Books › The violin and its music, 1885 › scan 312
Scan 312
The violin and its music, 1885
8 lines. Read by computer on 3 September 2026. Printed page 294. See the scan on archive.org.
1present time, be they French, German, or Italian. It must, however, be borne in mind that the merit of this teaching belongs not wholly to its French exponents. It had its origin in a fortunate set of circumstances, like most good things, the chief of which was undoubtedly the presence of Viotti in Paris. In Viotti were centred all the important results which had accrued from the teachings of the Legitimate School of Italian Violin-playing, and in him was found its last notable native exponent.* Although several French Violinists have already been mentioned, whose style was undoubtedly influenced by Italian tuition, yet none of them succeeded in completely engrafting the salient features of the Italian School on to that of the Old French. This was left to be accomplished by the example Viotti set before Bailliot, Kreutzer, and Cartier, and the direct tuition Rode received from the Italian Violinist.
3Another circumstance which lent to Viotti's influence such weight, was the wondrous galaxy of French artists ripe to emulate his finished style and manner of playing. Neither Germany nor Italy could have put forward such a trio of Violinists as Rode, Bailliot, and Kreutzer, to imbibe and develop the teachings of the great and legitimate artist, Giovanni Battista Viotti.
5In 1801 a committee was formed to decide upon
7* Fiorillo, though born in Brunswick, was Italian in parentage and style, and worthily represented the school of Tartini.
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