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Scan 270
The story of the violin, 1904
4 lines. Read by computer on 3 September 2026. Printed page 8. See the scan on archive.org.
1Story of the Violin
3the Dresden Court, put his Italian training (with Torelli, and later with Vivaldi and Montanari) to excellent use. He was largely responsible for the enviable reputation which orchestra-playing in the Saxon capital enjoyed all over Germany. With Pisendel's pupil, Joh. Gottlieb Graun (——, died 1771), whom we already found among Tartini's pupils, the prestige of Dresden in violin-playing was transferred to Berlin, where Frederick the Great, a devoted lover of music, had meanwhile succeeded to the throne. Graun was leader of the Berlin Court orchestra. Still more important than Graun, and, indeed, one of the best players of his time and most sympathetic figures in the history of early German violin art, was Franz Benda (1709-86), who succeeded Graun as concert-master in Berlin. Born as the son of a poor Bohemian weaver (by birth, therefore, of Slavic origin), and for the most part self-taught on the violin, Benda had to taste some of the bitterness of life before he attained to his high position. His playing was greatly admired by his contemporaries, particularly in music, of the adagio style, which he rendered with beautiful tone and most touching expression. Among his numerous pupils was Wilhelm Rust (1739-96), music director at Dessau, and known as the composer of the fine sonata published in Peter's edition. Of interest to Londoners in particular in this connection is Joh. Peter Salomon (1745-1815), who was temporarily identified with the Prussian capital before 1781. He became a central
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