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Updated: May 28, 2025
Sivori was a man of generous impulses, and was seldom appealed to in vain to assist in a good cause. When his teacher, M. Dellepaine, was taken ill and was unable temporarily to fill his post of first violin at the theatre, and of director of the conservatoire at Genoa, Sivori replaced him in both and gave him the entire benefit of his services.
He might have played on four strings till he was tired, without causing any particular sensation; but the single string made his fortune. Sivori is one of the cleverest artists of the present day, who resorts to tricks with his violin, and wonderfully does he perform them. At a concert last season, he imitated the singing of a bird with the strangest and happiest skill.
In 1851 Hallé wrote of him as follows: "Sivori was here lately, but caused little furore; such rubbish as the man plays now I had never heard, and really, as an artist, felt ashamed of him." Sivori continued to play in public until 1864, when he visited London and played at the Musical Union and elsewhere, but his triumph in Paris in 1862 must not be forgotten.
Musical culture was, at that time, in a very low state in America, and one may judge somewhat of its progress by the press criticisms of the artists who visited the country from time to time. It will be seen that those who, like Ole Bull, Sivori, and Remenyi, applied their talents to the elaboration of popular airs and operatic themes were able to elicit the warmest praise.
He therefore visited Great Britain, Switzerland, Germany, Spain, Portugal, etc. He was, of course, compared to many of the great violinists of his time, who all had their special merits. One criticism, in which Sivori is compared with Spohr, may be interesting: "Spohr is of colossal stature, and looks more like an ancient Roman than a Brunswicker; Sivori is the antithesis of Spohr in stature.
When he was about five years of age Sivori paid a visit to the family, and was so charmed with the little fellow that he gave him a violin, and persuaded his parents to let him become a professional violinist. Marteau now began to take lessons of Bunzl, a pupil of Molique, but three years later he went to Paris, and was placed under Leonard.
Brown showed the writer his Grancino, a beautiful little instrument about to be sent to the repair shop, since exposure to the damp atmosphere of the sea-shore had opened its seams and the rare and valuable Simon bow, now his, which had once been the property of Sivori. Mr. Brown has used a wire E ever since he broke six gut strings in one hour while at Seal Harbor, Maine.
Spohr's refinement and polish have been the characteristics of his playing; in Sivori it is wild energy the soul in arms the determination to be up and doing the daring impulse of youthful genius. Spohr's playing is remarkable for its repose and finish; Sivori electrifies by the most powerful appeals to the affections."
In 1846 came Sivori, and in 1848 Remenyi, both artists whose desire to please their audiences took them far from the path of the highest musical standard.
In 1827 Sivori made a concert tour with M. Dellepaine, and visited Paris, where his playing at the Conservatoire won him great applause. He also appeared in England, after which he entered upon another serious course of study for several years, and perfected the tone which enraptured the world for so long, and at the same time he studied composition under Serra.
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