played with suc- 
 cess by Miss Adelina Dinelli. 
 
 The next piece was another composition by 
 Bottesini, a canzone called // Contrabbandierey 
 accompanied on the piano by the composer, and 
 sung by Signor Monari Rocca, the author of the 
 words. 
 
 Then came three short solos for the harp : 
 (a) Graftd Adagio (Alvars), {b) Tableau Moresque 
 (Lebano), and (c) Air de Ballet (Ketten), played 
 by Signor Felice Lebano. 
 
 Mr. Barrington Foote next sang Te fossi Dio del 
 
BOTTESINI AND HIS LAST CONCERT 117 
 
 Mar, by Manzocchi ; Madame Rose Hersee gave 
 U7ia Voce (Rossini), and the first part of the morn- 
 ing concert concluded by the Trio for Violins 
 known as Serenade Humoristique (Leonard), admir- 
 ably performed by Mdlles. Isabelle Levallois, Anna 
 Lang, and Miss Adelina Dinelli. 
 
 A new song. For Everfnore, by Carlo Ducci, 
 accompanied by the composer, and sung by Sig- 
 nor V. de Monaco, opened the second part of the 
 programme, and this was follow^ed by two brilliant 
 piano solos, composed and played by Signor Tito 
 Mattei, (a) Espoir, MtHodie, and {U) Fete Champetre, 
 
 Madame Bentham-Fernandez next gave the fine 
 Recitativo and Aria from Mercadante's opera // 
 Giuramente \ ^'Ah ! si mie care," &c., and Mdlle. 
 Levallois played for her violin solo, Wieniaw- 
 ski's Airs Riisses. Denza's new song Like to Like 
 (accompanied by the composer) was then sung by 
 Mdlle. Le Brun, and Signor Foli followed with the 
 fine bass song // Monaco (Meyerbeer). 
 
 Two bracketed solos for violoncello, Ave Maria 
 (Schubert) and Arlequin (Popper), were played 
 effectively by M. Hollman, after which Mdlle. 
 Carini and Signor V. de Monaco sang the lovely 
 duet by Lucantoni, Una Notte a Venezia. 
 
 Then came one of the most striking features of 
 this splendid concert in the shape of a Grand 
 Duet for Violin and Contra-basso, played by Signor 
 Papini and Signor Bottesini (composed by the 
 
118 VOICE AND VIOLIN 
 
 latter); which created a great sensation. It was 
 followed by another song of Denza, Tu vianchi 
 fiore ! sung by Madame Sanderini, accompanied 
 by the composer, and with harp obbligato played by 
 Signer Lebano ; and the second part of the morning 
 programme was concluded by a most beautiful and 
 astonishing fantasia on airs from Bellini's Puri- 
 taniy arranged and played with wonderful effect by 
 Signor Bottesini. 
 
 The evening concert began with the Trio for 
 Violins already mentioned, followed by an aria 
 composed by Bottesini, Cosa e DiOy and a chanson 
 by Schubert, Marguerite ^ sung by Mdlle. Car- 
 lotta Leria. Then the marvellous Bottesini gave 
 his solos for contra-basso, {a) Elegia No. 2, and 
 (b) Nel cor piu (Paesiello), which were followed 
 by a sweet tenor song by Caracciolo, Ritorno cJiio 
 fanio, sung by Signor Ria, and a song composed 
 by Rotoli, Fior die langue, sung beautifully by 
 Madame Bentham-Fernandez, and accompanied 
 by the composer. Lord Bennet's song should 
 have come next, but both he and Madame La- 
 blache were prevented from appearing. Then came 
 the well-known Bach-Gounod Ave Maria^ sung 
 by Mdlle. Vigert, with violin (Mdlle. Anna Lang), 
 piano (Signor Ducci), and organ (Mr. Emmanuel 
 Nelson), one of the gems of the concert ; after 
 which Anna Lang played for her violin solo. 
 Andante and Polonaise (Vieuxtemps). 
 
BOTTESINI AND HIS LAST CONCERT 119 
 
 Tito Mattel's song // Farfallofte was next sung 
 by Signor Zoboli^ accompanied by the composer, 
 and Lebano played two short harp solos, {a) 
 Tristesse (Lebano) and {b) Priere de Mo'ise (Alvars). 
 Gounod's valse-song from the opera of Mireille 
 followed, sung by Mdlle. Elly Warnots, after 
 which Bottesini and Papini again gave the won- 
 derful Duet for Violin and Contra-basso which they 
 had played in the afternoon. This concluded the 
 first part of the evening concert. 
 
 The second part began by a repetition of 
 Rossini's Una voce poco fa, but sung this time, 
 by Mdlle. Carlotta Leria ; after which Carlo Ducci 
 played a piano solo, Rondo capriccioso (Mendels- 
 sohn), and Madame Bentham - Fernandez sang 
 Hope Temple's Memory and Tosti's Good-bye^ 
 accompanied by the composer. 
 
 Bottesini's fine song // Contrabbaftdiere was 
 again sung by Monari Rocca, and the grand 
 quartet for two pianos which opened the morn- 
 ing concert was repeated here in the evening. 
 Mdlle. Elly Warnots then sang Donizetti's O luce 
 de quest' anima ; which was followed by a violin 
 solo by Papini, id) Pensee fugitive (dedicated to 
 Dr. T. L. Phipson) and {b) Feufollet^ played by 
 the composer with the most charming effect. 
 Mdlle. Delphine Le Brun followed with Ducci's 
 song ^Twas not to bcj and H oilman gave three 
 short 'cello solos, (a) ElegiCy (U) RomajtcCy and 
 
120 VOICE AND VIOLIN 
 
 (c) Mazurka^ his own compositions. These were 
 followed by the spirited song Billet de lotetie by 
 Nicolo, sung by Mdlle. Carlotta Leria, and Bottesini 
 brought the concert to a close by his w^onderful 
 solo Carnevale di Venezia, which astonished all 
 present. 
 
 Every one went away wondering how so great 
 perfection could possibly be attained upon such an 
 awkward, uncouth instrument, and delighted with 
 the entire concert. It was indeed a treat such 
 as may occur only once in a man's lifetime, and 
 certainly deserves to be put on record as one of 
 the most striking musical features of our day. 
 
XV 
 
 THE ART OF PLAYING IN TUNE 
 
 At one of the rehearsals of a new opera by Ros- 
 sini, a viohnist of his orchestra persisted in playing 
 F sharp instead of F, whereupon the sarcastic com- 
 poser remarked — 
 
 ** I would prefer to hear the F there, my friend. 
 Your F sharp, it is true, is also very beautiful, and 
 no doubt we can find a place for it elsewhere in the 
 opera." 
 
 Nothing is easier than to accuse a violinist of 
 playing out of tune. It is the last resource of cer- 
 tain critics when nothing else can be said, and there 
 are cases where the criticism happens to be true ! 
 
 The piano, flute, clarionet, organ, guitar, man- 
 doline, &c., have the notes, so to speak, ready made; 
 whereas on the violin you must make the note 
 yourself by the position in which the finger happens 
 to fall upon the strings. 
 
 Now, for this purpose the violin-player must have 
 a perfect ear, like the singer ; and as with the finest 
 singers the very best of ears will not always insure 
 perfect accuracy, so with the violinist the habit of 
 
 121 
 
122 VOICE AND VIOLIN 
 
 letting the fingers drop always exactly into the 
 right places can only be acquired by long practice, 
 and may be affected at any time, as with the singer, 
 by fatigue or nervousness. 
 
 The very greatest violinists have been known 
 occasionally to play a little " alongside the note/' 
 as the French term it. It is, undoubtedly, one of 
 the weakest points of the violin, whether considered 
 as a solo instrument or as an element of the orches- 
 tra, and too much attention cannot be given to it. 
 
 In former years the first flute was the leading 
 instrument in the opera orchestra, but nowadays 
 it is the first violin. All the wood-wind instruments 
 have a tendency to rise in pitch as the evening wears 
 on, especially when the weather is hot and moist. 
 At the same time the strings tend to become flat, 
 and sink rather below the pitch. 
 
 When we add to this that the strings themselves 
 may be defective, and give imperfect fifths ^ &c., it will 
 be easily perceived how many '' temptations " there 
 are for playing out of tune. 
 
 Laziness on the part of the performer is another 
 cause. 
 
 Indeed, when we consider calmly and success- 
 ively all these things, it is quite wonderful how 
 perfect is the intonation of most violinists, even in 
 very elaborate passages. 
 
 But such a fortunate state of things can only 
 exist in perfection for those who have the instru- 
 
THE ART OF PLAYING IN TUNE 123 
 
 ment constantly in their hands, and who play 
 always upon the same violin. With them the latter 
 becomes, as it were, a part of themselves. Their 
 fingers drop naturally upon the notes as the result 
 of long familiarity — habit is second nature — and 
 even when a string has sunk a little in pitch, an 
 acute ear will still enable perfect intonation to be 
 attained. 
 
 A well-known orchestral conductor was once 
 much annoyed by the constant tuning which con- 
 tinued long after the musicians were at their desks, 
 and he remarked rather sharply to a novice — 
 
 " My dear fellow, do please stop all that tuning ! 
 You ought to be able to play in tune when the 
 strings are not exactly correct." 
 
 A clever orchestral artist may, indeed, be able to 
 do so ; but with a solo-player it is different, or, at 
 least, not so easy. De Beriot, who was well aware 
 of the tendency of the strings to become flat, whilst 
 the wood-wind becomes much too sharp, always 
 paid the greatest attention to the tuning of his 
 violin. Before performing a long piece with orches- 
 tral accompaniment, he invariably took his A about 
 a quarter of a tone higher than that of the orchestra. 
 With a piano accompaniment such a thing is not 
 necessary. 
 
 Of course, it is essential to use good strings, 
 which yield perfect fifths ; and I am glad to say 
 that the manufacture of violin strings has improved 
 
124 VOICE AND VIOLIN 
 
 immensely during the last thirty years, and there is 
 now no longer the difficulty in procuring good and 
 true strings which was formerly the case. It is, 
 therefore, needless to say more on this point ; but I 
 will add a few words on violin music. 
 
 Our composers for the opera and symphonic 
 concerts have generally made a sufficient study of 
 the violin to enable them to avoid useless difficulties, 
 such as extraordinary keys and impossible chords, 
 or writing long passages that can only be performed 
 in the second or fourth positions. A good composer 
 will never be guilty of such faults. In some of the 
 bad music for the violin which falls into the hands 
 of the amateur, the score is simply copied from 
 piano, flute, or clarionet pieces ; and sometimes we 
 see elementary music announced as "for flute or 
 violin," which is often quite unworthy the attention 
 of a violinist, except as a pastime, or amusement for 
 the moment. 
 
 Young violinists, after five or six years' good prac- 
 tice, will play admirably in tune in the first and 
 third positions, in good compositions ; but when 
 they come to make use of the second ox fourth posi- 
 tion the intonation will be often false, because these 
 are, so to say, unnatural positions of the left hand, 
 based on theory rather than on practice. 
 
 It is essential that those who write for the violin 
 as a solo instrument should study the works left us 
 by Rode, Spohr, Ernst, Paganini, and De Beriot. 
 
THE ART OF PLAYING IN TUNE 125 
 
 The last-named is, perhaps, the best model in this 
 respect. What may be termed the awkward keys 
 and the unnatural positions are avoided as much as 
 possible in the music of Paganini and De Beriot ; 
 and it may be safely pat down as an axiom, that 
 any who fail in this particular are bad composers. 
 No writer of orchestral music can hope to achieve 
 success, unless he has made a careful study of the 
 various instruments, and more especially of the 
 violin. 
 
 Much of the faulty intonation experienced at the 
 present time is due to bad writing, to the careless 
 transcription of piano music (or of music originally 
 intended for the voice or for other instruments) to 
 the violin. 
 
 Another subject which affects amateur orchestras, 
 now rather numerous in England, is well worthy of 
 consideration. I allude to the necessity of having a 
 piano part. It is an immense resource, and tends 
 to keep the other instruments well in tune. A faulty 
 double-bass or 'cello will pull down the best of 
 amateur violinists ; but the notes of the piano, being 
 fixed and invariable throughout the evening, tend 
 to perfect the performance, and it is a great im- 
 provement to any orchestra. 
 
 In the Italian opera the piano has always had its 
 place in the orchestra, and on the production of a 
 new opera the composer himself usually presides 
 at the piano, thus fixing the beat {tempo) and the 
 
126 VOICE AND VIOLIN 
 
 intonation. During the four years that I had the 
 honour of acting as vioHn solo to the Bohemian 
 Orchestral Society my clever wife always presided 
 at the piano, and I am perfectly convinced she con- 
 tributed immensely to the remarkable success of 
 that orchestra, of which I will say more presently. 
 
 I am also of opinion that De Beriot made an im- 
 portant step in the right direction when he wrote 
 piano accompaniments to his studies for young 
 violinists. It was a great improvement on the 
 second-violin accompaniment, and enhances the 
 value of his Etudes Melodiques very considerably. 
 
 In studying scales, and double-stopping alone, 
 that is, without an accompaniment, frequent use 
 should be made of the open strings as a test of 
 exact intonation ; and the daily practice of the 
 principal scales, taken rather slowly^ will go far 
 towards making perfect intonation the general rule. 
 
 In double-stopping, as Tartini pointed out to his 
 pupils, the notes are not perfectly exact unless you 
 hear the ^' third sound." Some violins give this 
 effect better than others, but in all good instru- 
 ments it is more or less appreciable. Octaves are 
 much easier to get well in tune in rapid passages, 
 as we hnd in the fi7iale to Vieuxtemps' Fantaisie 
 Caprice, for instance, than in slow, sostenuto pas- 
 sages, such as that which terminates Papini's ex- 
 quisite romance A une Fleur I One of the best 
 exercises for acquiring true intonation in playing 
 
THE ART OF PLAYING IN TUNE 127 
 
 octaves is Kreutzer's study No. 23. The middle 
 fingers should always be kept down in performing 
 octaves, so that you have three fingers down on the 
 higher string, and one finger on the lower, and the 
 latter is the note which, with most players, guides 
 the ear, or, rather, that the ear guides. 
 
 Passages of tenths are not common in violin 
 music, and when they are met with, as in De 
 Beriot's Second Concerto and Ninth Air Varie^ Paga- 
 nini's Rondo de la Clochette, &c., it is rare, indeed^ 
 that they are ever played in tune throughout. Some 
 violinists transpose them to thirds, but the effect is 
 not so brilliant. 
 
 Octaves, thirds, and sixths are doubtless great 
 beauties in violin-playing, and should be diligently 
 practised as early as possible by young violinists. 
 Some composers display much greater talent than 
 others in writing effectively such passages as I 
 allude to, and too much attention cannot be given 
 in this respect to the choice of a piece of music 
 which it is intended to perform in public. 
 
XVI 
 
 A RIVAL OF STRADIVARIUS 
 
 Among the great violin-makers of the seventeenth 
 and eighteenth centuries the Kloz family deserve 
 special notice. It appears to have been a large 
 family ; but that is rather doubtful, the name of 
 Kloz (pronounced, and often spelt, Klotz) having 
 been placed, with many kinds of surnames, upon 
 spurious violin labels, often bearing impossible 
 dates. 
 
 An elder member of this family, who can be 
 traced back to the middle of the seventeenth cen- 
 tury, was an apprentice of the celebrated Stainer, at 
 Absom, near Insbriick, and one or more of the Kloz 
 family, like Stainer himself, went to Cremona for a 
 time. Their workshop was at Mittenwald, on the 
 Iser, a small town on the borders of the Austrian 
 Tyrol. 
 
 It was Tyrolean timber that supplied them with 
 the wood of which their instruments are made, and 
 they had the bad habit, according to George Hart, 
 of cutting the trees at the wrong season ; or rather, 
 
 we should say, they purchased wood that had been 
 
 128 
 
A RIVAL OF STRADIVARIUS 129 
 
 cut, doubtless through ignorance, at the wrong time 
 of the year. The consequence has been that much 
 of this wood, having been taken when full of sap, 
 has, sooner or later, become worm-eaten, especially 
 the maple used for the backs. 
 
 Of this noted family of violin and violoncello 
 makers, Sebastian Kloz is now known to have been 
 the greatest. His violins are extremely rare and of 
 considerable value. To my knowledge they have 
 been more than once sold as instruments by Stradi- 
 varius, and at very high prices. In 1824 a splendid 
 violin by Sebastian Kloz was sold in England as a 
 Stradivarius, the price being one hundred guineas, 
 even in those early days. A few years later the 
 leader of the orchestra at the Haymarket Theatre, 
 as we are told by Pearce, the author of a book on 
 old violins, was offered by a noble lord more than 
 ^£300 for such a violin, but he would not accept the 
 offer. 
 
 In much later times, about 1880 or 1881, a dealer 
 in London sold a Sebastian Kloz violin to a gentle- 
 man in Oxford for ;£2io. It was also sold as 
 a Stradivarius, but as the genuine violins of the 
 latter were, when in good condition, selling easily 
 at about double that amount, probably the vendor 
 knew who was the real maker of this instrument. 
 I may add that I have seen it, and played upon it, 
 and that it is as fine a violin as any one could ever 
 hope to possess. 
 
130 VOICE AND VIOLIN 
 
 As regards tone the violins by Sebastian Kloz are 
 quite as fine as the finest viohns of Cremona. They 
 are very Hke the Stradivarius instruments of 1709 
 to 1720, but sHghtly flatter, and to my taste rather 
 more elegant in appearance, but they have not quite 
 the same delicate finish, although there is a very 
 close approach to it. Those I have seen were covered 
 with the most beautiful cherry-red over a golden 
 yellow varnish, the former tint having become more 
 or less mahogany-coloured by age and the action of 
 light, which gives them a most charming appear- 
 ance, like that of a luscious ripe fruit. The outline 
 and model is that of Stradivarius at his best period, 
 but with a slightly flatter back. The sound-holes are 
 exactly those of Stradivarius, and the same may be 
 said of the whole outline of the table. 
 
 Sebastian Kloz is the only member of his family, 
 as far as I am aware, that has produced violins of 
 the very finest quality. The other makers of this 
 name often made upon quite a different pattern 
 (that of Stainer or that of Amati), and the quality 
 of their instruments is very variable, though gene- 
 rally good. 
 
 It need scarcely be added that the name of Kloz, 
 like that of other great makers, has been frequently 
 forged and placed on labels in all kinds of violins, 
 so that great numbers of decidedly inferior instru- 
 ments have, over and over again, been sold as Kloz 
 violins. 
 
A RIVAL OF STRADIVARIUS 131 
 
 Sebastian Kloz had a curious manner of marking 
 
 his violins, in the inside, with his initials, S. K., 
 
 which seems to have escaped the notice of all 
 
 dealers, or at least of all writers, up to the present 
 
 time. The violin by this maker alluded to as having 
 
 been purchased in 1824, had been inherited by the 
 
 Rev. Mr.Wren, then of Stafford, a relation of the great 
 
 architect of St. Paul's Cathedral. At the time of its 
 
 purchase it had been lying untouched in his house 
 
 for nearly half a century, and the back was terribly 
 
 worm-eaten. It had always passed as a Stradivarius 
 
 instrument, and was valued accordingly. The late 
 
 Mr. George Hart, a well-known London expert, and 
 
 author of a book on vioHns, saw this violin, and felt 
 
 convinced that it was by Lorenzo Guadagnini, the 
 
 most celebrated of all the workmen of Stradivarius, 
 
 with whom he laboured for thirty-five years, and 
 
 whose violins, during the remaining five years of his 
 
 career, and ever since, have been all dealt with as 
 
 Stradivarius instruments. It was in this violin that 
 
 I discovered the initials S. K., which could belong 
 
 to no other maker than Sebastian Kloz, 
 
 Very little is known of the life of the celebrated 
 Antonio Stradivarius, or of his sons, Francesco and 
 Omobono, who carried on his business after 1737. 
 Still less is known of the Kloz family. One of the 
 older members of the latter worked with Jacob 
 Stainer, and followed his patterns more or less ex- 
 clusively ; and many of these violins have doubtless 
 
132 VOICE AND VIOLIN 
 
 been dealt with as Stainer instruments. But Stainer, 
 we know, was for some time at Cremona; and it 
 is also on record that many German violin-makers 
 were present in that ancient city in the days of 
 Stradivarius, and probably long before that. 
 
 When we consider how little is known about the 
 Kloz family, it is quite possible that Sebastian Kloz 
 may also have been at Cremona ; his father, Mathaus 
 Kloz, is admitted to have worked there for several 
 years. 
 
 Anyhow, they must all have been very superior 
 makers, for their name has remained popular down 
 to the present time. On account of their great 
 reputation in olden times, many indifferent instru- 
 ments have been foisted upon the public w^ith 
 spurious labels of these makers, so that years ago, 
 when I was a student on the Continent, the term 
 ^' Kloz " was applied to a violin in Belgium or France 
 as a sarcastic manner of condemning it ! 
 
 The period at which Sebastian Kloz worked was 
 probably from 1720 to 1760 or thereabouts; he 
 was for a great number of years a contemporary 
 of Stradivarius ; and the day will come when his 
 violins will be much better known than they are 
 at present. 
 
 This is how I make out the pedigree of the 
 Kloz family, with the approximate date of their 
 periods : — 
 
A RIVAL OF STRADIVARIUS 
 
 133 
 
 MATHAUS KLOZ 
 1670-1709. 
 
 Went to Cremona about 167- to 
 1680 ; then at Mittenwald an 
 der Iser. 
 
 ^GIDIUS KLOZ 
 1675 
 
 Worked with Stainer at Absom, 
 about 1660 ; then at Mitten- 
 wald with his brother Mathaus. 
 
 SEBASTIAN KLOZ 
 
 (son and nephew of the above). 
 
 1 700- 1 760. 
 
 Worked at Mittenwald. 
 
 Mathaus Kloz, the father of Sebastian (sometimes 
 mentioned as '^ Sebastian George Kloz "), worked 
 at Cremona for several years, and then settled in 
 the little town of Mittenwald on the Iser, which he 
 determined to transform into a second Cremona, 
 with the aid of his brother ^gidius and his son 
 Sebastian, the greatest maker of the whole family. 
 
 A real Sebastian Kloz violin is now worth to a 
 player, as prices go, about ;£5oo sterling ; but I have 
 never known one, a really gemmie one, that was not 
 sold as a Stradivarius violin. 
 
 In the Exhibition of VioHns at South Kensington 
 Museum in 1872, several instruments shown as 
 volins by Stradivarius were evidently by Sebastian 
 Kloz. I could recognise them at once by the flat- 
 ness of the backs as compared with violins by the 
 former maker ; otherwise there was no very marked 
 difference either as regards outline, colour, or 
 finish. 
 
 The violins of Stradivarius are so extremely rare 
 that not only hundreds but over a thousand pounds 
 
134 VOICE AND VIOLIN 
 
 have been more than once paid for such an instru- 
 ment. The genuine violins of Sebastian Kloz are 
 still more rare and very little known, as he pro- 
 duced a much smaller number ; and the day may 
 come when they will be valued at a higher figure 
 than those of Stradivarius or Guarnerius. 
 
XVII 
 
 MARIETTA ALBONI 
 
 The first time I heard Alboni was one evening in 
 Brussels, about 1850, when she appeared as Rosina 
 in Rossini's Barber of Seville, I had been told that 
 she was a remarkably large woman to appear in 
 the character of a girl of eighteen ; but so clever 
 was her costume, and so exquisite her singing and 
 acting, that in less than five minutes after her en- 
 trance, I may safely say, every young man in the 
 theatre was in love with her. 
 
 What splendid sparkling dark eyes ! what arch 
 expression and cunning girlish manners ! and what 
 a luscious voice ! Una voce poco fa — who can ever 
 forget it ! And the sly manner in which she hands 
 her little billet-doux to the barber (when he asks, on 
 leaving, if she has nothing for him), by holding it 
 out behind her, whilst she turns her back upon him, 
 repudiating the very idea of such a thing ! 
 
 1 heard Alboni in the same opera in Brussels, and, 
 a few weeks later, in Paris; and I noticed the dif- 
 ferent manner in which she comported herself on 
 
 these two occasions. The difference was very 
 
 "135 
 
136 VOICE AND VIOLIN 
 
 marked. She was much superior — in everything 
 but the voice — in Brussels. There she doubtless 
 felt that she was a queen, far above the princesses 
 of the Opera with whom the Belgian public had 
 been thoroughly contented hitherto. It was the 
 first time that the Brussels public had ever heard 
 a great Italian prima donna, for Italian Opera had 
 not long been established there, and she was 
 delightful ; she felt quite at home, and acted ad- 
 mirably. 
 
 It seemed as if Rossini had written his // Barbiere 
 specially for her, for her voice and her style. 
 
 The audience was most enthusiastic. I was 
 seated in the parquet, or back rows of the stalls, 
 and quite early in the evening, during the applause, 
 a gentleman who sat in front of me, whom I had 
 never seen before in my life, turned round, clapping 
 his hands, and said to me, ''Quelle belle musique, 
 n'est ce pas. Monsieur ! " 
 
 In Paris, a short time afterwards, she was much 
 more reserved ; the difference was striking. The 
 Paris orchestra played the overture far too fast ; 
 they ''rattled through it," as an English friend 
 observed ; it was not nearly so good a perform- 
 ance as that of the Brussels orchestra. Alboni 
 was slightly nervous ; she acted and sang rigor- 
 ously according to the book ; no little novelties 
 were introduced, no extra traits of vocalisation, with 
 which she had enchanted her more homely Bel- 
 
MARIEITA ALBONI 137 
 
 gian audience. It was altogether a colder perform- 
 ance, but, nevertheless, very fine and successful. 
 In the lesson scene, of course, she gave as her 
 encore the famous Brindisi from Donizetti's Lucrezia 
 Borgia^ in which she was unsurpassable. 
 
 Her voice had the ordinary compass of the violin 
 in Corelli's time, from G to E /;/ alt.\ and her scale, 
 from the low B to the high B (two octaves), was 
 probably the richest in tone and quality that was 
 ever heard upon the lyric stage. Though her 
 figure was rather large, her movements were very 
 graceful, and her face, full of intelligence, sparkled 
 with good-humour. Her singing was described 
 at this period as combining the ^' light, florid 
 vocalisation of Persiani with the resonance, pomp, 
 and amplitude of Pisaroni"; but no words can 
 convey an idea of its exquisite purity and luscious 
 quality, nor of the sentiment, perfect taste, and 
 inimitable method with which she sang. It was in 
 the music of Rossini that she was most frequently 
 heard, and delighted the whole musical world. 
 
 Marietta Alboni was the daughter of a custom- 
 house officer at Casena, a small town in the 
 Romagna, where she was born on the loth March 
 1822. He had several children, and bestowed a 
 good education on all of them. The little Marietta 
 having manifested great fondness for music, her 
 father placed her under Signor Bagioli, a music 
 master in that place, and at twelve years of age 
 
138 VOICE AND VIOLIN 
 
 she was able to read music correctly at first sight. 
 Afterwards she studied singing under Madame 
 Bertolotti, at Bologna, where she was fortunate 
 enough to be introduced to Rossini, who also 
 gave her some lessons. He was a very good 
 singer himself. 
 
 One day, when Rossini was asked his opinion 
 about her, he replied, "At present her voice is 
 like that of a street singer, but before another 
 year is out she will have all the town at her feet." 
 
 From the time she made her first appearance in 
 Donizetti's opera of Lucrezia Borgia, at Bologna, 
 in 1842, to her retirement in 1863, she was uni- 
 versally considered as one of the greatest lyric 
 artists the world had ever known. This remark- 
 able woman died in the Villa Cenerentola, at 
 Ville d'Avray, near Versailles, on the 23rd June 
 1894, aged seventy years, having a town house in 
 Paris, at 22^ Cours la Reine, and leaving a con- 
 siderable fortune, which she bequeathed to her 
 husband (Captain Zieger), her brothers, sisters, 
 nieces, servants, and various charities. 
 
 Since 1847 she had taken up her residence in 
 Paris, having purchased the house in the Cours 
 la Reine, and installed therein her brothers and 
 sisters. The brothers afterwards fought under 
 Garibaldi for the unity of Italy. 
 
 Alboni was probably the greatest representative 
 of the Italian school. Just as she was about to 
 
MARIETTA ALBONI 139 
 
 retire into private life, it was said of her in an 
 English paper that ^^ no living singer is more 
 thoroughly imbued with the traditions of the 
 splendid school to which she belongs." 
 
 At the time of her death she was the wife of 
 Charles Denis Zieger, and her name is written on 
 her will as " Maria Anna Marzia Alboni Zieger." 
 In this document she has written : " I established 
 myself in France, at Paris, in 1847, and in all 
 circumstances I have found in this adorable coun- 
 try the most sympathetic reception and the most 
 perfect courtesy as a woman and an artist." 
 
 In consideration of this, she left to the city of 
 Paris 10,000 francs of 3 per cent. Rente, ^' which 
 will go to form forty savings bank books of 250 
 francs each. These books are to be inscribed and 
 distributed annually, by way of encouragement to 
 work, to the pupils of both sexes having attained 
 the age of thirteen years (without distinction of 
 nationality or religion) who attend the classes of 
 the public and gratuitous schools maintained by the 
 city of Paris, at the rate of two books for each dis- 
 trict, one for the boys, and one for the girls." 
 
 She also bequeathed to Ville d'Avray and Marnes 
 la Coquette a yearly sum of 200 francs, to form four 
 savings bank books of 50 francs each ; and to the 
 Charity Department of Paris 100,000 francs, ^^to 
 found and maintain in perpetuity in my name 
 Alboni, in one of the hospitals of the city of Paris, 
 
140 VOICE AND VIOLIN 
 
 two beds (or more if the sum will permit), which 
 shall be set apart exclusively for persons of Italian 
 nationality, without distinction of occupation or 
 religion." 
 
 Subject to these and other dispositions, Madame 
 Alboni appointed her husband, Charles Denis Zieger, 
 universal legatee, and her will concludes with these 
 words : — 
 
 ^' It is by singing and by following that supreme, 
 and, above all others, consoling art, that I have 
 acquired all the fortune which I possess, and I shall 
 quit this life w^ith the sweet thought of having dis- 
 posed of the same in such a manner as to encourage 
 and console." 
 
 Madame Alboni was twice married : first to the 
 Marquis Pepoli, and secondly to Captain Zieger, 
 who survives her. She realised a considerable for- 
 tune, and her generosity to her fellow-artists and 
 others was notable. 
 
 She is universally acknowledged to have been the 
 greatest contralto of her time, succeeding in London 
 to that fine singer Marietta Brambilla, who retired 
 a year or two before Alboni appeared here in 
 1846. It was in Rossini's opera of Scmu'ainidej with 
 Madame Grisi as the Assyrian Queen, and Signor 
 Tamburini as Assur. The part of ArsacCy which is 
 said to be Rossini's last great part for contralto, was 
 assigned to Madame Alboni, then quite unknown in 
 London. But the first few bars of her recitative. 
 
MARIETTA ALBONI 141 
 
 Eccomi alfi?i in Babilonia^ called forth the applause 
 of the whole house. ^^A softer, sweeter, richer, 
 more powerful voice, or more expressive delivery, 
 had never been heard," says a contemporary who 
 was present ; and from that moment Alboni was 
 accepted as a great artist. 
 
 After she retired from the Opera she sang, now 
 and then, at private concerts, or in public for 
 charitable purposes, and, thanks to excellent tuition 
 and a perfect style, she retained her beautiful voice 
 almost to the last. 
 
 Though she had been ailing for some months, 
 the announcement of her death in June 1894 took 
 Paris by surprise. Until a few months previously 
 her house in the Cours la Reine was one of the 
 pleasantest centres of artistic society. She retained 
 the delightful freshness of her voice, but not its 
 strength ; it was a charming and distant echo of 
 that once matchless organ. The year before she 
 took part in a soiree musicale at her own house, 
 when she sang in the delightful quartet in La 
 Cenere7itolay one of the operas in which she 
 achieved her greatest success in Paris. 
 
 Up to an advanced age she retained also her 
 comely features and her genial smile, and was as 
 great a favourite in the social circle as she had been 
 in the days of her youth among the thousands whom 
 she delighted by her singing of the chefs-d'ceuvre of 
 Italian song. 
 
XVIII 
 
 ST. l£on and the "violon du diable " 
 
 On the Boulevard des Italiens in Paris, on the right- 
 hand side going from the Rue de Richeheu to the 
 Madeleine, and not far from the Opera House, is 
 the Caf6 du Divan, where many theatrical cele- 
 brities were, and maybe still are, accustomed to 
 pass some part of the day when not engaged at 
 rehearsals. It differed from all the other cafes in 
 Paris by being provided inside with a most luxurious 
 lounge or sofa, which extended round the room, 
 and was upholstered with soft crimson velvet. It 
 was from this circumstance that it took its name of 
 Cafe du Divan. 
 
 It was on this red velvet couch that died, sud- 
 denly, on the 4th September 1870, along with the 
 French Empire, the remarkable violinist and dancer 
 so widely known throughout Europe as Arthur St. 
 Leon. At the time of his death he must have been 
 little more than fifty years of age. 
 
 Arthur St. Leon was maitre de ballet at Paris and 
 
 at London for a considerable number of years. 
 
 His real name was Michelet ; he was the son of the 
 
 142 
 
ST. LlfiON AND "VIOLON DU DIABLE" 143 
 
 perruquier to the Opera, and was born at Versailles. 
 It would appear that his grandfather, as well as his 
 father, was wig-maker to the Opera Comique, for 
 when Cherubini was about to bring out his opera 
 of Lodoiska at that theatre the following ludicrous 
 incident occurred : The principal role was given 
 to the well-known singer Martin, who was so fas- 
 tidious with regard to his costumes that the piece 
 was more than two months in rehearsal. At last 
 it was printed in the bills ; but on arriving that 
 same morning at the Opera, Cherubini learnt that 
 Martin could not appear, and that, in consequence, 
 the piece could not be given that evening. 
 
 Bitterly disappointed, Cherubini went to Martin's 
 quarters, where he found him with three or four 
 other persons, who appeared to be tailors. A quan- 
 tity of costumes lay about on the table and chairs — 
 shawls, tunics, turbans, and a considerable number 
 of wigs and beards. As he entered the room Martin 
 exclaimed — 
 
 *' Ah ! my dear sir, I am very glad to see you ! " 
 
 *' I have come," said Cherubini, "to know whether 
 you had been suddenly taken ill, as they say you 
 cannot sing this evening ; but you look quite well — 
 what is the matter? It seems that my opera has 
 been postponed without any motive ! " 
 
 '^What do you mean ?" asked Martin — ^^ without 
 any motive ! Are you not aware that I have not 
 yet completed my costume ? I have, certainly, the 
 
144 VOICE AND VIOLIN 
 
 greater part of it ready, but the most essential part 
 is still wanting." 
 
 *' What is that ? " 
 
 *' My beard." 
 
 *^ But I should imagine you had plenty of choice/' 
 and Cherubini pointed to a table whereon a pile 
 of wigs and beards lay in a confused mass. 
 
 '' Well, there are fifteen beards that Michelet has 
 sent for me to try, but there is not one of the right 
 colour," ejaculated Martin ; and he gave the com- 
 poser to understand that unless he could procure 
 a beard of the proper tint, his part in the new 
 opera would be a failure. 
 
 It was in vain that Cherubini exhausted his 
 arguments upon the obstinate singer ; eight days 
 elapsed before Martin appeared in Lodozska, with 
 a beard that was in accordance with his tastes. 
 
 Believing that it would be useless to appear 
 under his own name of Michelet, our ballet-dancer 
 violinist changed it to Arthur St. Leon, by which 
 he has been known ever since. How he rose in 
 his career, or where he was taught music and 
 dancing, I do not know ; but this I do know, that 
 he was the most charming violinist I ever heard. 
 When at the zenith of his reputation, he was a 
 man of about medium height, thin, but muscular, 
 of good figure, with a long, oval, serious face, 
 bronzed features and dark hair, but not particularly 
 handsome. The principal characteristic in his 
 
ST. LfiON AND "VIOLON DU DIABLE" 145 
 
 dancing appeared to me to consist in great leaps 
 or bounds ; he did not impress me much as a 
 dancer, but as a violinist, in his own inimitable 
 style, he was unrivalled. 
 
 Curious to relate, I heard him for the first time 
 at the Theatre St. Hubert, at Brussels, on the very 
 stage where, shortly before, I heard Camillo Sivori, 
 as described in my '^ Famous Violinists," &c., p. 90. 
 I was so delighted with St. Ldon's playing that 
 I not only induced my violin master to go with 
 me on the next occasion, but I mentioned the fact 
 to Vieuxtemps. The latter seemed rather displeased 
 at the effect which this music had made upon me, 
 and when I spoke of it rather enthusiastically, the 
 great violinist shrugged his shoulders, and said, 
 ^^ Oui, il joue bien, mais il n'a pas de style ! " 
 Nevertheless St. Leon had what Vieuxtemps never 
 possessed — the faculty of touching the hearts of 
 his audience. The great Belgian violinist astonished 
 and pleased, but St. Leon charmed. 
 
 He appeared in Brussels (in the fifties) in two 
 
 ballets, in which the violin solo took the principal 
 
 part, and, as far as he was concerned, the dancing 
 
 only a very secondary part. One of these was 
 
 called Le Lutin de la ValleCy and the other, Le 
 
 Violon du Diable, both very much alike. The latter 
 
 is supposed to be written (or arranged ?) by Pugny ; 
 
 but from the reminiscences of well-known English 
 
 airs which occur in it (picked up, probably, during 
 
 K 
 
146 VOICE AND VIOLIN 
 
 his engagements in London), I believe the music 
 is chiefly, if not all, composed by St. L^on himself. 
 The story is this : — 
 
 A poor old village musician, who plays only the 
 most commonplace dance music upon a wretched, 
 scrapy instrument — which, nevertheless, delights 
 the peasants, with whom he is a great favourite — 
 by some freak of fortune, is visited by the devil in 
 his ordinary, everyday (ballet) dress — horns, and 
 tail, and cloven feet — holding in his hand a violin, 
 which, after a rather exciting scene, he finally 
 presents to the old village fiddler. 
 
 The latter at once becomes younger ; he is no 
 longer bent with age, but stands upright, and is 
 lost in admiration at the gift. He is supposed to 
 have sold his soul for the Guarnerius violin. Soon 
 he draws the bow across the strings, and the most 
 luscious tones stream forth. But, alas ! the poor 
 peasants can now no longer dance to his music. 
 It is something quite different to what they have 
 been accustomed. The long expressive notes, the 
 sweet swelling tones, combined with the most 
 miraculous execution (which, with due apologies 
 to the shade of our illustrious friend Vieuxtemps, 
 is decidedly of the Paganini stamp), cause them 
 to stand still, as if petrified with astonishment, and 
 listening as if spellbound by some new form of 
 enchantment. 
 
 Whilst a delicious melody, with ballet rhythm, is 
 
ST. LfiON AND "VIOLON DU DIABLE^' 147 
 
 thus poured forth, an exquisite fairy form, or angel, 
 is called into existence, and approaches with mea- 
 sured steps from the back of the stage, suddenly 
 disappearing the moment the music ceases. This 
 occurs each time that the marvellous instrument — 
 " Violon du Diable" — is played upon. 
 
 Nothing could be more poetic than the charming 
 performance of St. Leon thus combined with the 
 exquisite dancing of Mademoiselle Plunkett (sister 
 of the celebrated actress Madame Doche), who 
 appeared in this ballet. In previous years the part 
 was played by Cerito, another most celebrated 
 dancer, who afterwards married St. Leon. 
 
 This charming star of the ballet having died at a 
 comparatively early age, St. Leon married again, and 
 left a widow, who resided for many years at Neuilly. 
 
 After the performance of the Violon du Diable at 
 Brussels, I induced Katto, the music-seller in the 
 Gallerie St. Hubert, to inquire whether any of this 
 lovely music was procurable. The reply which M. 
 St. Leon sent me was that none of it had yet been 
 printed, but that he hoped soon to publish some of 
 it. Ten years later my dear mother discovered a 
 piece by St. Leon, which has proved of great service 
 to me on many occasions, and some years after- 
 wards I met wath his solo called Le Reve (arpeggios), 
 and his romance La Voix d outre Toj?tbe, also his Ne 
 moubliez pas (moto perpetuo), which are all clever, 
 expressive, and effective compositions. 
 
148 VOICE AND VIOLIN 
 
 In his ballet Le Lutin de la ValUe he kept his 
 audience for some time highly amused by his inimi- 
 table reproductions of the noises of quadrupeds 
 and birds in a farmyard. The loud crowing of the 
 " early morning cock " near at hand, and its answer 
 by cocks in the far distance, in other keys, was 
 astonishing. 
 
 I have been told that St. Leon played upon a 
 Joseph Guarnerius violin, which is now known in 
 trade circles as the ^^ Violon du Diable," from the 
 title of the ballet to which I have just alluded. 
 
 I noticed that the violin given to him, in the said 
 ballet, by his Satanic Majesty, over which there is 
 a good deal of excitement and jumping about, is 
 adroitly changed at the wings for the artist's own 
 instrument. 
 
 Those who have witnessed the exquisite dancing 
 of such an artist as Mademoiselle Plunkett, espe- 
 cially in the slow movements, accompanied by such 
 beautiful violin music, will easily realise the immense 
 impression made upon an enthusiastic audience on 
 the occasions to which I have referred. I may add 
 that the Theatre St. Hubert, in Brussels, is excel- 
 lent from an acoustic point of view, the softest 
 pianissimo passages can be heard in every part of 
 the house. I noticed that Arthur St. Leon was 
 slightly nervous when he appeared there for the 
 first time ; probably he was aware that he was 
 playing in presence of very superior artists in 
 
ST. LfiON AND "VIOLON DU DIABLE" 149 
 
 the orchestra, and a highly critical audience, for 
 Brussels is a city where the cultivation of the violin 
 has long been very much in vogue. Thunders of 
 applause followed all his performances, and he soon 
 established himself as a favourite. 
 
 During his engagement the receipts were very 
 high, and great disappointment was experienced 
 one night when, on account of sudden indisposition, 
 he was unable to appear. The manager of the 
 theatre would not believe the doctor's certificate 
 which was sent to him on this occasion, and 
 brought an action against the violinist for breach 
 of contract. Wonderful to relate, the Belgian law 
 courts, which have long had the reputation of doing 
 scant justice to foreigners, gave their verdict in this 
 case in favour of Arthur St. Leon. 
 
XIX 
 
 ^^ SUNRISE ON THE RIGHI " 
 
 Shortly after the great pianist and composer 
 Henri Litolff had married Mademoiselle de la 
 Rochefoucault, I had the honour of taking the 
 bride into dinner at the house of the celebrated 
 Belgian painter Eeckhout, then residing in Paris, 
 and I was to have played a solo on the violin after 
 dinner. But becoming seriously indisposed, either 
 from fatigue or the heat of the weather, I w^as com- 
 pelled to leave the table and go straight off to bed. 
 Next day Litolff and the younger Eeckhout came to 
 see me, bringing Offenbach with them. I w^as much 
 better, and the latter told us the following extra- 
 ordinary story whilst we smoked our cigars on the 
 balcony : — 
 
 From the picturesque little village of Ungerwald, 
 in the Tyrol, there came to London at the beginning 
 of the present century a contra-bassist who might 
 have rivalled the immortal Bottesini, who followed 
 him, or the renowned Dragonetti, who preceded 
 him by a few years. But though he knew neither 
 
 of these distinguished men, and though his name is, 
 
 150 
 
"SUNRISE ON THE RIGHP^ 151 
 
 probably, quite unknown to most people, his career 
 was in some respects as interesting as theirs. 
 
 The name of the contra-bassist was Orazio Maboni, 
 and his maternal uncle and guardian was a distin- 
 guished violinist and conductor at Milan. As a 
 youth he got a position for a short time in the old 
 town of Botzen, where he gave lessons in music, 
 and performed on the contra-basso in occasional 
 orchestral concerts, returning to his native village 
 of Ungerwald in the summer, where his formidable 
 instrument was in frequent requisition for the 
 peasants' balls. 
 
 He played pretty well on the violin also, and 
 could teach it ; but his special gift seemed to lie in 
 composition, for which he had a great predilection. 
 
 He was rather tall, gaunt, and thin, though pos- 
 sessed of a powerfully knit frame, and his dark 
 eyes and bronzed features were fiery and expressive. 
 
 When he arrived in London he had not yet pro- 
 duced anything, and one day he found himself 
 wandering about the streets of the West End in the 
 following circumstances. He had only five shillings 
 in his pocket, and all the worldly goods he possessed 
 were upon his person in the shape of an ordinary 
 suit of clothes, with the exception of a fine Stainer 
 violin which he had brought with him from Unger- 
 wald. 
 
 He had three pupils in various parts of the great 
 metropolis, and he occasionally found an afternoon 
 
152 VOICE AND VIOLIN 
 
 or evening engagement, either as second violin or 
 contra-basso, in some concert hall or orchestra, and 
 so kept his larder stocked for a few days. 
 
 In this unenviable plight he had managed to get 
 himself engaged to an English girl, the only child 
 of Mrs. Blythe, widow of a courageous colonel who 
 had died for his country in India. This lady en- 
 joyed a small pension, but had no other means 
 of subsistence. She was the daughter of a great 
 singer, and had observed that her own daughter 
 possessed a musical gift, which, she thought, the girl 
 should make a source of livelihood. For this pur- 
 pose she had engaged the services of Maboni, whom 
 she knew to be a representative of the fine old 
 Italian school. As a child she had studied the 
 works of Palestrina, Handel, Sacchini, Paesiello, 
 Porpora, and other men of genius, who have laid 
 the foundation of all that is fine and noble in 
 modern musical composition. 
 
 It was Mrs. Blythe's intention to make her daugh- 
 ter a violinist. There were very few, if any, lady 
 violinists in those days, and it must be admitted 
 that Mary Blythe gave promise of becoming in a 
 few years' time a very accomplished artist. She was 
 a fair girl, nearly nineteen years of age, with clear 
 blue eyes, an open, frank countenance, gay spirits, 
 and lady-like manners. To say she was beautiful 
 would be an exaggeration ; but there was something 
 so charming in her well-proportioned figure, her in- 
 
"SUNRISE ON THE RIGHI" 153 
 
 telligent features, and her pretty smile, that we may 
 easily believe she had more than one admirer. 
 
 It was Maboni's greatest ambition to make this 
 fair English girl his wife ; and the matter was no 
 secret, for she admired him, and the widowed 
 mother was well aware of the attachment ; but, of 
 course, in their precarious circumstances, she could 
 not encourage it. 
 
 Orazio Maboni was an orphan, who had been 
 brought up by his uncle, one of the violinists of the 
 Opera at Milan, and Capel Meister to the Grand 
 Duke of Lombardy. After attending to the educa- 
 tion of his nephew, he had given him two seasons 
 in the orchestra, and then sent him on his travels ; 
 for, it must be mentioned, this uncle had no special 
 affection for the child of a turbulent and dissipated 
 brother-in-law. 
 
 Orazio had worked his way, not without many 
 severe privations, through various towns and cities 
 of Europe — Botzen, Ancona, Pavia, Parma, Vienna, 
 Paris, Brussels, &c. When he arrived at Brussels 
 he was a very good violinist, an excellent contra- 
 bassist, and more or less of a composer. 
 
 At last he found himself in England, but, except- 
 ing Mrs. Blythe, without friends or protection of 
 any kind. He occupied a room near the small 
 house she inhabited, not far from Onslow Square, 
 and through her kindness he had obtained two 
 young men as pupils, besides her own daughter. 
 
154 VOICE AND VIOLIN 
 
 Orazio now determined to make his fortune, or at 
 least a respectable position, by his compositions. 
 Up to that time he had written out a few orchestral 
 parts, and had introduced into them, here and there, 
 some shght alterations or additions ; but his efforts 
 had not extended much further. Now, however, he 
 decided upon making composition the chief object 
 of his labours. 
 
 His favourite author for the violin was Campag- 
 noli ; and one fine evening that he had performed 
 a beautiful prelude by that master, Mary Blythe said 
 to him — 
 
 ^' Orazio, only make me play like that, and I will 
 make your fortune as well as my own." 
 
 '* My dear Marietta," replied the young professor, 
 " I assure you it would not be so easy as you ima- 
 gine ; there is so much jealousy in the profession, 
 especially among the critics, who cannot play them- 
 selves. But I have composed a symphony upon 
 which I count a good deal." 
 
 ''A symphony ! What is it called ?" 
 
 '' Sunrise." 
 
 "Oh 1 that is not enough ; it is too much like ^Moon- 
 shine,' and you know what that means in English. 
 Call it 'Sunrise on the Righi' ; or should it not be, 
 * Sunrise on the Righi : a Souvenir of the Alps ' ? " 
 
 " Ah ! perhaps that would be better — to be fol- 
 lowed immediately by ' Moonshine on the Bos- 
 phorus : an Oriental Fantasia,'" said Orazio, laughing. 
 
'^ SUNRISE ON THE RIGHI^^ 155 
 
 Well, this symphony, "Sunrise on the Righi/' was 
 no laughing matter. It had cost the young com- 
 poser a considerable amount of labour ; but then 
 it was to bring in great results. 
 
 He had transcribed it for the violin alone, and 
 the effect, when he played it, was truly marvellous. 
 Miss Blythe said it was finer than anything by John 
 Sebastian Bach. However, when he showed it to 
 various publishers and conductors of orchestras, 
 although they were not parsimonious in their praises 
 of the composition, they made various excuses for 
 not producing it. 
 
 This reiterated failure quite soured the naturally 
 sweet temper of the young professor, who was one 
 of the kindest of men and most indulgent of critics. 
 Now his mind was disturbed ; now he became irri- 
 table, and openly condemned the works of others, 
 which hitherto he had been only too ready to praise. 
 
 Maboni lived in days when it was generally con- 
 sidered that fortune was the constant companion of 
 renown. If he could only make a name, he thought, 
 opulency would be sure to follow. He little heeded 
 how many great names have belonged to poor men 
 who, like the immortal Mozart, have never enjoyed 
 a competence, much less a fortune ! Neither did 
 Orazio Maboni know that great reputations can be 
 bought, and that it is far more truthful to say that 
 renown and notoriety are the constant companions 
 of fortune. The only consolation we have is that 
 
156 VOICE AND VIOLIN 
 
 bought laurels soon fade. If Homer had purchased 
 his celebrity we should never have heard of him. 
 
 But, after all, what good is a great reputation 
 unless it brings in money ? 
 
 In his new disposition of mind Orazio made no 
 friends, but, on the contrary, several bitter enemies. 
 
 One evening a man knocked at the door of his 
 room, and walked in before it was opened to 
 him. 
 
 *' My name is Curwen — Jacob Curwen," he 
 shouted, with fire flashing from his eyes. ^* I am 
 the composer of the ballet music at Sadler's Wells 
 Theatre, and I understand that you go about scan- 
 dalising my compositions 1 " 
 
 *' I am quite at your disposal," replied Maboni 
 calmly ; *' but surely we live in a country where 
 criticism is not forbidden " 
 
 " It is all very well to criticise, sir," retorted the 
 irate musician, ^' but before you criticise you should 
 be able to produce." 
 
 *^ Listen ! " interrupted Orazio, taking up his 
 violin. 
 
 And after a beautiful passage or two by way of 
 prelude, he performed the transcription of his new 
 symphony *' Sunrise." 
 
 Curwen thought at first he was in the presence of 
 a madman, but before the piece was half ended he 
 was absolutely enraptured by the music. When it 
 concluded he exclaimed — 
 
"SUNRISE ON THE RIGHI'' 157 
 
 ^' But that is superb — splendid ! It is the finest 
 thing I ever heard ! " 
 
 ^' I thought you would like it," said Maboni. ** I 
 know it is good." 
 
 ^^ Good ! — my dear sir, I tell you it is the finest 
 thing I ever heard on the violin — it is equal to our 
 very finest compositions, or, I may say, it surpasses 
 them!" 
 
 *' Anyhow, you hear I can produce, as you say ; 
 and yet I can find no one to take up my work, and 
 I am nearly starving for want of a little generous 
 patronage." 
 
 ^^ Leave that to me, sir," said the other, with a 
 curious wink of his left eye. ^' Leave that to me ; 
 you will soon find it all right." And he soon after 
 took his leave in a very different mood from that in 
 which he had arrived. 
 
 Next morning Orazio received another visit, from 
 a person who sent in his card, with the name 
 ^^Theophilus Barton," over which was written in 
 pencil, '^ Introduced by Professor Curwen." 
 
 *^ Mr. Maboni, I believe," said the stranger as he 
 entered. 
 
 " At your service," said Orazio, bowling. 
 
 " I have just heard from my friend Professor 
 Curwen of your magnificent composition — your 
 symphony, ' Sunrise.' " 
 
 '* ^ Sunrise on the Righi,' " said Maboni. 
 
 '^ Yes, 'Sunrise on the Righi' ; and if any one 
 
158 VOICE AND VIOLIN 
 
 knows good music from bad, it is my friend Pro- 
 fessor Curwen. Now, sir, there is a great future 
 in store for you ; for if the well-known com- 
 poser Curwen pronounces anything good, it is 
 good, and there's an end to it. Of course, you 
 are aware how scarce good compositions are ; of 
 course, you know the value of a copyright ; and 
 I may take it for granted you will produce as 
 many similar compositions as you may have orders 
 for ? " 
 
 " Certainly," replied Orazio. " I have a second 
 piece already in my mind, ^ Moonshine on the 
 Bosphorus.' " 
 
 '' Ah ! just so. Well, you may consider yourself 
 a millionaire, or nearly so. You must leave it to 
 me, my dear sir, and you will see " 
 
 " I should have no objection to become rich," 
 interrupted Orazio. ^' I am engaged to be married," 
 he added, smiling, ^^ and I should very much like to 
 buy a handsome ring for my fiancee." 
 
 " Just so, just so," put in Mr. Barton. ^^ You just 
 give me carte-blanche to act as I like, and in a few 
 days you will see what I will do." 
 
 At the music lesson an hour or so later, Orazio 
 said to Miss Blythe — 
 
 '^ We shall not have to wait very long. Marietta 
 dear ; I have had a visit from a man who tells me 
 I may consider myself a millionaire, or nearly so." 
 
 " What on earth do you mean, Orazio ? " 
 
 _j 
 
"SUNRISE ON THE RIGHI" 159 
 
 " Why, the symphony ' Sunrise on the Righi ' is 
 
 to make our fortunes ! " 
 
 • •••••• 
 
 On the ground-floor of a large building in the 
 city, not very far from the Bank of England, there 
 was a spacious room, in the centre of which stood a 
 long table covered with a dark-green baize cloth, 
 and having before each of the chairs which stood 
 along the sides of the table a large glass inkstand, 
 some quill pens, and a few sheets of foolscap. 
 
 Some days after the events just related, the chair 
 at the end of the table was occupied by Mr. Theo- 
 philus Barton, a short, stout, pompous individual, 
 whose bloated features were covered with numerous 
 eruptive tokens of improper diet or bad living. 
 
 The other seats were filled by eight or ten indi- 
 viduals whom it would be difficult to describe. In 
 the passage or anteroom were a few pegs, on which 
 these persons had hung their hats and umbrellas. 
 In the hall stood a porter, in plush knee-breeches, 
 white stockings, buckled shoes, and a brown coat 
 with brass buttons, whose duty it was to usher new- 
 comers into the room as they arrived. 
 
 On the door of the hall was a large brass plate 
 on which were clearly engraved the words, ^' Theo- 
 philus Barton & Co." 
 
 The various individuals conversed in undertones 
 among themselves, and one of them passed the time 
 by drawing impossible houses and trees on a sheet 
 
160 VOICE AND VIOLIN 
 
 of the white foolscap before him, another seemed to 
 be studying the stock and share Hsts of a newspaper, 
 and a third was chatting familiarly with the chair- 
 man. 
 
 The latter belonged to that class of people who 
 have discovered an infallible means of extracting 
 money from the ^^ ignorant public " ; and as the so- 
 called " ignorant public " form about nine-tenths of 
 the entire population of the globe, they have almost 
 the whole world at their disposal. And the means 
 are so simple ! 
 
 A sensational prospectus is issued and distributed 
 by thousands of copies. The cost of this amounts 
 to, perhaps, a couple of hundred pounds ; and 
 within a fortnight subscriptions for shares come in 
 amounting to more than a couple of thousands. Of 
 this sum about fifteen hundred go straight into the 
 pockets of the Company promoters as the ^' price of 
 the business," or ^' patents," or ^' good-will," and with 
 the remaining five hundred some show of business is 
 kept up for a few months — perhaps a year or two — 
 until the Company, on the advice of their solicitors, 
 goes quietly into liquidation, — all strictly according 
 to law ! Poor, ignorant public, how we pity you ! 
 
 " Gentlemen," said the chairman, " I have called 
 you here to consider what I believe to be one of the 
 grandest undertakings of the present day. We have 
 among us, in London, a musical genius, one of the 
 rarest of rare phenomena in this metropolis." 
 
"SUNRISE ON THE RIGHI" 161 
 
 " I have heard some such statement before/' sug- 
 gested a rough-looking man^ addressed as Lord 
 Thomson. 
 
 " Pray, gentlemen, hear me out before hazarding 
 any conjectures," continued Mr. Barton. "Here 
 we have a violinist, contra-bassist, and composer of 
 extraordinary talent, who has actually entranced no 
 less a man than my friend Professor Curwen, whose 
 word is law in musical matters. Well, this marvel^ 
 lous genius is willing to place at the disposal of our 
 Company the whole of his copyrights. We are to be 
 the sole publishers and producers of his works, to 
 trade in them, to barter and reprint them, to supply 
 them to the whole musical world " 
 
 " Is not music somewhat at a discount ?" inquired 
 a Mr. Brown. "What is the name of this new 
 musical genius ?" 
 
 "Orazi Maboni," said Mr. Barton. "His name 
 may be unknown to you, but I can assure you that 
 in a short time it will be more popular than that of 
 the great Rossini himself." 
 
 " My wife adores Rossini's music," put in the indi- 
 vidual who was drawing landscapes. 
 
 " The ladies will, no doubt, be great patrons of 
 our new Company," suggested Mr. Barton. Then, 
 after a slight pause, he added — 
 
 "All I have to ask of you at present is to kindly 
 give your attention to the prospectus which I have 
 drawn up, the first article of which enacts that we 
 
162 VOICE AND VIOLIN 
 
 become the sole proprietors of the vakiable com- 
 positions of this composer, which the Company will 
 acquire by raising the paltry sum of ;^2o,ooo." 
 
 *' How many compositions may there be?" in- 
 quired another director in prospective. 
 
 *' An unlimited number ! " exclaimed Mr. Barton, 
 ^* for he makes over all his past, present, and future 
 copyrights. His only w^ork just at present is called 
 * Sunrise/ which, you see, is an appropriate name 
 for the origin of such a glorious enterprise." 
 
 '* Twenty thousand pounds for one musical com- 
 position is rather a large sum, I fancy," said Mr. 
 Jones (a retired butcher), who had not before spoken 
 at all. 
 
 " My wife never gives more than two shillings for 
 a piece of music," said the individual who was 
 covering his paper with landscapes. 
 
 '^Gentlemen, gentlemen ! " said Mr. Barton, wav- 
 ing his hands, and paying no attention to these 
 remarks, ''the prospectus of the Company states 
 that the shares shall be five pounds each, and that 
 Signor Maboni and the Company take in equal parts 
 one-half of these, say ;^io,ooo ; the balance to be 
 distributed as follows — ;£5ooo to be invested at lo 
 per cent, in debentures of the Company, to be held 
 by the said Maboni as a retaining fee, without 
 depriving him of the right of investing in the Com- 
 pany's ordinary shares to whatever extent he may 
 deem advisable, and to deal with the same in the 
 
"SUNRISE ON THE RIGHI" 163 
 
 market, thus stimulating him to fresh efforts ; and 
 ;^5ooo to defray the current expenses of printing 
 and pubHcation, and directors' fees." 
 
 " Hear, hear/' said a voice at the end of the table, 
 as the chairman threw some emphasis on the last 
 two words. 
 
 " For my part, as your chairman and managing 
 director," continued Barton, '* I shall content my- 
 self with watching scrupulously over the interests 
 of the concern for the moderate remuneration of 
 ;^20o per annum." 
 
 This magnanimous proposal was received with 
 loud applause from all present. 
 
 The various articles of association were then duly 
 read, and agreed to unanimously. There was not 
 a single dissenting voice, until it came to the ques- 
 tion as to how many shares the new directors would 
 subscribe for, on the spot, in order to start the busi- 
 ness. Then a good many objections were raised. 
 At last, after half-an-hour spent in rather hot dis- 
 cussions, ten of the persons present agreed to take 
 one share each, and with these fifty pounds the 
 printing and posting of the prospectus was to be 
 put in hand at once. 
 
 When the clock struck 4 p.m. they all departed, 
 with the view of meeting again that day week. 
 
 When Mr. Theophilus Barton next visited Signor 
 Maboni he found him engaged in reading over the 
 
164 VOICE AND VIOLIN 
 
 answer he had just written to a letter received from 
 Milan. The composition of this answer had given 
 him almost as much pleasure, and far less labour, 
 than that of his " Sunrise on the Righi/' 
 
 As soon as he was informed of the result of the 
 meeting in the city, Maboni explained the nature of 
 the letter from Italy. It was from the well-known 
 firm of solicitors, Signori Farfolli & Notari, and 
 ran as follows : — 
 
 "Piazza Santa Maria, Milano, 
 "25 Maggio 184 — . 
 
 " Esteemed Sir, — After having, with great diffi- 
 culty, obtained your address from our London cor- 
 respondents, we hasten to inform you, with sincere 
 sympathy and regret, of your uncle's demise, which 
 occurred on the loth of last month. As his execu- 
 tors, it is our duty to apprise you, as his next of kin, 
 that he has left a considerable amount of property, 
 which all comes to you by right. We strongly ad- 
 vise your presence in Milan as soon as possible, to 
 facilitate the winding-up of the affairs." 
 
 There was more in the letter than it is necessary 
 to reproduce here ; let it suflice to say that when 
 Mr. Barton heard this read out to him, his face 
 assumed a very curious aspect, but before he had 
 time to say anything Maboni exclaimed — 
 
 *' I am going to be married without delay, and 
 Mrs. Blythe will go to Italy with us. I will send 
 
"SUNRISE ON THE RIGHI" 165 
 
 you a copy of ' Sunrise on the Righi/ and before 
 
 the end of the year I hope you may hear of my 
 
 other piece, * Moonshine on the Bosphorus. '" 
 
 '^Confound it all," muttered Mr. Barton, as he 
 
 jumped into a cab that was standing near Onslow 
 
 Square and drove off to the city. 
 
 • ••••• • 
 
 In 1865 I was at a concert at Frankfort-on-the- 
 Main. There was an admirable quartet, and one 
 of the most remarkable pieces I ever heard w^as per- 
 formed on this occasion. It was called '' Sunrise on 
 the Righi," and was truly magnificent. The gradual 
 spreading of the rays of morning through the still, 
 misty atmosphere, the distant tinkling of the sheep- 
 bells, the magnificent panorama that unfolded itself 
 as the white mist rose and dissolved in the clear air 
 — all was sublimely represented. There was a most 
 effective tremolo crescendo, commencing in the 
 minor key, and terminating, in the major, with the 
 grandest possible chorus of awakened nature, glad- 
 dening in the glorious light of day. 
 
 It was perfectly astonishing ; Rossini himself 
 never wrote anything more superb. 
 
 Offenbach knew Maboni well, and he told us that 
 this splendid composition had never been published, 
 but that a transcription of it for the piano by Van 
 den Abeelen, a clever Flemish pianist, who was for 
 some time professor in England, had been issued in 
 London by the house of Williams in Paternoster 
 
166 VOICE AND VIOLIN 
 
 Row ; and it appears that Henri Litolff had played 
 this wonderful piece after the dinner given to him 
 at Paris in honour of his marriage with Made- 
 moiselle de la Rochefoucault, to which I alluded 
 at the commencement of this chapter. 
 
 I have been assured, however, by Henri van den 
 Abeelen himself, that his piece is entirely original, 
 and that he had never seen or heard that of Orazio 
 Maboni. 
 
XX 
 
 VOICE AND VIOLIN 
 
 Of all the compositions suited for the drawing- 
 room — and even for the concert-hall — some of the 
 most beautiful are those written for voice and 
 violin, with piano accompaniment. But very good 
 pieces of this kind are exceedingly rare. I have been 
 always fond of this class of composition. 
 
 My wife was the first in England to sing the now 
 celebrated Serenata of Gaetano Braga, with violino 
 obbligato. Long before it was at all known — in fact, 
 immediately after it was written — we performed it 
 in several concerts and drawing-rooms, and it was 
 universally admired. It made such an impression 
 on one lady, who was a distinguished singer, that 
 she went next morning to Schott's and purchased 
 a copy, hoping to be able to sing it without a violin 
 part! She was not aware that Braga wrote this 
 beautiful composition to show off his own 'cello 
 playing, the voice taking the second part almost 
 throughout. It was afterwards transcribed for voice 
 and violin. It is quite unnecessary to use a muted 
 violin (unless the instrument is very loud and coarse) 
 
 in performing this piece. 
 
 167 
 
168 VOICE AND VIOLIN 
 
 Braga's other compositions of the same kind, 
 L'Estde (the Exile) and Les Trots Marguerites^ are 
 also very clever and melodious. 
 
 Two other pieces for voice and violin, with which 
 my wife always made the greatest effect, were the 
 Rofuanza of Guido Papini (originally written for 
 Madame Christine Nillson), and the No7t ti Scordar 
 of Robaudi, the author of the well-known Stella 
 Confidente, She has also had great success with 
 Guercia's // Sospiro and Gounod's Ave Maria, for 
 voice, violin, and piano, and with a spirited valse- 
 song by Gumbert, entitled Vive la Danse, to which 
 I adapted a violin part. 
 
 There is an opening for really good music of this 
 description, especially for the drawing-room, and 
 I am glad to see that it is likely to be taken advan- 
 tage of ; though, up to the present time, excepting 
 the pieces I have mentioned, and the dramatic Air 
 d'habelky from Herold's Pre aiix Clercs, which has 
 been occasionally sung at the Promenade Concerts, 
 there are very few which rank higher than the old 
 series of plaintive German lieder, with rather poor 
 violin parts. An exception in this respect is Der 
 blinder Geiger, by Proch, a really fine and effective 
 piece, and his song Ye stars mildly beaiJiiug, which 
 is pretty and well harmonised. 
 
 A very long time ago Panseron wrote a piece for 
 voice, violin, and piano, called Songe de Tartini. It 
 used to be sung by Pauline Garcia (Madame Viardot- 
 
VOICE AND VIOLIN 169 
 
 Garcia), sister of Malibran (wife of De Beriot), after 
 the early death of the latter, with De Beriot's obbli- 
 gato violin, and created great enthusiasm. It is 
 decidedly dramatic. 
 
 The edition of Gordignani's Caro inio ben, for 
 voice, violin, and piano, by Guido Papini, is also 
 very effective, and well within the reach of any 
 amateur who possesses a fine voice and good 
 style. 
 
 With regard to solo violin music with piano 
 accompaniment, my repertoire comprises at the pre- 
 sent time upwards of 280 compositions ; but I could 
 not recommend more than a third of this number. 
 When Papini one day looked over the whole list, 
 he exclaimed, ^^ Mais, mon Dieu, je ne connais pas 
 la moitid de cela ! " 
 
 Not to go back to the days of Viotti and Rode, 
 and music of a still more ancient type which is 
 now considered more curious than beautiful, it is 
 evident that with the colossal success of Paganini 
 there arose a new and romantic style of violin- 
 playing which has eclipsed all that had gone before. 
 His contemporary, Louis Spohr, held the classical 
 reins, and his other contemporary, Charles Auguste 
 de Beriot, the greatest of the three (as far as the 
 violin is concerned), cultivated both styles with 
 success. 
 
 Excellent studies for the violin have been written 
 by Kreutzer, Spohr, De Beriot, Campagnoli, Fiorillo, 
 
170 VOICE AND VIOLIN 
 
 Wery, and Papini. There are many others ; but I 
 can recommend any of those mentioned, of which 
 alone I have any experience. 
 
 For solos with piano accompaniment or with 
 orchestral accompaniment, should be specially men- 
 tioned Paganini's works ; those of De Beriot, Baz- 
 zini, and Artot ; many pieces by Papini ; to which 
 we should add some compositions by Ernst, Wieni- 
 awski, Panofka, Dancla, Alard, and Leonard, all ex- 
 cellent in their respective styles. Singelee, formerly 
 leader for many years at the Brussels Opera, has 
 written a number of little fantasias, on operatic airs, 
 for amateurs ; they are mostly brilliant and pleasing. 
 Similar compositions by H. Farmer, who was pro- 
 fessor for a long time at Harrow, are very cleverly 
 written. A very fine and effective piece is Vieux- 
 temp's Fantaisie Caprice ; Ernst's Carnaval de Veiiise 
 is another. De Beriot's Sixth Concerto^ Papini's 
 Barcarolhy Artot's Souvenirs de Belliniy some of 
 Wieniawski's Mazurkas^ and Bazzini's Carillon 
 d Arras are all well deserving of attention on the 
 part of those who have completed their studies. 
 
 With regard to study, a student should devote his 
 morning hours to exercises, and in the evening an 
 hour or so to pieces with piano accompaniment. 
 The time he or she can devote to the violin will 
 depend, of course, upon circumstances. There is 
 one golden rule which applies to both professors 
 and amateurs : Never play when fatigued. 
 
VOICE AND VIOLIN 171 
 
 When opportunity occurs, it is advantageous to 
 join a good orchestral society ; nothing conduces 
 more to becoming proficient in time and rhythm, 
 and all young players should strive to attend the 
 practices of such a society for at least two or three 
 years. 
 
 When the violin as a solo instrument has once 
 been conquered, and middle age has arrived, it will 
 be found by those who are not daily engaged in 
 orchestral work, or teaching, that an hour a day 
 on the average is generally sufficient to keep a 
 player in what is commonly termed '^good form." 
 
 It may be useful if I conclude this chapter with 
 a few observations on some pieces of my own 
 repertoire : — 
 
 Paganini : Unfortunately many pianos are now tuned to what 
 is termed "philharmonic " pitch, which is half a tone above 
 that of the Opera. To avoid unnecessary strain upon the 
 strings in such pieces as Le Stregghe^ my clever wife trans- 
 posed the piano accompaniment to my copy, and the same 
 was done with some of his other compositions. The Rondo 
 de la Clockette and Carnaval^ the Andanthio Variato^ an- 
 other Rondo (arranged by Lafont), and the Canto Spianato 
 (Chanot's edition) do not require it. 
 
 SivoRi : Tarantella^ a beautiful and effective piece, but I have 
 had the piano part simplified by Henri van den Abeelen. 
 
 De Beriot : \st^ 2nd, yd, 6th, yth, 9///, and loth Concei'tos, all 
 splendid, but require a very good pianist. They are most 
 effective with orchestral accompaniment. Schie de Ballet ; 
 Andajite varid j two fantasias on Russian airs ; Les 
 Echos ; Elegie (a magnificent work in B minor) ; Valse 
 de Concert; Les Trots Bouquets ; Airs varies (2nd, 6th, 
 
172 VOICE AND VIOLIN 
 
 8th, 9th, and nth most effective); duets for violin and 
 
 piano on Gicillaujne Tell^ Gasza Ladra^ and // Barbiere 
 
 (with Osborn), are superb compositions. 
 Bazzini : The Muleteer j the Carilloji cT Arras j Absence 
 
 {melodie); Ro7ide des Lutins j Nocturne; Ballade; Danse 
 
 des G?iomes — all very original and effective ; La Slraniera^ 
 
 a brilliant operatic fantasia. 
 Braga : // Corricolo (originally written for 'cello ; a descriptive 
 
 piece which, when properly explained on the programme, 
 
 is certain to produce a good effect). 
 Artot : Lucresia Borgia; Souvenirs de Bellini; Romance de 
 
 Field; Le Reve ; Serenade — all excellent. 
 WiENlAWSKi : Polonaise {iho^ ist); 2nd Mazurka; Legende. 
 ViEUXTEMPS : Fantalsie Caprice; Ta}-ejilelle. 
 Sasserno : Andante religioso. Bersikirski : Souvenirs de 
 
 Varsovie (two mazurkas). Panofka : Doni Sebastien. 
 
 Hauser : Adieu d Varsovie (a nocturne, large, fine style, 
 
 like that of De Bdriot). 
 Raff : Cavatina (I was the first to play this well-known solo 
 
 in England : it had only been once played (at Paris) by 
 
 Sivori when I gave it at a concert in London a few weeks 
 
 later). 
 Papini : Caprice alia Tarantella; Souvenir de Sorrento ; Feu 
 
 follet; Barcarolle; Pe?tse'e fugitive (dedicated to the 
 
 writer) ; U?i Soir a Portici ; II Guar any ; Do?t Carlos ; 
 
 Capricio alia Calabrese; Maritana; A une Fleur ! 
 
 Berceuse Orientate; Mazurka (op. 60) ; five romances ; 
 
 three concert valses, and many others— all beautiful 
 
 compositions. 
 Ernst : Klegie ; Carnaval de Venise; Inquietude (duet with 
 
 piano) ; Rondo Gracioso {idem); Feuille d^ Album {idem); 
 
 II Pirata (a splendid and very effective composition) ; Air 
 
 Allemand varie' ; Airs Hongroises. 
 Alard : Arag07iesa (a brilliant Spanish valse, one of Alard's 
 
 best compositions ; Styric?ine (there are two editions 
 
 of this). Dancla : Valse de Concert; Le Roi des 
 
VOICE AND VIOLIN 173 
 
 Ziganesj Delasseme7its de r Etude. La Tarche : Czar- 
 das. SiNGELEE : I Lombardi ; Lucie de Lamerjnoor, &c., 
 (effective pieces for amateurs). Leonard : Tristessej 
 Polonaise (both these are very fine and effective com- 
 positions, and his Echos^ Fantaisie pastorale.^ is even finer, 
 but very difficult). ViVlEN : Caprice Valse. BOHM : 
 Moto perpetuo. 
 
 I have many other pieces, inchiding compositions 
 by Tartini, LocatelH, Viotti, Rode, Spohr, Kreutzer, 
 and ]. S. Bach ; but though some of them form 
 good studies, I cannot advise my young fellow- 
 artists to cultivate them as concert pieces. They 
 belong to a bygone age, and our modern audiences 
 do not appreciate their beauties ; besides which the 
 art of solo-violin playing has made much progress 
 since they were written. The modern catalogues 
 of Schott, Chanot, Laudy, Patey & Willis, Augener, 
 &c., contain numbers of brilliant and well-written 
 works, many of which are highly effective and 
 pleasing without presenting extraordinary technical 
 difficulties. 
 
 Nothing is easier than to write difficult music for 
 the violin. When it is difficult and good there may 
 be some excuse for so doing, but when it is diffi- 
 cult and bad it is simply ridiculous. Many of our 
 modern composers of violin music are striving to 
 avoid useless difficulties, and the vast numbers of 
 amateurs who now cultivate the violin will reward 
 them for their efforts in this direction. 
 
 To acquire a good style and effective cantabilcy 
 
174 VOICE AND VIOLIN 
 
 young violinists cannot do better than play De 
 Beriofs 36 Etudes mHodiques, They are of as 
 great value to the violinist as are, to the songstress, 
 the 1 2 Nouvelles Vocalises pour Contralto et Mezzo- 
 Soprano by the celebrated Marco Bordogni. 
 
XXI 
 
 SPAGNOLETTl'S VIOLIN 
 
 In 1817 Paolo Diana Spagnoletti was engaged at 
 the King's Theatre, London, as leader of the orches- 
 tra, having already played second violin there for 
 some years. In Italy he had previously distin- 
 guished himself as a very able musician. He was 
 taught at the Conservatorio of Naples, where he 
 entered at the early age of twelve ; and it is related 
 of him that on the occasion of a piece of music 
 being placed before him to read at sight as a test of 
 his abilities, he Uirned it upside dowtiy and played it 
 off from beginning to end, to the utter astonishment 
 of the professors and all present. Poor Spagno- 
 letti ! he was never half appreciated, except by those 
 who happened to know him intimately. He lies 
 buried by the side of his wife in Brompton Ceme- 
 tery. His violin was a Joseph Guarnerius instru- 
 ment of considerable value. It came into posses- 
 sion, many years ago, of a timber merchant in the 
 city, and finally belonged to my friend, Sir Howard 
 Elphinstone, V.C., Comptroller of the Household 
 to H.R.H. the Duke of Connaught, and a very able 
 
 amateur violinist. 
 
 175 
 
176 VOICE AND VIOLIN 
 
 One evening that I was about to play at a con- 
 cert in the Assembly Rooms, Putney, given for the 
 benefit of the Hambro' Orphanage, the timber mer- 
 chant called upon me in the artists' room, with the 
 violin in question, and all the documents or '^ title- 
 deeds " relating to it. 
 
 I took it up and looked at it. There was scarcely 
 any varnish left upon it, and it was of a dirty brown 
 colour ; but it showed the well-known form of 
 sound-hole, and other characteristics of a Joseph 
 Guarnerius violin, very unmistakably. I could not 
 try it, as I w^as just going to play; so I told the 
 owner that if he would wait till the concert was 
 over I should be happy to play a piece upon it that 
 would show off its qualities to some friends of mine, 
 who would remain in the room when the audience 
 had retired. 
 
 This was done, and they all declared it a very fine 
 instrument indeed, though less luscious in tone than 
 my own violin, on which I had just previously 
 played. Moreover, I found that it possessed that 
 peculiar dry quality on the G string which char- 
 acterises all the Guarnerius violins I have ever 
 seen. 
 
 When all but ourselves and my new friend had 
 departed, the latter informed me privately that the 
 price of the Spagnoletti ^' Joseph " was ;^400, but 
 that if I felt inclined to purchase it, or if any friend 
 of mine bought it, there would be a commission of 
 
SPAGNOLETrrS VIOLIN 177 
 
 10 per cent.^ or £^o, for myself. I thanked him for 
 his offer, but could hold out little hope of business. 
 
 Some months later, happening to spend a few 
 days in the neighbourhood of Southampton, I was 
 informed by the sister of Sir Howard Elphinstone, 
 at whose house I was staying, that her brother was 
 in search of a good violin, and I mentioned the 
 Spagnoletti Guarnerius to her. 
 
 In course of a little time I received from Sir 
 Howard Elphinstone, whom I did not then know 
 personally, though we had corresponded, a short 
 note requesting me to receive a visit from him at 
 eight o'clock in the evening of the following day. 
 I at once replied that I should be at home at the 
 hour mentioned, and quite at his service. 
 
 He drove from Buckingham Palace in a hansom 
 cab, and arrived punctually, bringing with him two 
 violins^ and we spent a short time together very 
 pleasantly. He said he was commissioned to pur- 
 chase a violin for '' a friend " of his, and that he 
 had the choice of two very fine instruments, but 
 could not decide which zuas the best, and he w^as 
 anxious to hear me play upon both, that he might 
 be enabled to judge. 
 
 When the boxes were opened, to my surprise I 
 at once recognised in one of them the Guarnerius 
 of the timber merchant — the Spagnoletti violin ! 
 
 *^ Oh ! " I exclaimed, " I know this violin already ; 
 
 I played some pieces upon it at the Assembly 
 
 M 
 
178 VOICE AND VIOLIN 
 
 Rooms here not long ago. It is a superb instru- 
 ment." 
 
 Sir Howard was rather reticent ; he merely re- 
 marked, '^ Oh ! indeed ; " and renewed his request 
 that I should play him some short piece on both 
 violins in succession. 
 
 '* What shall it be ? " I asked, as my wife took 
 her seat at the piano. 
 
 '^Do you know Beethoven's Romance ?" he in- 
 quired. 
 
 ^' No/' I replied. " Besides, if I did, I should not 
 take music written by a pianist in order to try the 
 quality of a violin ! " 
 
 This remark seemed rather to displease him ; and 
 I was not surprised at that when I suddenly remem- 
 bered having heard from his sister that he was very 
 partial to Beethoven, and that he played one, or 
 both, of the Romances of that composer remarkably 
 well. For my own part, having as a lad played 
 the Sonatas of Beethoven for piano and violin as a 
 kind of task, I have cordially detested his vio/in 
 music ever since. 
 
 It was finally agreed that I should play a Study 
 in B flat by De B^riot, and an Adagio by Sasserno, 
 as test pieces, and they certainly answered very 
 well indeed. Sir Howard Elphinstone was de- 
 lighted with both violins. He still hesitated as 
 much as ever in his choice. At last, turning to 
 me, he said — 
 
SPAGNOLETTI^S VIOLIN 179 
 
 "This is rather a difficult matter; my friend 
 relies implicitly upon my judgment, and I really 
 do not know how to decide. . . . Now, which 
 do you, yourself, prefer ? " 
 
 I should mention that the other violin was said 
 to be a Stradivarius, and looked like a genuine 
 instrument by that great master. 
 
 "Well, Sir Howard," I replied, "although I have 
 an interest in that Guarnerius, if purchased by any 
 friend of mine, I cannot help telling you that I 
 prefer the other." 
 
 The diplomatist made no direct reply. He merely 
 thanked me profusely for the trouble I had taken, 
 complimented my wife and myself on our playing, 
 and after a few more commonplace remarks he 
 packed up his two instruments in their boxes and 
 prepared to take his departure. 
 
 During the final W'Ords of our interview I in- 
 quired casually if his "friend" were an artist or 
 an amateur ; to which he replied, in a rather 
 hesitating manner, that he was "not at liberty to 
 say anything about him." 
 
 That remark, of course, led me to guess correctly 
 for whom one of these violins was intended — but 
 which one ? and who was to get the other ? were 
 still unsolved problems. 
 
 It was about a month, or perhaps six weeks, later 
 that I was purchasing some violin strings in a well- 
 known street running out of Leicester Square, at the 
 
180 VOICE AND VIOLIN 
 
 establishment of the late Mr. George Hart, and in 
 conversation with him, I happened to mention 
 the visit I had received from Sir Howard Elphin- 
 stone and the trial of the two violins. He seemed 
 pleased when I told him I had given my verdict 
 in favour of the Stradivarius, and said, "Yes, he 
 bought it from me for the Duke of Edinburgh." 
 
 But the history of the Spagnoletti violin is not 
 yet quite finished. More than two years, I fancy, 
 must have elapsed since the occurrences just re- 
 lated, when an exhibition of old violins was 
 announced to be opened at South Kensington in 
 1872. I went to see that wonderful collection, 
 and among the "Josephs" I recognised again the 
 violin of Spagnoletti ! There was a neatly printed 
 label before it in the glass case, and on this label 
 I read the following words — 
 
 "The property of Sir Howard Elphinstone, V.C." 
 
 Where was the timber merchant — where were my 
 forty guineas ? I never inquired. 
 
 Another more interesting question suggests 
 itself : Where is now the violin of Spagnoletti 
 since the sad death at sea of Sir Howard Elphin- 
 stone, deplored by every one ? That is also a 
 question which I am unable to answer at present. 
 
XXII 
 
 SUCCESS BY AN AMATEUR 
 
 It is only at the expense of much time and labour 
 that an amateur singer or violinist can hope to 
 achieve marked success in the world of music. He 
 may be a favourite in his own district, after having 
 given pleasure for many years by his performances ; 
 and it may happen that some day he will be told, 
 as I was told by one of my friends in London, that 
 ^'you get as much applause when you go on as most 
 others get when they come off ! " But the real test 
 is when he makes a public appearance in some 
 locality where he is totally unknown, and is sur- 
 rounded by artists of great merit. 
 
 In a book devoted partly to personal reminis- 
 cences, it is difficult, if not impossible, to be useful, 
 or even interesting, to others, unless it be at the 
 expense of modesty ; but I have endeavoured 
 throughout to avoid, as much as possible, anything 
 that might shock the feelings of the most sensitive 
 in this respect. 
 
 I well remember the day when I made my first 
 appearance in public ; it was at the Kursaal, at 
 
 i8i 
 
182 VOICE AND VIOLIN 
 
 Ostend, in 1850, and I played there, to my mother's 
 accompaniment, the Afidante and Rondo of De 
 Beriot's Second Concerto. This was my first suc- 
 cess, and it gained for me the acquaintance and 
 friendship of several distinguished musicians, among 
 others, Madame Dreyfuss (sister of Sir Julius Bene- 
 dict), Riciardi (tenor of Italian Opera at Odessa), 
 Henri Vieuxtemps (the violinist), &c. 
 
 For twenty-five years afterwards my violin was 
 often rather neglected, except that I played occa- 
 sionally at Brussels and Paris in private houses, 
 and for a very short time joined an orchestra in 
 the latter city. At one of these soirees niusicales in 
 Brussels I played in the same room as M. Lem- 
 mens, the great organist and initiator of harmonium 
 music, who afterwards married Miss Sherington. 
 On this occasion I performed the whole of the 
 Sixth Concerto of De Beriot, also with my mother's 
 accompaniment. 
 
 At Paris it was Madame Beauce, the mother of 
 the celebrated prima donna Madame Ugalde, who 
 played with me on several occasions, and also 
 Celestine Van der Beek, a fine pianist, at whose 
 house I met the great guitarist Zani de Ferranti, 
 and M. Bagier, impressario of the Italian Operas 
 of Paris and Madrid, where one of her sisters 
 was engaged. There also I met Mademoiselle 
 Singclee, daughter of the conductor of the Opera 
 Orchestra at Brussels. She was a clever violinist. 
 
SUCCESS BY AN AMATEUR 183 
 
 but had adopted the opera stage as her profession 
 (and I afterwards heard her sing in London with 
 Titiens at the ItaHan Opera^ Drury Lane, in // 
 Flauto magico of Mozart). 
 
 After my marriage in 1865, when residing in 
 England, my w^ife, who had taken excellent 
 singing lessons in Brussels from Dauchet, now 
 turned her attention to the piano, in order to play 
 the accompaniments to my violin pieces. But 
 wishing that she should still cultivate her beautiful 
 voice, I encouraged her to sing many songs with 
 an obbligato violin part, and I also chose for my 
 solos pieces with as light an accompaniment as 
 possible. Nevertheless, she became, as she now is, 
 not only an excellent pianist, but one of the very 
 best accompanists it is possible to find. To her 
 great tr.lent in this respect I owe, almost entirely, 
 whatever success I muy have achieved in nume- 
 rous concerts and musical evenings in London 
 and various provincial towns. She it was who 
 organised the Bohemian Orchestral Society, whose 
 brilliant concerts did so much to pay off the 
 debts and resuscitate the Hambro' Orphanage, at 
 Roehampton, and find money for the Royal Ladies' 
 Homes and other charitable institutions in various 
 parts of England. 
 
 For the last thirty years, with our duets for 
 voice and violin, and violin solos, we have met 
 with constant success ; and it has done much to 
 
184 VOICE AND VIOLIN 
 
 lighten the burdens, and cause us to forget for 
 a time the miseries and sorrows, of this earthly 
 existence. 
 
 Among the many happy occasions of this kind, I 
 will mention one in particular, as it will certainly 
 interest many amateur musicians. 
 
 It was on the 3rd September 1892, at Southsea, 
 when we played in two concerts (afternoon and 
 evening) on the same day, given by the excellent 
 string band of the Royal Marine Artillery. They 
 were the last concerts of the season ; and as Madame 
 Agnes Larkom, a noted mezzo-soprano, was to ap- 
 pear, my good-natured wife could not be persuaded 
 to sing, but she played my accompaniments. It 
 came about in the following manner : — 
 
 Whilst staying at the house of my sister-in-law, 
 in the country near Portsmouth, a piano-tuner con- 
 nected with these concerts informed me that Mr. 
 Carrodus, who was to have appeared, had been 
 summoned back suddenly to London, and I offered 
 to play in his place. This was told to the com- 
 mittee, and I was duly announced on the bills, 
 having been granted the use of the Portland Hall 
 concert-room and a good piano to rehearse my 
 pieces. The concerts were given at the new pier. 
 There were eight hundred persons present at three 
 o'clock, and twelve hundred at the evening concert. 
 I was down for four pieces, two in each concert, 
 but I had to play eight times ; and 1 remember that 
 
SUCCESS BY AN AMATEUR 185 
 
 when it was all over, we enjoyed our frugal supper 
 very much indeed. 
 
 At the eight o'clock concert, having no evening 
 costume, I went on, as in the afternoon, in morning 
 dress ; but the cut of my coat happening to be very 
 similar to that of the dark blue tunics of the artillery- 
 men, barring the stripes and medals, it appears to 
 have passed muster very well, for the notices in 
 the newspapers did not allude to the circumstance, 
 whilst they gave most flattering accounts of the 
 double concert.i 
 
 ^ Perhaps I may be permitted to quote the following lines from The 
 Evening News, 5th September 1892 : "There were crowded audiences 
 at the concerts on the South Parade Pier on vSaturday. Here the prin- 
 cipal attraction was Dr. T. L. Phipson, President of the Bohemian 
 Orchestral Society, London, whose masterly playing of the violin carried 
 his hearers by storm. He was several times encored. Madame Agnes 
 Larkom, the popular soprano, and Mr. Henry Pope, basso, were the 
 vocalists, and their songs were warmly applauded. The string band 
 of the Royal Marine Artillery also performed." 
 
 I have a collection of a large number of similar notices from various 
 London newspapers and musical journals, which I sometimes refer to 
 when I feel low-spirited. 
 
XXIII 
 
 THE VIOLIN-MAKER TO THE EMPEROR 
 
 After the great Stradivari, no violin-maker has 
 been more imitated than Stainer, though Amati and 
 Guarneri have had their share of copyists. But so 
 popular have become, during the present century, 
 the names of Stainer and Kloz, that no one will 
 accuse me of exaggeration when I assert that their 
 labels have been placed in many thousands of violins 
 which they never made. 
 
 Jacobus Stainer was born at Absom, near In- 
 spriick, in the Tyrol, about the year 1620, and 
 lived to the age of sixty-three. Whilst still a mere 
 boy he went to Cremona, and found employment 
 in the workshop of Nicolo Amati (the greatest 
 of the makers of that name), of whom he was 
 destined to become a noted rival, not only in his 
 native land, but throughout the whole world ; and 
 his name at the present time is as familiar to 
 violinists of every country as is that of the great 
 Amati himself. 
 
 Stainer must, by all accounts, have been a hand- 
 some man, of engaging manners, but bold and head- 
 
 i86 
 
VIOLIN-MAKER TO THE EMPEROR 187 
 
 strong in comportment, especially favoured by the 
 fair sex, and an exceedingly talented workman. 
 
 Books treating of the old master luthists record 
 a good deal of detail (mostly imaginary) on the 
 obscure life of Jacob Stainer, his love affairs, his 
 miseries, and his celebrity as a violin-maker. But 
 very few have given us much information on the 
 structure or model of his instruments, which differ 
 considerably from those of all other makers. 
 
 At the present day the most ordinary violins are 
 occasionally to be found in biic-d-brac shops and 
 pawnbroker's establishments, bearing 2. printed label 
 representing these instruments to be the work of 
 Jacobus Stainer, of Absom. Not long ago I saw a 
 ^' Stainer " of this kind sold for ^^20. It was a very 
 fair instrument, and worth the money given for it ; 
 but a genuine Stainer would probably be worth 
 ^200 to ;£300 as prices go. 
 
 The best authorities agree in stating that no 
 genuine Stainer violin ever had 2. printed label. The 
 real Stainer labels are all hand-written, and in that 
 coarse, uncouth, barely legible scrawl which also 
 characterises the written labels of Stradivari and 
 many other workmen, whose hands were more 
 accustomed to the manipulation of the chisel, the 
 file, and the glue-pot, than to that of the pen. 
 
 Nevertheless, Stainer's handwriting was some- 
 what better than that of Stradivari, and the latter 
 often used printed labels. Many facsimiles of the 
 
188 VOICE AND VIOLIN 
 
 written labels of these noted men have been care- 
 fully reproduced of late years ; and these reproduc- 
 tions appear, as far as we can judge, to be very 
 faithful representations of the originals. What 
 awful scrawls some of them are ! Many a school- 
 boy would have his ears boxed for an orthography 
 twice as good or half as bad. 
 
 So much for the labels of Stainer. Now let us, in 
 a very few words, examine his model and other 
 characteristics. 
 
 I may state at once that his violins are far less 
 numerous than those of Stradivari, who lived more 
 than thirty years longer. A genuine Stainer is cer- 
 tainly one of the rarest curiosities in the world. 
 Imitations by Dutch, English, and German makers 
 we have in plenty ; but the genuine article is rarely 
 or ever seen. 
 
 Among the violins which, during my long musical 
 career, have on various occasions been presented to 
 me by kind, enthusiastic, and far too indulgent 
 friends, there was one Stainer. 
 
 I was a young man at the time I received that 
 gift, and knew very little of the celebrated makers 
 of violins ; and it must be confessed that a real 
 Stainer is yet almost an unknown quantity — an x — 
 to the greater number of violinists. 
 
 Some people write his name '^ Steiner," which is 
 evidently incorrect. But there was a time, not more 
 than three-quarters of a century ago, when such 
 
VIOLIN-MAKER TO THE EMPEROR 189 
 
 men as the enthusiastic Abbe Sibire, in France, and 
 OttO; the luthist, in Germany, had in their hands, 
 and under their chins, instruments which were 
 genume Stainer vioHns. 
 
 The history of mine may be very briefly told. 
 
 One hot day in June I met at a railway station in 
 London a gentleman who had a delicious tenor 
 voice, and was probably one of the finest English 
 tenors ever born. He had sung with great success 
 the previous night at a concert in which I had 
 played, and on coming off the little stage I had 
 found him at the wings, where he had been listen- 
 ing — which I considered a very great compliment. 
 He told me that he had an old Stainer violin which 
 had lain by among members of his family for many 
 long years ; it had finally become his property, and 
 he wished to make me a present of it ! 
 
 I implored him to seek among his other friends 
 for some one who really wanted a good violin, as I 
 was already well provided for in that respect. But 
 nothing would prevail upon him to change his mind ; 
 he insisted upon giving the instrument to me, saying 
 I might do what I liked with it. 
 
 It was certainly an excellent violin ; very old, 
 but in good condition, with rather a bright yellow 
 varnish, mostly covered with one almost black with 
 age. It had a somewhat thin quality of tone, but 
 a tone that was exceedingly brilliant and sweet, 
 especially so on the first string — a characteristic of 
 
190 VOICE AND VIOLIN 
 
 Stainer. Its pattern was small, and its model much 
 raised, more on the table than the back — another 
 characteristic — and it was altogether a very charm- 
 ing instrument. 
 
 Alas ! in a moment of generosity I soon after- 
 wards gave it, or lent it, to a friend who was sadly 
 in want of a good violin ; and the last I heard 
 of this valuable instrument was that it had been 
 swopped in Scotland for two bottles of whisky ! 
 Heaven alone knows where it now is. 
 
 There is something extremely interesting in the 
 life of Jacob Stainer as being connected, on the one 
 hand, with Cremona, through Nicolo Amati — to 
 whose daughter he made furious love and should 
 have married — and the famous Tyrolean school, on 
 the other, in which he was succeeded by one of the 
 Kloz family and by Albani, his workmen for the 
 time. He thus figures as a brilliant link connecting 
 the Cremonese and Tyrolean schools of violin- 
 making. Moreover, he appears to have been as- 
 sisted to some extent by his brother, Marcus Stainer, 
 a monk, who was also a very clever maker of violins, 
 and perhaps the author of the so-called ^^ Elector- 
 Stainers," made, as it was asserted, "in a monastery," 
 and about which such glowing accounts have been 
 written. 
 
 It has been gravely asserted that " after the death 
 of his wife" (who outlived him) *Mie retired to a 
 monastery, where he passed the remainder of his 
 
VIOLIN-MAKER TO THE EMPEROR 191 
 
 life/' and constructed *' violins of super-eminent 
 beauty and quality/' with yellow varnish of a golden 
 hue. There were sixteen, one of which was pre- 
 sented to each of the twelve Electors, and the 
 remaining four to the Emperor." 
 
 " Unfortunately," says Pearce, ^' thirteen of these 
 appear to have been lost, and the remainder have 
 all been in royal hands, the Empress Maria Theresa, 
 the Duke of Orleans (grandfather of King Louis 
 Philippe), and Frederick William of Prussia, and 
 been presented by them (except the last) to eminent 
 violinists." 
 
 I am sorry to say that some German writers at 
 present look upon that romantic story as a myth. 
 But the life of the monk, Marcus Stainer, is worth 
 looking into. Nothing, or scarcely anything, is 
 known about him at present. 
 
 Otto, the German violin-maker, and author of 
 a little treatise on the subject, assures us that 
 Stainer's violins were quite equal in elegance, 
 finish, and tone to those of the greatest makers 
 of Cremona. They, naturally enough, have the 
 most resemblance to those of Nicolo Amati, his 
 master, but they are somewhat more raised in 
 the table. The purfling is beautifully executed, 
 narrow, and placed very near the borders ; the 
 sound-holes are shorter and not so elegant as 
 those of Stradivari. 
 
 All those who have played upon a genuine 
 
192 VOICE AND VIOLIN 
 
 Stainer instrument are enthusiastic in their praises. 
 The tone is described as sweet, powerful, round 
 as that of a flute, and especially brilliant and 
 sparkling on the first string. The pattern of 
 these violins is somewhat smaller than those of 
 most Cremona instruments, and the scroll is mar- 
 vellously well cut ; in some of his violins it ter- 
 minates in the head of a lion, most beautifully 
 carved. The wood is also handsome and well 
 chosen. Otto says, ''The colour of the varnish is 
 reddish yellow ; but some have the back and sides 
 dark brown, and the table yellow." 
 
 It is wonderful to relate that poor Jacob Stainer 
 often could not obtain more than about twelve 
 shillings for one of these excellent instruments ! 
 Nevertheless, his fame as a violin-maker gained 
 for him the distinguished title of ''Violin-maker 
 to the Emperor." 
 
 On the 7th October 1645, Stainer married, none 
 too soon, a village belle of Absom, named Mar- 
 guerite Holzhammer. This occurred when he 
 was twenty-four years of age, so that he could 
 not have been more than a few years at Cremona. 
 His family increased quite as rapidly as his renown. 
 
 On the 29th October 1658 he was appointed 
 " Court Violin-maker to the Archduke Leopold " 
 of Austria, and on 9th of July 1669, "Violin- 
 maker to the Emperor." 
 
 But misery overtook him in spite of everything, 
 
VIOLIN-MAKER TO THE EMPEROR 193 
 
 and he was compelled to hawk his violins about 
 the country to procure food for his poverty- 
 stricken family. He was imprisoned for debt for 
 six moaths, and on his liberation his business 
 grew smaller and smaller, and his debts greater ; 
 so much SO; that he was unable to pay the dues 
 levied on all Court tradesmen ; and when he 
 petitioned the Emperor to be forgiven the sum 
 — as was, now and then, done to others in mis- 
 fortune — his application was, for some reason, 
 unheeded. Finally, he died, a raving lunatic, in 
 the year 1683. 
 
 Stainer had only one son, born in 1657, who 
 died the following year. His beautiful wife and 
 eight daughters survived him. 
 
 During my long residence abroad I met many 
 French ecclesiastics who played the violin or 
 violoncello remarkably well. They were the suc- 
 cessors of the well-known and enthusiastic Abbe 
 Sibire, who, in the early years of this century, 
 penned the following lines about his Stainer 
 violin : — 
 
 *^ When in the course of a laborious day a desire 
 for dissipation compels me to interrupt my useful 
 work, I turn to my violins, and I must confess that 
 in the presence of a glorious sunshine I play, by 
 preference, and with greater delight, upon an ex- 
 cellent Cremona, which for me, as for you, will 
 always possess inexpressible charms. But when 
 
 N 
 
194 VOICE AND VIOLIN 
 
 in the dark silence of a night devoid of clouds, 
 everything is quiescent around me, and people 
 are plunged in sleep — when the canopy of heaven 
 spreads in magnificent profusion its innumerable 
 and dazzling riches in the immensity of space, 
 irresistibly attracting my gaze — I salute silently 
 through my open window this vast expanse of the 
 firmament, and fall into mute contemplation. To 
 deliver myself from an ecstasy which overwhelms 
 and crushes my thoughts, I take up a brilliant 
 Stainer. Its silvery tone flies out towards the 
 stars which shine afar ; I imagine that these distant 
 orbs can hear me, and I feel proud at having for 
 an audience those millions of worlds suspended 
 in infinite space. Such is the empire which the 
 irresistible magic of an enchanting and heavenly 
 toned violin exerts on my bewildered soul." 
 
XXIV 
 
 TAMBURINl'S COW 
 
 Tamburini was the most gentlemanly and hand- 
 somest person upon the Italian stage, not even 
 excepting that great favourite Mario (Count de 
 Candia). He was, as every one knows, one of the 
 finest baritone singers, holding the same position 
 in Italian Opera that our great baritone Henry 
 Phillips held on the English stage. But what 
 every one does not know is that he was delicate, 
 and required a great deal of milk. 
 
 How my violin got me to become acquainted with 
 Tamburini's cow forms a curious series of coinci- 
 dences, which I will relate in as few words as 
 possible. I had long wished to see him, or, at least, 
 his portrait, having heard so much about him — of 
 his magnificent voice, and his refined appearance 
 and manners. I had never had an opportunity of 
 hearing him, as he had retired into private life long 
 before I went to reside in Paris. 
 
 Viotti, who was one of the greatest of violinists, 
 had long haunted my mind. He died in 1824 ; and 
 
 I have been accustomed to ask all my musical 
 
 195 
 
196 VOICE AND VIOLIN 
 
 friends where I could see a good portrait of him. 
 It was many years before my desire in this respect 
 was satisfied, and I need not describe the dehght I 
 experienced when a portrait of that celebrated artist 
 appeared in The Strad a short time ago — a face full 
 of intelligence and good-humour, which, once seen, 
 can never be forgotten. 
 
 Well, as regards Tamburini, I have never yet been 
 thus satisfied. Hence, when in Paris, I wished, if 
 possible, to make his acquaintance. At last the 
 vision of a chance appeared to loom above the 
 horizon. My friend M. De Sussex had married 
 Mdlle. Beauce, sister of Madame Ugalde, the cele- 
 brated prima donna (who created quite -3^ furore in 
 the opera of Les Montinegrins and Fra Diavolo^ &c.), 
 and he had a charming residence on the banks of 
 the Seine, at Bellevue, near Paris, overlooking the 
 river and the Pont de St. Cloud. He was a man 
 who was very fond of music, and especially of the 
 violin. 
 
 Often, on a Sunday, I was in the habit of dining 
 with him, en famille, and returning to my solitary 
 quarters in Paris by a late train in the evening. 
 
 On these occasions I sometimes met Madame 
 Ugalde, a dark-complexioned brunette, with highly 
 intelligent features, fine eyes, slim figure, and lady- 
 like manners, but not beautiful ; and I once attended 
 a special religious service in which she sang magni- 
 ficently. She had then retired for a year from the 
 
TAMBURINFS COW 197 
 
 operatic stage. Her mother; Madame Beauce, was an 
 excellent pianist, and often played with me the accom- 
 paniment to De Beriot's Seventh Concerto and other 
 pieces, though she must have been considerably over 
 sixty years of age, and her hair was as white as snow.^ 
 
 Then there was another and younger Madame 
 Beauce, a tall, handsome woman, with fair hair 
 and blue eyes, daughter-in-law of the lady just 
 named, who had a remarkably fine voice. I shall 
 never forget one Sunday evening, just before sunset, 
 that we all went out in a boat and had a little con- 
 cert on the river. The younger Madame Beauce 
 sang some beautiful French songs to an improvised 
 pizzicato accompaniment on the violin, and they 
 were vociferously applauded by a group of plea- 
 sure-seekers on the bank of the river. Her husband, 
 who was a stockbroker, and, like herself, a good 
 amateur singer, sang a duet with his wife, the notes 
 of which were wafted far down the stream by the 
 soft summer breeze ; and I finished the concert by 
 a solo on the fourth string, and some arpeggios of 
 my own invention. 
 
 It was in this charming company that, one after- 
 noon, the conversation turned upon the career of 
 
 ^ Long afterwards in London, at the residence of Lady Emily Grey, in 
 Putney, I heard the late Mrs. Lubbock sing Qui la voce {I Puritajii), and 
 a Scotch ballad, with a voice as fresh as that of a girl of eighteen, 
 though her hair was also as "white as snow." She was one of the 
 finest amateur singers I ever heard, and on this occasion she created a 
 great sensation. 
 
198 VOICE AND VIOLIN 
 
 Tamburini, whose villa was the next property to 
 that of my friend De Sussex. I intimated how much 
 I should like to know him, how much I had heard 
 about him, and my host replied by asking me if my 
 father was not looking out for a house in the suburbs 
 of Paris. I said that was so. 
 
 '' Eh, bien ! " continued De Sussex, '' here is an 
 excellent opportunity ; and you can make the ac- 
 quaintance of Tamburini at the same time." 
 
 *' What do you mean ?" I inquired. 
 
 '^ Why, his villa is to let." 
 
 " Is he, then, leaving Paris ? " 
 
 " Yes ; the doctors say he must not pass another 
 winter here ; he must return to Italy." 
 
 '^ If the villa is to be let, I should certainly like to 
 see it." 
 
 " Will you come now ? Finish your cigar, and I 
 w^ill take you." 
 
 In a few minutes afterwards we were strolling 
 through the front gates of Tamburini's villa. 
 
 Between the gates and the house there was a 
 circular lawn of rather coarse grass, upon which a 
 beautiful Alderney cow was quietly grazing. I stood 
 for a few moments to admire it. 
 
 " It is an English cow from the Channel Islands," 
 said De Sussex ; '^ Signor Tamburini is ordered to 
 take good milk, and the cow was presented to him 
 by some of his friends and admirers." 
 
 The lawn was surrounded by a shrubbery, with a 
 
TAMBURINFS COW 
 
 199 
 
 few large trees. Some pretty flower-beds graced 
 the entrance, running along the base of the house, 
 and sending up a climbing rose and a jasmine, 
 which partly covered the walls and encircled the 
 upper windows. There was a suite of small rooms 
 on the ground floor, and another, very similar, 
 above. 
 
 The front door was open, but nobody was visible 
 inside. We rang and knocked ; but, for a long 
 time, nobody came. At last a kind of valet made 
 his appearance, and inquired what our '' pleasure " 
 was ; an English servant would have asked us what 
 our '^business" was. 
 " Signor Tamburini ? " 
 '^ II est parti depuis hier. Monsieur." 
 " He has, then, already left for Italy V 
 " Yes, sir ; he will be at Marseilles to-night, where 
 he can sing the old song, you know — 
 
 ' Quando la notte viene 
 Non ho riposo, O Nice, 
 Son misero e infelice 
 Esser lontan da te ! ' 
 
 And to-morrow he will be at Nice." 
 ^' I have heard that the villa is to let." 
 " C'est vrai, Monsieur ; here is the address of the 
 agents in Paris. It is to be let furnished, just as it 
 is. I foUow Signor Tamburini in a few days, when 
 the remainder of his things are packed. Then, to 
 
200 VOICE AND VIOLIN 
 
 see the villa, which will be closed, you will have to 
 get an order from the agents ; but perhaps you would 
 like to see it now." 
 
 We looked over some of the rooms, simply but 
 neatly furnished, and the little garden at the back, 
 looking over the river, returning soon afterwards 
 to our friends. 
 
 So it happened that all I ever saw of the great 
 Italian baritone was Tamburini's cow, and his valet 
 (who had also a baritone voice). With regard to 
 the villa, it was impossible to treat for it ; it was 
 too small and too dear, besides which it was only 
 to be let furnished. 
 
 Poor Tamburini never returned from Italy ; 
 neither the rich milk of the Alderney cow nor the 
 tepid breezes of the sunny south could save him 
 from the consumption which deprived the artistic 
 world of this amiable and talented musician. 
 
 We were told that when the cow happened to 
 low late in the evening, or in early morning, while 
 Signor Tamburini was enjoying a little sweet repose, 
 he would awake suddenly, under the impression that 
 it was the voice of Lablache, and that it was his time 
 to join in the famous duet of the Puritani, But 
 seeing no one near him, and being in that peculiar 
 state which lies exactly half-way between being fast 
 asleep and wide awake, he would refer the sound 
 to some notes of the contra-basso in the orchestra, 
 and wonder when the player would finish his 
 
TAMBURINI'S COW 201 
 
 tuning. Then realising the true state of affairs, 
 and centrahsing his thoughts on the beautiful cow 
 which his friends had presented to him, he would 
 ring and order his cafe au lait. 
 
 A very able contemporary of Tamburini says he 
 was ^^ a singer of great brilliancy and power ; his 
 voice was a line baritone, well defined, round, rich, 
 clear, and of wonderful flexibility. He was an ac- 
 complished actor, full of spirit and gaiety ; he was 
 handsome, his figure was manly, and his air noble 
 and prepossessing." 
 
 He played the part of Don Giovanni in Mozart's 
 opera of that name. He sang magnificently in / 
 Ptiritani and other operas of Bellini, Donizetti, and 
 Rossini ; was an excellent Figaro in // Barbiere, 
 splendid in La Gazza Ladra^ &c. In iS;^^ I Purztam 
 was performed (in Paris) for the first time with 
 Madame Grisi, Rubini, Tamburini, and Lablache — 
 said to be the finest quartette ever heard on any 
 stage. In this opera the duet Suona la trombay 
 sung by Tamburini and Lablache, brought down 
 thunders of applause. Rossini, who had a fair 
 touch of jealousy in his composition, however much 
 he may have befriended the young Bellini, wrote 
 from Paris to a friend in Milan : ^^ I need not de- 
 scribe the duet for the two basses ; you must have 
 heard it where you are ! " 
 
XXV 
 
 THE BOHEMIAN ORCHESTRAL SOCIETY 
 
 The organisation of a good orchestra is an under- 
 taking not devoid of difficulties, even when it is 
 formed only of professional musicians of high 
 standing. But with amateur musicians it is still 
 more difficult, formed, as it then is, of men whose 
 daily occupations often interfere with their musical 
 labours. 
 
 In the latter case there are two classes of indi- 
 viduals to be dealt with : those whose livelihood 
 depends upon work other than musical, and whose 
 evenings are not always their own ; and those who 
 are independent, men of fortune, whose time is 
 wholly at their own disposal. 
 
 Of these, the former class is, perhaps, the most 
 conducive to success ; for, being accustomed to 
 methodical work, and having little time for music, 
 one of their greatest pleasures consists in attending 
 the meetings of the orchestra ; whilst men of 
 independent means who can take up their instru- 
 ments at any moment they please, are often found 
 to have made other engagements when they should 
 be at practices or rehearsals. 
 
 202 
 
BOHEMIAN ORCHESTRAL SOCIETY 203 
 
 There can be no doubt that amateur orchestras, 
 advantageous as they may be (under a good con- 
 ductor) from an educational point of view, are to 
 a great extent a '' delusion and a snare " as regards 
 the attainment of anything approaching to perfec- 
 tion. They are generally doomed to a short exist- 
 ence, unless the places vacated by those who depart 
 to pursue their respective callings are constantly 
 filled by other performers equally good. Now, 
 that is practically impossible in any given locality, 
 except large centres like the metropolis ; but even 
 in the case of the Bohemian Orchestral Society, 
 which for four years held its own with the best 
 orchestras in London, its existence was doomed 
 to cease at the expiration of that time. 
 
 Nevertheless, it was a source of so much pleasure 
 and profit, that in a work like the present a few 
 lines devoted to it may, perhaps, be acceptable ; 
 and they will show what can be done by a woman 
 of energy, whose powers of persuasion and method 
 vanquished all difficulties. 
 
 The Bohemian Orchestral Society was founded 
 by Mrs. T. L. Phipson, who organised the meetings 
 and the concerts, and chose the first members — a 
 mere handful of musicians — as a nucleus, which 
 soon spread to considerable dimensions. The con- 
 ductor was Mr. R. H. Gould, who was educated in 
 Germany as a musician, and held for some time 
 the position of Capel-meister at Boppart, on the 
 
204 VOICE AND VIOLIN 
 
 Rhine. He had a very extensive knowledge of 
 modern, and even ancient music, was a good 
 vioHnist, and a very capable conductor. Under 
 his guidance during these four years, were grouped 
 eight first violins, eight second violins, two altos, 
 two violoncellos, one double-bass, two cornets, two 
 clarionets, one flute, two hautbois, and a piano, as 
 follows : — 
 
 Conductor : Mr. R. H. Gould. 
 
 First violins : T. L. Phipson (leader), G. C. Bower, C. Archer, 
 
 W. Butler, W. F. Oliphant, S. Addington, G. A. Briant, 
 
 and G. Ross. 
 Second violins : H. Silverlock (leader), D. Worger, P. Bryant, 
 
 G. Adams, H. Dickens, J. Klopp, A. Nicholson, and H. 
 
 Barnard. 
 Violas : E. Heron-Allen, J. Dacie. 
 Violoncellos : Walter Barnard, Rev. W. Tldmarsh. 
 Contra-basso : W. Riches, John Evans (occasionally Alfred 
 
 Adams). 
 Clarionets : Herbert Adams, G. Wood. Flute : A. Adams. 
 Hautbois : W. Spencer, B. Watkin. 
 Piano : Mrs. T. L. Phipson. 
 Honorary ine7nbers : Mrs. Bramwell Davis (contralto), Miss 
 
 Winifred Smith (mezzo-soprano), Mrs. H. Rutter (soprano),^ 
 
 Miss Buckland (contralto). Miss Lusher (soprano), Ch. 
 
 Haigh (baritone), Sidney Adams (basso), Walter Allen 
 
 (tenor), John Williams (tenor), M. Hazard (comic reciter), 
 
 Messrs. G. and H. Watts (reciters). Miss Osborn (piano). 
 
 ^ My sister, a friend of Ch. Gounod. It was she who induced 
 him to write I'he Redemption ; without her strenuous arguments he 
 would never have given to the world that important work. I dedicated 
 to her my little work on Bel/mi. 
 
BOHEMIAN ORCHESTRAL SOCIETY 205 
 
 Miss Alice Edwards (piano), Mrs. Tidmarsh (piano), Miss 
 Mary Taylor (member of the committee). 
 Some of the honorary members always took part in the 
 concerts. 
 Door-keepers : Messrs. Pain and W. Pain. There were four 
 other servants and a constable, always in attendance at the 
 concerts. 
 
 The orchestra met for practice every Friday 
 evening in my drawing-room (which was regularly 
 cleared out for the occasion), punctually at eight 
 o'clock, and at a quarter-past ten, coffee and 
 refreshments were served in the dining-room. At 
 eleven, every one was turned out. 
 
 The rules respecting practices, rehearsals, and 
 concerts were printed, and strictly adhered to. The 
 annual subscription of each member was £\y or 5s. 
 payable quarterly in advance. The meetings took 
 place every week for ten months of the year. If the 
 annual subscription did not suffice to pay the con- 
 ductor's salary and music, &c., the deficiency was 
 easily made up from the proceeds of the concerts. 
 As to the music, various members, and sometimes 
 the conductor himself, presented now and then a 
 new piece to the society. 
 
 This was no great burden, as orchestral music is 
 purchased at very small cost. 
 
 The parts were loosely bound into thin volumes, 
 so that the pages were easy to tum^ and would, when 
 open, lie quite flat upon the desks — a matter of more 
 importance than most people would imagine. They 
 
206 VOICE AND VIOLIN 
 
 were under the charge of Mr. A. Adams (flute solo). 
 The accounts were kept by W. Spencer (hautbois) 
 and John Adams (member of the committee). 
 
 It was my endeavour never to allow any piece to 
 be performed in public unless there had been four 
 full 7'ehearsals^ and to take on to the concert plat- 
 form only music of which every member knew his 
 part thoroughly. 
 
 This was no easy task, as many of the younger 
 members were often very desirous of performing 
 compositions that were much beyond their powers ; 
 and they fancied that if they managed to scramble 
 through them at the practices, they might play them 
 in public. However, by adhering strictly to this 
 determination we were rewarded by success. Indeed 
 one evening Mr J. G. Callcott said, alluding to the 
 Bohemian Orchestral Society, ^'It is the smallest, 
 but one of the best orchestras in London ;" and 
 something similar was said by another no less emi- 
 nent musician. That we managed, even on the 
 coldest nights in winter, to rouse our audience to 
 enthusiasm, may be realised when I note that at the 
 New Town Hall, Wandsworth, and at the Assembly 
 Rooms, Putney, three of our orchestral pieces were 
 encored — the overture to // Flauto inagico (Mozart), 
 Le Moulinet (Joseph Strauss), and March in Tann- 
 hauser {y<J 2L<gw^x). I need scarcely add that it is very 
 rarely indeed that an orchestral performance is 
 re-demanded by the audience. I do not allude to 
 
BOHEMIAN OECHESTRAL SOCIETY 207 
 
 encores obtained by pieces for cornet or clarionet 
 solo with orchestral accompaniment, which were 
 frequently re-demanded. 
 
 With regard to our repertoire^ it comprised a great 
 number of compositions, about sixty in all, and it is 
 really astonishing how much work we managed to 
 get through in four years. Of these I give the names 
 of some eight-and-twenty, which include most of 
 those we took for our concerts, as the list may 
 prove useful for other societies: — 
 
 Overture, Le Mendtrier de St. Waast^ A. Herman (with violin 
 
 solo). 
 Fantasia, Loreley^ Nesvadra and Zoeller (very effective). 
 Overture, Cleopatra, Blancheteau. 
 Overture, Crown Diamonds, Auber. 
 Overture, Masaniello, Auber. 
 Overture, // Flauto niagico, Mozart (re-demanded at our third 
 
 concert). 
 Overture, Calif de Bagdad, Boieldieu. 
 
 Symphony in G minor, Haydn (performed at our first concert). 
 Gavotte, Rosalind, J. Barnard (easy and pretty). 
 Gavotte in F, Reyloff. 
 
 Overture, Diademe, A. Herman (easy and very effective). 
 Overture, Le Chevalier Breton, Herman {idem). 
 Overture, Zanipa, Herold (extremely brilliant \ requires much 
 
 practice). 
 Minuet, Boccherini (an old favourite in many orchestras). 
 Ave Maria, Zoeller (cornet solo with orchestral accompaniment). 
 Pas des Patineurs, Glinka (very brilliant). 
 Overture, William Tell, Rossini (difficult). 
 
 Polka, Les Folies, Waldteufel (with cornet solo, highly effective). 
 Valse, La Manolo, Waldteufel. 
 Romance sans Paroles, La Melancholie, Barret (for hautbois 
 
 solo). 
 
208 VOICE AND VIOLIN 
 
 Polka Mazurka, Afy Love, Metra (very pretty and effective). 
 
 SeW^iac/e, Va.\se Espagnole, Metra. 
 
 Invitatiofi a la Va/se, Weber (Riviere's edition ; but there is an 
 easier edition now published). 
 
 Moulinet Polka, Joseph Strauss (encored at our concerts when- 
 ever played). 
 
 March, Tan?ihmcser^ Wagner (encored at one of our concerts). 
 
 Les Sautet'ellesiTho. Grasshoppers), by G. and A. Delbriick (very 
 successful). 
 
 Da)ise des Czechs^ by Kottaun (Bohemian dance ; often per- 
 formed). 
 
 Souvenir de Cadix^ Boldro, by Bosisio (rather difficult). 
 
 Overture, Esmcrdlda, Alphonse Herman (easy and brilhant). 
 
 V Italie^ Valse, by Mt^tra (very beautiful). 
 
 There were many other compositions, by Auber, 
 Ad. Adam, Rossini, &c., but those above named, 
 with the exception of the overtures to William Tell 
 and Masaniello (which were being studied when the 
 orchestra was broken up), were those we rehed upon 
 for our performances in pubHc. 
 
 As the concert-rooms at our disposal were not 
 extremely large, the rooms seating only from 300 to 
 500 people, and the tickets always cheap (half-a- 
 crown and one shilling), we considered ourselves 
 lucky when the proceeds of the concerts brought in 
 •£20 to ;£30, which they usually did. The lowest 
 result was ;£i9, i8s. 
 
 We gave the name of ^^ Bohemian " to this society 
 because all the members of it, with the exception 
 of three or four, were, in many respects, thorough 
 Bohemians, even the ladies. 
 
BOHEMIAN ORCHESTRAL SOCIETY 209 
 
 Besides his salary, our conductor received a fee 
 of two guineas for each concert. 
 
 These pleasant meetings had occasional draw- 
 backs, to which it is necessary to allude. The con- 
 ductor, residing at a considerable distance from the 
 place of meeting, was sometimes late, and sometimes 
 did not attend at all, in which case one of the first 
 violins or the hautbois had to conduct, and the 
 practice resolved itself into mere amusement. 
 
 Another difficulty consisted in preventing certain 
 members of our orchestra giving their services to 
 other orchestral societies and thereby neglecting 
 our practices and rehearsals. The esprit de corps 
 which should have held our members firmly to- 
 gether, considering the great success of our concerts, 
 was sadly deficient. Times were when I imagined 
 that there existed no little jealousy of the success of 
 our leading violinist as a soloist ; and there was a 
 marked disincHnation to take advantage of his long 
 experience in matters of style or taste. For my 
 part I was not sorry when I ceased to be hampered 
 with these rough Bohemians. As president of the 
 society my word was law ; but I was dealing with a 
 set of men who were, to a great extent, lawless, and 
 to whom it was constantly necessary to deal out 
 kindness and pity. 
 
 The final break-up was due to several causes : 
 first, the illness of my dear father, and the conse- 
 quent failure of my own, usually robust, health ; 
 
 O 
 
210 VOICE AND VIOLIN 
 
 next; the withdrawal of some members, diffi- 
 cult to replace, who were going abroad, and the 
 death of one of our able 'cellists, the Rev. W. 
 Tidmarsh. Lastly, my wife had found that she 
 could obtain more funds for the various charities in 
 which she was (and still is) interested — the Hambro 
 Orphanage, the Royal Ladies' Homes, and the Waifs 
 and Strays — by other means less fatiguing than 
 orchestral concerts. 
 
 I had also come to the conclusion that a really 
 good orchestra, composed of amateurs, though it 
 may shine brilliantly for a short time, cannot last 
 long, and entails an immense amount of labour and 
 anxiety to keep it in a thoroughly efficient condition. 
 
 Still, with all these drawbacks, such societies 
 should be promoted and patronised, provided they 
 are conducted by first-rate musicians. They facilitate 
 study, conduce to correctness of reading and the 
 acquirement of good style. In many respects an 
 orchestra is superior to the string quartet, which 
 is more suitable for chamber music. I had a good 
 opportunity of judging of this one evening that I 
 heard the same composition performed as a quar- 
 tet after it had been played by the orchestra : the 
 quartet, though perfectly performed, sounded very 
 thin and poor indeed. The difference was striking. 
 
 After the Bohemian Orchestral Society ceased to 
 exist I lost my father, and did not appear in public 
 for many years. 
 
BOHEMIAN ORCHESTRAL SOCIETY 211 
 
 At last, one night I was prevailed upon to play 
 at the Kensington Town Hall. On this occasion a 
 ludicrous thing occurred. A friend of mine related 
 that he sat in the body of the hall, just behind two 
 ladies, one of whom said to the other — 
 
 ^' Who is this Dr. Phipson ? How is it we have 
 never heard of him before ? " 
 
 To which the other replied — 
 
 " I do not exactly know ; but I believe his father 
 was a celebrated violinist." 
 
 My poor father ! a landed proprietor and gentle- 
 man of fortune ; one of the most intelligent, most 
 benevolent, and respected of men ! I had been 
 absent from the concert-room for about five years, 
 and now I was confused with my excellent and 
 most worthy father ! 
 
 It was more complimentary to me than to him. 
 
XXVI 
 
 BIBLIOGRAPHIC GOSSIP 
 
 To persons fond of music — and that means almost 
 all the world — there can be few greater treats than 
 the perusal of certain works devoted to those whose 
 lives have been consecrated to that delightful art. 
 Were I asked whether most interest attaches to the 
 life of a great general or to that of a great com- 
 poser, I should not hesitate to declare that I derive 
 more pleasure (and probably as much profit) in 
 reading the life of Rossini than that of Napoleon — 
 the first is full of poetry and amusement ; the second 
 full of brutality and horrors. 
 
 The culture of music, which now pervades all 
 classes of society more than it ever did, seems to 
 be a measure of progress in civilisation. In order 
 to " love one another," we must sing and play to 
 subdue the brutal instincts of our nature, which are 
 ever ready to predominate. 
 
 The pleasure derived from certain works induces 
 me to mention here those which I have found par- 
 ticularly interesting. 
 
 Many years ago I read two small volumes of 
 Henry Phillips' musical recollections, an amusing 
 
 2IB 
 
BIBLIOGRAPHIC GOSSIP 213 
 
 book full of anecdotes, with a sketch of the career 
 of this celebrated baritone. It is written in very 
 bad English, and though a little vulgar at times, is 
 truthful, amusing, and instructive. Among other 
 curious things, he tells us how Madame Malibran 
 wanted Balfe to transfer to her part the beautiful 
 song The Light of Other Days. But Phillips pleaded 
 hard to retain it, as it was the only song in the opera 
 with which he was sure of making his effect, and he 
 had studied it with great care. At last Malibran 
 gave way, laughing, but keenly regretting the loss, 
 and he made a great impression with it on the first 
 night of its production. 
 
 That same night all the singers went to sup with 
 Balfe at his rooms in Regent Street ; but Phillips 
 arrived late, and when the servant opened the door 
 a gust of wind extinguished the candle she held in 
 her hand. As the staircase leading to the supper- 
 room was narrow and awkward to mount, Phillips 
 stumbled, and called out to some of the artists to 
 open the door, that he might see where he was. 
 When Malibran heard his voice she exclaimed, '^ Oh 
 dear, just fancy, the light of other days coming up 
 in the dark ! " 
 
 He also tells a story of Lindley, the celebrated 
 violoncellist, who was afflicted with nervous stam- 
 mering, and had a great fondness for parrots, bar- 
 gaining with a boy in the Strand who had one of 
 these birds for sale. When, stammering and stutter- 
 
214 VOICE AND VIOIJN 
 
 ing, he asked the lad if the bird could speak, ^^ Yes/' 
 he replied, ^'a good deal better than you can, or I 
 would cut its head off ! " 
 
 An admirable and important work is Sutherland 
 Edwards' '' Life of Rossini." The library of no 
 musician should be without it. Some of the stories 
 told of this wonderfully gifted composer since that 
 work appeared are very curious. My friends in 
 Paris vouch for the truth of the following : — 
 
 With great difficulty the Italian maestro was once 
 induced to go and hear an opera by Richard Wagner. 
 I think it was Lohengrin, Next day several persons 
 rushed into his room to learn what he thought of it. 
 
 " Oh, my friends," said Rossini, *' it is a lengthy 
 work, of considerable importance, upon which it 
 would be difficult to give an opinion after a first 
 hearing only — but, as far as I am concerned, I shall 
 not give it a second ! " 
 
 Shortly after this, Wagner and some companions 
 called upon him. Hearing them on the stairs, 
 Rossini hastily placed the score of Lohengrin on the 
 piano, and when the German composer entered, he 
 said, pointing to it — 
 
 *' You see, illustrious maestro^ I am studying your 
 work." 
 
 ** But the score is upside down ! " exclaimed the 
 other, seeing how the book was placed. 
 
 ** Yes," returned Rossini calmly ; '' the fact is, I 
 have had it the right way up for some time, but could 
 
BIBLIOGRAPHIC GOSSIP 215 
 
 make nothing of it ; " and then all present began to 
 laugh, including Wagner himself. 
 
 The manner in which Auber got the poem or 
 libretto of Gustavus is rather singular. Rossini had 
 composed nothing since 1829, when his Guillaume 
 Telly written for the Paris Opera, was produced with 
 such enormous success. Nothing interfered with 
 this triumph until Meyerbeer's Robe7't le Diable came 
 out ; and people say that Rossini was not a little 
 annoyed at the effect it made upon the Parisian ' 
 public. At the same time the poem of Gustavus 
 was offered to him, but he refused it abruptly. 
 
 " No, thank you," he said dryly, ** I shall do 
 nothing more for you French fellows ; I am going 
 to Italy for two years ; I may, perhaps, return when 
 the Sabbath of the Jezvs is over!' 
 
 This was an allusion to Meyerbeer, who was a 
 man of Jewish extraction, and to the success of 
 Robert le Diable. 
 
 The libretto of Gustavus was then offered to 
 Auber, who accepted it. 
 
 One afternoon in Paris, after a hard day's work, I 
 w^as enjoying a cup of coffee and a cigar at the Cafe 
 du Divan ; an organ-grinder was murdering an air 
 from La Cenerentola when Rossini and a friend 
 happened to pass. He stepped off the Boulevard, 
 w^ent up to the man, seized the handle of the organ 
 and turned it to the proper time the air should be 
 played. Then slipping a five-franc piece into the 
 
216 VOICE AND VIOLIN 
 
 man's hand, he told him never to forget to play that 
 air slowly, just as he had heard it. 
 
 A most charming singer in French Opera at 
 Brussels in the fifties was Aujac, second tenor at 
 the Theatre de la Monnaie. I heard him in Guil- 
 laume Telly Fra DiavolOy and several other operas. 
 His voice was very sweet and round, and he was 
 an excellent musician and actor. It w^as a very 
 great treat to hear him sing the opening song (with 
 chorus) in Guillaume Telly the fisherman's song — 
 
 " Accours dans ma nacelle 
 Timide jouvencelle," 
 
 standing right at the back of the stage, and giving 
 his whole voice to the swell on the A, which was 
 about the highest chest note he could reach. He 
 was a handsome man upon the stage, and a great 
 favourite with the audience. 
 
 At the Italian Opera in the same city, and at the 
 same time, we had Signor Luchesi, a most charming 
 tenor, and in spite of his lameness a capital actor. 
 After singing a little in London, he retired to his 
 native place in Italy as a professor of singing, 
 where, I regret to say, he died a few years ago. 
 He sang exquisitely in L Elisire d'Amore of Doni- 
 zetti ; but the An?ta Bolena of the same composer 
 did not suit him so well. He was most excellent 
 as Almaviva in Rossini's // Darbiere, In this 
 character I preferred him to Mario, on account 
 of the clear and distinct manner of his scales and 
 
BIBLIOGRAPHIC GOSSIP 217 
 
 vocalisation. There was always something of the 
 amateur in Mario's scales ; they were generally 
 taken somewhat nervously, and too rapidly to be 
 sufficiently distinct. But I did not hear Mario 
 until Verdi's // Trovatore was brought out about 
 1856, and some people said his voice was not 
 then w^hat it used to be. However, he was cer- 
 tainly magnificent in that opera, with Madame 
 Frezzolini (soprano) and Graziani (baritone), for 
 both of whom it was written, and Madame Alboni 
 as Azucena the gipsy. At a very short interval I 
 heard both Mario and Luchesi in Rossini's // Bar- 
 bierCy so that I had a fair opportunity of comparing 
 these two admirable tenors. 
 
 To return to our books. Another very interest- 
 ing volume is Lumley's " Reminiscences of the 
 Opera " ; Mapleson also wrote a similar work, and 
 every one should read Walter Maynard's (Willaert 
 Beale) more recent volume, "The Light of Other 
 Days." Miss Clayton's "Queens of Song," in two 
 volumes, though not always quite accurate, is an 
 extremely interesting and clever series of bio- 
 graphies. 
 
 Santley's memoirs, issued not long ago, give us a 
 most instructive picture of the miseries of a modern 
 English student of music in Italy ; it is also a very 
 entertaining book. 
 
 Of recent years we have had Kuhe's memoirs, 
 the work of the late well-known Viennese pianist, 
 
218 VOICE AND VIOLIN 
 
 long resident at Brighton, and Arditi's reminis- 
 cences, containing excellent portraits of Adelina 
 Patti, Bottesini, and himself. He tells us how 
 he sold the now celebrated song // Bacio, with two 
 other small compositions, for a five-pound note ! 
 
 Still more recently has appeared Sir Charles 
 Halle s " Life and Letters," an uncompleted diary, 
 but a conscientious and truthful work, with excellent 
 pictures of German musical life. 
 
 Two other great works which appeared long ago 
 are Spohr's "Autobiography," especially interest- 
 ing to violinists, and Victor Schoelcher's " Life of 
 Handel," which he wrote in London, not being 
 able to live in Paris under Napoleon HL on account 
 of his ultra-republican politics. 
 
 The two volumes of the memoirs of Michael 
 Kelly, now become extremely rare, give a very 
 interesting account of the life and adventures of 
 an Irish singer on the operatic stage in Italy at 
 the beginning of this century. 
 
 I should also mention the '' Life and Works of 
 Cherubini," by Bellasis (London, 1874), as a very 
 meritorious work, abounding with musical examples 
 of his compositions, but rather pedantic. Never- 
 theless, it contains some amusing anecdotes, and 
 shows Cherubini to have been almost as fond of 
 botany as of music. 
 
 Another recent work is Sims Reeves' " Life and 
 Recollections," which is well worth reading, and 
 
BIBLIOGRAPHIC GOSSIP 219 
 
 highly instructive to all who desire to follow the 
 great tenor's career. 
 
 I have nothing to say of Adelina Patti's memoirs, 
 a small volume by one of her lady friends, except 
 that I read it with much interest, but it is very 
 incomplete as a biography. 
 
 A new book by the veteran Lavignac, of the Paris 
 Conservatoire, entitled La Musiqite et les MusicienSy 
 appeared in 1896. Though too ambitious, it is a 
 capital book, very instructive and interesting, but 
 not in the least amusing. I can heartily recom- 
 mend it to all who are making musical composi- 
 tion their profession. The articles on modulation 
 and counterpoint are particularly good. 
 
 It may be that few of my readers ever heard 
 of a remarkable experiment once made by Mehul, 
 the great French composer, and friend of Gliick. 
 Having taken for his opera of Uthal the story 
 of an ancient Scottish bard, he thought that in 
 order to preserve what is termed the '' local 
 colour" he would suppress the violins in the 
 orchestra, and give all the accompaniments to 
 the altos and 'cellos. In this way he imagined 
 that he would obtain the necessary sad and melan- 
 choly character which his work required. This 
 innovation was a complete failure ; it produced a 
 heaviness and monotony which fatigued the whole 
 audience. 
 
 As the distinguished Flemish composer, Gretry, 
 
220 VOICE AND VIOLIN 
 
 left the theatre on the night of this performance, 
 he said to a friend, " It is, no doubt, very fine, 
 but I would have given a gold piece to have heard 
 a few squeaks on a violin." 
 
 There are times, however, when one may get 
 too much, even of the violin ; so I will conclude 
 this little work by an anecdote which is told of an 
 eccentric French artist who, like some of our con- 
 temporaries, was fond of introducing long cadenzas 
 into the concluding bars of his piece. On one 
 occasion, when the room was hot and small, and 
 his last turn came near the end of a very lengthy 
 programme, he quite lost himself in a long cadenza, 
 introducing fragments of all the melodies played 
 or sung during the evening. 
 
 It was, certainly, very clever ; but whilst he was 
 wrapped up in his performance, and the external 
 world non-existent for him, the audience withdrew 
 to the last man, and when he had concluded with 
 a few final chords, he found himself in presence of 
 the door-keeper with a key in his hand. 
 
 ^' I am sorry to interrupt Monsieur in his prac- 
 tice," said the latter, showing him the key of the 
 room; "but when Monsieur has quite finished, 
 perhaps he will be kind enough to lock the door." 
 
INDEX 
 
 Abeelen, Henri van den, his 
 
 Sunrise on the Righi, i66 
 Academy of Music at Parma, 113 
 Adelson e Salvini, opera of, 33 
 Age, effect of, on violins, 102, 104 
 Air d'lsabeliey for voice and violin, 
 
 168 
 Albani (violin-maker), 190 
 Alboni, Marietta, 135 ; birth and 
 career, 137 ; extracts from her 
 will, 139 ; in // Tj-ovatore, 217 
 Alteration of pitch during a con- 
 cert, 122 
 Amateur, success by an, 181 
 Amateurs and Professionals, xii 
 Amati, Nicolo (violin-maker), iii^ 
 
 186, 190 
 Andante et Rondo Riisse, 60 
 Antoinette Clavel, I 
 Arditi, 82, 109; his song II Bacio, 
 
 218 
 Art of playing in tune, 121 
 Artot, 64 ; in Chapter XX. I have 
 omitted to mention the grand 
 duet for voice and violin by 
 Artot, entitled Variations Con- 
 certantes 
 Auber, his opera Gtistavus^ 215 
 Augustines, the hall of the, at 
 
 Brussels, 63 
 Aujac (tenor), his singing, 216 
 
 Bagioli (teacher of Alboni), 
 
 137 
 Balfe, the composer, dd, 213 
 Bannister, John, 114 
 Banti, Brigitta, the "Queen of 
 
 Song,' 
 
 17 
 
 Barbaja, Impressario, the, 34 
 Barn Elms on the Thames, 8 
 Beale, Willaert, his book, 217 
 Beauce, Madame, 182, 197 
 Beethoven, his violin music, 178 
 Bellasis, his Life of Cherubini, 
 
 218 
 Bellini, 29 ; family of, 30 ; his 
 
 lady-love, 34 ; letter on com- 
 position, 70 ; failure of his 
 
 Norma, 72 
 Bergfreiheit, the burgomaster of, 
 
 102 
 Berlioz, anecdote of, xv 
 Bertolini, a violin by, loi 
 Bertolotti, Madame (teacher of 
 
 Alboni), 138 
 Beumer, first violin of Brussels 
 
 Opera, 59, 63 
 Bibliographic gossip, 212 
 Bohemian Orchestral Society, the, 
 
 126, 202; members of, 204; 
 
 Repertoire of, 207 ; profits of 
 
 concerts, 208 
 Bordogni, his Vocalises, 174 
 
 221 
 
222 
 
 INDEX 
 
 Bottesini and his last concert, io8 ; 
 
 birth and career, 109, 112; 
 
 operas by, in ; portrait, 2l8 
 Boucher (violinist), 10, 13 
 Braga, his compositions, 167, 
 
 168 
 Brambilla, Marietta (contralto), 
 
 140 
 Buonaparte, Napoleon, 8 
 
 Cafe du Divan, the, 142 
 
 Callcott, J. G., 206 
 
 Capidetti, /, opera of, 33, 37 
 
 Carcano, the theatre, Milan, 41 
 
 Carrodus (violinist), 184 
 
 Catalogues, modern music, 173 
 
 Cerito, celebrated dancer, 147 
 
 Chanot, F. W., loi, 173 
 
 Chenier, Andre (poet), 10 
 
 Cherubini, opinion on Bellini's 
 orchestration, 42 ; anecdote of, 
 143 ; {see Bellasis), 218 
 
 Christopher Columbus, opera of, 
 III 
 
 Clark, his Marche aux Flam- 
 beatcx, 16 
 
 Classical School, the, 67 
 
 Clayton, Miss, her work on the 
 Queens of Song, 2 1 7 
 
 Composers of operas and sym- 
 phonies, 124 
 
 Composition, a lesson in, 66 
 
 Concert, the last, of Bottesini, 
 113; first public, in England, 
 114; at Southsea, 184 
 
 Cremona, German workmen at, 
 132 ; violin makers of, 190, 191 
 
 Crescendo, the, xv 
 
 Dauchet, Mademoiselle, 183 
 Day, Mr. John, of H.M. Private 
 Band, 89 
 
 De Beriot, 57, 59, 62, 169; 
 reminiscences in his music, 66 ; 
 his manner of tuning, 123 ; his 
 Etudes Melodiques, 126 
 
 D'Entraigues, the Count and 
 Countess of, 7 ; their assassina- 
 tion, 9 
 
 De Sussex, his villa near Paris, 
 196 
 
 Devismes, M., 23 
 
 Diavolo aella Notte, Opera, li 2 
 
 Dido7iy the Opera, 6 
 
 Di Noja, the Duke, 34 
 
 Doche, Madame (celebrated 
 actress), 147 
 
 Donizetti, the composer, 19, 33, 
 
 67 
 Dragonetti (contrabassist), 108 
 Dreyfuss, Madame, 182 
 Dubois (poet), 10 
 Duet for Violin and Contrabass, 
 
 "3 
 
 Eco (It iVapoli, the, 66 
 Edinburgh, the Duke of, 180 
 Eeckhout (the painter), 150 
 Elphinstone, Sir H[oward, 175, 
 
 177 
 Emperor of Russia, anecdote of, 
 
 13 
 Ernani, Opera of, by Bellini, 
 
 forbidden, 42 
 J^tudes Melodiques by De Beriot, 
 
 174 
 Evening Neivs, extract from the, 
 
 185 
 Exhibition of violins, 180 
 
 Failures of Operas, ratio of, 69 
 Ferny, the sisters (violinists), 64 
 Fetis, 59, 60 
 Fifths, perfect, 123 
 
 
INDEX 
 
 223 
 
 Fioravanti, 33 
 
 Florimo, Bellini's letter to, 72 
 Fra Diavolo at Brussels, 90 
 French Revolution, i, 10, 19 
 Frery, Mademoiselle, episode in 
 
 her life, 57 
 Frezzolini, jNIadame, 217 
 Fumaroli, Madalena, 34 
 
 Gabrielli, 21 
 
 Gallait, celebrated pictures by, 51 
 
 Garcia, Pauline, 168 
 
 Giorgi, a sketch, 51 
 
 Giraldoni (poet), 35 
 
 Gliick, his Artnide, 4 ; anecdotes 
 
 of, 6, 25 
 Goethe (poet) on singing, xi 
 Gordignani, his Ca7'o niio be7t, 169 
 Gossec (composer), 5 
 Gould, R. H. (conductor), 203 
 Gounod, Ch., his Ave Maria, 168 ; 
 
 his Rede/nplioJi, 204 
 Grassini, 21 
 
 Graziani (baritone), 217 
 Gretry, a saying of the composer, 
 
 219 
 Grisi, Madame, 37, 72, 140, 201 
 Guadagnini, Lorenzo (violin 
 
 maker), 131 
 Guarnerius (violin maker), 89, 
 
 lOI 
 
 Guercia, his song // Sospiroy 168 
 Gumbert, song by, 168 
 Gustavus, the libretto of, 215 
 
 Habeneck (violinist), anecdote 
 
 of, XV 
 
 Halle, Sir Ch., life and letters, 82, 
 
 218 
 Hambro' Orphanage, the, 183 
 Handwriting of Stradivarius and 
 
 Stainer, 187 
 
 Hart, George, 128, 131, 192 
 Havanah, the opera at, 1 1 1 
 Herold, air by, 168 
 History of a Stainer violin, 189 
 Holzhammer, Marguerite, 192 
 Howard, Miss, 47 
 
 Intonation, faulty, 125 
 
 Kelly, Michael, his memoirs, 
 
 218 
 Kloz, Sebastian (violin maker), 
 
 lor, 128, 190 
 Kreutzer, his study No. 23, 127 
 Kuhe (pianist), 82, 217 
 
 Labels, violin, 186, 187 
 Lablache (basso), 35, 39 
 La Brianza, in Lombardy, 17 
 Lafont (violinist), his challenge 
 
 to Paganini, 85 
 Lago di Como, the, 17, 38 
 Larkom, Madame Agnes, 184 
 La Sfrattia'a, opera of, 36 
 Lavignac, his new work, 219 
 Lemoyne (conductor), 3 
 Lemmens-Sherington, 59, 182 
 Leonard (violinist), 57 ; his Elegie, 
 
 58 ; his solos for violin, 169 
 Lesueur and Spontini, anecdote 
 
 of, 69 
 Lindley (violoncellist), anecdote 
 
 of, 213 
 Litolff, Henri (pianist and com- 
 poser), 150 
 Lodoiska, opera of, 143 
 Lombardy, the plain of, 18 
 Louis XVL, I, II, 19 
 Louis Napoleon, Prince, 44, 46 
 Lubbock, Mrs., her singing, 197 
 Luchesi (tenor), his singing and 
 acting, 216 
 
224 
 
 LNDEX 
 
 Ludicrous scene at the opera, 92 
 Lumley, his book, 217 
 Littin lie la Vallee, ballet of the, 
 145, 148 
 
 Maestrino, the title of, 33 
 Malibran, Madame, her good 
 nature, xvi, 169; anecdote of, 213 
 Mapleson, 217 
 Mara, Madame, 100 
 Mariani (baritone), 37, 40 
 Margheritta, H.M. Queen, 81 
 Marie Antoinette, Queen, 8, 20 
 Mario, 195; his vocalisation, 217 
 Marks under notes, xiv 
 Marmontel, 7 
 
 Marseillaise, the music of the, 10 
 Martin, anecdote of the singer, 143 
 Mathews, Ch., letter of, 29 
 Martinez, Madame Isidora, lOO 
 Maucotel (violin maker), loi 
 Mehul, the composer, experiment 
 
 by, 219 
 Meisser, Dr., Professor of Ana- 
 tomy, 96 
 Mercadante (composer), 32 
 Meric-Lalande, Madame, 30 
 Method of study at Paris, 72 
 Michelet, wig-maker to the Opera, 
 
 143 
 
 Milan, conservatorio of, no 
 Milanollo, Teresa, 57 
 Milanollo, Maria, 58 
 Milanollo, the sisters, 64 
 Mittenwald, 133 
 Monticello, village of, 18 
 Music at Brussels, 91 
 
 Napoleon I., 13 
 Napoleon III. plays a barrel- 
 organ, 48 
 Nillson, Madame Christine, 168 
 
 Octaves, thirds, and sixths, 127 
 
 Opera, the, Asseaio di Firefize, 
 III; at Cairo and Constantine, 
 112; to produce an effective, 
 69 
 
 Operas, ratio of failures, 69 ; by 
 Bottesini, in, 112; in which 
 Tamburini sang, 201 ; per- 
 formed, 1849-59, 91 
 
 Orchestra, the organisation of an, 
 202 
 
 Orchestral performances encored, 
 206 
 
 Original air, difficulty of com- 
 posing an, Sy 
 
 Orphanage, the Hambro', 176 
 
 Otto (violin maker), 189, 191 
 
 Pacini (composer), 33, 37 
 
 Paganini, his fortune, 40 ; new 
 features in his life, 82 ; his 
 natural gifts, 85 ; and Spohr, 
 87 ; and Lafont, 2>2» ; music of, 
 125 ; his Rondo, 127; romantic 
 style of, 169 
 
 Panseron, his Soiige tie Tarlini, 
 168 
 
 Papini, Guido, his Hope March, 
 16, 108, 113, 169; his A une 
 Jleur ! 126 ; his Rotfianza, 168 ; 
 solos by, 172 
 
 Passalacqua, Count Lucini, his 
 villa, 38 
 
 Pasta, Madame, 37, 38 ; her voice, 
 
 39 
 
 Patti, Madame Adelina, memoirs, 
 
 219 
 
 Pcpoli, the Marquis, 140 
 Pessoneaux, the Abbe, 1 1 
 Phillips, Henry (baritone), 195, 
 
 212 
 Phillis (guitarist), i 
 
INDEX 
 
 225 
 
 Phipson, Mrs. T. L., her singing, 
 167 ; her talent as accompanist , 
 183 ; founder of the Bohemian 
 Orchestral Society, 203 ; her 
 charities, 210 
 
 Piano, the, in the Orchestra, 125 
 
 Piatti (violincellist), 1 1 1 
 
 Piccini (composer), 5, 7, 30 
 
 Pichegru, the General, 8 
 
 Pirata, II, opera of, 29, 37 
 
 Plunkett, Mademoiselle, her danc- 
 ing, 147 
 
 Pope, Henry (basso), 184 
 
 Preliminary training, 100 
 
 Pressenda, violins by, loi 
 
 Proch, songs by, 168 
 
 Programme, a brilliant, 114, 120 
 
 Regnard, a play by, 5 
 Reminiscences in music, 66 
 Repertoire, my violin, 169; of the 
 
 Bohemian Orchestral Society, 
 
 207 
 Revolutionary tribunal, i, ii 
 Riciardi (tenor), 182 
 Robaudi, his songs, 168 
 Robert le Diable, ludicrous ending 
 
 to, 95 
 Rocca, violins by, lOl 
 Rode (violinist), 169 
 Roland, Madame, 12 
 Romani (poet and librettist), 35, 
 
 36, 70 
 Romantic School, the, 67 
 Rossini, his method of study, 72 ; 
 anecdote of, 121 ; his opinion 
 of Alboni, 138 ; on Bellini's 
 duet for two basses, 201 ; and 
 Richard Wagner, 214 ; and 
 Meyerbeer, 215 ; and the organ- 
 grinder, 215 
 Rouget de lisle, 10 
 
 Royal Ladies' Homes, the, 183 
 Royal Marine Artillery, string 
 
 band of, 184 
 Rubini (tenor), 30, 35, 37, 39, 40, 
 
 201 
 Rutter, Mrs. H., and Gounod's 
 
 Redemption, 204 
 
 San Carlo, the theatre, 34 
 Santley, his memoirs, 217 
 Schoelcher, his life of Handel, 218 
 Schott, 167, 173 
 Sembrich, Madame, 100 
 Serenata, La, by Braga, 167 
 Sibire, the Abbe, 189, 193 
 Sims Reeves, his book, 218 
 Singelee, Mademoiselle, 100, 182 
 Sivori, Camillo, 86, 145 
 Sonna7?du(la, La, opera of, 31, 
 
 36, 41 
 Spagnoletto (violinist), 175 
 Spohr, 169; his autobiography, 
 
 218 
 Spontini, his opera La Vestale, 69 
 Stagno, Roberto (tenor), 80 
 Stainer, Jacob, 128; his career, 
 
 i85> 193 
 Stainer, Marcus, 191 
 
 Standish, Henri, 58 
 
 St. Huberty, Madame, 2 
 
 St. Leon, and the Violon dii Diable, 
 
 142 ; his appearance, 144 ; his 
 
 dancing and playing, 145 ; 
 
 music of, 147 
 Stradivarius, violins by, loi ; a 
 
 rival of, 128 
 Studies for the violin, 169 
 Study of composition, 68, 72, 219 
 Style in music, xiii ; to acquire a 
 
 good, 173 
 Success by an amateur, 181 
 " Sunrise on the Righi," 150 
 
 P 
 
226 
 
 INDEX 
 
 Tamburini (baritone), 30 ; his 
 cow, 195; his villa, 198; his 
 singing, 201 ; operas in which 
 he sang, 201 
 
 Tartini, 69, 126 
 
 Titiens, Madame, 183 
 
 Tomarissen and the Bey of Tunis, 
 a sketch, y;^ 
 
 Tosi, Ernesto, 35 
 
 Tosi, Signora, 35 
 
 Tyrolean school of violin-making, 
 190; timber, 12S 
 
 Ugalde, Madame, 182, 196 
 
 Van der Beek, Celestine, 182 
 Van der Beek, Sidonia, 116 
 Verdi, his opera // Trovatore^ 
 
 xiii ; originality of his melodies, 
 
 68; his education, 71 ; his opera 
 
 Falstaff, 71; his opera Aida^ 
 
 112 
 Viardot, Madame, 168 
 Vieuxtemps (violinist), 126, 182 
 Villa Cenerentola, Alboni's, 138; 
 
 La AfoIf}'asio, 38 ; Passalacqua, 
 
 38 ; Tamburini's, 198 
 Viotti (violinist), 169, 195 
 Violin, a, by Bertolini, loi ; by 
 
 Guarnerius, 176; Lafont's 89; 
 
 St. Leon's, 148 : Spagnoletti's, 
 
 175; strings improved, 123; 
 
 varnish, characteristic, 104 ; 
 
 solos, 170, 172; studies, 169; 
 
 writing for the, 173 ; maker to 
 
 the Emperor, 186 
 Violins by Sebastian KIoz, 1 29 ; 
 
 by Stainer, 188, 191; exhibition 
 
 of, 133, 180; Elector-Stainer, 
 
 190, 191 ; effects of age on, 102, 
 
 104 
 Violinist of the Boulevards, the, 44 
 Violon du Viable^ ballet of the, 
 
 145, 146 
 Vocal organs, nervous strain of, 99 
 Voice, Madame Alboni's, 137 ; 
 
 Madame Pasta's, 39 ; and the 
 
 strings, 96 ; and violin, 167 ; 
 
 practice injurious to the, 97 
 Vuillaume, violins by, loi 
 
 Wagner, Richard, anecdote of, 
 
 214 
 Withers, loi 
 Wood of which violins are made» 
 
 128 
 
 Zaira^ opera by Bellini, 37 
 Zieger, Ch. Denis, 140 
 Zingarelli, 32, 33 
 
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 By JULIAN HAWTHORNE. 
 O&rth. I Dust. Beatrix Randolph. 
 
 Ellice Quentln. David Poindexter s DIs- 
 
 gebastian Strome. appearance. 
 
 Fortune s Fool. Spectre of Camera. 
 
 By Sir A. HELPS.— Ivan de Biron. 
 By I. HENDERSON.— Agatha Page. 
 By G. A. HENTY. 
 Ru.lub the Juggler. I The Queen's Cup, 
 
 Dorothy s Double. | 
 
 By JOHN HILL. 
 The Common Ancestor. 
 
 By TIGHE HOPKINS. 
 'Twixt Love and Dufv. 
 
 By Mrs. HUNGERFORD. 
 
 Lady Vernor's Flight, 
 The Red House Mystery 
 The Three Graces. 
 Professor s Experiment. 
 A Point of Conscience. 
 
 Nora Crelna. 
 
 An Anxious Moment. 
 
 April's Lady. 
 
 Peter's 'Wife. 
 
 Lovlce. 
 
 By Mrs. ALFRED HUNT. 
 
 The Leaden Casket. I Self Condemned. 
 That Other Person. I Mrs. Juliet 
 
 By C. J. CUTCLIFFE HYNE. 
 Honour of Thieves. 
 
 By R. ASHE KING. 
 't Drawn Game. 
 
 By EDMOND LEPELLETIER. 
 
 Madame Sans Gene. 
 
 By ADAM LILBURN. 
 
 A Tragedy la Marble. 
 
 By HARRY LINDSAY. 
 
 Rhoda Roberts. 
 
 By HENRY W. LUCY. 
 Gideon Flevce 
 
 By E. LYNN LINTON. 
 
 Patricia Kemball. 
 Under which Lord? 
 ' My Love • ' | lone. 
 Paston Carew. 
 Bowing the 'Wind. 
 
 By JUSTIN 
 A Fair Saxon 
 Llnlny R'^chford 
 Dear Lady Disdain. 
 Camiola 
 
 Waterdale Neighbours. 
 Mv Enemy 3 Daughter. 
 Miss Misanthrope. 
 
 By JUSTIN H 
 A London Legend. 
 
 By GEORGE 
 Heather and Snow. 
 
 The Atonement of Learn 
 
 Dundas. 
 The World Well Lost. 
 The One Too Many. 
 Dulcie Everton. 
 
 McCarthy. 
 
 Donna Quixote. 
 
 Maid of Athens. 
 
 The Comet of a Season. 
 
 The Dictator. 
 
 Red Diamonds. 
 
 The Riddle Ring. 
 
 The Three Disgraces. 
 
 . McCarthy. 
 
 I The Royal Christopher. 
 MACDONALD. 
 
 Phantaste'. 
 
 By PAUL & VICTOR MARGUERITTE 
 
 The Disaster 
 
 By L. T. MEADE. 
 
 A So'dler of Fortune. I The Voice of the 
 In an Iron Grip Charmer. 
 
 Dr. Rumsey's Patient. I 
 
 By LEONARD MERRICK. 
 This Btage of Fools. | Cynthia. 
 
 By BERTRAM MITFORD 
 The Gun Runner. i The King s Assegai. 
 
 LuckofQerardRidgeley. | Rensh. Faunln^'sQuest. 
 
 By J. E. MUDDOCK. 
 
 Maid Marian and Robiu Hood. 
 Baslle the Jester. 1 Young Lochinvar. 
 
 By D. CHRISTIE MURRAY. 
 
 A Life's Atonement. 
 
 Joseph's Coat. 
 
 CoaU of Fire. 
 
 Old Blazer's Hero. 
 
 Val Strange. | Uearta. 
 
 A Model Father. 
 
 By the Gate of the Sea. 
 
 A Bit of Human Nature. 
 
 First Person Singular. 
 
 Cynic Fortune. 
 
 By MURRAY 
 
 The Bishops Bible. 
 One Traveller Returns. 
 
 By HUME NISBET 
 ' Ball Up I • 
 
 By W. E. NORRIS. 
 Saint Ann s. | Billy Bf^Uew. 
 
 By G. OHNET. 
 A Weird Gift. 
 
 By Mrs. OLIPHANT. 
 The Sorceress. 
 
 By OUIDA. 
 
 The Way of the World 
 BobMartin's Little Girl. 
 Time's Revenges. 
 A Wasted Crime. 
 In Direst Peril. 
 Mount Despair. 
 A Capful Nai's 
 Ta'es in Prose & Verse. 
 A Race for Millious. 
 
 and HERMAN. 
 
 Paul Jones s Alias. 
 
 Held in Bondage. 
 Strathmore. | Chandos. 
 XJnder Two Flags. 
 Idalia. [Gage. 
 
 Cecil Castlemaine 1 
 Trlcotrin. | Puck. 
 FoUe Farine. 
 A Dog of Flanders. 
 Pascarel. | Signa. 
 Princess Napraxine. 
 Two Wooden Shoes. 
 
 In a Winter City. 
 Friendship. 
 Moths. I Rnffino. 
 Pipistrello. | Ariadne, 
 A Village Commune. 
 Bimbl. I Wanda. 
 Frescoes. I Othmar. 
 In Maremma. 
 Syrlin. | Guilderoy. 
 Santa Barbara. 
 Two Offenders. 
 
 By MARGARET A. PAUL. 
 
 Gentle and Simple. 
 
 By JAMES PAYN. 
 
 Lost Sir Massmgberd. 
 Less Black than We're 
 
 Painted. 
 A Confidential Agent. 
 A Grape from a Thorn. 
 In Peril and Privation. 
 The Mystery of Mir- 
 By Proxy. [bridge. 
 The Canon's Ward. 
 Walter s Word. 
 
 Under One Roof 
 Glow-worm Talas 
 The Talk of the Town. 
 Holiday Tasks. 
 For Cash Only. 
 The Burnt Million. 
 The Word and the Will, 
 Sunny Stories. 
 A Trying Patient. 
 A Modern Dick Whit- 
 tlngton. 
 
 High Spirits. 
 
 By WILL PAYNE. 
 
 Jerry the Dreamer. 
 
 By Mrs. CAMPBELL PRAED. 
 
 Outlaw and Lawmaker. I Mrs. Tregaskiss. 
 Christina Chard. I Nulma. 
 
 By E. C. PRICE. 
 Valentina. | Foreigners. | Mrs Lancaster's Rival. 
 
 By RICHARD PRYCE. 
 Miss Maxwell's Affections. 
 
 By CHARLES READE. 
 
 Peg Woffljigton ; and 
 Christie Johnstone. 
 
 Hard Cash. 
 
 C'oister & the Hearth. 
 
 Never Too Late to Mend 
 
 The Course of True 
 Love Never Did Run 
 Smooth ; and Single- 
 heart andDoubleface. 
 
 Autobiography of a 
 Thief; Jack of all 
 Tiades; A Hero and 
 a Martyr ; and The 
 Wandering Heir. 
 
 Griffith Gaunt 
 
 H 
 
 Love Me Little, Love 
 
 Me Long. 
 The Double Marriage. 
 Foul Play. 
 Put Yourself in His 
 
 Place. 
 A Terrible Temptation. 
 A Simpleton. 
 A Woman- Hater. 
 The Jilt, iV oth^T.S'ories : 
 & Good Stories of Man 
 and other Animals. 
 A Perilous Secret 
 Readiana ; aiul Bible 
 
 Char.'»ct»'rs. 
 
 RIDDELL. 
 
 By Mrs. J 
 
 Weird Stories. 
 
 By AMELIE RIVES. 
 Barbara Dering. | Meriel. 
 
 By F. W. ROBINSON. 
 The Hands of Justice. ' Woman in t)ie Dark. 
 
 By HERBERT RUSSELL. 
 'i'rue Blue. 
 
CHaTTO & WlNblig. Pubiishei-s, iii St. Alafiin's Lan^. Undoh, W.C. 15 
 
 The Piccadilly (s/6) liovELS—contvtued 
 
 Bv W. CLARK RUSSELL. 
 Round the Oalley-Flre 
 In the Middle Watch. 
 On the Fo tc ale Head 
 
 My Shipmate Louise. 
 Alone onWideWide Sea. 
 The Phantom Death. 
 Is He the Maa •? 
 Good Ship 'Mohock.' 
 Tlie Convict bhip. 
 Heart of Oak. 
 The Tale of the Tea. 
 The Last Entry. 
 RUSSELL. 
 
 A Voy&fie to the Cape. 
 Book for the Hammock. 
 Mysteryof 'Ocean Star' 
 The Romance of Jenny 
 
 Harlowe. 
 Aa Ocean Tragedy. 
 
 By DORA 
 A Country Sweetheart. | The Drift of Fate, 
 
 By BAYLE 5T. JOHN. 
 A Levantine Family. 
 
 By ADELINE SERGEANT. 
 Dr. Endicott s Experiment. 
 
 By HAW LEY S.MART. 
 Without Love or Licence. The Outsider. 
 The Master of Rathkelly. Beatrice & Benedick 
 Long Odds. A Racing Rubber. 
 
 By T. \V. SPEIGHT 
 
 A Minion of the Moon. 
 The Secret of Wyvern 
 Tovyera. 
 ST. AUBYN. 
 In Face of the World, 
 Orchard Damerel. 
 The Tremlett Diamonds. 
 
 A Secret of the Sea. 
 
 The Grey Monk. 
 
 The Master of Trer ance 
 
 By ALAN 
 A Fellow of Trinity. 
 The Junior Dean. 
 Master of St. Benedict's, 
 To his Own Master. 
 
 By JOHN STAFFORD.— Doris and I 
 By RICCARDO STEPHENS. 
 The Cruciform Mark. 
 
 By R. A. STERNDALE. 
 The Afghan Knife. 
 
 By R. LOUIS STEVENSON. 
 The Suicide Club. 
 
 By BERTHA THOMAS. 
 Proud Maisie. | The Violin-Player. 
 
 By ANTHONY TROLLOPE 
 
 By MARK TWAIN. 
 
 Twain 8 Choice Tom Sawyer. Detective. 
 Pudd'nhead Wilson. 
 The Gilded Age. 
 Prince and the Pauirer. 
 Life on the Mississippi. 
 The Adventures of" 
 
 Huckleberry Finn. 
 A Yankee at the Court 
 
 of King Arthur. 
 Stolen White Elephant, 
 iil. 000,003 Bank-note. 
 
 Mark 
 
 Works 
 Mark Twain's Library 
 
 of Humour. 
 The Innocents Abroad. 
 Roughing It ; and The 
 
 Inuocents at Home. 
 A Tramp Abroad. 
 " heAmerlcan Claimant. 
 AdventuresTomSawyer 
 Tom Sawyer Abroad. 
 
 By C. C. 
 
 unstress Judith. 
 
 FRASER^TYTLER. 
 
 By SARAH TYTLER. 
 
 Buried Diamonds 
 The Blackhall Ghosts 
 The Macdonald Lass. 
 
 By ALLEN 
 
 The Witch-Wife. 
 Mrs Cirmichael'8 God- 
 desses. 1 Lady Bel;. 
 
 UPWARD. 
 
 The Way we Live Now, 
 Frau Frohmann. 
 
 By FRANCES 
 Like Ships upon the 
 
 By IVAN TURGENIEFF; 
 
 Stories from Foreign Novelists. 
 
 Scarborough's Family. 
 The LandLeai^uers 
 E. TROLLOPE. 
 Anne Furness. 
 Mabel's_ Progress. 
 &C. 
 
 The Queen against Owen I The Prince of iSalkistan. 
 
 By E. A. VIZETELLY. 
 
 The Scorpion : A Romance of Spain. 
 
 By FLORENCE WARDEN. 
 Joan, the Curate. 
 
 By CY WARMAN. 
 The Express Messenger. 
 
 By WILLIAM WESTALL. 
 Sons of Belial. 
 
 by ATHA WESTBURY. 
 The Shadow of Hilton Fembrook. 
 
 By C. J. WILLS. 
 An Easy-going Fellow. 
 
 By JOHN STRANGE WINTER. 
 Cavah-y Life and Regimental Legends. 
 A Soluier's ChiJdren. 
 
 By MARGARET VVYNMAN. 
 My Flirtations. 
 
 By E. ZOLA. 
 The Fortune of the Rougons. 
 The Abbe Mouret's Transeression. 
 
 The Downfall. 
 The Dream. 
 Dr. Pascal. 
 
 Money. | Lourdes. 
 By 
 
 A Nineteenth Centurv Miracle. 
 
 The Fat and the Thin. 
 His Excellency. 
 The Dram-Shdp. 
 Rome. I Paris. 
 Z Z.' 
 
 CHEAP EDITIONS OF POPULAR NOVELS. 
 
 Post 8vo, illustra 
 By ARTEMUS WARD. 
 
 Artemns Ward Complete. 
 
 By EDMOND ABOUT. 
 
 The Fellah. 
 
 By HAMILTON AIDE. 
 
 Carr of Carrlyon. | Confidences. 
 
 By Mrs. ALEXANDER. 
 
 ted boards, is. each. 
 
 By SHELSLEY BEAUCHAAIP. 
 
 Grantley Grange. 
 By Sir W. BESANT and J. RICE. 
 
 Maid, Wife, or Widow ? 
 Blind Fate. 
 Valerie s Fate. 
 
 A Life Interest. 
 Mona's Caoice 
 By Woman s Wit. 
 
 By GRANT ALLEN. 
 
 Philistla. I Babylon. 
 Strange Stories. 
 For Malmie's Sake. 
 In all Shades. 
 The Beckoning Hand. 
 The Devil's Die. 
 The Tents of Shem. 
 The Great Taboo. 
 
 Dumaresq's Danghtsr. 
 Duchess of Powysiatid. 
 Blood Royal. [piece- 
 Ivan Greet'.^ Master. 
 The Scallywag. 
 This Mortal Coil. 
 At Market Value. 
 Under Sealed Orders. 
 
 By E. LESTER 
 
 Phra the Phcenician. 
 
 BY FRANK 
 
 Fettered for Lire. 
 Little Lady Linton. 
 Between Life & Death. 
 Bin of Olga ZassouUch. 
 Folly Morrison. 
 Lieut. Barnabas. 
 BoBsst Davie. 
 
 ARNOLD. 
 
 BARRETT. 
 
 A Prodigal's Progress. 
 Found Guilty. 
 A Recoiling Vengeance. 
 For Love and Honour. 
 John Ford, Arc. 
 Woman of IronBrace'ts 
 The Harding Scandal. 
 
 Ready-Money Mortiboy 
 
 My Little Girl. 
 
 With Harp and Crown. 
 
 This Son of Vulcan. 
 
 The Golden Butterfly. 
 
 The Monks of Theiema. 
 By Sir WAL' 
 
 All Sorts and Condi- 
 tions of Men. 
 
 The Captains Room. 
 
 All In a Garden Fair. 
 
 Dorothy Forster. 
 
 Uncle Jack. 
 
 The World Went Very 
 Well Then. 
 
 Children of Gibeon. 
 
 Herr Paulus. 
 
 For Faith and Freedom. 
 
 By Celia s Arbour. 
 Chaplain of the Fleet. 
 The Seamy Side. 
 The Case of Mr . Lucraf t. 
 In Trafalgar s Bay. 
 The Ten Years' Tenant. 
 ER BESANT. 
 The Bell of St. Paul s. 
 The Holy Rose. 
 Armorelof Lyonesse. 
 S.Katherine s-byTowvr 
 Verbena Camellia Ste- 
 
 phanotis. 
 The Ivory Gate. 
 The Rebel Queen. 
 Beyond the Dreams of 
 
 Avarice. 
 The Revolt Of Man. 
 In Deacon's Oiders. 
 
 To Call Her Mine. 
 
 By AAIBROSE BIERCE 
 In the Midst of Life. 
 
 By FREDERICK BOYLE. 
 
 Camp Notes, i Chronicles of Ho man s 
 
 Savage Life. | Land. 
 
 BY BRET HARTE 
 
 Calif omlan Stories. 
 Gabriel Conroy. 
 Luc'i of Roaring Camp. 
 An Heiress of Red Dog. 
 
 Flip. I Maruja. 
 
 A Phyllis of the Sierras. 
 A Waif of the Plaina. 
 Ward of Golden Gate, 
 
30 
 
 CHAttO & WINDUS, Pubiistiefis, lii St. Martin's Lan6, London, W.C* 
 
 Two-Shilling Novels— con^iwwfii. 
 By HAROLD BRYDGES. 
 
 Uncle Sam at Home. 
 By ROBERT 
 
 BUCHANAN. 
 
 The Martyrdom of Ma- 
 deline. 
 The New Abelard. 
 Tne Heir of LiniK!. 
 Wojnan and the Man. 
 Eachel Dene. | Mutt. 
 Lady Kilpatrick. 
 
 and MURRAY. 
 
 Bhadow of the Sword. 
 A Child of Hature, 
 God and the Man. 
 Love Me for Ever. 
 ro5:(;!ova Manor. 
 The Master of the Mine 
 Annan Water. 
 
 By BUCHANAN 
 
 The Charlatan. 
 
 By HALL CAINE. 
 
 The Shadow of a Crime. I The Deemster. 
 A Son of Kacjar. | 
 
 By Commander CAMEFH)N. 
 
 The Cruise of the 'Black Prince.' 
 
 By HAYDEN CARRUTH. 
 
 The Adveuturss of Jones. 
 
 By AUSTIN CLARE. 
 
 For the Love of a Lass. 
 
 By Mrs. ARCHER CLIVE. 
 
 Paul rerroU. 
 
 Why Paul Ferroll Killed his Wife. 
 
 MACLAREN COBBAN. 
 
 I The Ked Sultan. 
 
 By C. ALLSTON COLLINS. 
 
 The Bar Sinister. 
 
 Cy 
 
 The Cure of Souls. 
 
 By MORT. & 
 
 Sv/eet Anne Page. 
 Transmigi-ation. 
 From Midnight to Mid 
 
 night. 
 A Fight with Fortune. 
 
 By WILKIE COLLINS 
 
 FRANCES COLLINS. 
 
 Sweet and Twenty. 
 The Village Comedy. 
 You Play me False. 
 Blacksmith and Scholar 
 Frances. 
 
 Armadale. | AfterDark. 
 
 No Name. 
 
 Antonina. 
 
 Basil. 
 
 Hide and Seek. 
 
 The Dead Secret. 
 
 Queen of Hearts. 
 
 Miss or Mrs. ? 
 
 The New Magdalen. 
 
 The Frozen Ooep. 
 
 The Law and the Lady 
 
 The Two Destinies. 
 
 The Haunted Hotel. 
 
 A Rogue's Life. 
 
 My Miscellanies. 
 The Woman in White. 
 The Moonstone. 
 Man and Wife. 
 Poor Miss Finch. 
 The Fallen Leaves. 
 Jezehel's Daughter. 
 The Black PvObe. 
 Heart and Science. 
 ' I Say No I ' 
 The Evil Genlua. 
 Little Novels. 
 Legacy of Cain. 
 Blind Love. 
 
 By M. J. COLQUHOUN. 
 
 ' Every Inch a Soldier. 
 
 By DUTTON COOK. 
 
 Leo. I Paul Foster's Daughter. 
 
 By C. EGBERT CRADDOCK. 
 
 The Prophet of the Great Smoky Mountains. 
 
 By MATT CRIM. 
 
 The Adventures of a Fair Rebel. 
 
 By B. M. CROKER. 
 
 Pretty Miss Neville. Village Tales and Jungle 
 Diana Barrington. Trajcedies. 
 
 •To Let.' Two Masters. 
 
 A Bird of Passage. Mr. Jervis. 
 
 Proper Pride. The Keal Lady Hilda. 
 
 A Family Likeness. Married or Single ? 
 
 By W. CYPLES. 
 
 Hearts of Gold. 
 
 By ALPHONSE DAUDET. 
 
 The Evangelist ; or, Port Salvation. 
 
 By ERAS?r1US DAWSON. 
 
 The Fountain of Youth. 
 
 By JAMES DE MILLE. 
 A Cattle in Spain. 
 
 By J. LEITH DERWENT. 
 
 Oaf Lftdy 0' T«wri4 i Oliet'i LoYtrl, 
 
 DONOVAN. 
 
 In the Grip of the Law. 
 From Information Ee- 
 
 ceived. 
 Tracked to Doom. 
 Link by Link 
 Suspicion Aroused. 
 Dark Deeds. 
 Pkiddies Read. 
 
 By DICK 
 
 The Man-Hunter. 
 Tracked and Taken. 
 Caught at L&at 1 
 Wanted I 
 V/ho Poisoned Hetty 
 
 Duncan ? 
 Man Irom Manchester. 
 A Detective's Triumphs 
 The Mystery of Jamaica Terrace. 
 The Chronicles of Michael Danevitch. 
 
 By Mrs. ANNIE EDWARDpS. 
 
 A Point of Honour. | Archie Lovell. 
 
 By M. BETHAM-EDWARDS. 
 
 Felicia. | Kitty. 
 
 By EDWARD EGGLESTON. 
 
 Rosy. 
 
 By Q. MANVILLE FENN. 
 
 The New Mistress. i The Tiger Lily. 
 
 Witness to the Deed. The White Virgin, 
 
 By PERCY 
 
 Bella Donna. 
 Never Forgotten. 
 Polly: 
 Fatal Zero. 
 
 FITZGERALD. 
 
 Second Mrs. Tiilotson. 
 Seventy - five Brooke 
 
 Street. 
 The Lady of Brantome, 
 
 By P. FITZGERALD and others. 
 
 Strange Secrets. 
 
 By ALBANY DE FONBLANQUE. 
 
 Filthy Lucre. 
 
 By R. E. FRANCILLON. 
 
 King or Knave? 
 Romances of the Law. 
 Ropes of Sand. 
 A Dog and his Shadow. 
 
 FREDERIC 
 
 The Lawtou Girl. 
 
 Olympia. 
 One by One. 
 A Real Queen. 
 Queen Cophetua. 
 
 By HAROLD 
 
 Seth's Brother's Wife. | 
 Prefaced by Sir BARTLE FRERE. 
 
 Paudurang Harl. 
 
 By EDWARD GARRETT. 
 
 The Capei Girls. 
 
 By GILBERT GAUL. 
 
 A Strange Manuscript. 
 
 By CHARLES GIBBON. 
 
 Robin Gray. 
 
 Fancy Free. 
 
 For Lack of Gold. 
 
 What will World Say ? 
 
 In Love and War. 
 
 For the King. 
 
 In Pastures Green. 
 
 Queen of the Meadow. 
 
 A Heart's Problem. 
 
 The Dead Heart. 
 
 In Honour Bound. 
 Flower of the Forest. 
 The Braes of Yarrow. 
 The Golden Shaft. 
 Of High Degree. 
 By Mead and Stream. 
 Loving a Dream. 
 A Hard Knot. 
 Heart's Delight. 
 Blood-Money. 
 
 By WILLI A-M GILBERT. 
 
 Dr. Austin's Guests. I The Wizard of 
 James Duke. | Mountain. 
 
 By ERNEST GLANVILLE. 
 
 The Lost Heiress. I The Fossicker. 
 
 A Fair Colonist. | 
 
 By Rev. S. BARING GOULD. 
 
 Red Spider. | Eve. 
 
 Bv HENRY GREVILLE. 
 
 A Noble Woman. | Nikanor. 
 
 By CECIL GRIFFITH. 
 
 Corlnthia Marazion. 
 
 By SYDNEY GRUNDY. 
 
 The Days of his Vanity. 
 
 By JOHN HABBERTON. 
 
 Brueton 8 Bayou. | Country Luck. 
 
 By ANDREW HALLIDAY. 
 
 Everyday Papers. 
 
 By THOMAS HARDY* 
 
 Vadw: iU4 areenWMd titt. 
 
 tht 
 
CHATTO & WL\DUS, Publishers, n i St. Martin's Lane, London, W.C. 31 
 
 Two-Shilling Novels — continued. 
 By JULIAN HAWTHORNE. 
 
 X 
 
 Garth. 
 
 Eihce Qaentin. 
 
 Fortune's Fool. 
 
 Miss Cadogna. 
 
 Sebastian Strome, 
 
 Dust. 
 
 Beatrix Randolph. 
 
 Love— or a Name. 
 
 David Poindexter's Dis- 
 appearance. 
 
 Ths Spectre of the 
 Camera. 
 
 By Sir ARTHUR HELPS. 
 
 Ivan de Biron. 
 
 By G. A. HENTY. 
 
 Enjub the Juggler. 
 
 By HENRY HERMAN. 
 
 A Leading Lady. 
 
 By HEADON HILL. 
 
 Zambfft the Detective. 
 
 By JOHN HILL. 
 
 Treason Felony. 
 
 By Mrs. CASH EL HOEY. 
 
 The Lovers Creed. 
 
 By Mrs. GEORGE HOOPER. 
 
 The Hoxise of Kaby. 
 
 By Mrs. HUNGERFORD. 
 
 The Three Graces. 
 Unsatisfactory Lover. 
 Lady Patty. 
 Nora Creisia. 
 The Professor's Erperl- 
 tnent. 
 
 A Maiden all Forlorn 
 
 In Durance Vile. 
 
 llarvel. 
 
 A Mental Stmggl*. 
 
 A Modern Circe. 
 
 Lady ■Verner'3 Flight. 
 
 "She 3,ed House Mystery 
 
 By Mrs. ALFRED HUNT. 
 
 Thornicrcft'a Model. I Self-Condemned. 
 That Other Person. | The Leaden Casket, 
 
 By WM. JAMESON. 
 
 My Dead Self. 
 
 By HARRIETT JAY. 
 
 The Dark Colleen. | Queen of Connaught 
 
 By MARK KERSHAW. 
 
 Colonial Facts and Fictions. 
 
 By R. A5HE KINO. 
 A Dra'wn Game. I Passion's Slav*. 
 
 'The Wearing of the Bell Bairy. 
 Green." | 
 
 By EDMOND LEPELLETICR. 
 
 Madanze Sans Gsne. 
 
 By JOHN LEYS. 
 
 The Lindsays. 
 
 By E. LYNN LINTON 
 
 Patricia Kemball. 
 
 The World Well Lost. 
 
 Under which Lord ? 
 
 Paston Careiw. 
 
 ' My Love 1 ' 
 
 lone. 
 
 With a Silken Thread, 
 
 By HENRY 
 
 Gideon Fleyce. 
 
 By JUSTIN 
 
 Dear Lady Disdain. 
 Waterdale Neighbours, 
 My Enemy's Daughter 
 A Fair Saxon. 
 Linley Rochford. 
 Miss Misanthrope. 
 Camiola. 
 
 By HUGH MACCOLL. 
 Mr. Stranger's Sealed Packet. 
 
 By GEORGE MACDONALD. 
 
 Heather and Snow. 
 
 By AQNE5 MACBONELL. 
 Quaker Cousins. 
 
 by KATHARI.NE S. MACQUOID 
 
 The Evil Eye. | Lost F.ose. 
 
 By W. H. MALLOCK. 
 A Komance of the Nine- 1 The New Kepuhllc. 
 taenfch Century, 1 
 
 The Atonement of Learn 
 
 Dundas. 
 Rebel of the Family. 
 Sowing the Wind. 
 The One Too Many. 
 Dulcie Everton. 
 
 W. LUCY. 
 
 McCarthy. 
 
 Donna Quixote. 
 Maid of Ath'us. 
 The Comet of a Season. 
 The Dictitor. 
 Red Di\m^>iuls. 
 The Rid lie Ring. 
 
 By J. MASTERAIAN. 
 
 Half-a-dozen Daughters. 
 
 By BRANDER MATTHEV/S. 
 
 A Secret of the Sea. 
 
 By L. T. MEADE. 
 
 A Soldier of Fortune. 
 
 By LEONARD MERRICK. 
 
 The Man who was Good. 
 
 By JEAN MIDDLE AT ASS. 
 
 Touch and Go. | Mr. Dorillion. 
 
 By Mrs. AlOLESWORTH. 
 
 Hathercourt Rectory. 
 
 By J. E. AlUBDOCK. 
 
 From the 
 Deep. 
 
 Bosom of th« 
 
 Stories Weii'd and Won- 
 derful. 
 The Dead Man's Secret. 
 
 By D. CHRISTIE MURRAY 
 
 A Bit of Human Nature. 
 First Person Sicpul u . 
 Bob Martin's LittleGirl. 
 Time's Revenges. 
 A Wasted Crime. 
 In Direst Peril. 
 Mount Despair. 
 A Capful o' Kails. 
 
 and H ERA! AN, 
 
 The Bishops Bible. 
 
 A Model Father. 
 
 Joseph's Coat. 
 
 Coals of Fire. 
 
 ■Val Strange. | Hearts. 
 
 Old Blazer s Hero. 
 
 The Way of the World. 
 
 Cynic Fortune. 
 
 A Life's Atonement. 1 
 
 By the Gate of the Sea. 
 
 By AlURRAY 
 
 One Traveller Returns. 
 Paul Jones's Alias. 
 
 By HENRY AlURRAY. 
 
 A Gamo of Bluft". ! A Song of Sispence. 
 
 By HUME NISBET. 
 
 'Bail Up I" I Dr.BernardSt.'Vincaat. 
 
 By W. E. NORRIS. 
 
 Saint Ann's. 
 
 By ALICE O'HANLON. 
 
 The Unforeseen. | Chance ? or Fate 1 
 
 By GEORGES OHNET. 
 
 Dr. Rameau. I A Weird Gilt. 
 
 A Last Love. | 
 
 By Mrs. OLIPHANT. 
 Whiteladies. I The Greatest Heiress In 
 
 Tne Primrose Path. | England. 
 
 By Mrs. ROBERT O'REILLY. 
 
 Pboehe s Fortunej. 
 
 By OUIDA. 
 
 Held in Bondage. 
 
 Strathmore. 
 
 Chandos. 
 
 Idalia. 
 
 Under Two Flags. 
 
 Cecil Castlemaine sGage 
 
 Tricotrin. 
 
 Puck. 
 
 FoUe Farlre. 
 
 A Dog of Flanderi. 
 
 Pascarel. 
 
 Signa. 
 
 Princess Napraxlne. 
 
 In a Winter Ciiy. 
 
 Ariadne. 
 
 Friendship. 
 
 By MARGARET 
 
 GenUe and Simple. 
 
 By EDGAR A. 
 
 The Mystery of Marie Roget. 
 By Airs. CAAIPBELL 
 
 The Romance of a Station. 
 
 T;ie Soul of Countess Adrian. 
 
 Outaw and Lawmaker. 
 
 Christina Chard. | Mrs. Treg»Bkl£8. 
 
 By E. C. PRICE. 
 Valentin*. I Mrs. Lancaster sK:va 
 
 The Foreigners. | Gerald. 
 
 By RICHARD PRYCE. 
 Miss MasweU's A&sctiona, 
 
 Two Lit. Wooden Shoes 
 Moths. 
 Bimbi. 
 Pipistrello. 
 A Village Ojmmuae. 
 Wanda. 
 Othmar 
 Frescoes. 
 In Maremmi. 
 Guilderoy. 
 Ruffino. 
 Syrlin. 
 
 Santa Barbara. 
 Two Oifenders. 
 Ouid.\s Wisdom, Wit, 
 and Pathos. 
 
 AGNES PAUL. 
 
 POE. 
 PRAED. 
 
32 CHATTO «& WINDUS, Publishers, iii St. Martin's Lane, London, W.C. 
 
 Two-Shilling Novels — continued. 
 By JAMES PAYN. 
 
 Bentlnck'g Tutor. 
 
 Murphy's Master. 
 
 A County I'amlly. 
 
 At Her Mercy. 
 
 Cecil's Tryst. 
 
 The Clyffards of Clyffe. 
 
 The Foster Brothers. 
 
 Found Dead. 
 
 The Best of Husbands. 
 
 •Walter's Word. 
 
 Halves. 
 
 Fallen Fortunes. 
 
 Humorous Stories. 
 
 £200 Reward. 
 
 A Marine Residence, 
 
 Mirk Abbey 
 
 By Proxy. 
 
 Under One Roof. 
 
 High Spirits 
 
 Cailyon's Year. 
 
 ■From Exile. 
 
 For Cash Only. 
 
 Kit. 
 
 The Canon « 'Ward. 
 
 The Talk of the Town. 
 Holiday Tasks. 
 A Perfect Treasure. 
 What He Cost Her. 
 A Confidential Agent. 
 Glowworm Tales. 
 The Burnt MilUou. 
 Sunny Stories. 
 Lost Sir Massmgberd. 
 A Woman's 'Vengeance. 
 The Family Scapegrace. 
 Gwendoline s Harvest. 
 Like Father, Like Son. 
 Married Beneath Him. 
 Not Wooed, but Won. 
 Less Black than We're 
 
 Painted. 
 Some Private 'Views. 
 A Wrap 3 from a Thorn. 
 The Mystery of Mir- 
 
 bridge. 
 The Word and the WiU. 
 A Prince of tne iSlood. 
 A Trying Pafcicat. 
 
 By CHARLES READE. 
 
 to 
 
 A Terrible Temptation. 
 
 Foul Play. 
 
 The Wandering Heir. 
 
 Hard Cash. 
 
 Sinsjleheart and Double- 
 face. 
 
 Good Stories of Man and 
 other Animala. 
 
 Peg Woffington. 
 
 Griffith Gaunt. 
 
 A Perilous Secret, 
 
 A Simpleton. 
 
 Rearfiaua. 
 
 A Woman Hater, 
 
 IS. RSDDELL. 
 
 I The Uninhabited House. 
 
 Ihe Mystery in Palace 
 Gardens. 
 
 The Nun s Curse. 
 I Idle TaU\~. 
 
 RIVES. 
 
 It Is Never Too Late 
 
 Mend. 
 Christie Johnstone. 
 The Double Marriage. 
 Put Yourself in His 
 
 Place 
 Love Me Little, Lcve 
 
 Me Long. 
 The Cloister and the 
 
 Hearth. 
 The Course of True 
 
 Love, 
 /he Jilt. 
 The Autobiography of 
 
 a Thief. 
 
 By Mrs. J. 
 Weird Stories. 
 Fairy Water. 
 Her Mother s Darling. 
 The Prince of Waless 
 
 Garden P.^rty. 
 
 By AMELIE 
 Barbara Derinsj. 
 
 By F. VV. ROBINSON. 
 Women are Strange. I The Woman in the Dark 
 The Hands of Justice. | 
 
 By JAMES RUNCIAIAN. 
 Skippers and Shellbacks. | Schools and Scholars. 
 Gi'ace Balmaign s Sweetheart. 
 
 By W. CLARK RUSSELL. 
 
 Round the Galley Fire, i 
 
 On the Fo k sle Head. 
 
 In the Middle Watch. 
 
 A Voyage to the Cape. 
 
 A Book for the Ham- 
 mock. 
 
 The Mystery of the 
 ' Ocean Star.' 
 
 The Romance of Jenny 
 Harlowe. 
 
 By DORA RUSSELL. 
 
 A Country Sweetheart. 
 By GEORGE AUGUSTUS SALA. 
 
 Gaslight and Daylight. 
 
 By GEORGE R. SIMS. 
 
 An Ocean Tragedy. 
 My Shipmate Loui.sc. 
 Alone onWideWide S^a. 
 The Good Ship ' Mo- 
 hock.' 
 The Phantom Death. 
 Is He the Man. 
 Hea't of Oak. 
 The Convict ohip. 
 
 The Ring o Bells. 
 Mary Jane s Memoirs 
 Mary Jane Married, 
 Tales of To day. 
 Dramas of Life. 
 Tinkletop's Crime. 
 My Two Wives. 
 
 By ARTHUR SKETCIILEY. 
 A Match in the Dark. 
 
 By HAWLEY SMART 
 
 Zeph. 
 
 Memoirs of a Lnndladv. 
 Scenes from the Ph"w. 
 The 10 Commandment.?. 
 Dagonet Abroad. 
 Rogues and Va;,'abond8. 
 
 Without Lovo or Li'-once. 
 Beatrice and Benedick. 
 The Master ofEa.thkft!ly. 
 
 The P linger. 
 Long Cddtf. 
 
 SPEIGHT. 
 
 Back to Life. 
 
 The LoudwaterTragedy. 
 
 Bargo s Romance. 
 
 Quittance in Full. 
 
 A Husband from the Se* 
 
 ST. AUBYN. 
 
 Orchard Damerel. 
 
 In the Face of the World. 
 
 The Iremlett Diamonds. 
 
 By T. W. 
 
 The Mysteries of Heron 
 
 Dyke. 
 The Golden Hoop. 
 Hoodwinked. 
 By Devious Ways. 
 
 By ALAN 
 A Fellow of Trinity. 
 The Junior Dean. 
 Master of St. Benedict's 
 To His Own Macter. 
 
 By R. A. STERNDALE. 
 
 The Afghan Knife. 
 
 By R. LOUIS STEVENSON. 
 
 New Arabian Niuhts. 
 
 By BERTHA THOMAS. 
 
 Cressida. j The Violin Play°r. 
 
 Proud Maisie. | 
 
 By WALTER THORNBURY. 
 
 Tales for the Marines. | Old Stories F»etold. 
 
 By T. ADOLPHUS TROLLOPE. 
 
 Diamond Cut Diamond. 
 
 By F. ELEANOR TROLLOPE. 
 
 Like Ship.s upou the | Anne Furness. 
 Sea. I Mabel's Progress. 
 
 By ANTHONY TROLLOPE. 
 
 Frau Froiirnanu 
 Ivlarion Fay. 
 Kept iu the Dark. 
 John Caldigate. 
 The Wav We Live How. 
 
 The Land-Leaguers. 
 The American Senator. 
 Mr. Scarborough's 
 
 Family. 
 GoldcnLion of Granper* 
 
 T. TROWBRIDGE. 
 
 By J. 
 
 rarncU s Folly 
 
 By IVAN TURQENIEFF, &c. 
 
 gtories from Foreign Hoveiists. 
 
 By MARK TWAIN. 
 
 Life ou the Mississippi. 
 
 The Prince and the 
 Pauper. 
 
 A Yankee at the Court 
 of King Arthur. 
 
 The £1,000,000 Bank- 
 Note, 
 
 TYTLER. 
 
 The Huguenot Fami'y. 
 The Blackhall Ghosts. 
 What SheCameThrough 
 Beauty and the Benst. 
 Citoyenne Jaqueline. 
 
 UPWARD. 
 
 I Prince of Balklstan, 
 
 A Pleasure Trip on the 
 
 Continent. 
 The Gilded Age. 
 Huckleberry Finn. 
 MarkTwain's Sketches. 
 Tom Sawyer. 
 A Tramp Abroad. 
 Stolen White Elephant. 
 
 By C. C, FRASER^TYTLER. 
 
 Mistress Judith. 
 
 By SARAH 
 
 The Bride s Pass. 
 Euned Diamonds 
 SC. Mungo s City. 
 Lady Bell. 
 Noblesse Oblige. 
 Disappeared. 
 
 By ALLEN 
 
 The Queen against Owen. 
 
 ' God Save the Queen I ' 
 
 By AARON WATSON and LILLIAS 
 
 WASSERMANN. 
 
 The Marouls of Cirabaa. 
 
 By WILLL\M WESTALL. 
 
 Trust-Money. 
 
 By A'.rs. F. H 
 A Child Widow. 
 
 By J. S. WINTER. 
 
 Cavalry Life. | Regimental Legends. 
 
 By H. F. WOOD. 
 
 The Passenger from Scotland Yard. 
 The Englishman of the Rue Cam. 
 
 By CELIA PARKER WOOLLEY. 
 
 Eachel Arrastron,? ; or, Love and Tl\eoloi;y. 
 
 By EDMUND YATES. 
 
 The Forlorn HOfC. I Castaway. 
 
 Lund at Last. ! 
 
 By I. ZANGWILL. 
 
 Ghetto Tr.igedii-a. 
 
 WILLIAMSON. 
 
 OGD£N, bMALE A^lD PETTY, LIMITED, I-KINTLKS, GKLAT bAft'KON HILL, E.C, 
 
J