Scan 359
The violin, its famous makers and their imitators, 1887
12 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1and refined playing. Kreutzer is, of course, better known from his Forty Studies than from anything else that he has written. His concertos partake more of the study than of the name they bear, and are valued accordingly.
3Lafont was instructed by both Rode and Kreutzer, and held a high position among the Violinists of his time.
5François Antoine Habeneck was a pupil of Baillot at the Paris Conservatoire, where he distinguished himself, and became a professor. Among his pupils were Alard, Sainton, and Deldevez.
7M. Alard was born in 1815. He succeeded Baillot at the Conservatoire in 1843, holding the position until within the last few years, retiring shortly after the death of his father-in-law, M. Vuillaume. M. Alard was the master of Sarasate. M. Sainton was born in 1813 at Toulouse. He took the first prize at the Conservatoire in 1834. He settled in London in 1845. Shortly afterwards he became principal professor of the Violin at the Royal Academy of Music, and leader under Signor Costa.
9It now remains for me to notice the Belgian school. The first to name is Charles de Beriot, one of the most delicious players we have had. As a composer for his instrument, he opened up entirely fresh ground; he banished all that was dry, and gave us those fresh and pleasant Airs with Variations, and Morceaux de Salon, teeming with novel effects. It can never be said that De Bériot alarmed the amateur with outrageous difficulties; on the contrary, he gave them passages comparatively easy to execute, full of effect, and yet withal astonishing to the listener. De Bériot probably made more amateur Violinists than any composer of his time.
11Henri Vieuxtemps was a thorough master of his art.
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