Books › The story of the violin, 1904 › scan 271
Scan 271
The story of the violin, 1904
14 lines. Read by computer on 3 September 2026. Printed page 9. See the scan on archive.org.
1Violin Art in Germany
3figure in London musical life, and is said to have been the first who attempted Bach's sonatas for violin solo in public.
5Next to the Courts of Dresden and Berlin, and of not less consequence for the development of violin-playing in Germany, appears the Court at Mannheim.
7Here we meet first with Joh. Carl Stamitz (born 1719 in Bohemia, died 1767) and his best pupil, Christian Cannabich (1731-97).
9To Cannabich is attributed the introduction into German orchestras of many of the orchestral effects which, since then, have become common property—viz., the uniform use of staccato and legato effects—sforzandos, crescendos, and decrescendos. He probably brought these novelties from Italy (Naples), where Jomeili reigned, the greatest orchestral charmer of his time.
11A pupil of Stamitz and also of Cannabich was Wilhelm Cramer (father of the famous composer for the pianoforte). He was born in 1745 at Mannheim, and employed there until he came to London to become a rival of Giardini.
13Further emanating from this centre of German violin art, the Mannheim school, were:—Anton Stamitz (born 1753), son of Johann Carl, and noteworthy as the teacher of Rudolph Kreutzer. Ignaz Fränzl (born 1736) deserves mention as the master of his son, Ferdinand Fränzl (1770-1853), a celebrity in his day, with a leaning towards the virtuoso. Friedr. Wilhelm Pixis (1786-1842), a pupil of the older Fränzl and of Viotti during the latter's exile at Schoenefeld, near
The computer misreads some letters and numbers. Where a name matters to you, read the scan.