Books › Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876 › scan 32
Scan 32
Biographical notice of Nicolo Paganini, with an analysis of his compositions, and a sketch of the history of the violin, 1876
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1alone was worth an entire school: Rode, who possessed all the brilliant qualifications of his master. There are few alive at the present day who have heard this artist in his prime, when he played at the concerts in the Rue Feydeau and at the Opera; but those artists who did will never forget the model of perfection which entranced them. It is an interesting remark, which I deem it a duty to make, that from Corelli to Rode there is no hiatus in the school—for Corelli was the master of Somis, Somis of Pugnani, Pugnani of Viotti, and Viotti of Rode.
3When the talent of Rode was at its zenith, two other violinists rendered the French school illustrious. First, Rodolphe Kreutzer, the son of one of the Court musicians, who was born at Versailles in 1766, and was a pupil of Anthony Stamitz, a German violinist, who founded a school. Kreutzer at first adopted the narrow style of his master; but, under the guidance of Gaviniès, and after hearing Viotti, his method became broader, more brilliant, and bold beyond conception. His tone was full rather than mellow; and his manner of expression less remarkable than his mastery of difficulties. His great quality was originality, being no follower of any system, and obeying only the impulsion of his own energetic sensibility. Kreutzer founded a school, and made many pupils, who have taken advantage of his qualities, and who generally, are remarked for their brilliancy of execution.
5Baillot, of whom I have still to speak, was not only a great violinist by the readiest and most varied mechanism imaginable, but he was a poet by his exquisite feeling for the beauties of music and his ready conception of the style necessary for imparting the true character of each composition. Pollani, pupil of Nardini, was one of Baillot's masters; but the immense natural talent of Baillot formed the rich basis of his own fancy; a great solo performer, he never went to the extent of his vast capabilities, if the work he was to interpret failed to awaken his appreciation. At the Opera, where he was engaged to play the solos for dancing, he was only the shadow of himself; but when at annual meetings for the performance of quartetts and quintetts, with the genius of Boccherini, of Haydn, of Mozart, and of
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