Books › The story of the violin, 1904 › scan 300
Scan 300
The story of the violin, 1904
4 lines. Read by computer on 3 September 2026. Printed page 246. See the scan on archive.org.
1alism, of showiness and superficiality, which Baillot, Rode, Kreutzer, had held long in check made a younger fiddle-playing generation an easy victim to the great usurper. We now see in France a lively tug-of-war between the new art and the old traditions. On one side pulling hard, such clever men as Delphin Alard (1815-88), Sainton (1813-90), François Prume, D'Artot, Charles Dancla (born 1818), etc.; on the other, the more conservative French elements together with an influence (partially at least) hitherto mentioned only en passant, but since Paganini's time much in evidence in France, the Belgian school of violin-playing.
3By a happy combination of national characteristics, and the preponderating individuality of its founder, Charles de Bériot, as well as the exceptional talents of his successors, and by engrafting new, strong elements from time to time, this school has been, perhaps, the greatest power, outside Joachim, in the latest stages of violin art. It has, at least, produced within a few decades, one might say, greater violinists than any other since the palmy days of Tartini and Pugnani. Space forbids to go as much into detail on the subject as I should like. Some of the names of representatives of the Belgian school are violinistic household words. Who does not know Charles de Bériot (1802-70), the prototype of grace and elegance as player and composer, and his greatest pupil, Henry Vieuxtemps
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