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Scan 454
An Encyclopedia of the Violin, 1925
19 lines. Read by computer on 28 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1CHAPTER XXIV
3THE DEVELOPMENT OF VIOLIN MUSIC
5A short historical review of the development of violin music, especially in relation to the master performers on and teachers of the instrument who have so largely contributed to its literature, becomes a fitting preface to the classified list of music which follows.
7Bowed instruments of various kinds have existed since the thirteenth century, but the violin in its present form came into general use only about the middle of the sixteenth century. The church played an important part in the development of violin playing, the earliest references to such performances being in connection with masses or psalms.
9Gabrieli and Monteverde were pioneers among those who composed for the violin in such a manner as to give it an individuality of its own among other instruments, the latter writing the violin score as high as the fifth position and also indicating tonal effects to be produced by the use of the bow.
11The sonata form is the first in which compositions for the violin were written, among the earliest composers being Fontana and Neri, the latter writing both the "Sonata di Chiesa" (Church Sonata) and the "Sonata di Camera" (Chamber Sonata). The church sonata consisted of four movements, alternately in slow and fast rhythm; the chamber sonata consisted of dance movements in both stately and lively rhythm. Later the chamber sonata became similar in character to the church sonata, its first great exponents being Giovanni Vitali and his son, Antonio Vitali, whose "Chaconne" is still used on recital programs. one of two readings
12The sonata form is the first in which compositions for the violin were written, among the earliest composers being Fontana and Neri, the latter writing both the "Sonata di Chiesa" (Church Sonata) and the "Sonata da Camera" (Chamber Sonata). The church sonata consisted of four movements alternately in slow and fast rhythm; the chamber sonata consisted of dance movements in both stately and lively rhythm. Later the chamber sonata became similar in character to the church sonata, its first great exponents being Giovanni Vitali and his son, Antonio Vitali, whose "Chaconne" is still used on recital programs. one of two readings
14Among the greatest of the earlier violinists who also composed for the violin may be mentioned Heinrich Biber and Thomas Baltzar, the latter credited with having introduced the violin into Great Britain. In Italy, the Vitali were succeeded by Torelli, who was one of the earliest composers in the concerto form, and also by Corelli, whose concertos and sonatas were so melodious, well harmonized and perfectly balanced that they became the models used by his successors for many generations.
16Antonio Vivaldi, who died about 1740, developed both the technique and the tonal possibilities of the violin in his concertos. He also added oboes and horns to his accompaniments, thus enhancing the orchestral color to a degree impossible before with a more limited instrumentation.
18Viotti, Veracini and Tartini in turn rendered great service to the art of violin playing, not only in their performances, but also by their development of the concerto and sonata forms. Tartini's contribution of most importance
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