Scan 369
The violin, its famous makers and their imitators, 1887
8 lines. Read by computer on 28 September 2026. No printed page number was found. See the scan on archive.org.
1musician, was a Violinist, and wrote a "Method" for his instrument. He died in 1787.
3To the great Mozart Violinists owe much; his compositions for the instrument raised it considerably. It is unnecessary to give here a detailed list of his writings in which the Violin takes part—they are happily known to most players. Mozart played the Violin from boyhood, and was taught by his father. It is gratifying to know that nearly all the great composers played upon stringed instruments, if not with proficiency, yet enough to enable them to make pleasurable use of their acquirements. Sebastian Bach, Handel, and Schubert were Violin-players; Hadyn and Mendelssohn could take their Tenor part in a Quartett; and lastly, Beethoven used to amuse himself with the Double-Bass. Their compositions evidence a practical knowledge of stringed instruments as distinct from theory. The glorious compositions of Beethoven for the Violin need no comment here; their beauties have formed the theme of the ablest critics; and I have no desire to contribute my humble mite to their exhaustive remarks.
5With Fesca we again come amongst the Violinists. He was born at Magdeburg, in 1789. His Quartetts are very pleasing compositions; they are chiefly "Solo Quartetts."
7The next Violinist claiming attention is the highly gifted Louis Spohr, the greatest composer for the Violin that ever lived, who combined in his own person high executive powers with a rare fecundity of classical composition. The Concertos of Spohr belong to an entirely different class from those of Viotti, Kreutzer, and others, inasmuch as Spohr's music is written so as not only to display the beauties of the instrument, but also to give the noblest specimens of its orchestration. His Duets for two Violins, his Tenor and
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