Books › Musical notes. I. The great composers. II. Violinists and the violin. III. The violin and its history, 1869 › scan 64
Scan 64
Musical notes. I. The great composers. II. Violinists and the violin. III. The violin and its history, 1869
4 lines. Read by computer on 29 August 2026. No printed page number was found. See the scan on archive.org.
1upon the executants. They learned to praise a given work so far as it affords scope to the popular performer for the exhibition of his or her talents. Hence, such and such a work, in the hands of such and such a performer, became the rage for the time being.
3The state of instrumental music at this time afforded an illustration of these observations. Salomon, an experienced and tasteful violinist, an offshoot of the early German school, had been for some years in the metropolis: his concerts were in vogue chiefly because he had engaged the great symphonist Haydn to write a series of twelve orchestral compositions. These (though in reality no way superior to many of his former works of the same kind) became naturally objects of public interest. Meanwhile, Yaniewitz, a good and sterling, though perhaps not an original, violinist, had appeared both as a soloist and leader; and about the same time Vaccari also, a polished performer of the Italian School, and subsequently Spagnoletti, a hardly less notable example of the
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