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    ** Mankind / 1 begins the author , in a style of fioe ^ Vitei ^ iiSb classification , " may be divided into two classes , —^ fe »^ rffi play the violin , and those who do not . " Witfi a deep ^ f ^ p altueit we fancy ourselves in the majority , we ackno w teijjg ^' oui ^ selves to belong to the latter division , and accordingly t ^ fjjj over certain painful passages that ensue . The chapter on tb # * Qrjgin an 4 early History of the Violin is interesting and Weft

    executed , imd the Italian , German , and French schopjs , are capitally described . The English school is hardly worthy tj | name of a school , though we have some very good pe ^ rfoj 3 ££ gg » Qf the gfeat foreign masters , we can only find roon ^ to say § i ^ vy word s * worthy as they are of all the honourable and elaUo * rate njenticjn made of them in our author ' s pstges * The account of that original composer , Corelli , the tone of \ vhose violin Gerainiani used to compare to that of a s ^ jjf £ t trumpet , " is well given , both as to private character apd genius ; We nave read an anecdote somewhere ( either in IJazljj t ^ jj 'Conversations with Northcote / or his * Abridgment ot ^ HojU croft * s Memoirs ' ) of Corelli having a great desirg tQ seepN cel | and that he came over to London for that purpose . iKw ^ he arrived he found Purcell was dead ; upon which vffl ^ ffi immediately returned . This was a feeling beyonc } " q ]\ t 0 ^ don , " and we hope Mr Dubourg will not omit it in his ne | C ^ edition . Of Paganini , the " conqueror of ears / ' a very long

    and laudatory account is given , but no terms of adnuratiw ^ dt express the powers of that surpassing instrumentalist . There is a small , an insect-like faction , enviously disposed to call tuift a charlatan , on account of certain mechanical tricks in which he at times indulges , ( and which are very effective , the tent ) U& iiimacy being the true bugbear anc | cparlataqerie of ^ ffe w < tylcl !) but this is nothing more than the result of hia " fe ^ jftf fh sivi ^ mas tery , for certainly he has made the difficulties of & $ * - ^ utipn ridiculous by that very excess and apparent ease of-jMfcfr duction . His powers , both in the sublime and ridiculon ^?>* & equally beyond all other performers . The wood-ctfttbf-P& ) £ |( V nini in this book are clever and characteristic , tni | do grqp 4 injustice to his spirituality . They are caricatures of eccentrviii ^ prQvoking because so like the external man . And—oh 6 bfrgM ? t —the bow of his fiddle is disgracefully too short . Of ffee ^ qtf f ^ tery of Paganini ' s method of untuning or changing tkettf * H % < jf tut stings , M . Guhr remarks , that " It contains t ^' fMMt of m ^ qy of hii > efifecU , of las succession of chord s ^ p 4 ' # tlwK iug yibratjons , wjiich orcjinarily appear impossible to tf ^ W ^ r iipj ^> Jq * bjf ] V | r Duboutg ^ dds— , ^ according te ih ^ + m * menu curious if ^ rae , Pagansui unproved Tii $ efcbWby $ toM& on en ifl #$ ruinent otft qftutut ,+ n 4 , with ^ ow ^ tm ^ i ^^ Wmm of creative power , p roduce * ) i ^ rw » y * xti ^ ^ M ^^ |^«

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• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Dec. 2, 1836, page 767, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2664/page/51/