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Updated: June 18, 2025
The only good trait that has been handed down concerning him is that he was a masterly musician, performing admirably upon the violin, which he had studied under the illustrious Tartini himself. Yet even his art of music, if tradition speaks the truth, was put by him to the basest of uses."
The Piedmontese began again, but at the same passage Tartini stopped him again, exclaiming this time, "Too soft, my good friend, too soft!" Pugnani therefore laid down the violin, and begged of Tartini to give him some lessons. He was at once received among Tartini's pupils, and, though already an excellent artist, began his musical education almost entirely anew.
The name of Giuseppe Tartini will recur to the musical reader more familiarly than those previously mentioned. He was the scion of a noble stock, and was born in Istria in 1692.
The whole thing had delighted me so much, so very much more than the most faultless performance could have done, that I determined to enjoy it once more; and towards vesper-time, after a cheerful dinner with two bagmen at the inn of the Golden Star, and a pipe over the rough sketch of a possible cantata upon the music which the devil made for Tartini, I turned my steps once more towards St.
It was after hearing the eccentric violinist Veracini that His Satanic Majesty appeared to Tartini in a dream and played for him a violin solo surpassing in marvelous character anything that he had ever heard or imagined.
Tartini had while dreaming one of his most portentous musical inspirations. He saw a spectral form approaching him. It is Beelzebub in person. He holds a magic violin in his hands, and the sonata begins. It is a divine adagio, melancholy-sweet, a lament, a dizzy succession of rapid and intense notes.
Veracini's mind afterward gave way, and Tartini withdrew himself to Ancona, where in utter solitude he applied himself to working out the fundamental principles of the bow in the technique of the violin principles which no succeeding violinist has improved or altered.
The Tourté model leaves nothing to be desired in all the qualities required to enable the player to follow out every conceivable manner of tone and movement lightness, firmness, and elasticity. Tartini had made the stick of his bow elastic, an innovation from the time of Corelli, and had thus attained a certain flexibility and brilliancy in his bowing superior to his predecessors.
Improvements in the bow, often called the tongue of the violin, are due to the house of Tourte, in Paris, in the eighteenth century, lightness, elasticity and spring coming to it from Francis Tourte, Jr. Three eminent virtuosi, Corelli, Tartini and Viotti, whose united careers spanned a period of 150 years, prepared the way for modern methods of violin-playing.
In 1736 he again visited London, but met with little success, owing to the fact that Geminiani had ingratiated himself with the public. In 1847 Veracini returned to Pisa. Veracini has been sometimes ranked with Tartini as a performer. He was also a composer of ability.
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