Famous Violinists of To-day and Yesterday

violin. In whatever light he may be regarded, he was undoubtedly one of the greatest violinists of all. He retained in his style of playing and composing the dignified simp

inguished pupils, his style was "perfectio

avoured to induce him to remain at St. Petersburg, but without success, and he proceeded to London, where he soon eclipsed all other violinists. In 1782 he went to Paris and made his début at the celebrated Concert Spirituels. He was at once acknowledged as the greatest living violinist, but soon after this he ceased altogether to play in public. This decision seems to have been caused by the fact that an inferior player once achieved a greater success than he. He was evidently of a sensitive

mance. He became the artistic manager of the Italian Opera, and brought together a brilliant number of singers. In this business he came in contact with Cherubini, the composer, with w

of the aristocracy. But here his ill-luck followed him, for London being full of French refugees, and the officials being su

some of his finest works, notably the six duets for violins, which he prefaced by these words: "This book is the fruit of leisure afforded me by misfortune. Some of the pieces were dictated by trouble, other

ich he succeeded in getting rid of the remainder of his fortune. As a man of business the strictest integrity and honour regulated his transactions, an

and Opéra, but he failed to rescue the opera from its state of decadence, and, finding the duties too arduous for one of his age and state

notes of the Ranz des Vaches given forth by a mountain horn, and this melody so impressed him that he learned it and fr

was arrested by some harsh, discordant sounds, which, on investigation, proved to be the tones of a tin fiddle, played by a blind and aged street musician. Viotti offered the man twenty francs for the curious instrument, which had been made by the old man's nephew, who was

thought better of his bargain, for, said he, "I did not know the vio

with his newly acquired curiosity. The nephew, however, who now arrived to take the old man home, on heari

ny young musicians, and among these was Rossini, who was destined to become great. De Bériot also sought out Viotti and played before him, but the old vi

at the sweep of his bow became his great characteristic, and was alike the admiration of his

uxtemps, Teresa Milanollo, and Lauterbach. Baillot taught Habeneck, who taught Alard, Léonard, Prume, Cuvillon, and Mazas. From Alard we have Sarasate, and from Léonard, Marsick and Dengremont, while through Rode we have B?hm, an

nd Baillot, fourth. With Baillot he compiled the famous "Methode de Violon" for the use of the students at the Conservatoire. Kreutzer's first teacher was his father, who was a musician in the king's chapel, but he was so

olin at the Opéra Comique, and professor at the Conservatoire, where he formed some excellent pupils, among them being D'Artot, Rovelli, the teacher of Molique, Massart, the teacher of Wieniawski and Teresina Tua, and Lafont, who also became a pupil of De Bériot. On Rode's departure for Russia, Kreutzer succeeded him as solo violin at the Opéra, later becoming Chef d'Orch

the famous Sonata, Op. 47, which was first played by Beethoven and the vio linist Bridgetower, at the Augarten, in May, 1803, either the 17th or the 24th. This is the sonata the name of which Count Leo Tolstoi

of bowing, his splendid tone, a

besides Viotti, who was frequently in Paris, the French

inence in his profession was not obtained without a long struggle against great difficulties, for at the age of twelve he lost his father, who had kept a school, and became dependent upon friends for his education. His musical talent was remarkable at an early

t the age of ten, he heard Viotti play one of his concert

llani, a pupil of Nardini, under whom he made rapid progress, and soon began to play in public. He was, however, unable to follow directly in the path o

years devoted only his leisure to the study of the violin. He now had to serve with the army for twenty months, at the end of which time he once more determined to take up music as a profession,

on, after which he travelled for three years in Russia

tion as an unrivalled quartet player. He travelled again, visiting Holland, Belgium, and England, and then he became

he absence of the dramatic element in the former, and its predominance in the latter, thus enabling the executive art to follow the progress marked out by the composer, and to bring out the powerful contrasts and enlarged ideas of the modern musical comp

stress of weather, on his way home. He appeared once in London, and then left for Holland and Germany again. On his return to France he was appointed professor of the violin at the Conservatoire, then newly established. In 1799 ne made a trip to Spain, where he met Boccherini. The following year he returned to Paris, where he was made solo violinist to the First Consul, and it was at this period that he gained his greatest success, when he played with Kre

tender feeling characterised his performances. In fact he was no mere virtuoso but a true artist. His musical nature shows itself in his compositions, which are thoroughly suited to the nature of the violin, and have a noble, d

highest possible testimonials to Rode's ability as a violinist. It is known, however, that he was obliged to

ught by his father, and at the age of ten played concertos in public. He visited many places with his father's regiment, which was finally stationed at Brest

ecame one of the first violins at the Opéra, but his special forte was as leader of orchestras, and he held that post at

orchestral works of Bee thoven. He became director of th

ome little time, when Habeneck (presumably taking advantage of what seemed to him a favourable moment) placed his baton on the desk, took out his snuff-box, and proceeded to take a pinch. Berlioz, aware of the breakers ahead, rushed to the helm and saved the wreck of his composition by beating time with his arm. Habeneck, when the danger was passed, said, "What a cold perspiration I was i

He published only a f

eenth century, was Charles Philippe Lafont. Besides brilliant technical capabilities he had a sympathetic

ed him under her brother, Berthaume. Under his care he made a successful concert tour through Germany and othe

n opened by Viotti. This diversion being soon at an end, he returned to the violin, but on the outbreak of the revolution in France

on his return to France he became first violinist of the royal chamber mu

he overturning of a carriage while on a c

the worst of it, though his admirers accounted for his defeat by the fact that the contest took pla

rvived. He was also the owner of a magnificent Guarnerius vi

rk of art, whereas it had formerly been simply a show piece, though not always without merit. He set a great example of purity of style and legitimate t

inger. It is said that young Spohr showed his talents remarkably early, and was able to sing duets with his mother when only four years of age. At five he began to learn the violin and at six he could take part in Kalkbrenner's trios. He also began to compose music, and under his

e performance at a concert given by the duke's band. More study ensued, and then, at the age of fourteen, he und

rtists,-on foot. Spohr's experience seems to have produced upon him the same effect that many aspiring young players have since felt, viz., that he had better go on with his studies. He accordingly presented a petition to the Duke

he duke, under which Spohr should travel with him, and study en route. During the continuance of this agreement Spohr practised sometimes ten hours a day, and being so constantly with his teacher he made great progress. On his

ert tour. Just before entering G?ttingen the portmanteau which contained the violin was taken from the coach, and owing to the delays of officialism it was never recovered. The thieves had been seen with t

ortant step the following description of Spohr's personal appearance may be interesting: "The front of Jove himself is expressed in the expansive forehead, massive, high, and broad; the speaking eyes that glance steadfastly and clearly under the finely pencilled arches of the eyebrows, which add a new grace to their lustrous fire; the long, straight nose with shar

owery language, that he was of hercule

ards during the concerts. Spohr was not accustomed to having his audiences indulge in cards, and so informed the chamberlain, absolutely declining to play unless the cards were put aside for the time being. It was a delicate task that fell to the lot of the chamberlain, but he carried it through with the greatest diplomacy, each side making a slight concession: the king on his part promising to abstain from card playing during Spohr's performance on condition that the violinist's two pieces should im

t although it was accepted for represen

the emergency, and making friends with the second horn player, he induced that artist to allow him to substitute for him one night. Spohr had never in his life attempted to play the horn, but it was now necessary for him to acquire the art before night, and he set to work with such vim that by the time of the performance his lips were swollen and black, but he was able to produce the requisite tone

cancelled by mutual consent. During his stay in Vienna Spohr was frequently in contact with Beethoven, and though he admired that great master he criticised some of his compositions very severely, and is said to have remarked that "Beethoven was wanting in aesthetic culture and sense of beauty," a remark difficult to understand in these later days. It is the more incomprehensible from the fact that Spohr in after years was the very first musician o

s, and his next venture was a visit to England, where he appeared at the concerts of the Philharmonic Society in London. His success was brilliant, for his clear style and high artistic capacity, added to his reputation as a composer, carried him into popul

ti, Habeneck, Cherubini, and other eminent musicians, who received him with the greatest cordiality. But the public did n

when he became Hofkapellmeister to the Elector of Hesse-Cassel, and he remained in

dard work. The following year the political disturbances interfered with the opera performances at Cassel,

ular, and during the remainder of his career he repeated his visit se

. When Spohr married his second wife, Marianne Pfeiffer, the elector objected, and only gave his reluctant consent when Spohr agreed to waive the right of his wife to a pension. All his proposals were met with opposition. "Tannh?

tion of young revolutionists, sought these shores, and after a prosperous career, begun under great trials and disco

f his salary was deducted. In 1857 he was pensioned off, much against his own wish, and in the winter of the same year he had the misfortune to break his arm, an accident which put an end to his v

he made, as for instance his criticism of Beethoven, bore the strongest testimony to his manly straightforwardness and sincerity in word and deed. He was a most prolific composer, leaving over two hundred works in all. His violin co

unequalled. His hands were of exceptional size and strength, and enabled him to execute the most difficult double stops and stretches with the greatest facility. Even in quick

ve, Bargheer, K?mpel, and Henry Holmes. He was also considered one of the best condu

to choose his own time. He therefore made an appointment, which he kept punctually, and on arriving at the house to which he was directed, he found an old gentleman, who was very genial, but who could speak neither French nor German. As Spohr spoke no English the communication between them was of necessity carried on by pantomime. The old gentleman led the way into a room, the walls of which were literally covered with violins, from which Spohr gathered the idea that he was to pick out that which he considered the best. After tr

ltivated. He was born in Poland, in 1790, at a small town named Radzyn. After learning, with the aid of his father, to play the violin, he took up the 'cello, a

ently had to play two parts, which gave him great command over his double stops. When the fame of Paganini reached him he set forth to Italy, that he might profit by hearing the great virtuoso, and when the opportunity came at Piacenza, he distin guished h

old man, Doctor Mazzurana, declared himself too old to play the violin, but suggested that if Lipinski would play a Tartini sonata he would tell him if his style reminded him of the great master. It did not, but Doctor Mazzurana brought out of a cupboard a volume of Tartini's sonatas havi

waxed warm over their respective merits. Paganini himself, who is said to have been asked whom he considere

ears. He also organised a string quartet, and was considered a most excellent performer of chamber-music. He wrote a large quantity of music for the violin, but[Pg 103 litt