Scan 374
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 1 October 2026. Printed page 264. See the scan on archive.org.
1In 1716 he published a set of twelve sonatas, which attracted some notice at the time from their novelty. In these he plunged into difficulties deemed then very unusual, but withal, his compositions were elegantly written. He afterwards wrote and published solos and concertos, besides a "Treatise on Good Taste," "Rules for Playing in Good Taste," and the "Art of Playing on the Violin," the latter being the first instruction book for the instrument deserving of the name. The instrumental music at this period was composed for four Violins, Tenor, Violoncello, and Double-Bass, and was called the Concerto Grosso, a mode of composing introduced by Giuseppe Torelli, of Verona.
3Having lightly sketched the progress of the Violin in England down to about the year 1750, it will, perhaps, be better to take up the thread of the instrument's progress in Italy, which we brought to the days of Corelli.
5The first half of the 18th century was rich in Italian Violinists and writers for the instrument, of whom the chief was Giuseppe Tartini, born 1692. Dr. Burney says of his compositions: "Though he made Corelli his model in the purity of his harmony and simplicity of his modulation, he greatly surpassed that composer in the fertility and originality of his invention; not only in the subjects of his melodies, but in the truly cantabile manner of treating them. Many of his adagios want nothing but words to be excellent pathetic opera songs. His allegros
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