Scan 429
The violin: its famous makers and their imitators, 1875
4 lines. Read by computer on 1 October 2026. Printed page 279. See the scan on archive.org.
1I have not found it convenient to refer to the German school of Violin-playing previously to this on account of its distinctive character. The Italian school passed into France with Viotti; indeed, there was even an earlier connection between Italy and France in this respect, through Lully. The Italian school was also linked with the English through Geminiani and Giardini; but of the German school it may be said that its individuality is so marked as to necessitate its being considered apart.
3That the Germans are indebted to the Italians for their early acquaintance with music is, I imagine, conceded on all sides; but it is only in the earliest stage of the art that any such indebtedness can be said to exist, as they soon struck out a course abounding in originality. The first name of any note in connection with the Violin in Germany is that of Graun, who was born in the year 1700. He became concert master to the King of Prussia, and excelled as a Violinist. His pupil, Francis Benda, next claims attention. Dr. Burney says of him: "His manner was neither that of Tartini, nor of Veracini, nor that of any other leader, it was purely his own, though founded on the several models of the greatest masters," and Hillar tells us "that his tones were of the finest description, the clearest and most euphonious that can be imagined." These remarks point to the statement that I have made above of the early distinctive character of German Violin playing. Benda published studies for his
The computer misreads some letters and numbers. Where a name matters to you, read the scan.