Great Violinists And Pianists | Page 9

public for many years. He died in London
in 1759.
There were several other pupils of Corelli who achieved rank in their
art and exerted a recognizable influence on music. Locatelli displayed
originality and genius in his compositions, and his studies, "Arte di
Nuova Modulazione," was studied by Paganini. Another pupil, Lorenzo
Somis, became noted as the teacher of Lecler, Pugnani (the professor of
Viotti), and Giardini. Visconti, of Cremona, who was taught by Corelli,
is said to have greatly assisted by his counsels the constructive genius
of Antonius Stradiuarius in making his magnificent instruments.
IV.
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. Originally intended for the law,
he was entered at the University of Padua at the age of eighteen for this
profession, but his time was mostly given to the study of music and

fencing, in both of which he soon became remarkably proficient, so that
he surpassed the masters who taught him. It may be that accident
determined the future career of Tartini, for, had he remained at the
university, the whole bent of his life might have been different. Eros
exerted his potent sway over the young student, and he entered into a
secret marriage, that being the lowest price at which he could win his
bourgeois sweetheart. 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.
Here Tartini set to work vigorously on his violin, and prosecuted a
series of studies which resulted in the "Sonata del Diavolo" and other
remarkable compositions. At last he was reconciled to his family
through the intercession of his monastic friend, and took his abode in
Venice that he might have the benefit of hearing the playing of
Veracini, a great but eccentric musician, then at the head of the
Conservatario of that city. Veracini was nicknamed "Capo Pazzo," or
"mad-head," on account of his eccentricity. Dubourg tells a curious
story of this musician: Being at Lucca at the time of the annual festival
called "Festa della Croce," on which occasion it was customary for the
leading artists of Italy to meet, Veracini put his name down for a solo.
When he entered the choir, he found the principal place occupied by a
musician of some rank named Laurenti. In reply to the latter's question,
"Where are you going?" Veracini haughtily answered, "To the place of
the first violinist." It was explained by Laurenti that he himself had
been engaged to fill that post, but, if his interlocutor wished to play a
solo, he could have the privilege either at high mass or at vespers.
Evidently he did not recognize Veracini, who turned away in a rage,
and took his position in the lowest place in the orchestra. When his turn
came to play his concerto, he begged that instead of it he might play a
solo where he was, accompanied on the violoncello by Lanzetti. This
he did in so brilliant and unexpected a manner that the applause was
loud and continued, in spite of the sacred nature of the place; and
whenever he was about to make a close, he turned toward Laurenti and
called out: "Cost se suona per fare il primo violino"--"This is the way
to play first violin."

Veracini played upon a fine Steiner violin. The only master he ever had
was his uncle Antonio, of Florence; and it was by traveling all over
Europe, and by numerous performances in public, that he formed a
style of playing peculiar to himself, very similar to what occurred to
Pa-ganini and the celebrated De Bériot in later years. It does not appear
certain that Tartini ever took lessons from Veracini; but hearing the
latter play in public had no doubt a very great effect upon him, and
caused him to devote many years to the careful study of his instrument.
Some say that Veracini's performance awakened a vivid emulation in
Tartini, who was already acknowledged to be a very masterly player.
Up to the time, however, that Tartini first heard Veracini, he had never
attempted any of the more intricate and difficult feats of violin-playing,
as effected by the management of the bow. An intimate friendship
sprang up between the two artists and another clever musician named
Marcello, and they devoted much time to the study of the principles of
violin-playing, particularly to style and the varied kinds of bowing.
Veracini's mind afterward gave way, and Tartini withdrew himself to
Ancona, where in utter solitude he applied himself