Books › The violin and its music, 1881 › scan 32
Scan 32
The violin and its music, 1881
9 lines. Read by computer on 3 September 2026. Printed page 12. See the scan on archive.org.
1amazingly copious, and withal correct; and this great man, during thirty years, has suffered no one to exceed, or even equal him. In a word, what Quintilian says of Cicero, I think is now come to pass, and a person may judge of his own proficiency, according as he approves of the compositions of Paul, and labours day and night to imitate them."*
2Possessed of such transcendent abilities, Hofhaimer was indeed worthy of Durer's portrayal, and of being regarded as a corner-stone in the structure of early German music.
4Contemporary with Paul Hofhaimer was another great German contributor to the furtherance of the musical art, whose labours perhaps bore more directly on its progress than those of any musician of his time. It is to Heinrich Isaac I refer, since it was he who carried his German art among neighbouring nations, thus helping to develop the merits of each, by combination with the beauties of others.
6As evidence of the extent to which music was cultivated and patronized in Germany at this period, we have but to note the interest taken in the art by the Emperor Maximilian, and likewise by Albert the Fifth, Duke of Bavaria, the friend and patron of Orlando Lassus, the famous Netherland composer. The music establishment of the Bavarian Duke was evidently conducted on a grand scale, for it is recorded there were upwards of ninety musicians
8* Luscinius, "Musurgia seu Praxis Musicæ, Strasbourg, 1536."—See Hawkins' History.
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