EU
  
You are currently viewing the European Union version of the site.
Would you like to switch to your local site?
2 MIN READ TIME

From the ARCHIVE

One fine afternoon in 1868, I was coming thorough Wardour Street and thought I would call in at George Hart’s for a few strings. On this occasion, there was a handsome, fair-haired, young man, barely twenty-four years of age, rather tall, and of very gentlemanly appearance, walking up and down the room, playing a series of scales and cadenzas on a fine toned violin. It struck me that he was a very good player, and I sat down for some time to listen to him. At last he finished playing and turning to Hart, said:— “Yes, I am quite contented, I have brought a blank cheque with me, and I will fill it up now.” “If you fill up your cheque for three hundred and four pounds, that will be all right,” said Hart. I learnt he was a not a professional violinist, but a young attaché to the Embassy of St. Petersburg, named Warde, and that he was on the point of leaving England for that city. Well, the following year, I purchased a Globe newspaper and came upon a paragraph announcing with great regret the death of the young English attaché. I was much pained in reading this, for I That once recognized the talented violinist I had met accidentally at George Hart’s music shop. One day I called at Hart’s and told him what I had seen, asking him if he knew it. “Oh, yes,” he replied. “It appears that after playing at a musical evening in the house of one of his friends, he was fondling a parrot, which bit him upon the lip. At first nothing was thought of the slight wound; but he afterwards caught cold, and it festered, producing blood-poisoning, to which, unfortunately, he succumbed.”

He went on to explain that after the sad occurrence just referred to, the mother of the young violinist wrote to ask him if he would take back the violin. To which Hart at once replied that he would be happy to do so, charging only a slight commission. But when he opened the box – Oh! What a surprise! – instead of the fine Stradivari instrument, there was “a common fiddle” – it could hardly be called a violin – which was worth, perhaps, about twenty shillings!

It was said to be dated 1709 (but I did not see the label), and to have previously formed part of the Plowden collection. The colour was monotonous, a rather dark brown, and dull; but all along the pur.ing it was inlaid with small triangular ivory plates, or ivory and ebony, alternately black and white, which gave it, of course, a very striking appearance. The tone was brilliant and soft, though not of a peculiarly luscious character.

Read the complete article and many more in this issue of The Strad
Purchase options below
If you own the issue, Login to read the full article now.
Single Digital Issue January 2020 and String Courses supplement
 
€5,99 / issue
This issue and other back issues are not included in a new subscription. Subscriptions include the latest regular issue and new issues released during your subscription. The Strad
Annual Digital Subscription SPECIAL OFFER: Was €57,99 Now €45,99 billed annually
Save
36%
€3,83

This article is from...


View Issues
The Strad
January 2020 and String Courses supplement
VIEW IN STORE

Other Articles in this Issue


The Strad
Editor’s letter
To evolve as an artist requires courage and openness.
Contributors
LORENZO FRIGNANI
SOUNDPOST
Letters, emails, online comments
FRONT
On The Beat
Conservatoires in the UK are responding to a rising
OBITUARIES
Violinist Hansheinz Schneeberger died on 23 October
New tricks
A fresh look at what the violin and cello can do
COMPETITIONS
1 The Simply Quartet has won first prize at the Carl
Top lots from the London sales
Old Italians and a modern bow proved popular at this ! autumn’s auctions,as
Sticky situation
‘During the 30 years I spent working as a violinist
Life lessons
The American violinist recalls the path that led him to found the genre-defying Kronos Quartet
BREAKING POINTS
Athough Kafka may have once opined, ‘Better to have
The heart of Amadeus
What is it about Mozart’s music that responds to young
FEATURES
EXPANDING THE LIMITS
The vintage cars have been wheeled out of the Audi
SEEING RED
Madder root has been used since ancient times to provide a deep red pigment - but the process of making it remains mysterious. For the past three years Hugh Withycombe and Guy Harrison have tested different methods to get the recipe just right - and can now reveal their findings
Growingpains
Violinist and Ohio State University professor of music education Bob Gillespie has taught countless teenage string players. Here he explores adolescent character traits, and shares with teachers his valuable guide to dealing with adolescent moods and logic
ON THE BORDERS OF GREATNESS
Giuseppe Sgarbi’s instruments have a unique vibrancy and individuality, while still respecting the traditional Cremonese forms. Lorenzo Frignani examines his career, as well as that of his son Antonio, to suggest why his work deserves more recognition than it has in the past
THE SCORE: FRIEND OR FOE?
The multiple editions of a piece can confuse a musician. Should we always work from an urtext edition in an attempt to access the composer’s most authentic voice? Or can edited versions with interpretative markings be helpful? Cellist Pedro de Alcantara guides us through this minefield
REGULARS
ANSALDO POGGI
Ansaldo Poggi’s fame and reputation have had an incredible
A peninsular bench extension
Ideas for a workplace addition that is completely accessible from all three of its sides
STEPHEN QUINNEY
LOCATION Toronto, Canada
The DNA of design
David Beard argues that the old Cremonese makers had a geometric system of design ‘recipes’ to create the vast number of different instrument patterns we see today
BERG VIOLIN CONCERTO
In the second of two articles, Leila Josefowicz discusses the Adagio of the second movement, in the context of the Viennese School and the Neue Sachlichkeit era
Sound and phrase
The importance of developing a refined, balanced technique to communicate a nuanced musical line on the double bass
Reviews
Mathis Mayr in groundbreaking Feldman PAGE 95
SHEKU KANNEH-MASON
For the British cellist, Elgar’s Cello Concerto brings back a wealth of memories from his earliest years studying the instrument - and of trying to play like Jacqueline du Pre
STRING COURSES
Welcome
Welcome to the 2020 edition of String Courses. Formerly
START YOUR COURSE HUNTING HERE!
Before you start combing through the string courses listed in this guide, take a look at these suggestions to help find the course that’s right for you
QUESTIONS TO GET YOU STARTED
WHY DO YOU WANT TO GO ON A COURSE?
COURSES FOR PLAYERS AND TEACHERS
MITTENWALD INTERNATIONAL DOUBLE BASS MASTERCLASS, GERMANY