Famous Violinists of To-day and Yesterday Part 3

The most celebrated pupil of Baillot was Francois Antoine Habeneck, the son of a musician in a French regimental band. During his early youth Habeneck was taught by his father, and at the age of ten played concertos in public. He visited many places with his father's regiment, which was finally stationed at Brest. At the age of twenty he went to Paris and entered the Conservatoire, where in 1804 he was awarded first prize for violin playing, and became a sub-professor.

The Empress Josephine, on hearing him play, was so pleased that she granted him a pension of twelve hundred francs. He became one of the first violins at the Opera, but his special forte was as leader of orchestras, and he held that post at the Conservatoire, on account of his efficiency, until 1815, when the advent of the allied armies caused it to be closed.

Habeneck was instrumental in bringing forward the great orchestral works of Beethoven. He became director of the Grand Opera, and inspector-general of the Conservatoire.

Habeneck is said to have been greatly addicted to taking snuff, and this habit led to an amusing episode with Berlioz, which the latter regarded in a very unfriendly light. At a public performance of the Requiem of Berlioz, the composer had arranged with Habeneck to conduct the music, Berlioz taking his seat close behind the conductor. The work was commenced, and had been proceeded with some little time, when Habeneck (presumably taking advantage of what seemed to him a favourable moment) placed his baton on the desk, took out his snuff-box, and proceeded to take a pinch. Berlioz, aware of the breakers ahead, rushed to the helm and saved the wreck of his composition by beating time with his arm.

Habeneck, when the danger was pa.s.sed, said, "What a cold perspiration I was in! Without you we should a.s.suredly have been lost." "Yes," said the composer, "I know it well," accompanying his words with an expression of countenance betokening suspicion of Habeneck's honesty of purpose. The violinist little dreamed that this gratification of his weakness for snuff-taking would be regarded in the pages of Berlioz's Memoirs as having been indulged in from base motives.

Habeneck died in 1849. He published only a few of his compositions.

One of the most eminent violinists of the French school, who flourished during the early part of the nineteenth century, was Charles Philippe Lafont. Besides brilliant technical capabilities he had a sympathetic tone and a most elegant style, and these qualities gave him a very high position in the ranks of performers.

Lafont was born at Paris, December 7, 1781, and received his first lessons from his mother, who afterward placed him under her brother, Berthaume. Under his care he made a successful concert tour through Germany and other countries as early as 1792, after which he returned to Paris and settled down to study under Rudolf Kreutzer.

For a time his studies were interrupted by an attempt to become a singer, and he appeared at the Theatre Feydeau, which had then been opened by Viotti. This diversion being soon at an end, he returned to the violin, but on the outbreak of the revolution in France he left the country and travelled throughout Europe, being absent from Paris, with the exception of a short visit in 1805, until 1815.

During his travels he was made chamber virtuoso to the Czar Alexander, and on his return to France he became first violinist of the royal chamber musicians of Louis XVIII., and musical accompanist to the d.u.c.h.esse de Berry.

Lafont's career came to a sudden end by the overturning of a carriage while on a concert tour in the south of France in 1839.

He was one of the numerous violinists who challenged Paganini to an artistic duel, in which he got the worst of it, though his admirers accounted for his defeat by the fact that the contest took place at La Scala, in Milan, where the sympathy of the audience was in favour of the Italian virtuoso.

Lafont was a prolific composer, but few of his works have survived. He was also the owner of a magnificent Guarnerius violin, which is now said to be the property of Adolf Brodsky.

As a composer Spohr probably influenced the modern style of violin playing even more than as a player, for he lifted the concerto to the dignity of a work of art, whereas it had formerly been simply a show piece, though not always without merit. He set a great example of purity of style and legitimate treatment of the instrument, and is considered to have had a more beneficial effect on violin playing than Paganini, who was born in the same year, 1784.

Louis Spohr was the son of a physician, who, two years after Louis was born at Brunswick, took up his residence at Seesen, where the childhood of the future virtuoso was pa.s.sed. Both father and mother were musical, the former playing the flute, while the latter was a pianist and singer.

It is said that young Spohr showed his talents remarkably early, and was able to sing duets with his mother when only four years of age. At five he began to learn the violin and at six he could take part in Kalkbrenner's trios. He also began to compose music, and under his father's methodical guidance acquired the habit of finis.h.i.+ng everything that he began to write, without erasure or alteration. His instruction in the art of composition was confined to the mere rudiments, and he acquired the art chiefly by studying the scores of the great composers.

Spohr's first public appearance was at a school concert, and such was his success that he was asked to repeat the performance at a concert given by the duke's band. More study ensued, and then, at the age of fourteen, he undertook to make his first artistic tour, and set out for Hamburg, carrying with him some letters of introduction.

It seems that the people of Hamburg did not show much enthusiasm over the young artist, for he was unable to arrange a hearing, and, having exhausted his funds, he returned to Brunswick in the time-honoured manner of unsuccessful artists,--on foot. Spohr's experience seems to have produced upon him the same effect that many aspiring young players have since felt, viz., that he had better go on with his studies. He accordingly presented a pet.i.tion to the Duke of Brunswick asking for means to carry out his desires. The duke was pleased with him, and not only gave him a place in his band, but also agreed to pay his expenses while he studied with one of the most eminent teachers of the day.

Neither Viotti nor Ferdinand Eck could receive him as a pupil, but by the advice of the latter, young Spohr was placed under his brother, Franz Eck, who was then travelling in Germany. With Franz Eck an agreement was made by the duke, under which Spohr should travel with him, and study _en route_. During the continuance of this agreement Spohr practised sometimes ten hours a day, and being so constantly with his teacher he made great progress. On his return to Brunswick he was appointed first violinist in the duke's band, and the following year he once more undertook a concert tour on his own account, travelling through Saxony and Prussia, and meeting with great enthusiasm.

While in Russia he met Clementi and Field, and he was presented with a most valuable Guarnerius violin by an enthusiast. This instrument he lost while on the way to France, where he intended to make a concert tour. Just before entering Gottingen the portmanteau which contained the violin was taken from the coach, and owing to the delays of officialism it was never recovered. The thieves had been seen with the booty in their possession, but in order to arrest them it was necessary to travel some nine miles for the necessary warrant and officer. In the meantime they had disappeared, as thieves occasionally do.

In 1805 Spohr was appointed concert-master in the band of the Duke of Gotha, and while holding this position he met, wooed, and wedded the Fraulein Dorothea Scheidler, an excellent harp player, who for many years afterwards appeared with him in all his concerts, and for whom he wrote many solo pieces as well as some sonatas for violin and harp. In view of this important step the following description of Spohr's personal appearance may be interesting: "The front of Jove himself is expressed in the expansive forehead, ma.s.sive, high, and broad; the speaking eyes that glance steadfastly and clearly under the finely pencilled arches of the eyebrows, which add a new grace to their l.u.s.trous fire; the long, straight nose with sharply curved nostrils, imperial with the pride of sensibility and spiritual power; the firm, handsome mouth, and the powerful chin, with its strong outlines melted into the utter grace of oval curves. In its calmness and repose, in its subdued strength and pervading serenity, it is the picture of the man's life in little." Spohr seems to have been somewhat attractive.

Another authority tells us, in less flowery language, that he was of herculean frame and very strong const.i.tution.

In 1807 he made a tour, with his wife, through Germany, and while at Munich the king showed his gallantry to Madame Spohr in a most gracious manner. The usher had neglected to place a chair on the platform for her, and the king handed up his own gilded throne chair, in spite of her protestations. The anecdote would be more satisfactory if it stated what the king sat upon during the concert, but that is left to the imagination. The king had some bad habits, and, we are told, was very fond of playing cards during the concerts. Spohr was not accustomed to having his audiences indulge in cards, and so informed the chamberlain, absolutely declining to play unless the cards were put aside for the time being. It was a delicate task that fell to the lot of the chamberlain, but he carried it through with the greatest diplomacy, each side making a slight concession: the king on his part promising to abstain from card playing during Spohr's performance on condition that the violinist's two pieces should immediately follow each other on the program, and Spohr withdrawing his embargo from the whole concert on condition that the king would abstain from his favourite amus.e.m.e.nt during his particular performance. The king, however, seems to have put in the last blow, for on the conclusion of the violin solos he gave no signal for applause, and as it would be a breach of court manners for any one to applaud without his Majesty's consent, the artist was obliged to make his bow and retire amidst deathly silence.

In 1808 Spohr wrote his first opera, but although it was accepted for representation, it was never performed in public.

During this year Napoleon held his celebrated congress of princes at Erfurt. Spohr was consumed by a burning desire to behold Napoleon and the surrounding princes, and went to Erfurt. Here he found that a French theatrical troupe was performing every evening before the august a.s.sembly, but only the privileged few could by any possibility gain admittance to the theatre. Spohr's ingenuity was equal to the emergency, and making friends with the second horn player, he induced that artist to allow him to subst.i.tute for him one night. Spohr had never in his life attempted to play the horn, but it was now necessary for him to acquire the art before night, and he set to work with such vim that by the time of the performance his lips were swollen and black, but he was able to produce the requisite tones. The orchestra having received strict injunctions to sit with their backs to the brilliant a.s.sembly, probably to protect their eyesight from its dazzling effects, Spohr fitted himself out with a small mirror, and placing this upon his music-rack, he was able to enjoy for a couple of hours the vision of the great Napoleon, who, with his most distinguished guests, occupied the front row of the stalls.

Spohr remained at Gotha until 1813, when he was offered and accepted the post of the leaders.h.i.+p at the Theatre an der Wien at Vienna, and while here he composed his opera of "Faust," which, however, was not produced at that time. He also wrote a cantata in celebration of the battle of Leipzig, which he did not succeed in producing, and not feeling satisfied with his position, and having various disagreements with the management, the engagement was cancelled by mutual consent. During his stay in Vienna Spohr was frequently in contact with Beethoven, and though he admired that great master he criticised some of his compositions very severely, and is said to have remarked that "Beethoven was wanting in aesthetic culture and sense of beauty," a remark difficult to understand in these later days. It is the more incomprehensible from the fact that Spohr in after years was the very first musician of eminence to interest himself in Wagner's talent, for he brought out at Ca.s.sel "Der Fliegende Hollander," and continued with "Tannhauser," notwithstanding the opposition of the court. He considered Wagner to be by far the greatest of all dramatic composers living at that time. In 1815 he made a concert tour in France and Italy, during which he met Rossini and Paganini, playing at Venice a sinfonia concertante of his own composition, with the latter.

On his return to Germany in 1817 Spohr was appointed conductor of the Opera at Frankfort-on-the-Main, where his opera "Faust" was now produced, also "Zemire and Azor." Owing to difficulties with managers again he left Frankfort after a stay of only two years, and his next venture was a visit to England, where he appeared at the concerts of the Philharmonic Society in London. His success was brilliant, for his clear style and high artistic capacity, added to his reputation as a composer, carried him into popularity, and the artistic world vied with the public in doing honour to him. At his farewell concert, his wife made her last appearance as a harp player, for on account of ill-health she was obliged to give it up, and thereafter she played only the pianoforte.

On his way home from England Spohr visited Paris for the first time, and made the personal acquaintance of Kreutzer, Viotti, Habeneck, Cherubini, and other eminent musicians, who received him with the greatest cordiality. But the public did not seem to appreciate his merits, for his quiet, unpretentious style was not quite in keeping with the taste of the French.

On his return to Germany Spohr settled in Dresden, and remained there until 1822, when he became Hofkapellmeister to the Elector of Hesse-Ca.s.sel, and he remained in Ca.s.sel for the rest of his life. This position he obtained on the advice of Weber.

In 1831 he completed his great "Violin School," which has ever since its publication been considered a standard work. The following year the political disturbances interfered with the opera performances at Ca.s.sel, and caused him much annoyance. In 1834 he lost his wife, but his work of composition proceeded with vigour.

In 1839 he again visited England, where his music had become very popular, and during the remainder of his career he repeated his visit several times, many of his works being produced by the various societies.

His life at Ca.s.sel was not free from cares and friction, and he was subjected to many indignities and annoyances by the elector. Perhaps his sympathy with the revolutionists of 1848 was the chief cause of these petty persecutions. When Spohr married his second wife, Marianne Pfeiffer, the elector objected, and only gave his reluctant consent when Spohr agreed to waive the right of his wife to a pension. All his proposals were met with opposition. "Tannhauser" was produced and well received, but a repet.i.tion of the performance was not allowed, and "Lohengrin" was ordered to be withdrawn from rehearsal, for Wagner was one of the revolutionists and was obliged to live in seclusion.

America is indebted to this revolution of 1848 for some excellent musicians, for the Germania Orchestra, an organisation of young revolutionists, sought these sh.o.r.es, and after a prosperous career, begun under great trials and discouragements, the various members settled in different cities and became identified with the musical life of the nation.

In 1851 the elector refused to sign the permit for Spohr's two months'

leave of absence, to which he was ent.i.tled under his contract, and when the musician departed without the permit, a portion of his salary was deducted. In 1857 he was pensioned off, much against his own wish, and in the winter of the same year he had the misfortune to break his arm, an accident which put an end to his violin playing. Nevertheless he conducted his opera "Jessonda" at the fiftieth anniversary of the Prague Conservatorium in the following year, with all his old-time energy. In 1859 he died at Ca.s.sel.

Through all his long career Spohr had lived up to the ideal he had conceived in his youth. He was a man of strong individuality, and invariably maintained the dignity of his art with unflinching independence. Even the mistakes that he made, as for instance his criticism of Beethoven, bore the strongest testimony to his manly straightforwardness and sincerity in word and deed. He was a most prolific composer, leaving over two hundred works in all. His violin concertos stand foremost among his works, and are distinguished as much by n.o.ble and elevated ideas as by masterly thematic treatment, yet there is a certain monotony of treatment in all, and his style and manner are entirely his own.

As an executant Spohr stands among the greatest of all time. In slow movements he played with a breadth and beauty of tone, and a delicacy and refinement of expression almost unequalled. His hands were of exceptional size and strength, and enabled him to execute the most difficult double stops and stretches with the greatest facility. Even in quick pa.s.sages he preserved a broad, full tone, and his staccato was brilliant and effective. He disliked the use of the "springing bow,"

which came with the modern style of playing.

Spohr had a great many pupils, of whom the best known were Ries, Ferd.

David, Blagrove, Bargheer, Kompel, and Henry Holmes. He was also considered one of the best conductors of his time, and introduced into England the custom of conducting with a baton.

Amongst the amusing episodes in the life of Spohr was one which took place in London, when a servant brought him a letter desiring M. Spohr to "be present at four o'clock to-morrow evening at the closet of the undersigned," Spohr had not the faintest idea as to the ident.i.ty of "the undersigned," nor the least inkling of that gentleman's design. He therefore replied that he had an engagement at that time. To this note he received another polite epistle asking him to be good enough to honour the "undersigned" with an interview, and to choose his own time.

He therefore made an appointment, which he kept punctually, and on arriving at the house to which he was directed, he found an old gentleman, who was very genial, but who could speak neither French nor German. As Spohr spoke no English the communication between them was of necessity carried on by pantomime. The old gentleman led the way into a room, the walls of which were literally covered with violins, from which Spohr gathered the idea that he was to pick out that which he considered the best. After trying them all he had to decide between the merits of half a dozen, and, when he finally gave his opinion, the gentleman seemed delighted, and offered him a five pound note to compensate him for his trouble. This the violinist declined to accept, for he had found as much enjoyment as his host, and considered it a privilege to be able to examine such a fine collection of beautiful instruments. The gentleman found a way of satisfying his ideas of compensation by buying tickets to the value of ten pounds, for one of Spohr's concerts.

Among the most talented violinists of the early part of the nineteenth century was Karl Joseph Lipinski, the son of a Polish violin player whose gifts were uncultivated. He was born in Poland, in 1790, at a small town named Radzyn. After learning, with the aid of his father, to play the violin, he took up the 'cello, and taught himself to play that instrument, and in later days he attributed his full tone on the violin to the power which his 'cello practice gave to his bow arm.

Lipinski seems to have been an energetic and original man. He was in the habit of appearing at concerts both as violinist and 'cellist. He was unable to play the piano, so when he was conductor of the opera at Lemberg he directed with the violin, and frequently had to play two parts, which gave him great command over his double stops. When the fame of Paganini reached him he set forth to Italy, that he might profit by hearing the great virtuoso, and when the opportunity came at Piacenza, he distinguished himself by being the only person in the audience to applaud the first adagio. After the concert he was introduced to Paganini, and he did not fail to improve the acquaintance, frequently visiting Paganini and playing with him, sometimes even in his concerts.

Lipinski declined the honour of going on a concert tour with Paganini, as he wished to return to his home. On stopping at Trieste he heard of an old man, over ninety years of age, who had once been a pupil of Tartini, and sought him out in order to "get some points" on Tartini's style. The old man, Doctor Mazzurana, declared himself too old to play the violin, but suggested that if Lipinski would play a Tartini sonata he would tell him if his style reminded him of the great master. It did not, but Doctor Mazzurana brought out of a cupboard a volume of Tartini's sonatas having letter-press under the music, and this Lipinski was ordered to read in a loud tone and with all possible expression.

Then he had to play the sonata, and after numerous attempts and corrections, the old man began to applaud his efforts. Lipinski ever afterwards profited by these lessons.

Later on he met Paganini again at Warsaw, where they were rivals, for the time being, and different factions waxed warm over their respective merits. Paganini himself, who is said to have been asked whom he considered to be the greatest violinist, replied, with conscious modesty, "The _second_ greatest is certainly Lipinski."

Lipinski travelled throughout Europe, meeting with great success, until in 1839 he was appointed concert-meister at the Royal Opera in Dresden, where he remained for many years. He also organised a string quartet, and was considered a most excellent performer of chamber-music. He wrote a large quant.i.ty of music for the violin, but little of it was of a lasting quality. In 1861 he was pensioned, and retired to Urlow, near Lemberg, where he had some property, and there he died in December of the same year.

CHAPTER IV.

PAGANINI.

The name Paganini stands for the quintessence of eccentric genius,--one of the most remarkable types of mankind on record. Paganini was able to excite wonder and admiration by his marvellous technical skill, or to sway the emotions of his hearers by his musical genius, while his peculiar habits, eccentric doings, and weird aspect caused the superst.i.tious to attribute his talent to the power of his Satanic Majesty. Yet Paganini was not only mortal, but in many respects a weak mortal, although the most extraordinary and the most renowned violinist of the nineteenth century.

[Ill.u.s.tration: NICCOLO PAGANINI]