The Violin. Dubourg George

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СКАЧАТЬ of excellence. From Berlin, he directed his course towards Paris, where he displayed his talents in the Concert Spirituel, and speedily obliged Giornovichi, who was then figuring as a star of the first pretensions, to “pale his ineffectual fire.” The concertos of Giornovichi, agreeable and brilliant as they were, and supported by his graceful and elegant playing, lost their attraction when brought into rivalry with the beauty and grandeur of Viotti’s compositions, aided by the noble and powerful manner in which he executed them.

      Viotti’s fame very soon drew on him the notice of the French Court; and he was sent for to Versailles by Marie Antoinette. A new concerto of his own composition, to be performed at a courtly festival, was to afford a treat worthy of Royalty; and every one of the privileged was impatient to hear him. At the appointed hour, a thousand lights illumined the magnificent musical saloon of the Queen; the most distinguished symphonists of the chapel-royal, and of the theatres (ordered for the service of their Majesties) were seated at the desks where the parts of the music were distributed. The Queen, the Princes, the ladies of the royal family, and all the persons belonging to their Court, having arrived, the concert commenced. The performers, in the midst of whom Viotti was distinguished, received from him their impulse, and appeared to be animated by the same spirit. The symphony proceeded with all the fire and all the expression of him who conceived and directed it. At the expiration of the tutti, the enthusiasm was at its height; but etiquette forbade applause; the orchestra was silent. In the saloon, it seemed as if every one present was forewarned by this very silence to breathe more softly, in order to hear more perfectly the solo which he was about to commence. The strings, trembling under the lofty and brilliant bow of Viotti, had already sent forth some prelusive sounds, when suddenly a great noise was heard from the next apartment. Place à Monseigneur le Comte d’Artois! His Highness entered, preceded by servants carrying flambeaux, and accompanied by a numerous train of bustling attendants. The folding-doors were thrown open, and the concert was interrupted. A moment after, the symphony began again; “Silence! Viotti is going to play.” In the meantime, the Comte d’Artois cannot remain quietly seated: he rises, and walks about the room, addressing his discourse loudly to several ladies. Viotti looks round with indignant surprise at the interruption, puts his violin under his arm, takes the music from the stand, and walks off, leaving the concert, her Majesty and his Royal Highness, to the reproaches of all the audience – and leaving his biographers, afterwards, in some doubt whether a just independence of spirit, or a petulance beyond the occasion, should be regarded as the motive to this premature finale. Of those who read the anecdote, some may associate it with the story of “the bear and fiddle,” while others, siding with Viotti, may consider the interruption that provoked him as something parallel to Beranger’s ironical summons of

      Bas, bas!

      Chapeau bas!

      Place au Marquis de Carabas!

      It has never been satisfactorily discovered what were the reasons which induced Viotti, at an early period of his life, to relinquish all idea of ever performing in public. Some have referred to the incident above narrated, as the cause of this; but they who pretended to be well acquainted with his character, have asserted that he disdained the applause of the multitude, because it was afforded, almost indiscriminately, to superiority of talent, and to presumptuous mediocrity. It is well known that he rejected the solicitations of people who were termed of the great world, because he would have no other judges than such as were worthy of appreciating him; and that, notwithstanding the pretensions asserted by the great and fashionable persons of his day, on the score of knowing every thing, and of being the supreme arbiters of arts, of artists, and of taste, he observed that it was very rare to find among them men capable of a profound sentiment, or who could discover in others any thing beyond their exterior, and judge of things otherwise than by the same superficial admeasurement. He, however, yielded again to the eagerness which was evinced for hearing him, – but on two occasions only; of which the one did honour to his heart; and the other, as it serves to acquaint us more intimately with his character, may be here related.

      On the fifth story, in a little street in Paris, not far from the Place de la Révolution, in the year 1790, lodged a deputy of the Constituent Assembly, an intimate and trusty friend of Viotti’s. The conformity of their opinions, the same love of the arts and of liberty, an equal admiration of the genius and works of Rousseau, had formed this connection between two men who thenceforward became inseparable. It was during the exciting times of enthusiasm and of hope, that the ardent heart of Viotti could not remain indifferent to sentiments which affected all great and generous minds. He shared them with his friend. This person solicited him strongly to comply with the desire which some of the first personages in the kingdom expressed to hear him – if only for once. Viotti at last consented, but upon one condition – namely, that the concert should be given in the modest and humble retreat of the fifth floor! La fortune passe par tout– ‘We have,’said he, ‘long enough descended to them: but the times are changed; they must now mount, in order to raise themselves to us.’ This project was no sooner thought of, than prepared for execution. Viotti and his friend invited the most celebrated artists of the day to grace this novel festival: – Garat, whom nature had endowed with a splendid voice, and a talent of expression still more admirable – Herman, Steibelt, Rode (the pupil of Viotti). To Puppo was confided the direction of the orchestra; and to Bréval, the office of seconding Viotti. Among the great female artistes of the day, were Madame Davrigny, with Mandini, Viganoni, and Morichelli, a lady as celebrated for her talents as for her charms. On the appointed day, all the friends arrived. The bust of Rousseau, encircled with garlands of flowers, was uncovered, and formed the only ornament of this novel music-saloon. It was there that Princes, notwithstanding the pride of rank; great ladies, despite the vanity of titles; pretty women, and superannuated fops, clambered for the first time up to the fifth story, to hear the almost celestial music of Boccherini, performed by Viotti; and, that nothing might be wanting to complete the triumph of the artist, there was not one of these persons who, after the concert, descended without regret, although it was the lot of some of them to return to sumptuous palaces, and into the midst of etiquette, luxury and splendour.

      Among those friends who enjoyed the envied privilege of hearing this great artist in private, was Madame Montgerault, who had a country-house in the valley of Montmorency. Some of his most brilliant ideas had their access in the society of this amiable and gifted woman, in whom he found an enthusiasm for the art equal to his own. She would frequently seat herself at the piano, and begin a Concerto all’improvviso; while Viotti, catching in an instant the spirit of the motivo, would accompany her extemporaneous effusions, and display all the magic of his skill.

      The spirit and honesty of Viotti’s character are not ill shewn in the following anecdote. Giuseppe Puppo, who possessed no mean command over the violin, and whose talents were acknowledged by Viotti with the readiest candour, cherished the more than foolish vanity of boasting himself a scholar of the great Tartini, which was known to be an untruth, or, as a French term leniently expresses such deviations, “une inexactitude.” On some public occasion, when M. Lahoussaye chanced to be present (who was really a disciple, and an enthusiastic one, of Tartini’s), Viotti begged him, as a favor, to give him a specimen of Tartini’s manner of playing. “And now,” said he, in a tone loud enough to be heard by all the company – “now, Signor Puppo, listen to my friend, Monsieur Lahoussaye, and you will be enabled to form an idea as to how Tartini played!”

      Viotti’s stay in Paris was abruptly terminated by the bursting of the revolutionary storm in 1790, which drove him to England. His debût in London, at the memorable concerts under the management of Salomon, was as brightly marked as it had been in Paris. The connoisseurs were delighted by his originality and felicitous boldness, tempered as these qualities were by a pure and exalted taste. In the years 1794 and 1795, he had some share in the management of the King’s Theatre, and subsequently became leader of the band in that Temple of (occasional) Concord. But, as an ancient author has said, success is a thing of glass, and, just when it begins to wear its brightest looks, it provokingly meets with a fracture. The quiet and blameless habits of life of the great musician had not sufficed to exempt him from the officious visitations СКАЧАТЬ