Famous Violinists of To-day and Yesterday

iolin playing and composition, and who laid the foundation for all future development

nder Bassani, a man of extensive knowledge and capabilities

d-tempered Corelli withdrew. In 1680 he went to Germany, where he was well received, and entered the service of the Elector of Bavaria, but he soon returned to Rome. His proficiency

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places Corelli at the head of those musicians who have from time to time boldly maintained the rights of music against conversation. He was playing a solo when he noticed the cardinal

gave the impression that he was parsimonious, and Handel says of him that "he liked nothing better than seein

me, and had a great fondness for pictures, of which he had a val

r, was performed. Corelli does not seem to have played it according to the ideas of the composer, for Handel, giving way to his impetuous temper, sna

yal presence. The king found the adagio so long and dry that he quitted the room, much to Corelli's mortification. But greater trouble was in store for the virtuoso. Scarlatti had written a masque, which was to be played before the king, but owing to the composer's limited knowledge of the violin, Corelli's part was very awkward and difficult, and he failed to execute it, while the Neapolitan violinists played it with ease. To make matters worse,

solemn service, consisting of selections from his own works, was performed in the Pantheon on the anniversary of his funeral. On this occasion, the works were performed in a sl

the beginning of the eighteenth century. These compositions are regarded as invaluable for the instruction of young players, and some of them may be frequently heard in the concert-room at t

y ever to have left Turin after these appointments. Little is known of his playing or his compositions, but, by the work of his pupils, it is evident that he possessed originality. He formed a style more brilliant and more emo

a great and original virtuoso. He has been accused of charlatanism, inasmuch as he overstepped all reasonable limits in his endeavours

he established regular public concerts, and he left a numbe

lier de Guise, and entered the service of Mlle. de Montpensier. He was employed in the kitchen, where he seems to have lightened his burdens by playing tricks on the cook and tunes on the stewpans. He also beguiled his leisure hours by playing the violin, in which art he made such progress that the princess engaged a regular instructor for him. Fortunately, as it tur

he king is shown by the story that, when Corelli came to France and played one of his sonatas, King Louis listened without showing any sign of pleasure, a

nêt, who was born in 1680, and returned from Italy about 1700, but owing to the jealousies of his colleagues, he found it advisable to l

nd appointments worth about $70,000. His death, in 1687, was caused by a peculiar accident. While conducting a performance of his orchestra he

s born in 1687, and turned to the Italian school. I

reputation for him, some people even declaring him to be superior, as a player, to Corelli. He lived to an advanced age, and was in Dublin visiting his pupil Dubourg at the time of his

ere born in Italy, who all left their

, and was leader of the orchestra

epted the post of leader of the band of the Markgraf of Brandenburg-Anspach, at

is told of him to the effect that one day during mass a theme for a fugue struck him. He immediately quitted the altar at which he was officiating, for he united clerical with musical duties, and, hastening to the sacristy to write down the

born about 1685. He is said to have been a teacher of Tartini, who, if he di

there two years, during which time he was very successful. He then went to D

covered. This act is said to have been caused by his mortification at a trick which was played upon him for hi

1736 he again visited London, but met with little success, owing to the fact that G

In making a comparison of him with Geminiani it has been said that Geminiani was the spirit of Co

onductor of orchestra, and Doctor Burney mentions having heard him lead a band in such a bold and masterly manner as he had never before witnessed. Soon after leav

s not only one of the greatest violinists of all time, and an eminent composer, but he was a scientific writer on musical physics, and was the first to discover the fact that, in playing double stops, their accuracy can b

ile of Parenzo, being a pious Church ben

eived into a monastery at Assisi, of which a relative was an inmate. Here he resumed his mu sical studies, but though he learned composition of Padre Boemo, the organist of the monastery, he was his own

gnised the object of it, carried the news of his discovery to the worthy prelate. Time had, however, mollified him, and instead of still further persecuting the

hose style of playing made such a deep impression on him that he at once withdrew to Ancon

he choir and orchestra of which already enjoyed a high reputation. It is said that the performance of Veracini had an effect upon Tarti

cian he was, when, to his great astonishment, he heard him play a solo so singularly beautiful, which he executed with such superior taste and precision, that it surpassed all the music he had ever heard or conceived in his life. So great was his surprise, and so exquisite his delight upon this occasion, that it deprived him of the power of breathing. He awoke with the violence of his sensations, and

kept an excellent private orchestra. Tartini was engaged as conductor and remained in that position three years, then returning to his old post at Padua, from which nothing induced him to part, except for brief intervals. At Padua Tartini carried on the chief work of his life and establish

atest difficulties with remarkable ease, perfect intonation in double stops, and a most brilliant shake and double-shake, which he executed equally well with all fingers. The spirit of rivalry had

im in his sickness and attend him in his last moments with true filial affection and tenderness. He was buried in the Church of St. Catharine, a solemn requiem being held in the chapel of San Antonio, and at a lat

and in 1731 became a member of the royal band, but he, although undoubtedly superior to any violinist in Paris at that time, never seems to have made much of a success, for he resigned his positions and occupied himself exclusively with teaching and composition, and it is on the merits of his works that he occupies

ties of style and technique of all three. He became first violin to the Sardinian court in 1752, but travelled extensively. He made long stays in Paris and London, where he was for a time leader of

career. His performance was so brilliant that he became established as the best violinist who had yet appeared in England, and in 1754 he was placed at the head of the opera orchestra, succeeding Festing. Soon afterwards he joined with the singer Mingotti in the management of

rt of Stuttgart and remained there fifteen years. In 1767 he went to Leghorn for a short time, and then returned to Padua, where he remained with his old ma

of his cantabile playing, cannot be surpassed; but he does not execute great difficulties." His compositions are marked by vivacity, grac

eited, and addicted to gambling. He is said to have played the most difficult double-stops, octaves, tenths, double-shakes in thirds and sixths, harmonics, etc., with the greatest ease and certainty. At one time he appeared as

riting of him, says, "I am convinced that in his lucid intervals, he was in a serious style a very

esden. At the same time he began to study the violin, and soon joined a company of strolling musicians who attended fêtes, fairs, etc. At eighteen years of age Benda abandoned this wandering life and returned to Prague, going thence to Vienna

s execution and the mellow sweetness of his highest notes were unequalled. He had ma

lomon, a pupil of Benda, and it is necessary to speak of him because his name is so frequentl

of Salomon, after his death, Beethoven wrote: "Salomon's death grieves me

1781, when he made his appearance at Covent Garden Theatre. He was criticised thus: "He does not play in the most graceful style,

toward the end of his career he was actively interested in the foundation of the Philharmonic Society. He was noted more as a quartet player than as a soloist, and Haydn's last quartets were composed especially to suit his style of playing. He was a man of much cultiva