Fayetteville observer. [volume] (Fayetteville, Tenn.) 1850-1966, 1866-01-25
Origin and History Of the
Violin.

The first violin ever made was
constructed in Italy, about the
year 1900, but those which are es-
teemed by musical men as most
valuable, were manufactured by
the family of A. 81. Anita, at
/ Cremona, in the year 1850. The
violin was first introduced into
concerts about two hundred years
ago, and when first played upon, it
was pronounced q humbug, never
capable of being used with any
success.
For the last two hundred years
the violin has retained its original
shape, although the method and
system of performing upon it have
been entirely changed and Won
derfully improved. Its advance
has been by no means speedy, and
it appears to have waited for the
progress of art, and more particu-
larly for the cultivation of the
female voice. Under the hand of
Corelli and Tartina, it gained but
little. In the hands of Geminiani
and Girardini, it partook more of
passion and simplicity; and when
HAYDEN electrified the ear with his
melodious composition then it be-
gan to evolve its greatest powers.
The period at which it made the
most rapid and greatest advances,
was Immediately after the cultiva-
ton of the fem ale voice. From
this beautiful auxiliary it received
its first lessons in pathos and feel
ing, and in return it has taught
the voice, grace and execution
In compass, the violin is more eX-
tensive than the human voice
Its most striking powers reside in
the bow, and such are the vast va
riety of accents to be produced by
skiIlful managementof of it, that
single bar of music, according to
the French school, may be bowed
fifty-four different ways.
Charles the Second was the first
who introduced the violin at court.
This was done after its restora-
ton, having acquired for its captl-
waiting tones the most passionate
delight; in fact he created a band
of violinists, after the manner of
Louis the Fourteenth.
Among the greatest masters OF
this instrument who have become
celebrated in history, Paganinl
stands pre-eminent. The extraor-
dinary performance of this person
is said to have had its origin in
the following circumstances: Du-
ring the revolutionary war of Italy,
Paganini was seized as suspected
person, or, as some have it, for
the murder of his inamorata, and
thrown into prison, where he was
confined in a dungeon for some
years. Having violin, with one
string only, by incessant practice
he acquired an execution so truly
astonishing, as to enable him to
play more upon this single string
than others could play uron four.
His power in accompanying the
voice was so great, that his tones
were not to be distinguished from
those of the singer. A German
writer speaks of his performance as
fiend-like, and attributed his Won
derful execution to a peculiar meth
cd of tuning the instrument.
Paganini was of weak organiza-
ton, and one of the most forcible
examples of the almost superhu-
man strength which results from
the exaltation of mind produced
by genius. When he seized the
violin, it seemed as if a star de-
scended on him and inspired him
with fire from Heaven. He in
stantly lost his weakness-a new
existence opened to him and he
became a new creature; and, du-
ring musical action, his strength
was more than quintupled. After
he had performed a concerto, his
symptoms were those Of a man
under an attack of the epilepsy ;
his livid and cold skin was covered
with a profuse perspiration; his
pulse was scarcely perceptlble
and when questioned, he answered
only in monosyllables. He never
slept the night after he had given
the concert, and the agitation pro-
duced continued for three or ioul
idays.