Scan 363
The violin, its famous makers and their imitators, 1887
4 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1lifetime there were several patrons of the art, the chief of whom were the Prince of Wales, the Duke of Cumberland, and the Earl of Mornington. Speaking of the Earl, the Hon. Daines Barrington says he "furnishes an instance of early attention to musical instruments. His father played well, for a gentleman, on the Violin, which always delighted the child while in his nurse's arms, and long before he could speak." When he was nine years old, "an old portrait-painter came to the family seat, who was a very indifferent performer on the Violin, but persuaded the child that if he tried to play on that instrument, he would soon be able to bear a part in a concert. With this inducement he soon learned the two old catches of the 'Christ-Church Bells,' and 'Sing one, two, three, come follow me;' after which, his father and the painter accompanying him with the other two parts, he experienced the pleasing effects of a harmony to which he himself contributed. Soon after this he was able to play the second Violin in Corelli's sonatas, which gave him a steadiness in time that never deserted him."
3We may now glance at the period when Salomon came to England in 1781. Too much stress can scarcely be laid upon the good effected by Salomon's talents for the progress of music, and more particularly in behalf of instrumental music. We are deeply indebted to this musician for the spirit and enterprise which he displayed, in bringing to England, at no trifling pecuniary risk, the immortal Haydn. Salomon having established a series of twenty concerts in 1790, it occurred to him that to invite the famous musician to London, would aid his enterprise. He communicated with Haydn, offering him the sum of fifty pounds for each concert. These terms were accepted, and Haydn set out
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