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Yet some of these older works are by no means negligible, though of course, in all classic violin literature, from Tartini on, Kreutzer, Spohr, Paganini, Ernst, each individual artist represents his own school, his own method to the exclusion of any other.
"'This was the sort of bow, continued the Baron, taking it from the case, and contemplating it with a gleaming glance of inspiration, 'which the grand, immortal Tartini made use of; and now that he is gone there are only two of his pupils left in the whole wide world who were fortunate enough to possess themselves of the secret of his magnificent, marrowy, toneful manner of bowing, which affects the whole being of people, and can only be accomplished with a bow of this kind.
The effect known as the third sound consists in the sympathetic resonance of a third note when the two upper notes of a chord are played in perfect tune. "If you do not hear the bass," Tartini would say to his pupils, "the thirds or sixths which you are playing are not perfect in intonation."
In the eighteenth, when violin-making Avas at its zenith, there were such names among the Italians as Scarlatti, Geminiani, Vivaldi, Locatelli, Boccherini, Tartini, Piccini, Viotti, and Nardini; while in France it was the epoch of Lecler and Gravinies, composers of violin music of the highest class.
Tartini became an outcast from his family, and was compelled to fly and labor for his own living. After many hardships, he found shelter in a convent at Assisi, the prior of which was a family connection, who took compassion on the friendless youth.
Among the features of the performance which called out the warmest applause was Panseron's grand duo for voice and violin, "Le Songe de Tartini," Mlle. Garcia both singing and playing the piano-forte accompaniment with remarkable skill. Two years afterward Mile. Garcia married M. Viardot, director of the Italian Opera at Paris, and De Bériot espoused Mlle.
Besides operas, she produced several cantatas and other choral works, and a number of concertos, sonatas, and pieces for the piano. Another eighteenth century celebrity was Maddalena Sirmen, who won fame as one of the great Italian school of violinists. She was a pupil of the renowned Tartini, and held her own with the great performers of her time.
His great fame brought him repeated offers from the principal cities of Europe, even London and Paris, hat nothing could induce him to leave his beloved Italy. Though Tartini could not have been heard out of Italy, his violin school at Padua graduated many excellent players, who were widely known throughout the musical world.
Doubtless there may be cited some examples of artistic, literary and scientific production in dreams. I will recall only the well-known anecdote told of Tartini, a violinist-composer of the eighteenth century.
The story not improbably might have arisen from his having been confounded with a contemporary violin-player of the name of Duranowski, a Pole, to whom in person he bore some resemblance, and who, for some offence or other having been imprisoned at Milan, during the leisure which his captivity afforded, had contrived greatly to improve himself in his art; and when once it was embodied into shape, the fiction naturally enough might have obtained the more credence, from the fact that two of his most distinguished predecessors, Tartini and Lolly, had attained to the great mastery which they possessed over their instrument during a period of solitude the one within the walls of a cloister, the other in the privacy and retirement of a remote country village.
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