Scan 393
The violin: its famous makers and their imitators, 1875
6 lines. Read by computer on 1 October 2026. Printed page 265. See the scan on archive.org.
1are sometimes difficult; but the passages fairly belong to the instrument for which they were composed, and were suggested by his consummate knowledge of the finger-board and the powers of the bow. As a harmonist, he was, perhaps, more truly scientific than any other composer of his time, in the clearness, character, and precision of his basses, which were never casual, or the effect of habit or auricular prejudice and expectation, but learned, judicious, and certain." It would be difficult to add to this judgment of the compositions of Tartini. The truth of Burney's remarks are better understood at this moment than when penned. During the space of nearly a century the sonatas of Tartini lay dormant, and only within the past few years have their beauties been again recognised. Such works as Tartini's are all-important links in the chain of musical progress.
3Pietro Locatelli, a pupil of Corelli, introduced a style of playing quite in advance of his time, His compositions abound with novel combinations, double stops, harmonics, and arpeggios are displayed with wonderful results. Burney says that "Locatelli had more hand, caprice, and fancy than any Violinist of his time." He was a voluminous writer of Caprices and Sonatas. His "Art de Nuova Modulazione" is probably his greatest work.
5The immediate follower of the style of Locatelli was Lolli, born 1728, who wrote pleasing airs and used novel effects, but failed to go further. It was
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