accents of our mother-tongue, those notes of passion, which an inhabitant of this island would breathe in such situations as the words describe. And these indigenous expressions of passion Purcell had the

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power to enforce

by the energy of modulation, which, on some occasions, was bold, affecting and sublime." Handel," says the same author, "who flourished in a less barbarous age for his art, has been acknowledged Purcell's superior in many particulars; but in none more than the art and grandeur of his chorusses, the harmony and texture of his organ fugues, as well as his great style of playing that instrument; the majesty of his grand concertos ; the ingenuity of his accompaniments to his songs and chorusses; and even in the general melody of the airs themselves; yet in the accent, passion, and expression of English words, the vocal music of Purcell is, sometimes to my feelings, as superior to Handel's as an original poem to a translation."

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CHAPTER VII.

THE VIOLIN.-ITALIAN COMPOSERS FOR, AND PERFORMERS ON, THAT INSTRUMENT, TO THE END OF THE LAST CENTURY.— CORELLI.-GEMINIANI.-TARTINI.-VERACINI.-GIARDINI.

JARNOVICK.-VIOTTI.-BOCCHERINI.

THE modern violin is a modification of an instrument called the viola, or viol, which was invented during the middle ages, and continued in general use till the seventeenth century. It was mounted with six strings, and had a finger-board, like that of the modern guitar, with frets for directing the position of the fingers; but it was played with a bow. The viol was of three sizes; the treble-viol, the tenor-viol, and the bass-viol. The violin was formed from the treble-viol, by diminishing its size, reducing the number of its strings from six to four, and depriving the finger-board of frets, so as to allow the performer to regulate, by his ear, the position of his fingers. By a process precisely similar, the bass-viol, or violone, was converted into the violoncello.

The French and Italians dispute the invention of the violin. That it was, at least, in general use in France earlier than in Italy, appears from the circumstance, that, in Italian music of the latter part of the sixteenth century, the violins are called piccoli violini alla Francese. The first great violin-player on record, however, was Baltazarini, an Italian, who was brought into France by Catherine de Medicis, in 1577. The celebrated Corelli may be considered as the father of the violin; and his compositions for it are still highly esteemed. He was the founder of a school, which produced a succession of great performers, during the whole of the last century, by whom the powers of the violin have been gradually brought to their present height. Of a few of the most

distinguished of these individuals, we shall now give some account.

ARCANGELO CORELLI was born at Fusignano, in the territory of Bologna, in 1653. He is said, by Adami, to have received his first instructions in the rudiments of composition from Matteo Simonelli, of the Pope's chapel; and the general opinion is, that his master on the violin was Giambattista Bassani, of Bologna. Bassani was a learned and able musician, a successful composer, and an excellent performer on the violin. He composed a number of sonatas for that instrument, which are still to be met with; and upon which, it is evident that Corelli formed his style. These pieces display a knowledge of the powers of the violin, not to be found in any other music anterior to that of Corelli.

After finishing his studies, Corelli went to Germany, in 1680, where he was treated in a manner worthy of his talents and rising reputation. After two years' residence in that country, he returned to Rome, and resumed his studies with great assiduity. In the year 1683, he published his first Twelve Sonatas, or trios, for two violins and a bass; and these were followed by a second series, consisting of the same number, in 1685. These, which consisted of movements adapted for dancing, were called Balletti da Camera.

In 1686, our James the Second sent an ambassador to Rome, with considerable pomp, for the purpose of cultivating a good understanding with the Pope. This gave occasion to various festivities; and, among others, a great musical entertainment was given by the celebrated Christina, queen of Sweden, who, after her abdication, had fixed her residence in that city. On this occasion, an allegorical opera, written for the purpose of celebrating the accession of a Catholic prince to the throne of England, was performed. This drama was written by the

celebrated poet Alessandro Guidi, and the music composed by Bernardo Pasquini. The drama is to be found in the edition of Guido's poems, published at Verona, in 1726. It is of an allegorical nature, according to the taste of the time; and the characters are London, the Thames, Fame, and a good and rebel genius; with a chorus of a hundred singers. Corelli, as the greatest violinist of the time, was selected to lead the orchestra, which consisted of one hundred and fifty instrumental performers.

In 1690, he published the third series of his sonatas, or trios; and, in 1694, the last, which, like the second, he called Balletti da Camera.

About the year 1700, Corelli was leader of the opera band at Rome. At that time, the opera was in a flourishing state in that city, and gave employment to the talents of two other distinguished musicians,-Pasquini, the composer, and Gaetani, an excellent performer on the lute. Corelli, at this period, and during the rest of his life, enjoyed the favour of cardinal Ottoboni, a liberal and enlightened patron of poetry and the fine arts. He conducted the musical entertainments given by the cardinal, in his palace, every Monday evening. Here he became acquainted with Handel. One evening a serenata, composed by Handel, intituled "Il trionfo del Tempo," (afterwards brought out in London, with English words, under the title of "The Triumph of Time and Truth,") was performed. Corelli, in leading the band, did not play the overture to the satisfaction of the composer, who, with his usual impetuosity, snatched the violin out of his hand. Corelli, with that gentleness which marked his character, merely said, Mio caro Sassone, questa musica è nello stile Francese, di che io non m'intendo." "My dear Saxon, this music is in the French style, which I don't understand." At that time,

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Lulli's style, in the composition of overtures, was fashionable, and followed even by Handel.

Corelli's Solos for the Violin, the best and most popular of all his works, were published at Rome, in 1700, and dedicated to Sophia Charlotta, electress of Brandenburg.

In consequence of the high reputation which Corelli had now acquired, numbers of young musicians resorted to Rome, even from distant countries, to receive his instructions. Lord Edgecumbe was among the most distinguished of his scholars; and it was under the auspices of this nobleman that Smith produced his fine mezzotinto print of Corelli, from the original portrait, painted at Rome, by Henry Howard.

Besides his sonatas (or trios), and solos, Corelli composed a number of Concertos for the violin, which consisted of a part for a principal performer, with accompaniments for an orchestra.

The concluding part of Corelli's life was melancholy. Younger players began to surpass him in power of execution; and the mortifications he suffered on that account preyed on his sensitive mind, and shortened his days. The following anecdotes were related by the celebrated Geminiani, one of Corelli's most illustrious scholars; and, as he heard and saw what he relates, there is, unhappily, no reason to doubt their accuracy.

At the time that Corelli enjoyed the highest reputation, his fame having reached the court of Naples, and excited a desire in the king to hear him perform, he was invited, by order of his majesty, to that capital. Corelli, with some reluctance, was at length prevailed on to accept the invitation; but, lest he should not be well accompanied, he took with him his own second violin and violoncello. At Naples, he found Alessandro Scarlatti, and several other masters, who entreated him to