Books › the history of the violin, 1864 › scan 212
Scan 212
the history of the violin, 1864
4 lines. Read by computer on 28 September 2026. Printed page 190. See the scan on archive.org.
1the instrument, but their tone was not equal to their facility of execution. Kummer was a good writer as well as player. Aubert, Breval, and Raoul all published instructions for the instrument. Lamare is mentioned as a fine quartett player; Ganz has an excellent tone; and Servais and Franchomme great execution. As a double-bass player, Bottesini probably excels in execution any previous performer; it is indeed marvellous, and the facility with which he plays passages on double stops and harmonics must be heard to be fully appreciated. His tone is clear and mellow as a trumpet, but has not the wonderful power and vigour of Dragonetti's; and indeed his instrument is of a smaller make than that of his great predecessor.
3Amongst the English players of this time, Richard Cudmore, born at Chichester in 1787, was a fine performer not only on the violin, but on the violoncello and pianoforte; at one concert he played a concerto on the violin by Rode, one by Cervetto on the violoncello, and one by Kalkbrenner on the pianoforte. Thomas Cooke had great musical talent, both vocal and instrumental, and played in concert at the early age of five. He was occasionally first violin at the Philharmonic Concerts, and was for a time the principal singer at one of the theatres; he also composed several popular glees. At a benefit about 1823, he played solos on nine different instruments. One of the writers can speak of him as a kind friend of many years' standing. Charles Weichsel, for many years the distinguished leader at the opera, played in public also at the age of seven. Spagnoletti will also be remembered at the opera, and Venua, who for a time led the ballet, was very skilful as a quartett player. Many others of first-rate talent might be mentioned, and Blagrove, with his finished execution and perfect intonation, stands
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